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Found 68 results

  1. I want to recap for Klipsch Forte. There are the original Forte's (not Forte II's). Please let me know the cap values
  2. I have three pairs of RP-140SA speakers in my 7.1.2 set up and I am having trouble with the crossover setting for the RP-140SA. According to the spec sheet, the frequency response for the speaker, "conforms to Dolby Atmos Specification." Apparently this is some secret thing because I can't find it anywhere, at least for home theaters. My pre/pro does the auto-eq routine but like most, it varies and sometimes the RP-140SA crossovers are calculated at 40Hz (yeah right!) and sometimes they are 120Hz + or - 40Hz. I don't know why it's some secretive thing, but it would be nice to know what the bottom range is so I don't over-drive them. Does anyone know what the low end of the frequency response is? I'm sorry to sound like this, but I just find it frustrating that this basic number isn't published on Klipsch's or Dolby's site.
  3. Hello All. I've been searching, without any success, for a crossover schematic for my Tangent 30 speakers, and am hoping that someone has one handy. The crossovers in my pair of Tangent 30 appear to have been modified, as the capacitors don't match from one to the other. Any help with this would be much appreciated, as I don't think there is a schematic available for any of the Tangents other than those that use the drivers and crossovers of the Heresy (Tangent 400, 4000). Thanks in advance! Cheers, Tiz
  4. Bought these from another forum member, but project plans have changed. E-2 crossovers recapped with Dayton 1% capacitors. Ready to plug and play. $100. shipped lower 48 states
  5. SOLD check is in the mail PAIR of TYPE A/4500 Crites CROSSOVERS: FOR SALE $110 plus shipping lower 48 only. LIKE NEW USED ABOUT A MONTH WENT TO Bi amp NOTE: REQUIRES THE USE CT125 or CT120 TWEETERS. THE STANDARD K-77 TWEETERS MAY BE DAMAGED BY USE OF THIS TYPE CROSSOVER.
  6. Finally, after a year with my 1988 LaScala, I replaced the AL type crossovers with a constant impedance set. I took good care to simulate and then measure the results and i am now an happy camper :-) I decided that a fix L Pad will be my preferred way to attenuate the mid range. The original attenuation was 6 DB, but in order to make them more lively, I opted for a 4 DB pad. What are your preferred attenuation? Dan
  7. I have a larger (33x15x9) room and a new set of Klipsch RP-600m speakers. I also have a pair of 15" downward-firing subs. My crossover (JL Audio CR-1) is capable of discreet R/L stereo bass management. At what frequency should this pair of satellites be crossed over to the subs for stereo audio use only? I've had audio amigos advise me that I should set the crossover as closely as possible to the -3dB roll-off point of the satellites, but as I see it, this has numerous potential disadvantages: 1. The acoustic roll-off of the speakers will be added to that of the upstream electronic crossover, causing asymmetrical crossover rates between the satellites and the subs. 2. The intermodulation distortion of the satellites will be increased because of the higher woofer excursion on the satellites. 3. The single 6.5" woofers of the satellites will be stressed at high volumes in my room. I've (conversely) also had other audio amigos recommending to me that since I do have two subs, and because those subs will (initially) be located as closely as possible to the satellites, that I set the crossover to as high a frequency as possible (150 Hz. with the JL). As I see it, this does have some advantages, but also some disadvantages: On the plus side: 1. The intermodulation distortion of the satellites should be minimized because the longer excursions required for lower bass will be handled by the subs (whose larger cone area will minimize distortion for the same volume). 2. The amount of current required to run the satellites will be greatly reduced allowing the use of much lower wattage tube amplifiers if desired. 3. By judicious use of the phase knob on the sub's plate amps, I can move the subs more independently of the satellite locations. But on the minus side: 1. Having a higher crossover frequency may allow the transition from satellites to subs to become more audible. 2. At higher frequencies, acoustic localization of the subs may become more likely. 3. The downward-firing design of the subs may muffle the higher frequencies. The specific subs being used are Powersound Audio S1510DF models, a sealed-box design that has worked well in my room before. I plan to use the JL crossover with 24dB / octave slopes, rather than the more ubiquitous 12. So noting that movie soundtrack use is NOT a priority for this system, where should the crossover point be set? Thanks in advance for your help - Boomzilla
