"JL Audio's CR-1 electronics crossover was a total surprise—I wondered where it had been all my life. It's beautifully made, sonically transparent, performs a critical role in the optimal setup of subwoofers, and has ergonomic bypass and mute functions that let you immediately hear the sonic improvements of good bass management. JL Audio's Fathom f212v2 subwoofer and CR-1 crossover are strongly recommended."

"...the Gothams and the CR-1 are tickets to a full-range bliss you've never before experienced, because, in my own experience, it's never before been available at this level of unalloyed satisfaction. Both the Gotham subs and JL's CR-1 crossover, obviously, get my highest, most unqualified, most enthusiastic recommendation. I just wish all of you could hear them!"

"So in addition to its pretty looks and capable controls, the Dominion d108 sub is astonishingly good in output. Played unseen, I might have thought it was subwoofer with a 12in driver and a solid amp."

"The Dominion d108 could be part of the ultimate 2.1-channel system for the common audiophile. Given the level of performance it was able to muster in my system, and the fact that it’s the smallest, least expensive subwoofer JL Audio makes, I worry for the competition."

"If you are looking for the last missing piece for your system -- the sense of lifelike weight and scale -- and don't want to break the bank, I can’t possibly recommend the JL Audio Dominion subwoofer series highly enough."

"A wolf in sheep’s clothing”

“Dominions do a marvelous job, even when mated with main speakers several times their price.”

Reference Tone Audio Magazine Issue No. 77 June 2016 pages 186 to 193.

"It stands among the best of a large class of highly able competitors, and might even be the very best of that small bunch."

"The E-Sub e110 is a no-brainer highest recommendation if ever I heard one. And remember this is coming from someone who hates subwoofers (or used to)."

"if I had to sum up the e110's sound in one word it would be precise. Bass notes start and stop on a dime, drum beats sound like sticks hitting a drum head."

"...I have to say JL Audio's "baby" e110 sounded like a heavyweight to me."

"...the e110's bass clarity and definition put it in a different class."

"The e110 joined my system for nearly a full month, and the longer I listened, the more impressed I became. Musical deep bass, whether from Richard Strauss’ Also Sprach Zarathustra or Saint-Saëns’ Organ Symphony, was convincingly complete, with even the lowest fundamental tones geologically solid and fully accounted for."

"This subwoofer takes excellent performance up several notches, reproducing the dynamic, textural, and tonal nuances in acoustic or electric bass playing. Despite “light on its feet” agility, the e112 also delivers tremendous bottom-end authority. It’s this combination of finesse and impact that makes the e112 such a stand-out in a crowded field-and at an eminently affordable price."

JL Audio is renown for sound quality and the E112 is no exception, clearly adhering to the company ethos. Regardless of what I played, how high or low the volume, how challenging and complex the passage, dynamics and transient response were superb. The output was always nimble, never once being confused or overwhelmed by what I had chosen. I don't lightly bestow the term "musical" on any subwoofer, but the E112 certainly fits my description of the word.

Exceptional Value: Subwoofers

JL Audio E-Sub e112 subwoofer: Whenever I read do-it-yourselfers' proclamations that they can build subwoofers of their own design that better, at lower cost, the models from JL Audio, I laugh. Those folks fail to recognize the value of such things as warranties and good resale values. But even setting aside these practical considerations, the E-Sub e112 ($1900-$2100, depending on finish) sounds superb, easily besting in overall sound quality what I've heard from 90% of the subwoofers out there. Despite its entry-level placement in JLA's line of home models, this is one serious sub.

"The Fathom f212v2's bass resolution was revelatory. When I played Don Dorsey's "Ascent," performed by Erich Kunzel and the Cincinnati Pops on their Time Warp collection (CD, Telarc CD-80106), the JLAs' imaging let me better distinguish the positions of the synth beats that move from side to side. Dynamics ranged from soft murmurs to a thunderous rumble as the synths blended into the sustained 31.7Hz organ note that begins Strauss's Also sprach Zarathustra on that same disc."

“The JL Audio combo of Fathom f212v2 and CR-1 strongly benefited the quality, scale, detailing, and full power of orchestral music by enhancing the depth and width of the soundstage while revealing ambience cues. I felt and heard the jaw-tightening mass of the bass-drum strokes in the second section of Stravinsky's The Rite of Spring, performed by Eiji Oue and the Minnesota Orchestra (DVD with 24/96 WAV file, Reference RR-70 HDCD). They burst into my listening room as dense, concussive thuds with clean, defined leading edges.”