Benefits of a cardioid subwoofer?

By "cardioid" I mean cardioid radiation characteristics. Specifically, I am thinking of replacing my JL Audio F110's with a pair of ME Geithain Basis 11K subwoofers. More information can be found here:

The unique thing about this subwoofers is the cardioid radiation pattern, which supposedly reduces the interaction with the room from the back wave. To obtain a cardioid pattern, the subwoofer has to combine a monopole with a dipole. The interaction between the two rear waves cancels out the rear radiation thus producing a cardioid pattern.

I have never heard nor seen anything like this. Does anyone have any opinions?
Complicating the discussion a bit is the fact the Basis sub doesn't appear to use a rearward-facing driver, rather it seems to have some vents on the sides which I assume is part of its pattern control. Also, the picture in the link of the Legacy speaker shows two drivers front-to-back in free air, which will produce very different results from that of i.e. a pair of sealed boxes back-to-back.

The theory behind a cardioid radiator is pretty straightforward, pretty much a cardioid microphone in reverse. In all cases, the pattern control is frequency-dependent . . . in the case of both microphones and loudspeakers, playing with different configurations of diaphragms and vents can affect both the directivity and frequency response.

The limitations of these approaches are peculiar to a domestic application, as the wavelengths of concern are larger than the rooms in which the speaker resides. There's also the issue that a woofer is frequently placed near a wall, in a manner where one vent or diaphragm is several times the distance from one room boundary than another. So while a woofer may produce a far-field cardioid response in a large room, in a domestic-sized room this is completely out the window no matter what the design of the loudspeaker.

Curiously, there currently seems to be very little theoretical consensus as to how to acheive "proper" bass response in a domestic-sized listening room. One of the most thorough and convincing analyses that I've seen is that of Dr. Earl Geddes, which I belive has been highly influential on Duke's approach to the problem. Crudely paraphrased, he maintains that below a critical frequency (the "Schroeder" frequency) sound in a room behaves completely as excitations of modes, and the key to smooth, even bass response is to use many radiators of diverse characteristics placed about the room.

Thanks, the dipole effect on gross output level didn't occur to me in considering this question.


Your point re: unpredictable distance to various boundaries certainly did occur to me and, intuitively, it seems to suggest that the benefits of controlling directivity at very low frequencies in a typical domestic listening environment would be difficult to determine with any consistency.

Overall, there's more to think about here than I'd have figured, although - after reading all that's been posted here - I'm not sure what net benefit you're likely to get with this approach.

My thanks to Drew, Duke and Kirkus - I feel (a little, at least) more educated already.

I recently purchased one of these for my HT:

These are set up for bipolar output, with the supposed benefit being "to cancel cabinet vibration." Well, I can say that yes, there is extraordinarily little vibration. More importantly, the quality (both in 'tightness' and in range) of the output is at least as good as the JL F113 that I had auditioned in the system previously. Whether or not this is at least partially due to the bipolar design I cannot say. Needless to say, I think that these are true bargains if you're in the market.

Duke, I would dearly love to hear 4 of these things set up in a SWARM-type system!