TNRabbit
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Posts posted by TNRabbit
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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...
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Also check your anti-skate adjustment~
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CECA,
Thanks for posting that!
That was wicked, working landing gear and all. I wonder what terminal velocity is with that twin ducted fan settup?
Roger
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.
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Crossover plate replacement panels finished & in the mail:
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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:
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New binding posts & fuse holders:
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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~ -
.....and I don't have to get up every 45 minutes to add a new cd
So, you can sit on your fat @$$ indefinitely now??
[
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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)~
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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!
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Wasn't this done in the 80s? I never get tired of seeing this link posted.....over......and over....and over.......and over....
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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
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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!
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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):
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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
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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!
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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]
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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...
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Behringer stuff is made like crap; you couldn't GIVE me a Behringer unit.
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~
] [H]
:
*~Gone Active~*
in Technical/Restorations
Posted
Got my circuit breakers: