Electronics : JL AUDIO 10W7 - Car subwoofer driver - 10.5'

Electronics : JL AUDIO 10W7 - Car subwoofer driver - 10.5'

could not open XML input

JL AUDIO 10W7 - Car subwoofer driver - 10.5'

from: JL Audio



JL AUDIO 10W7 - Car subwoofer driver - 10.5'
Click Larger Image

More Info


Average Buyer Rating:  out of 5 stars
Sales Rank: 28032





Binding: Electronics
Product Brand: JL Audio
Color: Silver
EAN: 0037459108001
Label: JL Audio
Product Manufacturer: JL Audio
Material Type: Metal
Model: 10W7
Publisher: JL Audio
Ranking: 28032
Studio: JL Audio
Warranty: 1 year warranty


Piece facts:
  • Top Of The Line! Ship only The Latest Production from [GiGaFurniture & GiGaInternational]
  • RMS Power Handling: 500 watts, Peak Power Handling: 1000 watts. 3 Ohm Impedance. OverRoll Surround.
  • W-Cone. Floating-Cone Attach Method. Plateau-Reinforced Spider Attachment. Ultra-Long Voice Coil.
  • Radially Cross-Drilled Pole Piece. Massive Forced-Air-Cooled Aluminum Alloy Frame.
  • Highly Linear, DMA-Optimized Motor System. Huge Diameter, Progressive Roll Spider.




10.5' - driver subwoofer Car - 10W7 AUDIO JL






0ur opinion:

:
W7's are JL Audio's most advanced subwoofers to date and feature six patented technologies that represent significant advances in driver design.The design goals of the W7 subwoofers were daunting: To combine sublime sound quality and graceful linearity with raw output on an unprecedented scale. Creating a woofer that was simply loud would have required far less work, but it would not have been in keeping with the philosophy of 'sound quality first'. Many technical obstacles had to be overcome to make W7's a reality.0n the power handling front, two new (patent-pending) technologies were developed: a radially cross-drilled pole piece and a unique vented alloy frame that provides direct cooling to the top-plate of the driver. Combined with massive voice coils, these techniques deliver remarkable real-world power handling and prevent power compression effects from affecting sound quality during critical listening.0n the output front, the W7's push the envelope of high-excursion driver design to new levels, without sacrificing cone area. This is possible due to the patented 0verRoll surround design which permits the use of a large roll without a cone area penalty. Peak linear displacement is at least 90% greater than a comparably sized W3 driver, resulting in absolutely dominant output potential.The diaphragm design of the W7 takes an architectural approach to improving rigidity. A new (and patent-pending) W-Cone design achieves unprecedented stiffness and torsional rigidity without resorting to heavy metal or composite materials. lt also isolates the diaphragm in contact with the listening environment completely from the pressure in the enclosure, further minimizing cone deformation at the extreme output levels that the W7's can generate.










We found more related products for you:
JL Audio 500/1V2 Car Audio 1-Channel (Mono Block) Subwoofer Amplifier 500 Watts Dynamat 10007 Professional Heavy Duty Roller Dynamat 10455 Xtreme Bulk Pack 9 Sheets JL Audio 1000/1V2 Car Audio 1-Channel (Mono Block) Subwoofer Amplifier 1000 Watts Kenwood KCA-iP300V iPod Video Direct Cable click 4 more

We found more related products for you:




Testimonials
Average Buyer Rating:  out of 5 stars

Buyer's feedback: 5 out of 5 stars - * best sub in the world ...
you just wont find anything of this size that sound this hard period.

10 inches, 500rms, long excursion sub...


all the engineering and thinking behind this woofer are shown in the package is impressive hits hard but also wont miss a note its for demanding people if you want the best you wont go wrong with a 10w7 if you want something louder go for the massive 13" one but if you dont have much space like me or just want to have some trunk left this is the best buy



We have more similar products, listed by their category for you:


 




Usually we're fans of Logitech's gaming mice, but its highest-end G9 Laser Mouse is expensive, overly complex, and lacks the ergonomic thought we've come to expect. If you like to brag about dot-per-inch limits, perhaps the G9's 3,200dpi laser will be enough to sell you, but for the price, we expect the design to match.

Small and light enough for a shirt pocket, Samsung's Helix YX-M1 is a one-stop audio entertainment center with an XM radio, a digital music player, and room for 50 hours of tunes, but it comes up short on battery life.

$18.99



Set in Saudi Arabia, The Kingdom is a political action thriller with good acting and wonderful visuals. Its so-so script, though, at times meanders aimlessly until a good explosion jolts the viewer's attention back to the screen. Jamie Foxx stars as FBI special agent Ronald Fleury, who leads an elite team into Saudi Arabia to find the terrorists who attacked American employees working in the Middle East. He has been given the unlikely deadline of five days to infiltrate the compound, with just his wit and his crew, which includes forensics expert Janet Mayes (Jennifer Garner), explosives guru Grant Sykes (Chris Cooper), and intelligence analyst Adam Leavitt (Jason Bateman). It's unclear how helpful smarmy U.S. diplomat Damon Schmidt (Jeremy Piven) will be, but Fleury knows enough to surmise that the media-hungry Schmidt might not be completely trustworthy. Foxx and Garner have wonderful screen presence, but it's Bateman and Piven who get the best lines. Director Peter Berg peppers The Kingdom with actors he has worked with in the past. Berg, who guest-starred on Alias opposite Garner, casts Tim McGraw in a small role here. (The country singer also had a co-starring role in Berg's 2004 film Friday Night Lights.) And Kyle Chandler and Minka Kelly--two of Berg's lead actors from the Friday Night Lights television series, , make appearances in The Kingdom. The action sequences he creates are impressive and generate a sense of panic that The Kingdom producer Michael Mann (Miami Vice) undoubtedly applauds. While a tauter script would've rounded out the action nicely, the action in many cases does speak for itself. --Jae-Ha Kim
$19.99



