JL Audio Fathom IWSv2-SYS-113 Owner's Manual page 31

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IMPORTANT
IMPORTANT
IMPORTANT
| Fathom IWSv2
3) Polarity and Phase Adjustment
It is often 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. The 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."
4) Extreme Low Frequency (e.l.f.) Trim
Use the "e.l.f. trim" control to adjust the extreme low bass extension of the
Fathom IWSv2. This control allows -12 dB of cut or +3 dB of boost at 24 Hertz and is
particularly useful when using a Fathom IWSv2 (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 IWSv2 subwoofer. This 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 find the best match for your room and your tastes.
Your Fathom IWSv2 is now optimized for maximum bass performance at
your listening seat. Congratulations!
IMPORTANT! WRITE DOWN ALL SETTINGS PERFORMED IN STEPS 2-4 FOR
FUTURE REFERENCE.
IMPORTANT! IF YOU MOVE YOUR PRIMARY LISTENING SEAT IN THE
FUTURE, YOU WILL NEED TO RUN D.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.
Page 31

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