glens

Paralleling always drops the ESR. Didn't know if you knew that. Much like the office gal at my first "real" job who got a raise which bumped her into the next tax bracket, resulting in a smaller paycheck (she was livid!), "lower ESR" just might require padding change for "proper" voicing. As I've been saying...

Not suggesting that at all. In fact it would be required to emplace a 1 x 4 or so on edge behind the lower mid horn flange in what's been shown way above. With holes drilled behind the t-nuts for screw clearance. There would be nothing but limp noodle effect without it. Wouldn't hurt behind the top flange as well. Certainly could get more elaborate as you've done, though I might not were I doing this "upgrade."

Except for the fact that "conventionally" locating them will allow for only an edgewise shelf/brace behind the motorboard between the woofer and squawker (perhaps as well between the horns?), after enlarging existing holes as necessary. The "swapped" implementation will require a replacement motorboard entirely, to do it right. Good enough is good enough.

For that last post I was sitting in my vehicle in the parking lot for lunch, enjoying smoldering tobacco. Now I'm home in my garage doing the same, only this time I have the benefit of a couple swigs of whiskey. Continuing the thought process, let's consider the same symphony orchestra, only this time including multiple "close" mikes (either in addition, or "singularly"). Conventional speaker/listener locations. How is it going to be possible to ensure "absolute phase" now? Dean replied during that last sentence. At least that's when the notification appeared. Let's see what he's said...

Whether the initial pressure response of a waveform is negative or positive as it hits your ear will depend on the distance it's traveled, and of course the frequency. So as you move around (even if it's only your head, a little bit) "absolute phase" is a moving target, is it not? Also, the concept somewhat reminds me of perhaps the primary issue with "hi-res" recordings, that being the provenance. Here's another point to ponder: consider the issue of a recording of a live symphony orchestra. Let's keep it's simple and say there's just two microphones hanging to make the stereo recording. Do your speakers then need to be suspended and aimed at the ceiling (the same axis of the mikes) using absolute phase to continue the image as seen by the mikes? Or if you position the speakers and yourself conventionally, how is it possible to really obtain a great image of what went on (as if you were in the audience)?

Do those connectors have an internal wedge that expands them once they're inserted?

You're very welcome, my friend. Glad to be of assistance. If the forum were geared toward amplification design/implementation it would be pertinent. In fact, I'm pretty sure there's at least one forum on this site were it would belong.

Never done speaker grilles but have done thousands of yards of carpet. Can't imagine it would be any different. One man's "best way" is likely another's "WTF?". I'd start on one side, pulling it tight from corner to corner then anchor it straight. Then one of the adjacent sides complete. Then the next available long side complete, and finish by straightening the last short side while anchoring it. Essentially dealing with triangles on the two middle operations.

I don't believe anyone's denying that, but in a crossover network where the signals are done being amplified it just doesn't matter if a couple microvolts of noise gets picked up. And even if it were drained to ground, that ground is typically several feet away anyway... There's no difference in sound quality either way, so that's also not a factor. This is such a non-issue for the proper topics of this venue.

That flyer image above fails to mention that the voice coils are (at least were) made with rectangular profile wire wound on edge. In my opinion JBL's drivers, at least of that era (lost touch sometime in the '80s) are the best available. I have a pair (in long-term storage since the foam surrounds disintegrated) of their smallest studio monitors from that timeframe. Beautiful cast aluminum baskets with a magnet structure using ALNiCo magnets. The magnetic field is focused entirely around the voice coil. You can take a handful of paper clips and throw them at the rear of the driver and every one of them falls away. Do the same at the front of the driver and they all stick in a circular pattern around the voice coil. I'm a huge fan of JBL of that era. They generally kicked butt on everyone, including Klipsch. Put those lenses back on the L300s, refresh the crossover caps, and enjoy! Who cares what the cabinets or grilles look like!

How about inductors? Should you feed the outer or the inner wrap?

Too bad you can't make fun with them now... Since you've opened the can of worms in public, please do follow up with the info about your eventual result. Closure is good.

I'm pretty sure that video link surfaced in the previous capacitor-orientation thread... Pertinent, perhaps, in a gain circuit but most absolutely definitely not in a crossover, yet again.

Correct. I realised afterward I'd meant to use the term "circular" but didn't bother to fix it since it'd been quoted already.

I love it! The driver fastens to the back of the horn, and in front of the horn mounts the lens. Does everyone who calls the "horn" a "lens" see this? I sure hope so! In answer to the question, it sure couldn't hurt to try it. Though those lenses were designed to disperse the pattern of a conical horn, and they may not be as effective for this application. Also, you wouldn't want to create a lopsided presentation off axis - that JBL tweeter was pretty good horizontally. Personally, I'd be inclined to get the L300s up and running again unless some fool (in my opinion) has already parted them out and the lenses are all you've got... Except maybe for efficiency they'd likely kick butt against a Cornwall, especially a Forte or Heresy.

Totally unfamiliar to me. So it could be the power supply in the one amp... More options!

John, back around '95 I spent several months with my sister and her husband out in Jackson WY (helping him fulfill his many painting contracts he got all at once when starting a business). One of the customers had a hunting lodge up in the mountains where I spent a weekend. After the evening meal was cleaned-up-after the generator was shut down. When I stepped outside to go to my cabin, at that high altitude with no nearby light pollution, there were so many stars that I couldn't even pick out any familiar constellations, much less find Polaris. You just made me recall that...

Assuming you live somewhere above, what, 27 degrees north?

That's only going to be true if you run an isolated line from your generation equipment to the power company. If you're producing more than consuming at any given moment you should be seeing zero utility-supplied juice, and your nearby neighbors will be seeing a mixture. So your noisy power, to the extent it is so, will be affecting their audio gear (if it does so at all). And has been said, the utility will only pay you wholesale rate (effectively), so whenever you're overproducing the power company will be making profit all the same off your neighbors for your juice. When I was working at some large coal-fired generating stations out west years ago we'd get calls all the time from "the grid" telling us to put the pedal to the metal, or to back off... whatever. Change of running state like that is what causes the floor operators to earn their money harder than usual.

If the driver "was playing lower all together" means the full range tonal balance was still intact, then I'd guess it would exclude the driver itself and concentrate upstream. A sticking or overheated voice coil would not "pop" and return to normal operation in my experience. In fact, the "pop" in and of itself would lead me to investigate electronics, not the driver. If the power supplies in the electronics are common to both channels in each unit, then it would definitely be a gain stage or leveling control somewhere, since only one channel was affected. That's the methodology I'd use to investigate.

I had in mind this part from the article: And was rather seconding his motion.

Quite a bit beyond "refurbish"ment, but congrats. If a room kills bass the room needs fixed, tone controls or e.q. won't make it right, at least not everywhere.

I believe he said what happened was all the error was thrown to the inside of the driver enclosure, giving it a marginally smaller internal volume.

I love it when makers of proprietary schemes try to get them "standardized"... (not!) Mandated money in the bank for some entity ought to be disallowed.

That would depend on the DAC's networking capabilities. Some are connected to the Internet and can be told what to fetch and play by using a "control point" (like an app on a phone/tablet), which is what I'd recommend.