  8. I am looking for a pair of ALK Crossovers for my La Scalas. Let me know what you have.
  9. Hi there I have a Marantz SR-7010 receiver and I added the following speakers: Floor standing Klipsch RP-280f Center Klipsch Rp-450c Subwoofer Klipsch R-112SW I run the marantz audyssey setup and then went manually to touch the central speaker and raise it up 5db more. Im quite happy with the movie dialogs they sound crystal clear but I need to still tweak the subwoofer a little more. I want a more tight punch. My speakers are set to small and the crossovers are: Rp-280f says fullband central 40hz and then in the sub config its LFE 120hz (at the back of the sub I have the auto OFF, phase to 0 and gain around 3/4db. that according to audyssey its 75db) Any hint in how to configure correclty this set up for a tighter punch. Room size is 20 square meters approx. If you need any other detail let me know, thanks a lot
  10. SOLD - Thanks for the interest! Chrous ii Crossovers (Pair) - Removed from a second-hand pair of Chorus II's, that were replaced with Crites. Both were in working condition prior to removal. Not Tested - Sold As-Is. Contact me for more pics. Make me an offer!
  11. Hey Everyone, I had such a great response from the forum last time I posted here that I decided instead of again suffering too much trying to figure out the answer myself I would again ask here (see below for my previous post). There is such a vast wealth of knowledge and experience here that I would be foolish to not ask for your insight and ideas. I want to do a refresh on my Klipsch Heresy I speakers crossovers, they haven't been touched since they were produced in 1977. I have decided that I want to do the following: - replace the Capacitors (100%) - replace the wire (maybe not but I kinda do) - understand what those strange things are look like metal frames holding a wound up paper with wires going into it (there are two of them, and they are the only other thing than the capacitors in the crossover, can these fail? should they be replaced?) - any success with replacing the terminals on the back of the speakers? Is this necessary? I feel like to be sure it would be good to replace them, but I hate the idea of changing the speakers too much, especially externally. So from what I understand is that many consider the Sonicaps too bright and therefore I have leaned towards two options: - Mundorf Silver in Oil - Jensen NOS Paper in Oil (if I can secure them) So the questions that I have currently are: - Have you tried the Mundorf or the Jensen? What caps have you had success with? - I need a parts list with specific measurements required and I can't decipher a electronic schematic, thank god I have a good and honest tech here locally so I can get the work done, soldering, ect. - any suggestions for wire that I should use internally for these speakers? I understand that it is better to have a bit of a smaller gauge especially when using a tube amplifier and highly efficient speakers. Should I keep the original? These speakers are in surprisingly good condition for their age... I'll ping the stand up guys that helped me the first time. Thanks guys! @JohnA @jimjimbo @CECAA850 @MC39693
  12. II have recently acquired a pair of consecutively numbered (164 & 165) Klipsch Model H speakers. I have found some information on them, but had more questions. It seems there were 18 of the 8" versions of these, but how many where made of the 12" in this style? Is there more information about various drivers in these? Based on looking at the screws before opening, they don't seem to have been opened before I took the back off of one, but the 12" driver is a Cletron Cathedral. The nuts holding the speakers all have the same amount of white corrosion too. Did this brand of woofer show up in other early Klipsch speakers? Lastly, I will need to change the capacitors. One has a 2uf with two taps and wires going to each of those. The other is 4uf with one tap where two wire attach, and another wire going to the metal can of the capacitor. I'm curious how to wire modern caps in place of these, I have an idea, but would like to hear other thoughts to be sure. Mostly I wanted to share photos since there aren't many of this model that I can find, and I didn't see any photos of the inside. These are extremely clean all around, excellent condition of wood and cloth.
  13. New to me set of Belle. Sold my Lascala last year, and been sorry I did so. Saw a set of Belle on local Craig's and jumped. Matching veneer, type AA xover...question: It looks strange... square caps, 2 sets of protection instead of the 1 I'm used to seeing. Anyone know if these are stock? Nothing like them online that I can see. Paperwork with these is dated 1971. Serial 306 and 307. Also, when I had the lascala, I bought xovers from Alk, and mid lense fastrac lascala from Fastlane. Is it ok to run the xovers and lense in these Belle? Providing I can fit it in there.. Any opinions appriciated.
