- Adam Audio launches two studio subwoofers, the Sub8 PRO and the Sub10 PRO, designed to accompany the monitors of the A series.
- Connected via Ethernet, they are adjusted from the ADAM Control software: level, phase, and four bands of equalization, without leaving the listening position.
- Their DSP directly hosts the filters from SoundID Reference, which avoids adding a correction processor in the chain.
- Three modes (Stereo, LFE and Wide) cover both a 2.1 system and an immersive Dolby Atmos setup.
Adjusting a subwoofer, we've all done it on our knees behind the desk, one hand on the phase knob, ear tuned to the speakers. With the Sub8 PRO and Sub10 PRO, Adam Audio brings this adjustment to the screen.
These two new studio subwoofer models connect to the network, are remotely controlled and include acoustic correction. The first relies on an 8-inch woofer, the second on a 10-inch. Otherwise, they share the same electronics, the same connectivity and the same working logic. Here's what it concretely changes in a control room.
Sub8 PRO: the compact format for a nearfield control room
The Sub8 PRO is based on an 8-inch woofer with a paper membrane reinforced with fibers, mounted on a rubber suspension. The ferrite motor receives demodulation rings, which reduce distortion and stabilize the behavior of the 35 mm voice coil.
Its response extends from 30 to 228 Hz at minus 3 dB. With 385 x 300 x 365 mm and 15.3 kg, it slips easily under a home studio desk or in a small mixing booth.
This format primarily targets producers and composers working in 2.1 stereo on nearfield monitors. It provides what is often missing in the listening of a small control room: the playback of the low end, where the impact of a kick drum, the foundation of a bass or the sub-bass of an electronic production play out.
It naturally pairs with Adam Audio A7V, the monitors of the A series for which the PRO range was designed. The selectable crossover frequencies (70, 85, 100 and 115 Hz) allow it to be adapted to other speakers from the brand.
Sub10 PRO: more depth for mixing and immersive setups
The Sub10 PRO steps up to a 10-inch woofer, with a 45 mm voice coil. Its response goes down to 22 Hz at minus 3 dB, and reaches 113 dB SPL weighted noise, Stereo mode.
The MDF enclosure limits parasitic vibrations, and a steel grille protects the speaker, which matters when the subwoofer lives under a desk, within foot reach. Count on 22.8 kg and 450 x 360 x 450 mm.
Those few extra hertz in the extreme low end are not trivial. They reveal the sub-bass of a film sound design, the tail of an 808 or the room resonances that distort a mix. The Sub10 PRO is therefore aimed at sound engineers, postproduction mixers and studios preparing immersive deliverables.
Both subwoofers share the same Class D PWM amplification: 200 W RMS and 325 W peak, limiter off. Independent thermal and peak limiters watch over the speaker, with protections against overcurrent, overheating and undervoltage.
Specifications - Adam Audio Sub8 PRO and Sub10 PRO
| Type | Active studio subwoofer, front bass-reflex |
|---|---|
| Woofer | Sub8 PRO: 8 inches, 35 mm coil · Sub10 PRO: 10 inches, 45 mm coil |
| Response at minus 3 dB | Sub8 PRO: 30 to 228 Hz · Sub10 PRO: 22 to 264 Hz |
| Max SPL (IEC noise, Stereo mode) | Sub8 PRO: 112 dB · Sub10 PRO: 113 dB |
| Amplification | Class D PWM, 200 W RMS, 325 W peak |
| Modes | Stereo LFE under 120 Hz Wide |
| Crossover frequencies | 70, 85, 100 and 115 Hz |
| Network adjustments | Level, phase, delay 0 to 10 ms, 4 bands of parametric EQ |
| Inputs | 2 symmetrical XLR/TRS combos · AES3 (2 channels, 24 bits, 96 kHz) · Bypass pedal jack TS · RJ45 Ethernet |
| Outputs | 2 XLR · AES3 |
| Acoustic correction | Import of Sonarworks SoundID Reference filters |
| Weight | Sub8 PRO: 15.3 kg · Sub10 PRO: 22.8 kg |
| Dimensions | Sub8 PRO: 385 x 300 x 365 mm · Sub10 PRO: 450 x 360 x 450 mm |
| Verdict |
Pros
Worth noting
|
A studio subwoofer adjustable from the listening position
The common point of the two models is their Ethernet port. Once the subwoofer is connected to the network, the ADAM Control software gives control over level, phase, delay and four bands of parametric equalization. Everything is adjusted in real time, sitting where you mix.
