JL Audio Speaker f110 User Manual

f110  
Owner’s Manual  
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12) Cleaning — e subwoofer should be cleaned only as recommended in the  
operating instructions.  
13) Nonuse Periods — e power cord of the subwoofer should be unplugged  
from the outlet when the subwoofer is leſt unused for long periods of time.  
14) Lightning and Power Surges — We recommend that you disconnect the  
subwoofer from the electrical outlet during electrical storms and/or recurring  
power interruptions to prevent damage due to power surges.  
15) Object or Liquid Entry — Care should be taken so that objects do not fall  
into and liquids are not spilled onto the subwoofer enclosure. Do not expose  
the subwoofer to dripping or splashing from liquids. Do not place objects  
filled with liquids on top of, or near the subwoofer. For example: flower  
vases, beverages, liquid-fueled lamps, etc.  
16) Damage Requiring Service — e subwoofer should be serviced by qualified  
service personnel when:  
a. the power-supply cord or plug has been damaged  
b. objects have fallen or liquid has been spilled into the subwoofer  
c. the subwoofer has been exposed to rain  
d. the subwoofer does not appear to operate normally or exhibits a marked  
change in performance  
e. the subwoofer has been dropped or the cabinet has been damaged  
f. the subwoofer driver’s cone and/or suspension has been  
physically damaged  
17) Servicing — e user should not attempt to service the subwoofer beyond  
what is described in the operating instructions. All other servicing should be  
referred to qualified service personnel.  
18) Overloading — Do not overload wall outlets, extension cords, or outlet strips  
as this can result in a risk of fire or electric shock.  
19) Grounding — is subwoofer is supplied with a three-prong, grounded  
power cord. Precautions should be taken so that the grounding means of the  
subwoofer are not defeated. Defeating the grounding prong on the subwoofer  
power cord could increase the risk of electric shock and could result in  
permanent damage to the subwoofer’s electronics.  
THIS SUBWOOFER IS CAPABLE OF PRODUCING VERY HIGH SOUND  
PRESSURE LEVELS. PLEASE EXERCISE RESTRAINT IN ITS OPERATION TO  
PROTECT YOUR HEARING FROM PERMANENT DAMAGE.  
WARNING  
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FCC COMPLIANCE STATEMENT  
JL AUDIO TECHNOLOGIES INCLUDED  
IN FATHOM SUBWOOFERS  
NOTE: is equipment has been tested and found to comply with the limits of Part 15 of the FCC  
Rules. ese limits are designed to provide reasonable protection against harmful interference in  
a residential installation. is equipment generates, uses and can radiate radio frequency energy  
and, if not installed in accordance with the instructions, may cause harmful interference to radio  
communications. However, there is no guarantee that interference will not occur in a particular  
installation. If this equipment does cause harmful interference to radio or television reception,  
which can be determined by turning the equipment off and on, the user is encouraged to try to  
correct the interference by one or more of the following measures:  
DMA-Optimized Motor System  
DMA is JL Audio’s proprietary Dynamic  
Motor Analysis system aimed at  
improving dynamic motor behavior. As a  
result of DMA optimization, loudspeaker  
motors remain linear in force over an  
extreme range of excursion and also  
maintain a highly stable fixed magnetic  
field over a wide power range. is leads  
to vastly reduced distortion and faithfully  
reproduced transients... or put simply:  
tight, clean, articulate bass.  
- Reorient or relocate the receiving antenna.  
- Increase the separation between the equipment and receiver.  
- Connect the equipment into an outlet on a circuit different from that to which the  
receiver is connected.  
- Consult the dealer or an experienced radio/TV technician for help.  
OverRoll™ Surround  
(U.S. Patent #5,687,247 and #5,949,898)  
e OverRoll™ surround spans over  
the driver’s mounting flange, utilizing  
available diameter wasted in conventional  
speakers. is allows the use of the wider  
roll necessary to control high-excursions  
without sacrificing precious cone area.  
TABLE OF CONTENTS  
Important Safety Instructions: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-3  
Introduction:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4  
Product Overview:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5  
Placing your Fathom in Your Listening Room: . . . . . . . . . . . . . . . . . . . . . . . . . . 6-10  
Unpacking your Fathom: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11  
Front Control Panel Layout:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12  
Rear Control and Connector Panel Layout: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13  
Front Panel Controls in Detail: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14-17  
Connecting your Fathom(s): . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18-25  
Recommended Setup Procedure: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26-30  
Frequently Asked Questions: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31  
Cleaning Your Fathom:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32  
Troubleshooting: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33  
Limited Warranty / Service Information: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35  
Specifications:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36  
W-Cone™ (U.S. Patent #6,496,590)  
e W-Cone™ is a unit-body cone  
assembly that delivers astonishing cone  
stiffness with minimal mass.  
Floating-Cone™ Attach Method  
(U.S. Patent #6,501,844)  
is assembly technique ensures proper  
surround geometry in the assembled  
speaker for better excursion control and  
dynamic voice coil alignment.  
Plateau-Reinforced Spider Attachment  
(U.S. Patent #6,118,884)  
is high-integrity suspension attachment  
relieves stress from the spider material at  
high-excursions for enhanced reliability.  
Elevated Frame Cooling Technology  
(U.S. Patent #6,219,431 and #6,229,902)  
Delivers cool air, through slots directly  
above the top-plate, to the voice coil of the  
speaker. is enhances power handling  
and sound quality by minimizing  
dynamic parameter shiſts and power  
compression.  
INTRODUCTION  
Radially Cross-Drilled Pole Piece  
(U.S. Patent #6,243,479)  
is innovative venting system greatly  
enhances thermal dissipation and power  
handling by directing air flow onto the  
voice coil former, working in conjunction  
with the Elevated Frame technology.  
Congratulations on your purchase of a JL Audio Fathom powered subwoofer  
system. is product has been critically engineered to deliver exceptional  
performance in your home theater or audio system for many years to come.  
As a company, we are intensely committed to core research into  
high-performance loudspeaker and amplifier technologies. JL Audio’s long-  
excursion subwoofer driver designs are widely considered as reference standards for  
linear behavior and high output. We have also focused our efforts to create powerful  
amplifier and signal-processing technologies specifically aimed at delivering  
exceptional low-frequency performance. Your Fathom combines these core  
disciplines within a compact, beautifully craſted package to deliver an unparalleled  
listening experience.  
High-Damping Feedback Circuit  
(U.S. Patent #6,441,685)  
is proprietary, discrete control circuit  
design allows our Class D switching  
amplifiers to maintain an excellent  
damping factor for improved transient  
behavior and fidelity.  
Page 4  
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We sincerely thank you for your purchase and invite you to read this  
manual thoroughly in order to achieve the highest level of performance with  
your Fathom subwoofer system. Enjoy.  
PRODUCT OVERVIEW  
JL Audio Fathom subwoofers combine a state-of-the-art  
JL Audio subwoofer driver and electronics/amplifier package within  
a highly optimized enclosure to deliver an exceptional listening  
experience in your home theater or home audio system.  
e subwoofer driver in your Fathom subwoofer system is capable of  
outstanding linear excursion without distress or audible distortion. is  
reference-quality driver enables your Fathom to reproduce powerful low-  
frequency events with stunning impact and unprecedented accuracy. Derived  
from JL Audio’s legendary W7 design platform, the Fathom drivers offer peak-  
to-peak excursion capabilities well in excess of 2.5 inches (63 mm - f110), 3  
inches (76 mm - f112), and 4 inches (101 mm - f113) to comfortably handle the  
dynamics of the most demanding program material.  
To get the most from this long excursion driver platform, prodigious amounts  
of controlled power are needed. Our electronics engineering team conducted  
an intense analysis of typical program material and its dynamic demands in  
order to balance current draw and actual output power requirements relative to  
the system’s impedance characteristics. Aſter careful study, a pair of precisely  
engineered switching amplifiers employing patented feedback technology  
were created. ese advanced designs are capable of unclipped output voltages  
equivalent to 900 watts (f110), 1500 watts (f112), and 2500 watts (f113) of RMS  
power when referenced to the nominal loudspeaker impedance, allowing us to  
take full advantage of each driver’s full excursion envelope.  
e beautiful cabinet enclosing the workings of your Fathom is also the result  
of careful engineering. To contain the pressures created by the Fathom driver, we  
utilized solid, CNC-cut, MDF material with extensive internal bracing features  
and advanced assembly techniques.  
Your listening room is the other enclosure that affects the way your bass will  
sound. All rooms create a specific sonic signature, which must be effectively  
managed to achieve well-balanced low frequency performance. To aid in this  
process, the Fathom includes an extensive set of signal processing tools aimed  
at optimizing your Fathom’s performance within your listening space. ese  
features include JL Audio’s exclusive Automatic Room Optimization system.  