  14. 3-Way crossover/balancing network for Klipsch LaScala, Belle Klipsch or Klipschorn. Can be configured for either 4500 or 6000 hz crossover to the tweeter. NOTE: USE OF STANDARD K-77 TWEETERS CROSSED OVER at 4500 hz IS NOT RECOMMENDED. DAMAGE TO THE TWEETER MAY OCCUR. Very good condition. Very limited use. $179. Price includes shipping. Shipping within Continental US only. Also available for local pickup in the Washington, DC Metro area. Cash only. https://critesspeakers.com/crossovers.html https://critesspeakers.com/bk-sound-type-a4500-crossov.html 1) 400/4500 Each of the Red and Black wires marked “1,2,3 and 4” are connected via the Male and Female quick connect ends 2) 400/6000 Disconnect the Red and Black wires marked “1,2,3 and 4”. Connect 3 Red and 4 Red.
  15. Crossover images for those wishing to complete the circuit documentation.
  16. Have had a crossover project in the works since I became the owner of the La Scalas That project was to make the ( originally two piece ) gentle slope exposed crossover fit into a single board design that will be exposed to view & showcase the crossover and have easy access to the Autoformer attenuating section for db adjustments as required I am more versed in Mechanical Engineering so I have employed an associate to build the crossovers for me for a small cost and the offer of a listen on the system when it's all connected up The Crossover design is loosely based on the ALK gentle slope type AP12-500 & AP12-6000 configurations As all the drivers in my speakers are not standard - some changes needed to be made The original design of these crossovers was - as a two piece system as that fits the Klipsch Heritage range We put our thinking caps on and have come to a design agreement and tweak for a single board based on Troels Gravasens observations as we have plenty of available board space We have designed this build as a single board - all coil distances are to Troels recommendations The layout design was made maximise neatness and avoid component interaction. We did not forget that the attenuators being transformers also need to be treated as inductors for spacing issues. Soon after we simplified the connectivity of all three driver sections on the crossover alleviating many connection points, and a new schematic was drawn up (I won't post the schematic as ALK the designer has removed them from the web site due to plagiarism) This crossover still has the separate mid range and tweeter attenuation features for fine tuning First we did a basic layout of the components on the floor with the view to tweak as needed for best performance and fit A close up of the tweeter attenuator - This component will allow me to tweak db volume to suit speaker placement and room size The coils for the Bass and Mid sections are hand wound and weigh over 3 pounds US -approx 1.5 kg each We chose and used a good speaker colour match plywood board - and started the component fit You will see a set of wire cutters and the tape measure @ 500mm to judge scale The crossovers are finished - my associate has done a fantastic job and has emailed me a couple of photos of the finished crossovers For all soldered connections Mundorf Silver/Gold solder was used I chose to use a Duelund resistor to service the Bass & Mid range Top side layout Underside Will apply finishing touches in the form of - 1) A frame that will incorporate in the design grab points for easy lifting 2) When funds allow I will have a perspex cover made for dust protection ( like a TT cover ) 3) Labels for connection identification points 4) A Klipsch logo or badge to each board as a finishing touch
  17. I have a pair of 1984 first gen KG4's (even though they are listed as starting production in 1985, the labels on the back say 1984). I never liked these speakers! They sounded very harsh and edgy, yet yielded a very good sound stage, but they just fatigued my ears. Five years ago I read on one of the Klipsch forums about Bob Crites having designed and contracted a fabricator to make a titanium replacement for the phenolic horn drivers showing scope readings of a virtually, very flat response on supposedly sounding much smoother and liquid. For about $50 I ordered the pair and swapped them in and everything that people were saying was true. Very smooth, open, and airy, but without the jagged harshness. It was like listening to a completely different speaker -- one I fell in love with and became my main speakers. A couple of weeks ago, I read about the capacitors loosing their life around the 20 year mark and it hit me that the caps in my 