Best MUSICAL subwoofer for Maxx 2's quality sound?

The Wilson Watch Dog or any Wilson sub of course matches perfectly. The speed of my Watch Dog II and the impressive crossover allows for seamless matching. If you are using a sub on the Maxx's I would try running the crossover in the 40hz for music. The Wilson sub can have to different inputs and setting for Music and one for Hometheater so you can get your LFE on.

I've owned the Velodyne DD15 and it was too slow and my JLaudio F113 puts out a lot of boom but is not as articulate with notes as the Wilson Sub is. Both work fine for LFE.

If you like to play it loud buy some www.realtrap.com Mondo traps and stick those in your room corners and you will be amazed at how your bass attack cleans up and tightens. If found when listening loud that the room needs to be able to absorb that kind of bass or it just echos and smears.

Rnm4: It doesn't matter how full range a speaker is when placed ideally for imaging (away from walls) you can lose bass reinforcement. You can also end up with the main speakers in a bass null related to the seating position. So using actively crossed over subwoofers in the best location (to prevent nulls or peaks) for subwoofers you can achieve an ideal balance.

Ras422: Quote from March 2007 Review in Absolute Sound
http://www.avguide.com/products/product-3851/ if you have an account to download the PDF article or see below for the quote.

"So I added the Fathom to the mighty
Wilson MAXX 2 loudspeakers, crossing
the system over at 50Hz. In effect, the
Fathom replaced the Wilson’s bass below
50 cycles. This was a different kind of
torture test for a subwoofer; the MAXX 2
has an extraordinary bottom end in every
respect: dynamic coherence, transient
fidelity, extension, ability to play loudly
without strain, and resolution of bass
detail. Nonetheless, adding the Fathom
didn’t degrade the MAXX 2’s bottom end
and even extended the system’s response
in the very lowest registers (kick drum and
pipe organ territory). I was also able to
achieve a continuous transition between
the MAXX 2 and the Fathom; the bottomend
sounded “of a piece,” rather than as
if a weight were dragging down the rest
of the spectrum. I also ran the MAXX 2s
full-range, with the Fathom coming in at
30Hz with the steepest possible low-pass
roll-off (24dB/octave)."