As you can see from this brief introduction, there is a lot of technology in this  
compact subwoofer. e contents of this manual will explain the features, guide  
you through the setup and tuning of your Fathom subwoofer and help you achieve  
your ultimate low-frequency listening experience.  
If you require assistance, we urge you to contact your authorized  
JL Audio retailer for expert setup advice and service.  
IMPORTANT! IT IS A VERY GOOD IDEA TO READ THE NEXT SECTION  
BEFORE UNPACKING YOUR FATHOM. UNPACKING THE SUBWOOFER NEAR  
ITS FINAL LOCATION IS RECOMMENDED.  
IMPORTANT  
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PLACING YOUR FATHOM IN YOUR LISTENING ROOM:  
Your listening room or theater is an integral part of your sound reproduction  
system. e physical dimensions of the room and its furnishings, materials,  
doors and windows play an important role in defining how your system sounds.  
When you place a sound source in an enclosed rectangular space, “standing  
waves” are created, resulting from the relationship between the sound’s  
wavelength and your room’s dimensions. In other words, standing waves result  
from sound energy that is trapped in the room as it bounces back and forth  
between opposing walls. Standing waves in the room create acoustic peaks and  
dips where the sound is either louder or soſter, based solely on your physical  
position in the room. Energy also “builds up” at the room’s boundaries, creating  
exaggerated bass response at certain frequencies. ese fundamental room  
resonances are called room “modes.”  
If you are planning to install your Fathom  
inside a cabinet, please refer to the  
guidelines on page 8.  
e moral of this mode story is to try and avoid seating positions in standing  
wave peak or dip regions. It is highly recommended that you place your listening  
chairs in areas where modal peaks and dips are moderate and do not reinforce  
one another. e two most obvious areas to avoid are those near the exact center  
of the room and those close to any of the room’s walls.  
Just as your listening seat can be in a peak or dip region, so can your  
subwoofer. When placed in a room corner, a subwoofer maximally excites the  
room’s mode structure, creating the strongest output with the fewest dips. When  
the subwoofer is pulled away from a corner or wall, the room modes are excited  
less, which can alter the sound at your listening seat.  
Be sure to experiment with both your listening seat position and subwoofer  
position to find the best solution. Careful experimentation usually leads to a  
superior sounding system. Use our setup suggestions (illustrated on the opposing  
page and the following pages) to get you started.  
If you cannot avoid placing your sofa against the back wall or your  
subwoofer in a less than optimal position, all is not lost. Your Fathom’s  
Automatic Room Optimization (A.R.O.) System can dramatically improve  
these less-than-ideal situations.  
We recommend that you begin by placing your Fathom in the front of the  
room, near the front leſt or right speaker. Placing it directly in the front corner  
of the room will produce the maximum number of peaks and the minimum  
number of dips in the bass response. is can be advantageous because the f110’s  
A.R.O. system can correct the resulting peaks very effectively, whereas dips in  
response cannot be corrected via equalization. Dips in response can only be  
minimized via careful subwoofer and listener placement.  
Placing the Fathom near solid walls will reinforce bass response and pulling  
it away from solid walls will decrease bass. Increasing the distance between the  
subwoofer and the walls may help to smooth upper bass response in some rooms.  
We recommend that you avoid placing the Fathom near windows to prevent  
rattling and sound transmission to the outside world.  
Page 6  
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Recommended Subwoofer Placement Options for One Fathom  
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| Fathom f110  
Page 7  
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SPECIAL CONSIDERATIONS FOR BUILT-IN INSTALLATIONS  
Fathom subwoofers are designed to be “built-in” friendly. All typically  
needed controls are located on the front panel above the woofer. A Fathom can  
be easily integrated into custom cabinetry by following a few simple guidelines.  
1) Allow 4 inches (10 cm) of clear space behind the Fathom’s amp panel for  
adequate cooling and connector clearance.  
2) On all other sides (except the bottom), allow at least 2 inches  
(5 cm) clearance for adequate ventilation.  
Rear-view of cabinet install:  
2 in. min.  
3) While the Fathom generally runs only warm during spirited operation, we do  
recommend that adequate heat vents are included in any custom cabinet which  
encloses the Fathom. A pair of 3 inch (7.5 cm) diameter vents near the bottom of  
the cabinet and near the top of the cabinet, will allow cool air to circulate over the  
amp panel of your Fathom subwoofer system keeping it cool and happy.  
VENT  
VENT  
2 in.  
min.  
4) Your Fathom subwoofer is capable of moving substantial quantities of  
air. If the front of the Fathom is covered by a custom grille, the grille  
must have AT LEAST 108 square inches (700 sq.cm.) of vent area for  
the f113, AT LEAST 85 square inches (550 sq.cm.) for the f112, and  
AT LEAST 60 square inches (386 sq.cm.) for the f110. ese areas  
are equal to the woofer cone area for each model and will ensure  
that the Fathom’s output is not choked by the custom cabinet.  
VENT  
VENT  
This device complies with part 15 of the FCC rules.Operation is  
subject to the following two conditions: (1) this device may not  
cause harmful interference, and (2) this device must accept any  
interference received, including interference that may cause  
undesired operation.  
Page 8  
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Recommended Subwoofer Placement Options for Two Fathoms  
Using Two Fathoms  
When using two Fathoms, try  
placement near the front corners of the  
room, at diagonally-opposite corners  
of the room, or at the center points of  
opposing walls as shown at right.  
Experimentation with  
subwoofer and listener  
placement is recommended to  
achieve the best results – the  
benefits can be substantial.  
High-resolution measurements  
and professional system calibration  
are recommended for the best possible  
results & system performance.  
| Fathom f110  
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Recommended Subwoofer Placement Options for Three Fathoms  
Using Three or Four Fathoms  
Research indicates that the  
smoothest bass response for a large  
listening area can be achieved using  
four subwoofers, placing one at  
the midpoint of each of the four  
walls (although using two or three  
subwoofers can be almost as good).  
Experimentation with  
subwoofer and listener  
placement is recommended to  
achieve the best results – the  
benefits can be substantial.  
High-resolution measurements  
and professional system calibration  
are recommended for the best possible  
results & system performance.  
Recommended Subwoofer Placement Options for Four Fathoms  
Page 10  
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UNPACKING YOUR FATHOM  
Now that you have determined your Fathom’s position in the room, you can  
proceed with unpacking it near its intended location.  
D
Unpack this box close to where the  
subwoofer will be placed. e subwoofer  
is PACKED upside down.is box must be  
flipped over CAREFULLY to remove the  
subwoofer and minimize effort.  
C
B
A
IMPORTANT: DUE TO THE WEIGHT OF THE FATHOM SUBWOOFER,  
PLEASE EXERCISE CAUTION WHILE UNPACKING AND POSITIONING IT TO  
PREVENT INJURY. IF POSSIBLE, ENLIST THE HELP OF A SECOND PERSON TO  
FACILITATE THE PROCESS. TO MINIMIZE THE RISK OF INJURY, BEND YOUR  
KNEES AND LIFT WITH YOUR LEGS, NOT YOUR BACK.  
IMPORTANT  
Detailed instructions on unpacking the subwoofer:  
1. Place the carton on the floor near its intended location in the room.  
2. Open the top of the carton (observe markings on carton) and remove the manual,  
calibration microphone and power cord.  
3. Temporarily remove the split-foam packing inserts.  
4. Untie and loosen the protective cloth cover to make later removal easier (do not  
remove at this time). When you open the cloth cover, you are looking at the  
bottom of the subwoofer cabinet.  
5. Replace the split-foam inserts to protect the subwoofer’s cabinet  
while unpacking.  
6. Gently flip the box on its side, folding back the carton flaps to the outside.  
7. Holding the carton flaps back, gently flip the carton onto its top (open end).  
8. Pull the carton straight up until it clears the subwoofer and place to one side.  
9. Remove the one-piece foam insert and place in the carton.  
10. Remove the plastic bag and place in the carton.  
11. Tilt the subwoofer forward (toward its grille) to remove the rear split-foam insert  
first. en tilt the subwoofer in the opposite direction (towards its amplifier  
panel) to remove the remaining split-foam insert. Place both split-foam inserts  
in the carton.  
12. Remove the protective cloth cover and place in the carton.  
IMPORTANT! PLEASE RETAIN ALL PACKAGING FOR SAFE TRANSPORTATION  
OF THE SUBWOOFER AND FOR ANY FUTURE SERVICE NEEDS.  
IMPORTANT  
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Front Control Panel  
e labeled Figure below depicts the front control panel of a Fathom f110 subwoofer.  
A.R.O.  
page 14-15  
Level Mode  
page 15  
Lights  
page 16  
LP freq. (Hz)  
page 16  
phase (deg.)  
page 17  
Power  
page 14  
Input Mode Master Level  
page 15 page 16  
LP Filter  
page 16  
e.l.f. trim (dB)  
page 17  
Polarity  
page 17  
Page 12  
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Rear Controls and Connectors  
e labeled Figure below depicts the rear panel of a Fathom f110 subwoofer.  