1984 KG4's are now 31 years old. When back to Bob Crites' website and for $100 I could send him the original networks for a cap replacement, or for $200 I could receive new networks with all upgraded materials including new chokes, etc. -- I opted for the latter. I ended up removing all of the old “stacked-up” networks of this first gen that had everything glued up in a pile on the back of the input panel – turns out that the choke and transformer? (coiled bobbin) just popped off the plastic input back panel by prying a flat head underneath them and giving a little twist, removed the 3 screws, popped off the one cap that was glued, and cut the wires to the terminals. Then new network board fits on the wood floor of the bottom of the cabinet attached with velcro. After I finished wiring the first cab, I decided to do an A/B comparison between your network and the original 31 year old network. I conducted a very good test condition by putting on a mono LP, The Kingston Trio, and threw the balance knob Left/Right to compare them back and forth… let me tell you something, it was a dramatic difference! The old network sounded like the banjo was being played underneath a quilt. So, even though the speaker cab with the new network sounded brighter, and more open and airy, I would say it wasn’t adding anything, but simply allowing what was naturally in the recording to come through, whereas, the 31 year old network was not allowing all the highs to pass through to the horn. When I listened to the speaker cab that still had the original network, it was a kin to turning the treble control about 3/4’s the way down. As far as the bass, I’m not sure if it’s in my head or not, but it sounded a little tighter – just as strong as before, but with a little less resonance. Once again, Bob Crites has amazed me with his quality designs and engineering. I now have the ultimate KG4’s with Crites’ titanium horn drivers and upgraded, new networks! BTW, they are works of art just to look at (see before and after pics). And because the new networks are mounted on new cedar boards, they smell good too! I’ll never have to worry about moths in my speaker cabs I'm sure all of you know about Bob's Klipsch upgrades and maintenance services, but just in case you don't: www.critesspeakers.com Original 1984 network: New Bob Crites network:
  18. I just bought two Klipsch F-28 floor speakers. I am having a hard time figuring out the best setup as far as settings and crossover. 1) Set the speakers to small or large ? 2) If set to small what crossover is good to ensure I still get great sound from the speakers and deep bass from the sub? 3) My Sub has a r and L input and a LFE input - currently I have it from the receiver sub out into the subs LFE. 3) Does the sub always receiver a signal even if the front speakers are set to large. Meaning, I thought that the cross over setting just filters out the signals for the speakers it is set for and doesn't actually send the filtered signals to the sub-woofer, the sub-woofer is its own channel and signals will be sent to the sub no matter what the cross over for the speakers are set. By setting a speakers crossover you are just saying cut these frequencies out – not cut them out and send them to the sub instead (Is that right?) I have: · Receiver: Sony STR-dn1050 · Front R/L Klipsch f-28 (maybe I need a better model with a separate mid-range driver) · Center: Mirage OMD-C1 · L/R surround: Mirage Nanosat (I want to get new Klipsch surrounds once I figure this out) · Subwoofer: Infinity PSW310 10in Thanks!
  19. I'm looking to revamp my modified K-Horns with new crossovers, and was wondering if anyone has tried Al's economy crossover? It looks like everything I need (squawker and tweeter attenuation). Just wondering if it would be appropriate to use with the non stock drivers in my system? I am currently running Crites cast woofers, Selenium D405 mid and Selenium T220 tweeters on custom made tractrix wood horns. My current crossovers are universal type 400/4500 crossovers. I want to go back to 400/6000 crossover points because I'm changing my listening room to a smaller footprint and will be more of a close range listening environment. Any input would be greatly appreciated.
  20. I'm selling my barely used B2 crossovers by Aletheia Audio. I installed them mid August (sounded wonderful) and then bought khorns 3 weeks later. Maybe 20 hours on them max. Built with Jensen, Dayton, and paper in oil. See pics. There are holes in the mounting board as I did install them. Asking $585 plus shipping (net to me if using PayPal).