The benefit is very concrete. The bass of a room changes from one meter to another: an adjustment made behind the furniture never quite matches what you hear at the listening point. Here, you listen and correct in the same place, comparing several positions if needed.
The delay, adjustable from 0 to 10 ms, is used to align the subwoofer with the monitors. This allows the subwoofer's bass and the speakers' low midrange to arrive together at your ears, instead of overlapping. The phase adjustment offers eight positions, in 45-degree steps.
Communication goes through the AES70 over TCP protocol, an open standard for controlling audio equipment on a network. Firmware updates are also done via ADAM Control, allowing the subwoofer to gain features over time.
Stereo, LFE or Wide: three ways to integrate the subwoofer
The Stereo mode corresponds to the most common use. The sub receives the left-right pair, handles the low end below the chosen crossover frequency, and sends the rest back to the monitors. This is the classic 2.1 setup, used by most home studios.
The LFE mode applies a dedicated cutoff below 120 Hz. It serves the low-frequency effects channel of multichannel setups, starting with Dolby Atmos control rooms. The Wide mode lets the sub reproduce its full bandwidth: bass management is then handled by an external processor or another stage in the chain.
Plug a latching pedal into the dedicated TS jack input. One press cuts bass management: you instantly hear your mix without the sub, like on a pair of monitors alone or a consumer listening system.
Acoustic and digital correction: a shorter chain
This is probably the strongest argument of the range. The DSP of both subs accepts filters created with SoundID Reference for Multichannel. You measure your room, generate your correction, and it runs inside the subwoofer itself.
Result: no correction plug-in to keep active in your DAW, nor an extra processor between the sound card and the speakers. A stereo or multichannel system made of Adam Audio monitors and a Sub PRO can be calibrated consistently.
On the connectivity side, digital control rooms benefit from the AES3 input and output. They carry two channels in 24 bits up to 96 kHz, reducing the number of conversions. The two combo XLR/TRS inputs and two XLR outputs cover a classic analog chain.
For a small control room equipped with a pair of nearfield monitors, the Sub8 PRO is more than enough. The Sub10 PRO makes sense when you work on extreme low end or prepare immersive listening.
FAQ - Adam Audio Sub8 PRO and Sub10 PRO
What is the difference between the Sub8 PRO and the Sub10 PRO?
The speaker and what it produces: 8 inches and a response from 30 Hz for the Sub8 PRO, 10 inches and a response from 22 Hz for the Sub10 PRO. Amplification, connectivity and network settings are identical.
Do you need a computer to use these subs?
No for basic use: volume, crossover, phase and input selection are adjusted on the sub. The ADAM Control software, connected via Ethernet, opens parametric EQ, delay and import of SoundID Reference filters.
Are these subs suitable for Dolby Atmos?
Yes. The LFE mode applies a cutoff below 120 Hz for the low-frequency effects channel, and the Wide mode allows bass management to be handled by an external processor.
Can you connect a digital source?
Yes, via the AES3 input, which carries two channels in 24 bits up to 96 kHz. An AES3 output allows sending the signal back to the monitors.
What is the price of the Sub8 PRO and Sub10 PRO?
The Sub8 PRO is offered at 999 € and the Sub10 PRO at 1299 €.
The studio subwoofer becomes a calibration tool
With the Sub8 PRO and Sub10 PRO, Adam Audio makes the sub the adjustment point for the low end: alignment, equalization and room correction are done in the same place, from the listening position.
You just have to choose your format according to your room and deliverables. And if your control room evolves towards immersive, the same sub will follow, including LFE mode. We look forward to seeing how future firmware updates will enrich the platform.
