Internally amplified (120 V ~ 250 V selectable), lowest octave (16Hz - 32Hz) loudspeaker system. Two 15" drivers. Acoustic low pass filter / grill.

"The Method sub excels with pitch definition and how precisely low-frequency transients are rendered. When Kai Eckhardt or Brian Bromberg pop their bass strings, you hear a clean attack without fuzziness or indecision and no shift when the sub takes over. Just as importantly, the tone itself isn't encapsulated in noise nor does it leave a cloud of boom in its wake to blur the next tone. Best of all, this precision isn't dry, sharp and robotic but soulful and bodylicious. Plucked bass swings rather than evokes machine-gun fire. Piano sounds like a wooden resonator rather than steel on steel.

As designers Sean Casey and Adam Decaria put it, the Method isn't really reinventing the wheel. But it is driving a wheel that many have forgotten exists. As with the Druid, it looks at past accomplishment of the 1950s (and earlier) to reincorporate them into 21st-century HiFi. This is aided and abetted by modern computer modeling, test gear and evaluations against contemporary standards of execution and sound. The Method thus has one foot in vintage and pro audio, the other in consumer audio. It makes for the perfect accompaniment to the Druid and an attractive, cost-effective, anti me-too upgrade path. It also becomes an ideal counterpoint for inherently fast speakers like 'stats or horns.

Let's add up all the evidence. It clearly looks like mission accomplished for the original design brief and its keepers at Zu, doesn't it? While the addition of the Method to the Druid isn't mandatory at all, lovers of infrasonics, of big spaces, of developed harmonics, of image density and that heightened realism only full-range reproduction can cast (both dimensionally and as concreteness) will consider it mandatory once they've heard it. I know I do.