TNRabbit

Got my circuit breakers:

If you count labor, a lot of $$$. Strictly on parts/radio control/etc., I'd guess at least $6-10K. 40lbs of thrust IS a lot, considering the model probably doesn't weigh that much...

Also check your anti-skate adjustment~

That's not ducted fan; it has actual turbine engines. REAL turbines @ 5 inches in diameter can be had for around $2k each. Some of the newer ones produce as much as 40 lbs of thrust (no for $2k, though!). Some approach 300 mph.

Crossover plate replacement panels finished & in the mail:

There are previous threads and pics to indicate at least SOME level of truth to this epic failure: Phase 1: http://www.audiokarma.org/forums/showthread.php?t=304319 Phase 2: http://www.audiokarma.org/forums/showthread.php?t=306078 http://www.audiokarma.org/forums/attachment.php?attachmentid=216592&d=1277170281 http://www.audiokarma.org/forums/attachment.php?attachmentid=216593&d=1277170281 http://www.audiokarma.org/forums/attachment.php?attachmentid=216594&d=1277170281 http://www.audiokarma.org/forums/attachment.php?attachmentid=216595&d=1277170281 http://www.audiokarma.org/forums/attachment.php?attachmentid=216596&d=1277170281 http://www.audiokarma.org/forums/attachment.php?attachmentid=214944&d=1276311539 http://www.audiokarma.org/forums/attachment.php?attachmentid=214942&d=1276311539

Rear panel blank so far:

New binding posts & fuse holders:

Some FYI about Rane for anyone following this thread: The Rane Story Rane Corporation History & Philosophy Rane Corporation, founded and incorporated in 1981 in Washington State, is a privately held company. The owners all previously worked together in middle management positions at Phase Linear Corporation, a high-end consumer electronics company. With this background, they pooled over 40 years of combined audio experience to create Rane Corporation. Owners became separate department heads based upon their expertise. This organization created an unusually strong structure, since all department heads had a unique owner's perspective in making it succeed. The company name was selected from an anagram created from the common letters of the first and last names of the original founders. This particular anagram was selected because it was short, easy-to-say and remember, and they liked the double-entendre possibilities implying wet-links to the Northwest. The essential ingredients in Rane's successful philosophy are knowledge, integrity, pride and common sense. At Rane, people learn to treat people the way they would want to be treated, to design & build products the way they would want theirs designed & built, and that when something goes wrong, you react quickly and decisively to correct it. It is an old fashioned, common sense way to run a business, based on mutual trust and respect. Rane started out with four products aimed at small bands, designed to make their live performances better. At the forefront was a unique 12-input, 6-output matrix mixer (MM 12) used to create six different monitor mixes for driving stage monitor speakers. The idea was to help performers hear themselves better. Up to that time, either the small group had no monitors at all, or they were all driven by the same mix. What Rane provided was new, compactly designed, affordable tools to help solve the many problems of on-stage monitoring. Complementing the matrix mixer was the industry's first 6-channel power amplifier (MA 6), and a companion 6-channel headphone amplifier for rehearsal (HC 6). The fourth initial product was a unique combo unit, consisting of a 1/3-octave graphic equalizer and a simple realtime analyzer (RE 27), aimed at giving the performing musician a handy, easy-to-use tool for improving their sound in all venues. In doing all this, Rane established a new price-point for performance, quality and reliability. Rane products were priced well below the top high-end equipment yet outperformed and outlasted them, but were still priced significantly above the low-end products -- thus creating a new middle ground. A noteworthy testament to Rane's design significance and reliability reputation, is that in their first two years of production, Rane designed and shipped eight new products -- five of which are still in production today. Rane Corporation today is an established innovator in providing problem-solving professional audio tools, affordably priced, with unequalled reliability. Rane Corporate Milestones 1981: Incorporated in Washington State, USA 1982: 1st Constant-Q EQ & 1st EQ/RTA combo unit - the RE 27 1983: AES paper: 4th-order state-variable Linkwitz-Riley crossovers 1984: 1st Linkwitz-Riley crossovers: AC 22 & AC 23 1986: AES Journal publishes Rane's landmark Constant-Q Graphic EQ paper 1986: 1st Interpolating Constant-Q EQ 1987: Rane's 1st digital audio product: AD 13 Audio Delay 1988: Publish PI 14 Pseudoacoustic Infector data sheet 1989: 1st 8th-order L-R Crossover 1989: 1st MIDI-Programmable EQs 1989: Develop Accelerated-SlopeTM EQ 1990: Patent: Constant-Q Topology 1991: Patent: Accelerated-Slope EQ 1991: 1st THX Home Cinema EQ: THX 44 1993: 1st Dolby Time-LinkTM pro audio delay 1994: Home Cinema Products launched 1995: PAQRAT® Digital Audio Recording System 1995: 1st RW 232 software product: RPE 228 Equalizer 1995: Launch website & Pro Audio Reference 1996: Mojo Series introduced 1997: Rane 1st DSP digital audio product: RPM 26 1997: Rane 1st teleconferencing product: ECS 1998: Patent: teleconferencing product 1998: New standard in DJ performing mixer: TTM 54 1999: Rane 1st Ethernet product: Via 10 2000: Rane 1st CobraNet products: NM 84 & NM 48 2001: Twenty-Year anniversary 2001: First magnetic fader DJ performing mixer: TTM 56 2002: Drag Net 100% drag and drop DSP 2003: DEQ 60 Perfect-Q Graphic Equalizer 2004: Patents: Magnetic Fader and Acoustic Echo Canceller 2004: SeratoTM Scratch LIVE digital audio computer interface 2005: SeratoTM MP 4 digital audio file mixer 2005: Digital Amplifier: MA 4 2006: Scratch LIVE Mixer: TTM 57SL 2006: Twenty-five Year Anniversary We may be reached via telephone during normal business hours (8:00 AM to 5:00 PM Pacific Standard Time) at 425-355-6000. You may fax us any time at 425-347-7757. Our postal mailing address is: Rane Corporation, 10802 47th Avenue West, Mukilteo, WA, 98275, USA If you prefer hard copies of literature in the mail, you may email or call us at 425-551-1833.

