JL Audio Fathom f110v2 powered subwoofer

 

JL Audio Fathom f110v2 powered subwoofer

JL Audio Fathom f110v2 fueled subwoofer

Some disagreeable issues won't be settled in the course of my life: vinyl versus advanced, tubes versus strong state, abstract versus evenhanded, streaming versus actual media.

Additionally, subwoofers versus no subwoofers in a sound system music framework.

Saving the issues of cost and space and homegrown quietness and considering just the nature of the melodic experience, I trust a subwoofer, or a couple, ought to be an essential part of any cutting edge sound framework.

Notwithstanding the size and scope of yours, amplifiers—the principle ones—are constantly situated for ideal apparent equilibrium and imaging dependent on their on-hub recurrence reaction, off-pivot scattering, and the association of those boundaries with a room's intelligent surfaces. Improving low bass presents totally various difficulties: Sources of low bass ought to be situated to upgrade collaboration with low-recurrence room modes, which thus rely upon the room's aspects and shape. (Low bass isn't associated with imaging, and in the low bass, "direct strong" isn't so much as a helpful thought.)

Besides by some coincidence or in a couple of direction fabricated rooms—not every one of them—there is no normal answer for the two errands: no single spot that is best for low bass and the remainder of the discernible recurrence range. The expansion of subwoofers permits free answers for a music framework's high-and low-recurrence needs: You can situate the subs autonomously of the primary speakers, setting each in the place that works best. The chance of fusing a few subs, each an alternate area, adds to this benefit.

More modest speakers with restricted low-recurrence result can obviously profit from the expansion of subwoofers on the grounds that the subwoofers' reach augmentation helps balance the highs for a more ideal recurrence reaction. Besides, the redirection of low frequencies to (regularly controlled) low-recurrence drivers lessens the heap on the primary power speakers, which can further develop framework execution.

At last, rather than latent speaker frameworks, most controlled subwoofer frameworks consolidate DSP-based balance in present day subwoofers—so presently you can handle both recurrence reaction and—by moving the subwoofers around—which room modes are invigorated the most.

Neutralizing this are essentially viable issues: Powered subwoofers will more often than not be huge and occupy room. They should be connected to the divider—which implies an additional a power rope for every one—thus, all things considered, subwoofers are not that room-accommodating. Great subwoofers can be costly—however likely less expensive than practically identical expansion in an excellent full-range amplifier.

But, subwoofers make it conceivable to stretch out the bass to extremely low frequencies in a controlled and musically fulfilling way. Top notch profound bass can have a major effect in the quality and character of the listening experience.

JL Audio has been close to the cutting edge of portable and home subwoofers for quite a long time. The f110v2 I'm checking on here is the littlest model in their most developed class.

Physical

At about 16" × 13" × 17", the f110v2 isn't huge, yet by means of its W7 driver and inside 1.1kW class-D intensifier, it can move a great deal of air. Its little size makes it conceivable to utilize a few in a room, increasing the result power and, by interesting the room from more than one area, have more command over which room modes are energized, contrasted with what could be accomplished utilizing a solitary, bigger subwoofer of comparable power. The outcome is, possibly at any rate, an all the more even low-recurrence reaction in certifiable rooms.

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The f110v2 fuses the most recent, multiband variant of JL's Digital Automatic Room Optimization (D.A.R.O.) processor, which utilizes inward signals and a gave mouthpiece to address to abnormalities in recurrence reaction that outcome from room resonances and the subwoofers' positions. D.A.R.O. can be utilized autonomously on each sub, or you can daisy-chain the subs together and adjust le apparel.

As I unloaded the f110v2, I was dazzled, as I have been before with this organization, by the skill and common sense of the bundling. Indeed, even this moderately little sub is very weighty, but then a solitary individual of something like normal strength can unload it by altering the crate, sliding the sub onto cover or a mat, then, at that point, reinverting it to "walk" it into position.

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The f110v2 is faultlessly wrapped up. Likewise with its older sibling, the f113v2, left and right XLR and RCA inputs are on the back, settled between huge heatsinks. There is a XLR result to interface one more sub as a slave, two info mode switches, an IEC-style AC input, and a wire post.

The average controls and pointers are at the highest point of the front board: power/backup; mouthpiece input; enlightened Demo/Defeat/Calibrate buttons for the EQ; input-mode LEDs; a level-mode switch; the expert level control; a switch for darkening or winding down the LEDs; a low-pass channel switch; low-pass recurrence/ELF level (commentary 1)/stage controls; and an extremity switch—all behind a solid, well-fitting (and removable, clearly) front grille; when lit, the LEDs should be visible when the grille is set up.

Since the time the Fathom series was dispatched, the EQ has worked the same way. Plug in the gave amplifier and press the "Adjust" button. A LED streaks as you rush back to your listening spot and hold the amplifier at head level or on the other hand, assuming that you can, fix the mouthpiece at head position utilizing a receiver stand. In practically no time, the test tones start. Following a couple of moments, the "Adjust" LED quits glimmering and the alignment is finished.

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What has changed since the Fathom series' initial days is the manner by which skilled the framework is. Unique, v1 Fathoms had a solitary band of parametric EQ, which looked to address just the room's most forceful mode. Current, v2 Fathoms, similar to the f110v2, have 18 parametric EQ channels working in a reach from 25Hz to 130Hz.

There's little uncertainty or contention about the benefits of having a few subwoofers rather than only one; proposals for position shift; commonsense issues will quite often assume a major part. In the same way as other individuals with home frameworks, situation in my room was restricted by the room's shape, the place of furniture and other sound gear, and the need to have the subs be pretty much as subtle as could be expected—and to have an electrical repository close by. All things considered, I had a few choices:

I could utilize one f110v2 on the front divider, put behind and between the front right and focus speakers and around one-fourth of the separation from the side divider;

I could add a second f110v2 on the left sidewall around 33% of the separation from the front divider;

I could add a third sub in the room's right-back corner.

Each of the three, or any two of the abovementioned.

A main point of contention in the position of subwoofers is the way high up you mean to utilize them. Research shows that sounds beneath around 80Hz can't promptly be confined; assuming your subwoofer doesn't go over that recurrence, the main thought in situation (other than the down to earth contemplations referenced above) is the means by which they empower the different room modes. In any case, in the event that you utilize your sub at higher frequencies it becomes conceivable to hear its area in the room, which confounds situation.

With a solitary subwoofer set up along the front divider, paying attention to the test tones during the D.A.R.O. adjustment, which work out positively above 80Hz, I thought that it is not difficult to hear the sub's area. At the point when I added the subsequent sub, on the left sidewall, the test tones appeared to come from the entire left divider. At the point when I added the third sub in the right back corner, the test tone occupied the room, with no recognizable source. That last circumstance is great, however I passed judgment on the first adequate: It's OK to have bass rising up out of the piece of the room where the primary speakers are found. I disposed of the two-sub arrangement from thought and restricted my paying attention to one f110v2 along the front divider and the three-sub cluster, organized as in the third list item above.

Reference 1: "The Extreme Low Frequency trim control changes the sub's level at 24Hz from – 24dB to +3dB, permitting the client to make up for room or limit acquire and moderate undesirable vibrations." It can likewise be utilized to "cause specific material to feel seriously invigorating."