A staggering portrait of arrogance and incompetence, the documentary No End in Sight avoids the question of why the U.S. invaded Iraq in 2003, choosing instead to focus on the war's aftermath--and meticulously examine the chain of decisions that led Iraq into a grotesque state of lawlessness and civil war. Drawing from interviews with top generals, administration officials, journalists, and soldiers who were in the thick of the war itself, No End in Sight lays out a gripping story, as suspenseful as any Hollywood movie, accompanied by terrifying footage of firefights and explosions more vivid than any special effects. Unfortunately, there is no happy ending. If the documentary has a weakness, it's the shortage of voices trying to defend the administration policies (perhaps unsurprisingly, policymakers like Dick Cheney, Donald Rumsfeld, and Paul Wolfowitz declined to be interviewed). But the testimony (presented by administration insiders and officials in Iraq, both military and civilian) argues that, despite contrary analysis and experienced advice against its actions, the top brass of the Bush administration made decisions (that aggravated already existing problems and created devastating new ones. No End in Sight builds its case one voice at a time and avoids the grandstanding that undercuts Michael Moore's work; instead, the gradual accumulation of simple facts--presented with weary resignation, earnest outrage, and restrained anger--results in a compelling condemnation of one of the worst blunders the U.S. has ever made. --Bret Fetzer
$14.99



Fans of Oliver Stone's J.F.K. will recognize the opening moments of writer-director Eugene Jarecki's Why We Fight, in which outgoing President Dwight Eisenhower warns of the pernicious and growing influence of what he called the "military-industrial complex." But Stone's movie, which uses the same footage, was a work of fiction. While those who disagree with the decidedly leftist point of view in this documentary will probably consider it the product of paranoid liberal fantasy as well, there's enough credible material, much of it supplied by the targets of Jarecki's criticisms, to make Eisenhower look like a prophet and everyone else uneasy about the dark confluence of politics, money, and war that controls the country's fortunes. The message here is that while there may be some who sincerely believe that America's various military engagements (in Iraq, Vietnam, Grenada, Panama, and elsewhere) since World War II are the product of our God-given duty to spread freedom and halt the influence of evil ideologies around the world, the real reason we fight is that war is good business. This is hardly a bulletin; anyone who is surprised by allegations that politicians pander to defense contractors, or that Vice President Dick Cheney helped secure huge deals for Halliburton, the company he formerly headed, simply hasn't been paying attention (Politicians lie? How shocking!). In fact, the principal drawback to Jarecki's film is simply that there's nothing particularly revelatory or compelling about it. Only when he takes a personal approach does he go beyond the obvious; the story of a retired New York policeman and former Vietnam veteran whose son died in the World Trade Center, who wanted revenge, but who became seriously disillusioned when Bush admitted that the war in Iraq had nothing to do with 9/11, adds some much needed human interest. Still, Why We Fight, which includes a director's audio commentary track and a few other bonus features, serves as a grim reminder that the world's most powerful nation has strayed far from the principles of our founding fathers, a development that does not bode well for America's future. --Sam Graham

by Dixie Chicks
$21.95

Average customer rating: ISBN: 0739043439

by Dixie Chicks, Mark Seliger
$16.95

Average customer rating: ISBN: 0739043447
$4.95



In her snowy home state of Utah, Marie Osmond serves up a warm cup of holiday cheer with Marie Osmond's Merry Christmas, her very first Christmas special. Mixing traditional songs and carols with modern melodies, Marie presents a sentimental hourlong program (originally aired on television in 1989), blending music with short sketches. The show features Kirk Cameron, then-teen heartthrob on Growing Pains; Candace Cameron, his sister and star of Full House; country singer Lee Greenwood; Sally Struthers and daughter Samantha, ice dancers Judy Blumberg and Michael Siebert, and the Osmond Boys.

Marie opens the show with an outdoor rendition of "We Need a Little Christmas" and then moves into the studio where Kirk Cameron arrives on a snowmobile (fresh from rescuing a trio of blonde snow bunnies) to read "The First Christmas Story." Lee Greenwood performs "Christmas to Christmas" and later a duet with Marie. "It's Beginning to Look a Lot Like Christmas" is sung by Sally Struthers and daughter with help from the Osmond Boys--six stepping stones ages 4 to 12 who have the senior Osmonds' moves down pat. The adorable award, though, goes to Marie's 5-year-old son, Steven, who performs a rockin' version of "Santa Claus Is Comin' to Town" (clapping on the off-beat nearly the whole song).

Marie has a good, strong voice, but many of the songs are overproduced and melodramatic. This, most likely, is a product of the big, pouffy '80s (her hair and outfits are also bigger-than-life) rather than a reflection of her talents. The closing number, "O Holy Night," sung by Marie alone, is quite lovely. --Dana Van Nest

$11.98





10.5' - driver subwoofer Car - 10W7 AUDIO JL
Shopping at www.gaunz.org  Created at Fri Dec 5 13:20:45 2008