I'm a little apprehensive about the whole testing/analyzing thing. I might learn something (or not) that puts this outside my abilities... I received my binding posts & fuse holders yesterday; still waiting on the circuit breakers. I'll post pics later today--they are quite nice~

So, you can sit on your fat @$$ indefinitely now?? [] [H]

Don't count him out yet~ Also, there are Honorable Mentions & Nominations for those who've only MAIMED themselves (usually a testicular tragedy thereby removing themselves from the future gene pool)~

I say sell the RT-10 to the guy who wants it for more than you have in it & apply the return to the RT-12 you have a line on. It's a win/win situation!

Wasn't this done in the 80s? I never get tired of seeing this link posted.....over......and over....and over.......and over.... []

What a tool~ http://www.audiokarma.org/forums/showthread.php?t=308678 Text: stereorob AK Member Join Date: Nov 2009 Location: tha 561!, fla Posts: 168 The shock and Awe system!!! phaze 3!!! and damage report. hello, if you have been following this story you know why you r here. if you are just tuning in heres the situation. i hooked up a huge system, using 50 receivers and 100 speakers. it ended badley.. -------------the shock and awe! system equipment roster------------------ RECEIVERS 1-marantz 18 2-marantz 2220b 3-marantz 2225 4-marantz 2230 5-marantz 2235b 6-marantz 2245-from my friend billys system 7-marantz 2270 8-sansui 5000a 9-sansui 3000a 10-sansui 771 11-sansui 221 12-sansui 1000 13-sansui qrx-3500 14-sansui 7070db-from my friend heaths system 15-yamaha cr-2040 16-yamaha cr 2020 17-technics sa-200 18-technics sa-400 19-technics sa-6400x 20-fisher 500b 21-fisher 200t 22-fisher 440t 23-fisher 700t 24-lafayette lr-900 25-lafayette lr-1500ta 26-harmon/kardon nocturne 200 27-scott 340b 28-scott 342 29-scott 342b 30-scott 382 31-scott r-340 32-scott 357 33-kenwood tk-40u 34-kenwood tk-88 35-kenwood kr 5400 36-kenwood kr 5600 37-kenwood kr 7600 38-pioneer sx-2000 39-pioneer sx-82 40-pioneer sx-424 41pioneer sx-636 42-pioneer sx-3600 41-pioneer sx 3700 42-pioneer sx-3800 43-bogen tr-100x 44-realistic sta-52 45-realistic sta-64b 46-realistic sta-120b 47realistic sta-2100 48-heathkit ar-13 49-kenwood eleven 50-pioneer lx-440 ------------------------------------------------------------------------ 7-3-2010. i got all 50 receivers up and on line today,a few buddies brought in more speakers for sound, ready for the moment...... 7-4-2010, 12:35pm, i woke up and went into my living room, and started lighting up the stacks, 5 total, with 10 receivers in each stack, 12:50pm, all receivers are on and playing, had to tune each receiver to its sweet spot, this was a task that took me and my buddy 4 hours.. 4:50pm, since it was the forth of july i decided to have some fun, so i lit the whole stack up and spun the master control, 5:30pm, the first sign of trouble, i felt dust falling on my head from someware. i soon discoverd i was shaking my trailer apart, literaly, the main seem cracked holding the two sections together. i really should have stopped here.. 6:00 pm, heat was really becoming an issue, it was 82 degrees outside and raining, with no air conditioning the tempature in my living room soared to 112 f with all of the equipment on and running. 7:15, funny smells coming from the walls, i felt the wall and it was hot, so hot it burned my hand, 7:16 pm, this is when shit started to hit the fan, me, billy and heath were franticly turning everything off and disconecting the gear, the living room started filling with smoke... 7:17 pm, my house was on fire. the voltage was just too much for the old wiring to put up with, the living room wall was burning from the inside. i ran to get a crowbar, and stumbled over a pair of ar-3ax speakers, and hit the floor. it hurt. 7:18pm, i got the crowbar and ripped up the wall to get to the fire, after a 30 second time that felt like a year, i got the fire out. by 7:30 the party was over, the electrical system in my house is shot, it arked threw the wall and blew out the main load box, burning all of the switches. lights out. lucky me i saved my house and my gear, and everyone elses gear. aside from a destroyed living room, and a spraind foot, a broken camera, and alot of shame, im ok. sorry guys, no pics yet, have to wait till i get a new camera. and im using my buddys computer to write this, im sleeping at his house untill i have power again, so sorry for the long wait for part 3.. shock and awe, what a ride!!

