Don Richard

I'll bet the stereo is louder than the exhaust.

After making sure that no drivers are blown, try recapping the crossover. If you still want an EQ look at the DBX 231 or 1231 dual 31 band units.

http://www.audioasylum.com/cgi/vt.mpl?f=tweaks&m=157064

The midrange and the tweeter are attenuated in the crossover because they are more efficient than the woofer and would be too loud if allowed to operate at the same level. The taps on the autoformer in the crossover are connected to the mid and tweeter in such a way as to result in a balanced frequency response along with the proper power to each driver.

Over at Audio Asylum there is a thread in the tweaks/DIY section about different Kilowatt-Hour meters used by the power companies causing bad sound in stereo systems. This one belongs up there with cable lifts and shakti stones for valueless improvements, as if your utility company would actually allow you to install your own meter.

The info just posted by Dr. Who shows that combo being within 5 dB from 1050 Hz-5000Hz with no compensation.

Well, I looked at the uncompensated and compensated response curves on a 2380/2445 combo and 500 HZ is down -26dB relative to midband. That would be 400 watts to achieve flat response when the midband is getting 1 watt. You are putting that power into the driver at the point in it's frequency range where excursion limits come into play. Putting excess low frequency power into a compression driver is an excellent way to blow diaphragms and hear a lot of distortion until that happens. When sizing horns and drivers current engineering practice is to operate the horn at about double it's advertised lower cutoff frequency. For example, the K-55V driver's lowest frequency where it can take full rated power is 250 Hz, it is crossed at 400 Hz and the K-400's lower cutoff is around 230 Hz when mounted on it's baffle board.

There really aren't any drivers with which one can achieve that performance. JBL's 2426 compression driver is recommended to cross @ 800 Hz minimum, and it's about the best for that horn. Sounds terrible, by the way. Opinions are always welcome. I know the top end of the 2426 drops off rather suddenly.I think we were talking more about changing out the K400/401 horn for the JBL, and the K55 crosses at 400, so there are drivers that will cross low enough. The horn wouldn't quite work, though. Maybe in an LS if you raised the crossover point. The LS can get to 500Hz. These JBL horns are the wrong devices to use in a loudspeaker system as a bandwidth-limited midrange horn. They are designed to be used as the HF in a three-way sound reinforcement system. They are of a bi-radial design and are constant directivity as a result. Any compression driver mounted to them will require top octave compensation, and bottom octave compensation if you try to run these horns too low. The top octave comp allows the reproduction of higher frequencies with even horizontal polars over a greater than 10:1 frequency range, and works out to about 12 dB boost @ 15kHz depending on the driver used. According to JBL info, frequency response @ 500 Hz is -20 dB relative to 1500 Hz. So if you are running 1 watt in the midband of these horns you will need to put 100 watts into the low end of it's range to get flat frequency response. To my knowlege there are no 1" drivers with that capability, and adapting a 2" unit to a 1" throat won't get hi-fi results. I've been through all of this before. I am currently using a Peavey 1" CH-941 CD horn as the HF in my system. It is about the size of the 2" JBL 2380 and is advertised to go down to 500, or 800 Hz, depending on which set of Peavey specs you are looking at. I am using an analog crossover so it is easy to change crossover points and to change from 3 way to 2 way operation. When used as a 2 way, there is next to nothing coming from the Peavey horn at the crossover point. Bottom octave comping the horn causes the limiters that I have set for driver protection to engage, which sounds terrible. You would get similar results from the JBLs. If you want a HF horn for a 2 way system, get a K402 setup. It ain't cheap, it's big, but it will work and sounds good. Using a CD horn for HF in a home system works well in a 3 way setup due to the smooth horizontal polar dispersion but plan on using a midrange to go from the bass crossover frequency up to at least 1 kHz. I'm using the K400-K55 combo for that, crossing to the HF @1200 Hz, and it sounds great.

There really aren't any drivers with which one can achieve that performance. JBL's 2426 compression driver is recommended to cross @ 800 Hz minimum, and it's about the best for that horn. Sounds terrible, by the way.

Drums create sounds of a brief, transient nature. It is probable that 20+ dB peaks (referenced to the average level) exist in recordings with a forward presentation of the drums. Although Khorns are very sensitive loudspeakers they really come to life with 100 watts or more of amplifier power when playing such recordings.

The 2370 is for a 1" bolt on driver, the other two are for 2" drivers. These horns are generally used for sound reinforcement and are crossed at 1kHz or higher. Probably not good for Khorns. Unless you construct a 200-1600 Hz midrange horn and use the JBLs as tweeters. And listen to the system from about 100 feet away.[^o)]

In the marketing department, all things are possible.

Indiana isn't located in India?[]

You have given a good example of some of the differences between single-ended circuits and push-pull circuits. Tubes or solid state may be used in either.

We all owe Dr. Bose a huge debt of gratitude for proving beyond any doubt the ill effects of early reflections on sound reproduction. His 901 loudspeaker helped define "time smear" that destroys transient response. As if that wasn't enough, this instrument of sonic destruction featured distortion products of a magnitude greater than the fundamental frequency. It's totally worthless with the EQ also. The only purpose of this junk is to serve as a bad example of audio engineering.

Congratulations and best of luck!

Flat or Semigloss??? Quantum Urethane Gloss

Add "Cat Scratch Fever" by Ted Nugent.

The black hole can be fixed with white paint.

Gregg Wright. He does a set of Hendrix at his gigs that is astounding. Picking with his teeth, playing the guitar behind his back, note-for-note PERFECT. He has been on tour with Michael Jackson on the 'Thriller" tour, and lately he has been touring world-wide with his blues band. You must see this guy live to believe it. No studio tricks, he should be Top Ten rated.

When I tried the two CDs in the car, the 'Best Of" version sounded better. Probably because of the loudness type volume control - more bass with the volume control turned down.

The older CDs sound better on Khorns.

The mastering process is the final step in creating a recording. With vinyl, the task is to cut the master disk so that the groove can be tracked by the phono cartridges used in playback systems and to allow enough playback time per side for the music being mastered. With CDs, instead of using the full 90+ dB possible on a CD to create discs with uncompressed dynamics, the mastering engineers heavily compress the dynamics, employ spectral shaping, and use various forms of limiting to create the loudest disc possible. I noticed this the other day while listening to some 10 year old CDs and comparing the same songs to those on a recent "best of" CD. Has anyone else noticed this?

Remember, if you purchase one of this company's items, you are buying a BoSe product.

Here's more: http://www.kettering.edu/~drussell/Demos/superposition/superposition.html