Output to  
Slave Connector  
page 21  
Unbalanced  
Inputs  
page 19  
IEC-Style AC  
Connector  
page 21  
Balanced  
Inputs  
page 18  
Input Mode  
Switches  
page 20  
This device complies with part 15 of the FCC rules.Operation is  
subject to the following two conditions: (1) this device may not  
cause harmful interference, and (2) this device must accept any  
interference received, including interference that may cause  
undesired operation.  
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FRONT PANEL CONTROLS IN DETAIL  
Power Switch  
IMPORTANT  
e “Power” switch determines the operational readiness of the Fathom  
subwoofer and should be the only switch used to turn the Fathom on and off. Do not  
use a power strip switch, switched outlet or any other external switch as these may  
result in undesirable and potentially damaging transient pops. Do not unplug the  
Fathom’s AC power cord while the unit is turned on.  
e power switch has three positions:  
“On”: e Fathom is fully powered at all times. Front panel lights are on unless  
they have been turned off via the “Lights” switch.  
“Off ”: e Fathom’s internal power amplifier is powered down. In this state,  
a negligible current draw will exist for operating the main power relays. All front  
panel lights are off .  
PROCESSOR (BALANCED OUTPUTS)  
RECEIVER / PROCESSOR (UNBALANCED OUTPUTS)  
PRE OUT  
FRONT  
L
REAR CENTER  
OUTPUTS  
“Auto”: e Fathom will power up its internal amplifier when an audio signal is  
present at any of its inputs and will power down the internal amplifier if no signal has  
been detected at its inputs for thirty (30) minutes. When dormant, the Fathom will  
draw a very small amount of current (< 5 watts) to power its signal-sensing circuitry.  
Front panel lights will turn off when the Fathom powers down and light when the  
Fathom powers up (unless they have been turned off via the “Lights” switch).  
In the unlikely event that the Auto feature is not sensitive enough for a particular  
system, use a Y-cable adaptor to split the incoming signal into both RCA or XLR  
inputs on the Fathom. is will increase the input sensitivity by 6 dB. Please be  
aware that if the Auto sensitivity is too high or if there is significant noise on the  
input cable, the Fathom may not turn off as desired. If this happens, remove the  
Y-cable adaptor or look for the noise source in the upstream components.  
OR  
FRONT  
R
REAR  
SUB  
es with part 15 of the FCC rules.Operation is  
owing two conditions: (1) this device may not  
rference, and (2) this device must accept any  
ved, including interference that may cause  
n.  
FATHOM REAR CONTROLS (MASTER)  
Automatic Room Optimization (A.R.O.)  
A powerful feature of the JL Audio Fathom subwoofers is their innovative  
Automatic Room Optimization (A.R.O.) technology. is one-touch system serves  
to eliminate the largest acoustic response peaks in your home theater at the main  
listening seat, greatly improving the in-room low-frequency response. Calibration of  
the A.R.O. system is fully automated. Please consult the next section of this manual  
for details on how to use the A.R.O. system.  
Using the included JL Audio calibration microphone, the A.R.O. calibration  
procedure takes less than three minutes. In brief, you will connect the included  
microphone to the “Calibration Mic.” input, press the Calibrate button, and then  
hold the microphone at ear height in your main listening seat during the test.  
A noise sequence will be played through the Fathom subwoofer, and the room  
response will be automatically measured, analyzed and equalized to eliminate  
the single largest acoustic room response peak at your listening seat. For detailed  
instructions on the A.R.O. setup procedure, refer to pages 29-30.  
Calibration Mic. Input  
is input is for connecting the supplied JL Audio calibration microphone to  
the Fathom subwoofer. Connect one end of the supplied cable to the microphone  
and the other end to this jack prior to using the A.R.O. system. e A.R.O. system  
is specifically calibrated to this microphone and its connection scheme is specific to  
the supplied microphone. e calibration sequence will not operate when a different  
microphone is connected or if no microphone is connected.  
Demo Button  
e Demo button triggers a 20 second long tone sequence that briefly  
demonstrates the sound of the Fathom subwoofer. e Demo function is useful for  
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showcasing the output capability of the Fathom and to verify that the Fathom (or  
multiple Fathoms) are operational during system troubleshooting.  
e Demo button is also used (in combination) to clear (return to flat) the A.R.O.  
equalizer settings. To clear the A.R.O.’s settings & turn off the Calibrate light, press  
and hold the Demo button and then press the Defeat button. Please note that you  
must perform this button sequence quickly. If you hold the Demo button for more  
than 2 seconds without touching the Defeat button, the Demo tones will start.  
Should this happen, simply wait for the Demo sequence to end and try again.  
Defeat Button  
If “Demo” or “Calibrate” is pressed while the defeat function is active, “Defeat”  
is automatically canceled. No other front panel controls will alter the A.R.O. Defeat  
state. e f110’s Defeat setting is stored in non-volatile memory and will not change  
even if power is disconnected.  
e Defeat button is also used (in combination) to clear (return to flat) the A.R.O.  
equalizer settings. To clear the A.R.O.’s settings & turn off the Calibrate light, press  
and hold the Demo button and then press the Defeat button. Please note that you  
must perform this button sequence quickly. If you hold the Demo button for more  
than 2 seconds without touching the Defeat button, the Demo tones will start.  
Should this happen, simply wait for the Demo sequence to end and try again.  
Calibrate Button  
During the ARO test sequence the Calibrate button’s green LED will blink  
quickly to alert the user to two special conditions:  
1. “JL Audio Microphone NOT Connected”: If you forget to connect the mic  
before trying to start a Calibration you will get this alert. Press the Calibrate button  
once to cancel the alert, connect the A.R.O. microphone, and try again.  
2. “Inappropriate Sound Level for A.R.O. Calibration”: Since the A.R.O.  
sequence is completely automatic, this alert likely indicates a problem with the  
microphone. Press the Calibrate button once to cancel the alert. Ensure that the  
JL Audio microphone is properly connected and try again. For further help, please  
refer to Troubleshooting on page 33.  
Input Mode Indicators  
e Input Mode indicator LEDs show the input mode, either “Master” or “Slave”,  
selected by the switch on the Fathom’s back panel (unless the “Lights” switch is set to  
“off”). For further details, see page 20.  
Level Mode  
e two-position Level Mode switch allows you to select between  
the following modes:  
“Reference”  
In this mode, the Master Level control knob has no effect on the Fathom’s output  
level. Use this setting if you will primarily be controlling the subwoofer level via  
your receiver or preamplifier/processor. For those of us with small children or  
overenthusiastic teenagers, this mode of operation will prevent direct manipulation  
of the Master Level.  
“Variable”  
In this mode, the Master Level control knob determines the output level of  
the Fathom subwoofer. is mode is also useful when level matching the Fathom  
subwoofer to a pair of stereo speakers in a two-channel system.  
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Master Level Knob  
e Master Level Knob is used to control the output level of the Fathom when  
the Variable Level mode is selected on the front control panel.  
When rotated fully counter clockwise, the Fathom’s output will be fully  
muted. When at the “0” or straight up position, the Variable gain level matches  
the Reference level setting. When turned fully clockwise, the Fathom’s output  
level is 15 dB higher than the Reference setting.  
Lights  
e “Lights” selector switch allows the user to select one of three indicator  
light modes.  
“Off” turns off all of the front panel LED’s at all times.  
“Dim” sets all of the front panel LEDs to a low brightness level when the  
Fathom is turned on.  
“On” sets all of the front panel LEDs to full brightness level when the Fathom  
is turned on.  
IMPORTANT: WHEN TROUBLESHOOTING OR CALIBRATING THE A.R.O.  
FEATURE, MAKE SURE THAT THE “LIGHTS” SWITCH IS SET TO “DIM” or “ON.”  
IMPORTANT  
LP Filter  
e Low Pass (LP) Filter selector switch determines the operating mode of the  
Fathom’s built-in low pass filter.  
“Off” defeats the low pass filter, completely removing this circuit from the  
signal path.  
“12 dB” sets the roll off slope of the low pass filter to a 12 dB per octave slope  
(Butterworth alignment).  
“24 dB” sets the roll off slope of the low pass filter to a 24 dB per octave slope  
(Linkwitz-Riley alignment).  
e 24 dB setting more aggressively attenuates high frequencies above the LP  
Frequency setting (see below). If you are using the Fathom’s built-in low pass  
filter, experiment with the LP Filter slope setting to achieve the best transition  
to your satellite speakers. If you prefer to use the filters and bass management  
features in your receiver or preamplifier, defeat the  
on-board filter by selecting the “Off” position.  
LP Freq  
e Low Pass (LP) Frequency selector knob allows the user to choose the roll-  
off frequency of the Fathom’s internal low pass filter. e frequency is variable  
between 30 Hz (full counter-clockwise) to 130 Hz (full clockwise). is knob  
does not affect the input signal in any way if the LP Filter switch is set to “Off”.  