  21. I just purchased the speakers mentioned in the title for a home theater setup. I will be using it mainly for movies/games and have a pioneer elite VSX-LX302 receiver. i ran through the MCACC calibration and it set my front R-26F to large and others to small with 100Hz crossover. It seems a little heavy on the bass with this setting and thought I would change the R-26F to small but I can only set one crossover setting for all speakers. If I keep it at 100Hz, is it even worth having the floor standing R-26F speakers? Or would I have been better suited with bookshelf speakers? Any help with crossover or bass knob settings would be greatly appreciated! R-26F = 38Hz - 24kHz R-25C = 82Hz - 24kHz R-14S = 83Hz - 24kHz R-12SW = 29Hz - 120Hz
  22. I recently hit the jackpot on craigslist and scored a complete system for just $299. The insane part is when you hear what the main speakers are. Mains: RF-7 Center: RC-3 Sub: KSW-12 Surrounds: RS-3. Receiver: Yamaha RX-V2400 EVERYTHING TOGETHER for only $299!!!!! And they're in good shape. He just wanted them out of there. Or his wife did. I already sold the sub and the receiver so I'm almost down to $0 for the RF-7s!!!!!!!!!!! Now, to see if I can upgrade the crossovers on the RF-7's. I tried to call Dean using the number and email listed on his facebook page but the number didn't work so I shot him an email and message but haven't heard back yet. Is he still doing crossovers? Or are there details and instructions somewhere so I can buy the parts and do it myself? Thanks!
  23. Hello Klipsch audio community, this is my first post here - actually I made an account specifically to ask about this topic, which has been mystifying me. I pick up multimedia speakers at my local thrift stores quite frequently, and Klipsch ProMedia speakers are a common sight (people seem to get rid of them because the pots on the control pods go bad). Usually I end up with a large number of ProMedia satellites with an odd mixture of subs and control pods, so I mix and match until I end up with complete systems, which isn't very difficult. I quickly noticed, however, that there seem to be a noticeable difference in tonality between some of the satellites - and the differences are often split between satellites from entire sets (for example, the 4 satellites I picked up from a ProMedia 4.1 set sounds noticeably brighter and louder than the satellites I found from an old ProMedia 2.1 set from the early 2000's). I know that companies often do iterative updates to their products' internal components, and I wanted a way to be able to identify the different satellite revision(s) so I can match them properly when I put together systems. After finding absolutely no cosmetic differences in the satellites' exterior, I decided to open them up... and what I discovered was a bit, well, surprising. In the photo attached below, you can see two satellites right next to each other. They look identical on the outside. Opening the first satellite, one can see a circuit board to handle the crossover. It appears to contain a capacitor, a resistor, and an inductor, pretty standard affairs for a crossover circuitry. Opening the second satellite, one finds that the entire circuit board to be missing. In its place is a single bipolar capacitor, manufactured by Bennic. My guess is that the first satellite is in fact the older version, because the circuit board is screwed onto two plastic mounts that, in the second satellite, are still present but unused. When I first started researching the topic, I came across an old discussion about the ProMedia 4.1, which was stated to have "improved crossover frequencies". Coincidentally, the first time I noticed the tonal differences in the satellites, it were ones from a ProMedia 4.1 system (containing the second version, with the single capacitor). I currently have 18 ProMedia satellite speakers on hand. I have opened up every single one, and found that 12 of them were of the second iteration, while only 6 were of the original configuration. So the "new" version has been around for a long while. I am not an electrical engineer, but a quick read on how crossover circuits work showed that inductors act as low pass filters (becoming more reactive as frequency increases), while capacitors act as high pass filters. The fact that the inductor and its companion resistor are absent in the "new" revision of the satellites likely means that the full-range driver is receiving the full spectrum of audio signal (minus whatever LFE that's sent to the subwoofer by the filter in the amp module), including everything that's meant for the tweeter. This may explain why these satellites sound somewhat brighter (I am assuming the full-range driver can reproduce at least some of the treble frequencies), as well as louder (less components in the signal path, less resistance). Now.. I know audio companies spend a lot of money on R&D, so I am not accusing Klipsch of cutting corners or anything like that. My main question is... which satellite version actually perform objectively better? I do not have any instruments to measure frequency responses, but may be someone can look into this? And a question for Klipsch: What is the reason behind this internal change? Do the new satellites still perform up to THX specifications?