I have "Room EQ Wizard" (free online) to use in the final tweaking. Looks to be a decent software package--just what I need. I'm also going to try this: http://www.fesb.hr/~mateljan/arta/download.htm

I also downloaded "Room EQ Wizard" online to use in the final tweaking. What you have thus far sounds like a start, but what Coytee said about 2 way is true. One of the reasons I like the Carver AL-IIIs so much is they place the crossover at a LOW 200 hz, in a less critical range. Having a crossover in the mid ranges can make things infinitely more complicated. To go TRULY active, you'd need to pull the crossover altogether & tweak flat response with an active EQ similar to the Rane Parametric EQs I'm using. Taking the crossover out of the loop WILL result in better control of the driver(s) by the amp & reduce power requirements (can't be that much on a sensitive speaker like the K-horns, but there are other positive aspects to removing the crossovers as well). However, you complicate matters quite a bit by taking the passive crossover out, too. I highly recommend taking a listen to Coytee's system if you can possibly swing it~ Only YOU can tell if it's worth the time/effort. Good luck on your project!

I'm also going to try the physical wave guide form mod for the ribbon cavity resonance (handled with a notch filter in the passive crossover):

The rear panels will have the original mounting hole configuration so I can utilize the original screw holes, but I'm going to use these type of blind nuts with same diameter bolts --- the MDF doesn't like repeated insertion/removal of screws :

I ordered new binding posts & fuse holders to go with the new panels Mike is making for me. Binding posts are from Parts Express: The fuse holders are the knurled-knob type vice screwdriver-removable ones currently in place (although I ordered a new set of those as well, just in case). However, I also bought a set of 3 amp circuit breakers to try out: Push Button 3A Circuit Breaker Philmore # B7003 Same as GC 35-2103 * Maximum DC Voltage: 50 VDC * Maximum AC Voltage: 250 VAC * Mounting Hole: .500" * Push to Reset * .250" Quick Connect

WOW~ this system has some KICK now!

Got the Rane PE-15 EQs into place with judicious appplications of MORE XLR balanced cables...what a mess of cabling behind my unit: At first, the Ranes exhibited an INCREDIBLE amount of noise; I mean I was almost ready to take them out & forget this entire project, it was so bad. After they had a chance to warm up & I worked the scratchiness out of the pots & bypass switches, things got a LOT better. I'm going to have to pull them & liberally apply De-Oxit to everything....I think that will clear things up considerably. I am REALLY liking the whole active route, a LOT. I highly recommend it. Special thanks to mbskeam on the Carver forum who is building me a custom pair of stainless steel cover plates to replace the original crossover plates on the back of my AL-IIIs. As far as I'm concerned this is going ABOVE & BEYOND what anyone could realistically ask for. So, here's what the entire mess looks like now; sorry about the crappy pictures: I'm going to be looking for a way to pack this all away in a rack as it's getting a little TALL for the desk....that's my next project~

Got the Rane's in the mail yesterday; hope to have it all dialed in this weekend~ [Y]

Regarding the original post: The Japanese version of the DSOTM SACD is less prone to cracking at the center hole than the U.S. version; that is the ONLY difference & the reason for the price difference. Personally, I got the Japanese version of the SACD on amazon.com about a month ago for $3.00 (lucked out; someone didn't know what they had~). It sounds fantabulous. Also, I find that MOST multichannel SACDs sound much cleaner in the 5.1 mix as I believe they tend to compromise in the downmixing to 2 channel process. my $.02...

Now that we know how you feel, have you ever compared one to an Ashly? No--I've not had a Behringer unit in my home rig, but I've dealt with them in professional settings & they break at the slightest provocation & are quite noisy. I can say unequivicably though, that the Ashly is very impressive. Quality feel of the pots & switches & the sound quality is sublime....I can't detect ANY added noise to the line. Had a scare tonight; thought I had toasted one of my ribbons, but it turned out to just be a loose connection from the PS Audio speaker cables to the banana connector (unscrewed almost all the way).....whew! I'll be buying lower value fuses tomorrow~