80 Hz is a commonly used filter frequency and usually serves as a good starting  
point for adjustments.  
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E.L.F. Trim  
e Extreme Low Frequency (“e.l.f. trim”) knob allows the user to apply  
a certain amount of signal equalization at 28 Hertz (extremely low bass). At  
full counterclockwise rotation, the signal at 28 Hz is cut by 12 dB. At “0” the  
equalizer is set flat for zero contribution to the signal. At full clockwise rotation,  
the signal at 28 Hz is boosted by 3 dB.  
e E.L.F. Trim feature is useful for tailoring the Fathom’s very low frequency  
output for your particular room. Adding some boost can make certain material  
more exciting. Using the cut function can help to compensate for room or  
boundary gain in the low frequencies. Room boundaries and the room’s finite  
(limited) size naturally cause very low frequencies to be boosted relative to  
other parts of the signal. As such, using the E.L.F. Trim feature to cut the lowest  
frequencies can help to tame “bloat” or unnatural sounding low bass in small to  
medium sized rooms (and can also reduce unwanted vibrations in the room or  
throughout the house).  
Polarity  
e Polarity switch allows the user to select between normal (0 deg) and  
reversed (180 deg) signal polarity. e Polarity switch will primarily affect the  
small frequency range around the crossover point between your subwoofer and  
satellite speakers.  
Unlike the Phase control, which effectively adds time delay, the Polarity  
switch produces an instantaneous reversal of the signal’s amplitude peaks.  
For example, if at a given reference point a sine wave has an amplitude peak,  
by flipping the phase switch you instantly convert that peak into a trough  
or amplitude dip. Because the effect of the Polarity switch is immediate, it  
compliments the operation of the Phase control and cannot be replaced by it.  
When placing your Fathom in the room, experiment with the Polarity switch  
before adjusting the “Phase” control. Either position of the Polarity switch may  
provide a smoother transition between your Fathom subwoofer and the satellite  
speakers. Use source material with good mid and upper bass content for evaluation.  
Phase  
e Phase control knob allows the user to adjust the “timing” of the  
subwoofer output relative to the main speakers. e Phase control will primarily  
affect the small frequency range around the crossover point between your  
subwoofer and satellite speakers. e Phase control’s labels are referenced to 80  
Hz since this is the most common crossover point between satellite speakers and  
a subwoofer. Phase settings between 0 degrees (full counter-clockwise rotation)  
and 270 degrees (full clockwise rotation) are possible.  
Speaker, subwoofer, and listening seat positions vary greatly in home theater  
installations. Since physical positioning of speakers relative to the room  
boundaries and each other greatly affects the perceived quality of sound output,  
sometimes it is helpful to delay the subwoofer output. is is exactly what occurs  
when you turn the Phase control beyond 0 degrees.  
Once your Fathom has been placed in your listening room to give you the  
smoothest overall sound and aſter you have determined the optimum “Polarity”  
switch position (see preceding section), experiment with the position of the Phase  
control. Using familiar source material with good mid and upper bass content,  
adjust the Phase control and listen for better defined mid-bass and a smoother  
transition between the subwoofer and satellite speaker systems. If no single  
setting sounds better than another, leave the Phase control at 0 degrees.  
| Fathom f110  
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CONNECTING YOUR FATHOM  
Balanced Inputs  
If your home-theater receiver or preamplifier/processor provides balanced  
outputs, the Fathom’s balanced inputs are the preferred connection. Balanced  
connections are used extensively in professional studios and sound reinforcement  
applications for a number of very good reasons. Besides ensuring proper grounding  
between components, balanced signal transmission is designed to cancel induced  
cable noise from the surrounding environment (particularly important with long  
cable runs). e bottom line is that your system will be far less likely to exhibit  
humming or other extraneous noises if you use balanced connections.  
e Fathom subwoofers feature individual leſt and right balanced input  
connections with XLR “combo” jacks. ese special jacks accept either a  
three-pin male XLR connector or a “tip-ring-sleeve” (TRS) 1/4-inch (6.3 mm)  
connector for compatibility with a wide range of equipment.  
For systems with a mono subwoofer or “LFE” channel connection, only the  
jack labeled “Leſt or Mono” will be used. is applies to most modern multi-  
channel receivers and preamplifier/processors. Separate leſt and right input jacks  
are provided for systems without a dedicated mono subwoofer connection. is  
typically applies to two-channel audio equipment.  
Appropriate balanced cables are available from your JL Audio dealer and are  
not included with the Fathom.  
e Leſt and Right inputs on the Fathom  
are internally summed to a single mono  
channel. Since the Fathom is inherently a  
“mono” or single channel device, you can  
use the Leſt and Right inputs for the master  
Fathom and then distribute the summed  
mono signal to additional slave Fathoms in  
the system.  
Technical Notes:  
• Do not use the balanced inputs with unbalanced signals via adaptors. e  
unbalanced inputs of the Fathom are optically isolated and preferable in  
situations where only an unbalanced signal source is available. Balanced input  
impedance is 202 kohms.  
• Input connectors are configured according to Audio Engineering Society  
recommendations for balanced signal cables as follows:  
XLR Connection  
Pin 1: Shield  
Pin 2: Positive  
Pin 3: Negative  
TRS connection:  
Tip: Positive  
Ring: Negative  
Sleeve: Shield  
IMPORTANT:IF YOUR RECEIVER OR PREAMPLIFIER/PROCESSOR DOES NOT  
HAVE XLR OR 1/4-INCH TRS BALANCED OUTPUTS, PLEASE REFER TO THE  
“UNBALANCED INPUTS” SECTION ON PAGE 19 FOR INPUT CONNECTION  
INFORMATION. DO NOT ATTEMPT TO CONNECT UNBALANCED OUTPUTS  
TO THE FATHOM’S BALANCED INPUTS VIA ADAPTORS.  
IMPORTANT  
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Unbalanced Inputs  
e Fathom subwoofer features individual leſt and right unbalanced RCA-  
type input connectors. ese are the most commonly used connectors for home  
audio applications and must be used if your receiver or preamplifier/processor  
does not provide balanced outputs. While unbalanced connections are not as  
noise-immune as a balanced connection, Fathom subwoofers employ optical  
isolation on the unbalanced inputs to minimize the possibility of noise in your  
system.  
For systems with a mono subwoofer or “LFE” channel connection, only  
the RCA-type jack labeled “Leſt or Mono” will be used. is applies to most  
modern multi-channel receivers and preamplifier / processors. Separate leſt and  
right RCA-type input jacks are provided for systems without a dedicated mono  
subwoofer connection. is typically applies to two-channel audio equipment.  
Technical Notes:  
• When balanced outputs are not available on the signal source, you must use  
the RCA-type unbalanced inputs. Fathoms feature optical isolation circuitry  
on the unbalanced inputs to minimize the likelihood of ground loop  
induced noise. Unbalanced input impedance is 10 kohms.  
• Connections are industry-standard for unbalanced signal cables as follows:  
RCA-type connection:  
Tip: Positive  
Sleeve: Negative  
IMPORTANT: IF NOISE EXISTS AFTER CONNECTION, FATHOMS ALLOW  
FOR GROUNDING OR ISOLATION OF THE UNBALANCED INPUTS. PLEASE  
REFER TO THE “INPUT MODE SWITCHES” SECTION ON PAGE 20 OF THIS  
MANUAL FOR FURTHER INFORMATION ON MINIMIZING NOISE.  
IMPORTANT  
| Fathom f110  
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Input Mode Switches:  
Two switches are located on the rear panel to control unbalanced signal  
grounding and master/slave operation.  
“Grounded / Isolated” Switch  
e “Grounded / Isolated” Input Mode switch affects only the unbalanced  
RCA inputs and is designed to facilitate a quiet, hum-free connection to your  
audio or home theater system. is feature is included to deal with the signal  
grounding issues oſten encountered in home theater systems when several  
components from different manufacturers are interconnected.  
e Fathom ships with this switch in the “Isolated” mode. If, with all system  
components connected and turned on (but no source material playing), you hear  
a continuous low-frequency hum through your Fathom, flip this switch to the  
“Grounded” position and evaluate the difference in the noise level. Use whichever  
switch position provides the least hum or noise.  
IMPORTANT: PLEASE NOTE THAT CHANGING ANY COMPONENT IN  
THE OPTIMIZED SYSTEM (RECEIVER, AMPLIFIER, DVD PLAYER, CABLE OR  
SATELLITE BOX, ETC.) COULD ALTER THE SIGNAL GROUNDING SCHEME  
AND CAUSE HUM TO APPEAR IN YOUR PREVIOUSLY QUIET SYSTEM. IF YOU  
ADD OR CHANGE AN UPSTREAM COMPONENT IN YOUR HOME THEATER  
SYSTEM, YOU MAY NEED TO REVISIT THIS INPUT MODE SETTING ON THE  
FATHOM SUBWOOFER FOR OPTIMUM NOISE PERFORMANCE. CABLE &  
SATELLITE BOXES ARE PARTICULARLY TROUBLESOME IN THIS WAY.  
