Velodyne Acoustics VI-Q 12 Subwoofer Review

Velodyne’s VI-Q subwoofer is the upscaled version of the old Wi-Q range, but where the latter lent towards more budget-conscious buyers, this is aimed more at the higher end. It has premium features for those seeking both quality and performance across all music sources.

Up close

It comes in three sizes – 10, 12 and 15 inches – and features a front-firing driver housed in a robust 22mm High Density Fibre (HDF) sealed cabinet, reinforced with a 50mm HDF front baffle. The driver employs a dual ferrite magnet system and a quad-layer voice coil mounted in a high excursion, triple-vented basket and paired with a carbon fibre cone. Power is delivered by a Class D amplifier, with peak/RMS rated output specified as 850/450 watts for the 10-inch, 900/500 watts for the 12-inch and 1,200/650 watts for the 15-inch models. Vital statistics are 380 x 400 x 320mm and 21kg, 410 x 480 x 410mm and 25kg, and 480 x 480 x 560mm and 32kg, respectively. Velodyne claims (+/-3dB) frequency responses of 28Hz-200Hz, 25Hz-180Hz, and 23Hz-180Hz, respectively.

Around the back are standard high-level and RCA inputs, plus balanced XLR (both in and out), which is the more common subwoofer output on newer receivers and processors. It also sports outputs on the RCA and balanced connections, so you can daisy-chain subwoofers together if you have only limited outputs on your source. Standard 12V trigger, auto sense and phase/volume and frequency control are here, but unique additions include a 5V USB output for powering Velodyne’s proprietary wireless WiConnect system if desired, and a mystery switch with two options – DSP on/off. This is where the magic lies for those who dare to dabble…

The VI-Q features onboard DSP, which is user configurable by Velodyne’s iWoofer app control, either on iOS or Android. The Android app may not be available on all devices at the moment, due to an issue that Velodyne is working on fixing. This app lets you control a host of features, some of which many users may simply ignore and let their source room-correction manage, such as Audyssey or Dirac, but for hobbyists or serious tinkerers, there is a plethora of customisation available.

Along with basic items like crossover, gain, delay and phase, you get advanced features like a Sub-Harmonic Generator, which Velodyne says “generates a harmonic at half of the original frequency” to help restore bass to older tracks. The Parametric Equaliser lets you control the Q and level adjustment at a chosen frequency, either at a single point or all the way up to 25 bands. This allows powerful fine tuning of the bass, but risks overwhelming the user, so thankfully there’s a “reset to factory settings” button. There’s also an iWoofer Pro app, which, at a small additional cost, lets you use your iOS device as a microphone and perform room calibration directly into the subwoofer’s DSP. I think it’s odd to have this cost option in a so-called ‘pro’ app for a product of this price.

Velodyne designs its products in Germany and manufactures the VI-Q in China to a very high standard. The finish is generally flawless, although the knobs and switches on the back are nothing special at this price. The ultra-smooth sides of the cabinet have a semi-gloss black finish with rounded edges of superlative quality. Even the feet underneath forgo the common rubber and instead are silver-coloured. The carbon-fibre cone, with its gorgeous weave, is a thing of beauty. Sadly though, I think the old-fashioned plug-and-socket style front grille mounting arrangement lets the side down – magnetic fixings would look neater.

Basic setup is no different to any other subwoofer, but when using a single RCA input (as my current setup does), I needed to turn the subwoofer volume dial up to max, rather than the halfway point I’d usually start at. This is in contrast to the Velodyne Deep Blue that I previously reviewed, when I needed to adjust the gain down and use a higher input signal. My review system comprised a single VI-Q 12 paired with Krix OWX L/C/Rs and Phonix surrounds/heights in a 7.1.4 setup, with source being a Panasonic UB-9000, through a Marantz 8805a and matching amplification. All sources were 4K UHD Blu-ray discs and Spotify Lossless. Room correction was handled by the Marantz Audyssey, with levels balanced using a sound level meter post-calibration. My listening room is approximately 70 cubic metres.

The Listening

Velodyne has made an incredible subwoofer with the VI-Q 12. With its superb dynamic performance and accuracy, it’s a noticeable step up from the Deep Blue. Despite its infinite baffle loading, there’s no sense of any lack of low-end impact, and this sub seamlessly blends into my main speakers like it was made for them. It gives you plenty of what you need, and little of what you don’t, making it a great choice for home theatre and 2-channel hi-fi systems alike.