  24. My Audyssey microphone was DOA and I've been patiently awaiting it's replacement. I figure I can go the manual route for now. My setup is as follows and I was hoping you guys could help me with some of the finer details in terms of the crossovers, large/ small, +-db settings etc.., just to get a guy started. -Denon 4300H Receiver -Klipsch R-26 towers (x2) for my L & R (and currently setup as center) -Future state-Klipsch R-15M bookshelf (single) for center once we get our console table in place under the TV . Side Note- would it be blasphemous to have it on its side laying down to save on height? -Bose 161 (x2) for surrounds (hung on basement soffit ~6.5ft from floor nearly directly to the left/right of seating position) -Monoprice Caliber Series 8" ceiling speakers (x2) -Klipsch R-10SW Subwoofer (10") (x1) The main seating position is about 12ft from the towers and the sub, 7ft from the surrounds and 7ft from the heights. 12AWG connecting it all in wall. I’m setting this up as a 5.1.2 Atmos setup for movies and some gaming. Any advice is welcome. I’m a pretty technical individual, but not so much in the audio realm. So I can follow instructions, but coming up with the finer points myself will be a learning process. Thanks folks!
  25. Hi All. This thread relates to whether or not a rule of thumb can be established for safely lowering crossover frequencies by increasing crossover slope and/or reducing the wattage specification of HF compression drivers. I am currently stuck in a never ending search for a reasonably priced 1" throat compression driver that can be crossed over at 500 HZ, in a two way speaker system. I have another thread in these forums that has progressed to the point where I have a few general questions about HF compression drivers and their crossover specifications. I think that answers to these questions would be beneficial to anyone who finds themselves in a similar situation as myself. The following are my questions: 1. If a compression driver is specified as having a cross over at, for example, 1000 HZ @ 12 DB/octave @ 100 Watts, what would be an acceptable crossover frequency at 24 DB/octave? 2. If this same compression driver is operated at, for example, 50 Watts maximum, would a 500 HZ @ 12 DB/octave be okay to protect the driver from damage? If not, what might be a more acceptable safe wattage at this particular crossover frequency and slope? 3. If, like myself, you use DIY SET tube amps of between 2 and 8 watts, and have no intention of ever exceeding 25 Watts (I have a DIY Aleph J in the works), what does the specification of 1000 HZ @ 12 DB @ 100 Watts mean to my choice of a 500 HZ crossover point at 2 Watts maximum, 8 Watts maximum, and 25 Watts maximum? I am not sure what percentage of the wattage available in my amps will actually go to the HF compression drivers, but I would imagine that most would go to the bass bin. There are some manufacturer's spec sheets that give a clue to what the answers might be, as is the case in the following two Radian spec sheets, but it seems that Radian is the exception when it comes to showing this specification. Also, there is not a consistent change with respect to the rate of change in the crossover specifications for these two drivers. For example, the specification sheet for the Radian 651PB/760PB/850PB shows 1200 HZ @ 12 DB and 500 HZ @ 24 DB at 50/60/75 Watts respectively, while the 450PB/465PB/475PB sheet shows 1200 HZ @ 12 DB and 800 HZ @ 24 DB at 25/35/35 Watts respectively. http://www.usspeaker.com/radian 760pb-1.htm https://www.parts-express.com/pedocs/specs/manufacturer-specifications-44920.pdf At the moment I am at the beginning of putting together a two way speaker system with Peavey FH-1 as bass bins (they were delivered earlier today), and Altec 511B as a HF horn with Renkus-Heinz SSD 1800-16 compression drivers. I have a Behringer CX3400 on loan that has 24 DB/octave slopes, but I may go passive or choose a different active crossover when I get my own. I also have Altec 811B horns, which I would like to combine with a DIY bass cab to create a two way. I would also like to acquire either a Klipsch K510 or K401 in the future, and I will need 2" throat compression drivers for these horns, which will be used with either the bass bin portion of my La Scalas, the FH-1s, or the bin I build for the Altec 811Bs. Having the above questions answered could, depending on the answers, greatly expand the choices of compression drivers that would be appropriate for these builds. Thank you in advance for any information/answers that you can provide to these questions. Tiz
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