IMPORTANT  
Master / Slave Switch  
e Fathoms are designed to easily accommodate the implementation  
of multiple subwoofers in your home theater system through a master/slave  
connection chain. is method allows you to utilize the signal processing  
features of one Fathom to centrally control multiple Fathoms in the room.  
Master/Slave functionality also makes it possible for the A.R.O. system to  
optimize the response of a multiple subwoofer installation.  
e Fathom ships with this switch in the “Master” position. If you are using  
a single Fathom you will use the “Master” position and you need not concern  
yourself with this section any further.  
If your installation incorporates two or more Fathoms, you will designate one  
Fathom as the “Master” and all others in the system as “Slave” subwoofers via  
the “Master/Slave” switch on the rear amplifier panel of each Fathom. LED’s on  
the front panel of the Fathom are provided to indicate whether the “Master” or  
“Slave” mode is selected for a given subwoofer.  
From the Fathom operating in “Master” mode, the “Output to Slave” signal  
carries any signal processing selected on the Master Fathom (including the  
Master Level setting and A.R.O. processing) to further Fathoms operating in  
“Slave” mode. “Slave” subwoofer signal processing and level controls will be  
inoperable. In this mode, the user does not have to worry about level, crossover,  
and other settings for the slave subwoofers.  
Technical Notes:  
• Selecting the “Slave” position defeats all user-definable signal processing and  
the master level control. Because of this, there are some special situations in  
which you may want to operate a single Fathom in “Slave” mode. If you are  
utilizing outboard signal processing and level-matching controls, activating  
the “Slave” mode will prevent anyone from affecting system parameters with  
the manual controls on the Fathom.  
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IMPORTANT: PLEASE REFER TO THE “SYSTEM CONNECTION DIAGRAMS”  
ON PAGES 26-29 FOR MORE INFORMATION ON USING THE INPUT / OUTPUT  
CONNECTIONS.  
IMPORTANT  
“Output to Slave” Connector  
If you are operating more than one Fathom subwoofer in one home theater  
system, you will designate one Fathom as the Master (see page 20), and then feed  
signal from it to the remaining “Slave” Fathoms via this balanced XLR output.  
e “Output to Slave” cable can be connected to the “Leſt or Mono” balanced  
XLR input on the next Fathom. When a Fathom is in “Slave” Mode, its “Output  
to Slave” connection can be used to pass signal to further Fathoms operating in  
“Slave” mode.  
e “Output to Slave” connector is designed to be used as follows:  
1) From the “Master” Fathom’s “Output to Slave” connector to the first “Slave”  
Fathom’s “Leſt or Mono” XLR balanced input.  
on is  
not  
any  
ause  
2) From the first “Slave” Fathom’s “Output to Slave” connector to the second  
“Slave” Fathom’s “Leſt or Mono” XLR balanced input.  
3) From the second “Slave” Fathom’s “Output to Slave” connector to the third  
“Slave” Fathom’s “Leſt or Mono” XLR balanced input. Etc, etc. (up to ten  
Fathoms may be connected in this configuration).Appropriate balanced  
cables with XLR terminations are available from your JL Audio dealer and  
are not included with the Fathom.  
Technical Notes:  
• e “Output to Slave” signal carries any signal processing selected on the  
Master Fathom (including the Master Level setting and A.R.O. processing)  
to further Fathoms operating in “Slave” mode.  
• From Fathoms operating in “Slave” mode, the “Output to Slave” signal is an  
exact, buffered replica of the balanced input signal, making this method of  
signal distribution preferable to using  
Y-adapters or splitters.  
• Use only shielded, connection cables with high quality  
XLR connectors for Master/Slave connection. Never use unbalanced cables  
with adaptors.  
IEC-Style AC Connector  
e IEC-style AC cord receptacle receives the heavy-gauge, 6 ſt. (1.8 m) long,  
power cord included with your Fathom subwoofer. Your Fathom should only be  
powered from a 120 V AC, 60 Hz outlet. Do not use any AC power cord other  
than the one supplied with the Fathom.  
on is  
not  
any  
ause  
e Fathom subwoofer is a very powerful device and can draw a lot of current.  
If too many components are connected with a Fathom subwoofer to one electrical  
outlet, you risk tripping a household circuit breaker during very demanding  
program material. If this happens, split the Fathom and other components  
between two AC electrical circuits. If possible, for maximum performance,  
dedicate an AC circuit to each Fathom.  
| Fathom f110  
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PROCESSOR (BALANCED OUTPUTS)  
RECEIVER / PROCESSOR (UNBALANCED OUTPUTS)  
SYSTEM CONNECTION DIAGRAM 1:  
One Fathom to  
Home Theater Receiver or  
Home Theater Preamp/Processor  
PRE OUT  
FRONT  
REAR CENTER  
L
OUTPUTS  
Most home theater receivers and  
preamp/processors provide a single  
(mono) subwoofer output. When  
OR  
FRONT  
R
REAR  
SUB  
connecting a mono subwoofer output  
to your Fathom, you will only use the  
Fathom’s “Leſt or Mono” input.  
Two connection types are available  
for connecting the Fathom to your home  
theater system: balanced (XLR or 1/4-  
inch TRS connector) and unbalanced  
(RCA-type connector). Balanced  
connections provide superior noise  
rejection and ensure proper grounding  
between components. If your receiver or  
processor has balanced outputs, we highly  
recommend that you use them.  
In the connection diagram at leſt,  
balanced connections are shown as solid  
lines, unbalanced connections are shown  
dotted. You will only use one of these  
input connection methods (not both).  
es with part 15 of the FCC rules.Operation is  
owing two conditions: (1) this device may not  
rference, and (2) this device must accept any  
ved, including interference that may cause  
n.  
FATHOM REAR CONTROLS (MASTER)  
WARNING! TURN OFF THE FATHOM AND ALL OTHER EQUIPMENT IN THE  
SYSTEM BEFORE MAKING OR CHANGING ANY CONNECTIONS!  
WARNING  
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RECEIVER / PROCESSOR  
PROCESSOR  
SYSTEM CONNECTION DIAGRAM 2:  
Multiple Fathoms to  
PRE OUT  
Home Theater Receiver or  
FRONT  
REAR CENTER  
L
OUTPUTS  
Home Theater Preamp/Processor  
To greatly simplify using multiple  
subwoofers in a single home theater  
system, Fathoms incorporate a  
OR  
FRONT  
R
REAR  
SUB  
“Master/Slave” signal distribution system.  
is allows control of all the Fathoms in a  
system from a single “Master” unit.  
First, you will select one of the Fathom  
subwoofers as the “Master” via its upper  
“Input Mode” switch. Generally, you  
will designate the Fathom closest to the  
receiver/preamp as the master. In some  
cases; for example, when the control panel  
of certain units is difficult to access, you  
may prefer to designate the one which is  
easiest to access as the master.  
Two connection types are available  
for connecting the master Fathom to your  
home theater system: balanced (XLR or  
1/4-inch TRS connector) and unbalanced  
(RCA-type connector). Balanced  
es with part 15 of the FCC rules.Operation is  
owing two conditions: (1) this device may not  
rference, and (2) this device must accept any  
ved, including interference that may cause  
n.  
FATHOM REAR CONTROLS (MASTER)  
connections provide superior noise  
rejection and ensure proper grounding  
between components. If your receiver or  
processor has balanced outputs, we highly  
recommend that you use them to connect  
to the Fathom designated as the master.  
In the connection diagram at leſt,  
balanced connections are shown as solid  
lines, unbalanced connections are shown  
dotted. You will only use one of these  
input connection methods for the Fathom  
designated as the master (not both).  
e remaining Fathoms in the system  
will be configured as “Slave” units via  
their upper “Input Mode” switches.  
Using balanced XLR cables, you will  
connect the master Fathom’s “Output to  
Slave” to the “Leſt or Mono” balanced  
input of the first slave Fathom. at  
slave unit’s “Output to Slave” connector  
will feed the “Leſt or Mono” input of  
the next slave unit via another balanced  
XLR cable. Subsequent slave units will  
be connected in the same manner.  
TO ADDITIONAL FATHOMS  
(IF APPLICABLE)  
es with part 15 of the FCC rules.Operation is  
owing two conditions: (1) this device may not  
rference, and (2) this device must accept any  
ved, including interference that may cause  
n.  
FATHOM REAR CONTROLS (SLAVE)  
IMPORTANT  
Connections between the “Master” and  
“Slave” Fathoms and between “Slave”  
Fathoms are via balanced XLR cables ONLY.  