Starting with the 2017 movie Ghost in the Shell, this polarising Hollywood remake of a classic anime contains dynamic gun fights, anime-style machines, and a sci-fi electronic soundtrack – all of which provide lots of opportunity for low-frequency energy in its Dolby Atmos soundtrack. Although outright extension does come into play here, such as the hulking footfalls of the spider tank, the real winner is the VI-Q’s awareness of the needs of the soundtrack. For example, automatic gunfire doesn’t lean into the sub too much, but shotgun blasts and heavy body-hits peak with real impact.

Effects like the rotating helicopter blades as Major is chased through the city, or the jarring disconnection of the sudden memory glitches blending reality and hallucination, give enough pressurisation to have an almost infra-sonic quality. Extension isn’t the only name of the game here, though, and after the Chief is attacked in his car, the intense bass drum beats and escalating synth notes are given enough depth to add tangible drama to the scene without overtaking everything else happening on screen.

The 4K Blu-ray of Michael Bay’s combat epic 13 Hours: The Secret Soldiers of Benghazi contains an Atmos soundtrack that’s among the best for war-movie aficionados, with some of the most intense combat sequences since Saving Private Ryan. What I love here is how the VI-Q never overwhelms the main speakers, always balancing the need to support the smaller bass drivers in the L/C/Rs, but still accentuating the dramatic beats as required. As we see the Libyan forces descend on the Ambassador’s compound, we get a palpable tension that breaks with the dynamic explosion of an RPG round punching you in the chest with tactile response. Even the distant explosions heard from the perspective of the CIA Annex, while not immediately aggressive, carry the right weight. As the combat heats up, the Velodyne doesn’t just give us blobs of bass for each gunshot, but precisely renders the lower tones of the different weapons. For example, there’s a vast difference between the 5.56mm shots from the M4 Carbines, through to the heavier 7.62mm shots from the M240S, through to the eardrum-busting vehicle-mounted .50-cal machine guns. The VI-Q texturally differentiates those effects in a way that ported subwoofers can only dream of.

Maybe it’s because my Dad was a lifelong firefighter that 1991’s Backdraft holds a special place in my heart, despite its many glaring inaccuracies. Also a Best Sound Mixing nominee for the 1991 Oscars, the 4K UHD release features a brilliant DTS:X soundtrack that easily stands up to modern scrutiny. While the Hans Zimmer compositions don’t lean too much into the low frequencies, there are many sequences of fire and explosions that push a subwoofer to the limit. In this instance, I didn’t miss my usual second sub as much as I expected, as the VI-Q holds its own admirably. When the firefighters attend the factory fire, the building seems to let out a deep sigh as they open the main doors. The growls and groans of the heaving, fire-filled building play on your senses in a powerfully menacing way.

The VI-Q’s inherently taut and grippy sound is great for playing music. Sidsel Storm’s Blame It On My Youth opens up with a double bass routine that needs tight bottom-end control to support the different low-frequency notes. Particularly as I have given up my Krix Neuphonix for the OWXs, there is less bass support from the smaller main cabinets that can show up in music listening. Here, this subwoofer proves able to replicate all the right notes and transition into the main channels while feeling like I am listening to just one very large full-range speaker, rather than a speaker/sub combination.

The classic trip-hop of Angel from Massive Attack needs a strong subwoofer to push its heavy bassline, along with sufficient headroom to elevate the drum beats above. It also demands enough finesse to capture the string-like vibrations that begin each note. The VI-Q proves up to all of this, with enough power to deliver all the detail needed without showing any signs of strain at high levels. Chris Jones’ Long After You Are Gone is underpinned by strong synthesiser basslines that stretch from the low bass region up to the mid-bass. This means that the transition between the sub and the main channel speakers needs to be seamless, and the Velodyne makes it so. Despite delivering serious grunt, the VI-Q makes itself almost invisible in the great scheme of things.

The Verdict

The VI-Q 12 encapsulates everything that’s right about the revived Velodyne brand. A classic case of privileging quality over quantity, it should fit in very well with many people’s systems. It’s a significant step-up in performance from many mainstream choices, while still not having the huge price tag that halo products demand. Its excellent breeding makes it great for both music and movies. The only caveat is that it’s just not gutsy enough to satisfy really serious bassheads, so they should look towards the even more powerful 15-inch version. I can see this being a serious sales success, thanks to its combination of performance and value.