WARNING! TURN OFF THE FATHOM(S) AND ALL OTHER EQUIPMENT IN  
THE SYSTEM BEFORE MAKING OR CHANGING ANY CONNECTIONS!  
WARNING  
| Fathom f110  
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SYSTEM CONNECTION DIAGRAM 3:  
One Fathom in Mono to  
STEREO ACTIVE CROSSOVER (BALANCED OUTPUTS)  
STEREO ACTIVE CROSSOVER (UNBALANCED OUTPUTS)  
Two-Channel Audio System  
LOW OUT  
(SUB OUT)  
LOW OUT  
When connecting a Fathom (or  
multiple Fathoms) in mono to a two-  
channel audio system you will use both  
the “Leſt or Mono” and the “Right” inputs.  
Summing circuitry in the Fathom’s input  
section will sum the stereo signals to  
mono.  
(SUB OUT)  
LEFT  
RIGHT  
OR  
We strongly recommend that you  
use a high-quality active crossover  
to divide your preamplifier’s signals  
prior to connection to the Fathom and  
to the amplifier driving your main  
speakers. is will allow you to filter low  
frequencies out of the signals driving  
the main speakers, resulting in better  
performance.  
If you are not using an active crossover  
and are comfortable running your main  
speakers full-range, you can split your  
preamplifier’s output signals using  
appropriate Y-connectors in place of the  
active crossover shown in the diagram.  
Two connection types are available  
for connecting the Fathom to your  
two-channel audio system: balanced  
(XLR or 1/4-inch TRS connector) and  
unbalanced (RCA-type connector).  
Balanced connections provide superior  
noise rejection and ensure proper  
grounding between components. If your  
preamplifier or active crossover offers  
balanced outputs, we highly recommend  
that you use them.  
In the connection diagram at leſt,  
balanced connections are shown as solid  
lines, unbalanced connections are shown  
dotted. You will only use one of these  
input connection methods (not both).  
es with part 15 of the FCC rules.Operation is  
owing two conditions: (1) this device may not  
rference, and (2) this device must accept any  
ved, including interference that may cause  
n.  
FATHOM REAR CONTROLS (MASTER)  
NOTE: If desired, additional Fathoms  
can be connected in “Slave” mode to  
the Fathom connected as shown on this  
diagram. See “Connection Diagram 2” on  
page 23 for slave connection explanation.  
WARNING! TURN OFF THE FATHOM AND ALL OTHER EQUIPMENT IN THE  
SYSTEM BEFORE MAKING OR CHANGING ANY CONNECTIONS!  
WARNING  
Page 24  
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SYSTEM CONNECTION DIAGRAM 4:  
Two Fathoms in Stereo to  
STEREO ACTIVE CROSSOVER (BALANCED OUTPUTS)  
STEREO ACTIVE CROSSOVER (UNBALANCED OUTPUTS)  
Two-Channel Audio System  
When connecting two Fathoms in  
stereo to a two-channel audio system you  
will only use the “Leſt or Mono” inputs  
of each Fathom. e upper “Input Mode”  
switch on each Fathom will be set in the  
“Master” position.  
LOW OUT  
(SUB OUT)  
LOW OUT  
(SUB OUT)  
LEFT  
RIGHT  
OR  
We strongly recommend that you  
use a high-quality active crossover  
to divide your preamplifier’s signals  
prior to connection to the Fathom and  
to the amplifier driving your main  
speakers. is will allow you to filter low  
frequencies out of the signals driving  
the main speakers, resulting in better  
performance.  
If you are not using an active crossover  
and are comfortable running your main  
speakers full-range, you can split your  
preamplifier’s output signals using  
appropriate Y-connectors in place of the  
active crossover shown in the diagram.  
Two connection types are available  
for connecting the Fathoms to your  
two-channel audio system: balanced  
(XLR or 1/4-inch TRS connector) and  
unbalanced (RCA-type connector).  
Balanced connections provide superior  
noise rejection and ensure proper  
grounding between components. If your  
preamplifier or active crossover offers  
balanced outputs, we highly recommend  
that you use them.  
es with part 15 of the FCC rules.Operation is  
owing two conditions: (1) this device may not  
rference, and (2) this device must accept any  
ved, including interference that may cause  
n.  
FATHOM REAR CONTROLS (MASTER)  
In the connection diagram at right,  
balanced connections are shown as solid  
lines, unbalanced connections are shown  
dotted. You will only use one of these  
input connection methods (not both).  
es with part 15 of the FCC rules.Operation is  
owing two conditions: (1) this device may not  
rference, and (2) this device must accept any  
ved, including interference that may cause  
n.  
FATHOM REAR CONTROLS (MASTER)  
NOTE: If desired, additional Fathoms  
can be connected in “Slave” mode to  
each Fathom connected as shown on this  
diagram. See “Connection Diagram 2” on  
page 23 for slave connection explanation.  
WARNING! TURN OFF THE FATHOM(S) AND ALL OTHER EQUIPMENT IN  
THE SYSTEM BEFORE MAKING OR CHANGING ANY CONNECTIONS!  
WARNING  
| Fathom f110  
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RECOMMENDED SETUP PROCEDURES  
1) Preparation for Setup Process: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26-27  
2) Level Setting: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28  
3) Polarity/Phase Adjustment: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28  
4) Experiment with Location: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28  
5) Apply A.R.O: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29-30  
6) Adjust E.L.F. Trim: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30  
PREPARATION FOR SETUP PROCESS:  
Please confirm the following system settings before beginning the setup  
process. is will ensure a neutral starting point and an effective setup of your  
subwoofer system.  
On your Home Theater Receiver or Preamp/Processor:  
Before beginning setup of your Fathom subwoofer system we recommend that  
you set your receiver or preamp/processor as follows (please turn off all Fathoms  
in the system prior to making these adjustments):  
1. Speaker Size  
In the speaker setup menu of your receiver or preamp/processor, set up all of  
your high-frequency speakers as “small” with a crossover point of 80 Hz. is  
will send ALL bass to the Fathom(s).  
2. Speaker Distance  
In the speaker setup menu, properly set all speaker distances to the primary  
listening seat, including the subwoofer’s distance. Use a tape measure to  
determine these distances (time coherence is important.) If multiple Fathoms  
are being used, average their distances to the primary listening seat and use  
that number to set the subwoofer distance.  
3. Subwoofer Level  
Set the subwoofer level in the receiver or preamp/processor “0” or its middle  
position.  
4. Tone Controls / Equalizers  
Set all tone controls to “0” and defeat all equalizer features.  
On your Active Crossover or Bass Management Processor:  
If you are using an active crossover or bass-management processor, we  
recommend that you set it as follows before beginning setup of your Fathom  
subwoofer system (please turn off all Fathoms in the system prior to making  
these adjustments):  
1. Low-Pass Filter Frequency  
Select a low-pass filter frequency of 80 Hz (12dB/octave slope)  
2. High-Pass Filter Frequency  
Select a high-pass filter frequency of 80 Hz (12dB/octave slope)  
3. Low-Pass (Subwoofer) Output Level  
Set the subwoofer output level to “0” or its middle position.  
Page 26  
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On the Fathom’s Front Panel:  
Please turn off the home theater receiver or preamp/processor to make these  
adjustm ents.  
1. “Power” Switch  
Flip each Fathom’s “Power” switch to the “On” position.  
2. “Lights” Switch  
Flip each Fathom’s “Lights” switch to the “On” position. If you don’t see any  
lights on the front panel, you may have forgotten to plug the Fathom in or  
there may be a problem with the electrical circuit.  
3. “Input Mode” Indicator Lights  
If you are using a single Fathom, confirm that its “Input Mode” indicator light  
is on the “Master” position. If not, you will need to access the upper “Input  
Mode” switch on the rear panel of the Fathom.  
If you are using multiple Fathoms in a Master/Slave configuration, confirm  
that the unit connected directly to your receiver or preamp/processor is  
indicating “Master” on its “Input Mode” lights and that all other units are  
indicating “Slave” on their “Input Mode” lights. If not, you will need to access  
the upper “Input Mode” switches on the rear panels of the Fathoms.  
3. “Level Mode” Switch  
Flip the master Fathom’s “Level Mode” switch to the “REF” position.  
4. “LP Filter” Switch  
If your home theater receiver/processor is handling bass management  
(speakers set on “small”) or if you are using an outboard crossover/bass-  
management processor, flip the master Fathom’s “LP Filter” switch to “OFF.” If  
not, select the “12 dB” position.  
5. “LP Freq. (Hz)” Knob  
Rotate the “LP Freq.” knob to the “80 Hz” position.  
6. “e.l.f. trim (dB)” Knob  
Rotate the “e.l.f. trim” knob to “0”  
7. “Polarity” Switch  
Flip the “Polarity” switch to “0”.  
8. “phase (deg.)” Knob  
Rotate the “phase” knob to “0” degrees  
9. A.R.O. Defeat Switch  
Press the A.R.O. defeat switch so that the red light in the  
switch remains lit.  
| Fathom f110  
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RECOMMENDED SETUP PROCEDURES (continued)  
Subwoofer System Setup:  
Once you have set the controls on your home theater receiver or preamp/  
processor and on your Fathom(s) to the settings recommended on pages 26 and  
27, you are ready to begin setting up your Fathom for optimum performance.  
1) Level Setting  
Using familiar music or movie material with deep bass content, adjust the  
subwoofer level to blend with the other speakers using your receiver or preamp /  
processor’s subwoofer level control. is method is more immune to tampering  
than using the Fathom’s “Master Level” knob (think toddlers or curious visitors).  
In the unlikely event that the subwoofer level control in your receiver or  
preamp/processor cannot be turned up enough to level match the Fathom, return  
that control to “0”. en, flip the Fathom’s “Level Mode” switch to “Variable”  
and with “0” as your reference point (REF mode gain and Variable “0” gain are  
identical) use the “Master Level” control to level match the subwoofer with the  
other speakers. MAKE NOTE OF THIS SETTING FOR FUTURE USE.  
For more detailed information on your Fathom’s level setting controls, please refer  
to the “Level Mode” and “Master Level” sections on pages 15 - 16 of this manual.  
2) Polarity and Phase Adjustment  
It is oſten helpful to have a second person operating these controls so that you  
can easily hear the changes from the primary listening seat.  
Listening to familiar source material (preferably music with good upper bass  
and midbass response), flip the “Polarity” switch from “0” to “180” and listen for  
differences. e correct setting will sound most natural with the best upper bass  
punch and articulation. If both sound similar, choose “0”.  
Once Polarity is set, use the same music material to audition different “Phase”  
control settings and choose the one that further enhances the upper and midbass  
response. If you can’t hear a difference, set the control to “0.”  
3) Experiment with alternative subwoofer locations (if necessary).  
If you are satisfied with the basic performance of your subwoofer you are  
ready to move on to the next step. If not, we recommend that you experiment with  
the position of your subwoofer until you are pleased with its basic performance.  
Experimentating with placement is KEY to a superior sounding system. Moving the  
subwoofer just a few feet can have a significant effect on the smoothness of the bass.  
For each new position, start with the polarity and phase controls at “0” and repeat the  
setup process beginnng with Step 1.  
IMPORTANT! WRITE DOWN ALL SETTINGS PERFORMED IN STEPS 1-3 FOR  
FUTURE REFERENCE.  
IMPORTANT  
Page 28  
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IMPORTANT! MAKE SURE THE ROOM IS QUIET DURING A.R.O.  
CALIBRATION! TURN OFF ANY NOISY APPLIANCES NEAR THE LISTENING  
ROOM (DISHWASHERS, WASHING MACHINES, ETC.)  
IMPORTANT  
IT IS PARTICULARLY IMPORTANT TO TURN OFF AIR CONDITIONERS OR HEAT  
PUMPS DURING CALIBRATION. THESE FORCED-AIR-TYPE HVAC SYSTEMS  
CAN CREATE MODERATE LEVELS OF 15 – 20 HZ NOISE THAT MAY INTERFERE  
WITH CALIBRATION.  
4) Applying Automatic Room Optimization (A.R.O.)  
You are now ready to apply the power of JL Audio’s exclusive Automatic Room  
Optimization system. is system will measure the response of the subwoofer at  
your primary listening seat and apply a powerful equalizer to tame the peaks caused  
by room modes, resulting in smoother, more accurate bass performance. If you  
are using multiple Fathoms in a master/slave configuration, you will only need to  
address the unit designated as “master” to perform A.R.O. calibration for the entire  
subwoofer system. Note that all front-panel signal processing is defeated during  
A.R.O. calibration, regardless of the knob settings. Normal operation is restored  
once calibration is complete.  
a) Set the Main Power switch to the “ON” position and be sure the Fathom’s  
indicator lights are switched “ON” via the “Lights” switch.  
b) Remove the calibration microphone from its protective pouch and connect its  
cable to the mini-XLR jack on the Fathom’s front control panel.  
NOTE: A.R.O. Calibration is only possible when the included JL Audio test  
microphone is plugged in to the Fathom front panel. e “Calibrate” feature is  
disabled with no microphone plugged in to prevent accidental loss of settings.  
c) Connect the microphone to the other end of the mic cable and temporarily place  
the mic in the primary listening seat. If you have a microphone stand, you can  
place the microphone at head height and position in the primary listening seat.  
d) On the Fathom’s control panel, press the “Calibrate” button. e green light on  
the “Calibrate” button will flash slowly, indicating that calibration will begin in 5  
seconds.  
e) Within 5 seconds of pressing the “Calibrate” button, return to your primary  
listening seat and hold the microphone in your normal, seated head position at the  
approximate height of your ears.  
f) A noise sequence will be played through the f110 that sounds like hashy static  
(like when your old FM radio was between stations). e sequence will last  
approximately 3 minutes. During this process, the A.R.O. system is taking a  
frequency response measurement at your seat and correcting the problems it  
finds. e A.R.O. system also compensates for any before & aſter level differences  
so that your f110 will have a similar perceived loudness aſter the calibration  
process. When A.R.O. is finished calibrating, the “Calibrate” button will light and  
stay on, indicating a successful calibration.  
| Fathom f110  
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Should you wish to run a new calibration, simply repeat the steps above.  
To clear the A.R.O.’s settings (i.e., return them to flat) & turn off the Calibrate  
light, press and hold the Demo button and then press the Defeat button. Please  
note that you must perform this button sequence quickly. If you hold the Demo  
button for more than 2 seconds without touching the Defeat button, the Demo  
tones will start. Should this happen, simply wait for the Demo sequence to  
end and try again. You can perform a new calibration by following the normal  
procedure outlined above.  
IMPORTANT! IF YOU MOVE YOUR FATHOM OR PRIMARY LISTENING SEAT  
IN THE FUTURE, YOU WILL NEED TO RUN A.R.O. AGAIN. ANY PARTICULAR  
CALIBRATION IS UNIQUE TO THAT PARTICULAR SUBWOOFER POSITION  
AND LISTENING SEAT POSITION COMBINATION. SIMPLY FOLLOW THE  
STEPS ABOVE TO CREATE A NEW CALIBRATION CURVE.  
IMPORTANT  
5) Extreme Low Frequency (e.l.f.) Trim  
Use the “e.l.f. trim” control to adjust the extreme low bass extension of the  
Fathom.  is control allows -12 dB of cut or +3 dB of boost at 28 Hertz and is  
particularly useful when using a Fathom (or two) in a small to medium sized home  
theater. Since smaller enclosed spaces help to boost the level of the lowest bass  
frequencies, smaller theaters can be overwhelmed by the strong low-bass output of  
the Fathom subwoofer.  is can create a “thick” or “bloated” character in the lower  
bass region. Turning down the “e.l.f. trim” knob cuts the extreme low bass level and  
alleviates this condition. Feel free to experiment and listen to a variety of demanding  
material until you fi nd the best match for your room and your tastes.  
Your Fathom is now optimized for maximum bass performance at your  
listening seat. Congratulations!  
Page 30  
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FREQUENTLY ASKED QUESTIONS  
Can I place objects on my subwoofer?  
We do not recommend placing any items on the subwoofer cabinet as they may  
vibrate, causing undesirable noise and possible damage to the finish. Under no  
circumstances should any object containing liquid be placed on the Fathom cabinet.  
Is the Fathom magnetically shielded?  
Fathom subwoofers are not magnetically shielded. To avoid magnetic distortion  
with certain television types, place the Fathom at least 3-4 feet (1 - 1.5m) from  
your screen. If you notice any discoloration in the picture, try moving the  
subwoofer further away until these artifacts disappear.  
Will my electric bill be high if I leave the Fathom in Auto” mode?  
When in Auto” mode, the Fathom amplifier is only powered up when a  
significant signal is detected on the inputs. When powered down, only  
“housekeeping” circuits remain on, which draw negligible amounts of power  
from the wall (less than 5 watts).  
Should I unplug my subwoofer during a thunderstorm or extended absence?  
YES. You should unplug your Fathom during (or before) thunderstorms. is  
will prevent any possible damage from voltage spikes due to lightning. In these  
conditions, it’s a good idea to unplug all of your audio / video components. If you  
are going to be away from home for several days, it is also a good idea to unplug  
your home theater components to prevent damage from unexpected storms or  
power line conditions.  
| Fathom f110  
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CLEANING YOUR FATHOM  
Dust your Fathom subwoofer’s cabinet using a clean, soſt microfiber cloth or  
feather duster. Microfiber cloths are commonly available where automotive  
detailing supplies are sold.  
Gloss-black models:  
Light smudges can generally be wiped off with a clean microfiber cloth. For more  
stubborn smudges, polish and protect the finish using a high-quality automotive  
wax and a microfiber cloth, both available wherever automotive detailing  
supplies are sold. We recommend Meguiar’s® “NXT Tech Wax” and Meguiar’s®  
Microfiber Detailing cloths.  
Never use a polish that contains harsh solvents or abrasives as these may  
permanently damage the finish. Never use furniture polish or any oil-based  
product on your Fathom. Never use solvents or aggressive cleaning agents on  
your Fathom. When in doubt, test the cleaning product on the underside of  
the cabinet and let it sit for several days before committing to its use on visible  
portions of the cabinet.  
Page 32  
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TROUBLESHOOTING  
No sound from subwoofer.  
1. Verify that Fathom is plugged in, turned “ON” & that front panel lights are “ON”. If  
the Fathom will not power up, check the circuit breaker that feeds its outlet.  
2. Test subwoofer using DEMO button on front panel – if sub emits demo tones the  
subwoofer’s internal circuitry is fine and an input problem is likely. Check the input  
cable connections at the Fathom and at the receiver/preamp/processor.  
3. Verify that your receiver’s subwoofer settings have not changed  
4. If your other speakers play, but the Fathom does not, try changing the cable that  
connects the Fathom to the system.  
5. If the problem persists, call your dealer or JL Audio Technical Support  
for assistance.  
e bass level has changed.  
1. Make sure your level settings (on the Fathom and in your receiver/preamp/  
processor) have not changed.  
2. If you are using the Fathom’s “Master Level” knob to set the subwoofer level,  
confirm that the “Level Mode” switch is set to “Variable”.  
3. Verify the position of the ELF Trim knob.  
Hums or other unusual noises from your Fathom  
1. See Input Mode discussion on page 20 of this manual, especially if any upstream  
components, cables, etc., have recently changed.  
2. Turn off the Fathom, disconnect all its input and output signal cables, turn the  
Fathom back on. If the noise disappears, the noise is being caused elsewhere in  
your system.  
Bass sounds “muddy” or “too heavy”.  
1. Try decreasing the 28 Hertz level using the “e.l.f. trim” control. Muddy bass  
can sometimes be caused by too much low frequency output in a moderately  
sized room.  
2. Decrease the overall subwoofer level.  
3. Verify your receiver’s subwoofer settings.  
4. Try a diff erent subwoofer or main listening seat location. Changing one or the  
other can have a HUGE eff ect on how your system sounds. See the placement  
discussion on pages 6-10 of this manual.  
A.R.O. Calibration attempt gives fast blinking Calibrate light  
1. Be sure that the included JL Audio Microphone is properly plugged into the  
front panel jack. Calibration will ONLY proceed with the JL Audio microphone  
connected. Connecting any other mic will cause the calibration to fail.  
2. If calibration fails with the JL Audio microphone properly connected, try running  
calibration again with the microphone placed ~ 6 feet away from the f110. If  
calibration fails again, the microphone or microphone cable is bad and will need to  
be replaced. Contact JL Audio Customer Service.  
Your Fathom is clearly audible outside of your house.  
1. Revisit the “Master Level” setting on your Fathom(s) or your home theater receiver/  
preamp/processor.  
2. Inquire with your JL Audio dealer about noise isolation strategies.  
3. Move the Fathom away from windows.  
| Fathom f110  
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Page 34  
| Fathom f110  
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LIMITED WARRANTY / SERVICE INFORMATION  
JL AUDIO warrants this product to be free of defects in materials and  
workmanship for a period of three (3) years from the original date of purchase.  
Damage caused by the following is not covered under warranty: accident,  
misuse, abuse, product modification or neglect, failure to follow installation  
instructions, unauthorized repair attempts, misrepresentations by the seller. is  
warranty does not cover incidental or consequential damages and does not cover  
the cost of removing or reinstalling the unit(s) or shipping the unit(s) to JL Audio  
for service. Cosmetic damage due to accident or normal wear and tear is not  
covered under warranty.  
is warranty is not transferable and applies only to the original purchaser  
of the product from an authorized JL AUDIO dealer. Warranty is voided if the  
factory-applied product serial number is removed or defaced.  
Should service be necessary under this warranty for any reason due to  
manufacturing defect or malfunction, JL AUDIO will, at its discretion, repair or  
replace the defective product with new or remanufactured product at no charge.  
Any applicable implied warranties are limited in duration to the period of  
the express warranty as provided herein beginning with the date of the original  
purchase at retail, and no warranties, whether express or implied, shall apply  
to this product thereaſter. Some states do not allow limitations on implied  
warranties, therefore these exclusions may not apply to you. is warranty gives  
you specific legal rights, and you may also have other rights which vary from  
state to state.  
WARNING: THIS PRODUCT CONTAINS NO USER-SERVICEABLE PARTS.  
PRODUCT IN WHICH DISASSEMBLY, REPAIR AND/OR MODIFICATION HAS  
BEEN ATTEMPTED BY UNAUTHORIZED PARTIES WILL NOT BE COVERED  
UNDER WARRANTY.  
WARNING  
If you need service on your JL AUDIO product:  
All warranty returns should be sent to JL AUDIO freight prepaid through  
an authorized JL AUDIO dealer and must be accompanied by proof of purchase  
(a copy of the original sales receipt.) Direct returns from consumers or non-  
authorized dealers will be refused unless specifically authorized by JL AUDIO  
with a valid return authorization number. Warranty expiration on products  
returned without proof of purchase will be determined from the manufacturing  
date code. Coverage may be invalidated as this date is previous to purchase date.  
Return only defective components. Non-defective items received will be returned  
freight-collect. Customer is responsible for shipping charges and insurance in  
sending the product to JL AUDIO. Freight damage on returns is not covered  
under warranty. Always include proof of purchase (sales receipt).  
For Service Information in the U.S.A. please call:  
JL Audio customer service:  
(954) 443-1100 during normal business hours (Eastern Time)  
JL Audio, Inc • 10369 North Commerce Parkway, Miramar, FL 33025  
International Warranties:  
Products purchased outside the United States of America are covered only by that  
country’s distributor and not by JL Audio, Inc.  
| Fathom f110  
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FEATURES  
Unbalanced Inputs:  
Stereo or Mono (two RCA jacks)  
Balanced Inputs:  
Stereo or Mono (two female XLR jacks)  
Output To Slave:  
Balanced (one male XLR jack)  
Input Modes:  
Master or Slave  
Level Modes:  
Reference (fixed gain) or Variable from  
full mute to +15dB over reference gain  
Power Modes:  
Off, On or Automatic Signal-Sensing  
Light Modes:  
Off, On or Dim  
Low Pass Filter Mode:  
Off, 12 dB per octave or 24 dB per octave  
H
Low Pass Filter Cutoff Frequency:  
Variable from 30 Hz – 130 Hz  
Polarity:  
0 or 180 degrees  
Phase:  
Variable from 0 – 270 degrees  
D
W
E.L.F. Trim:  
Variable from –12 dB to +3 dB at 28 Hz  
f110  
Specifications  
fathom home subwoofer  
Automatic Room Optimization (A.R.O.)  
with included laboratory-grade  
calibration microphone, defeatable.  
Enclosure Type: Sealed  
Driver: Single 10-inch (nominal diameter)  
27 – 111 Hz ( 1.5dB)  
Frequency Response (anechoic): –3 dB at 25 Hz / 120 Hz  
–10 dB at 19 Hz / 155 Hz  
Effective Piston Area: 60 sq. in. / 0.0387 sq. m.  
Effective Displacement: 160 cu. in. / 2.6 liters  
Amplifier Power: 900 watts RMS short-term  
Dimensions: (H) Height x (W) Width x (D) Depth 15.64 in x 12.92 in. x 17.27 in.  
Height Dimensions include feet. 397 mm x 328 mm x 439 mm  
Net Weight: 67 lbs. / 30.0 kg  
Cabinet Finishes: High-Gloss Black or Satin Black  
|
|
HOME AUDIO  
MOBILE AUDIO  
MARINE AUDIO  
“JL Audio, Fathom” and the JL Audio logo are registered trademarks of  
JL Audio, Inc., “Ahead of the Curve” is trademark of JL Audio, Inc. Due to  
a
continuous product development, all specifications are subject to change  
without notice.  
Printed in USA • ©2008 JL Audio, Inc. • U.S. PATENTS: #5,734,734 #5,949,898  
#6,118,884 #6,229,902 #6,243,479 #6,294,959 #6,501,844 #6,496,590  
#6,441,685 #5,687,247 #6,219,431 #6,625,292 #D472,891 #D480,709 Other  
U.S. & Foreign patents pending. For more detailed information please visit us  
online at www.jlaudio.com.  
w w w. j l a u d i o. c o m  
SKU-011261-09-2008  
10369 North Commerce Parkway • Miramar, Florida • 33025 • USA  
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