helotaxi

My first big system was a cut-through in an '85 Ranger. Full cut-through, not a blow through. Box was bolted to the cab but extended into the bed. The amps sat in front of the subs and everything was clearly visible behind/between the front seats. Got pretty loud for the time ('96) and a sealed setup using JL subs. It moved enough air that it would blow out a match in the space between the front seats. Magic-marker, tape, a straightedge and an airsaw. Get to work.

I don't remember Orion ever making anything really big. Clarion made a 32" sub. It was a total gimmick and struggled to mantin its composure on a paltry 300w but it would go LOW. A shop in my hometown got ahold of one and had it in a proper sized sealed box in the display room. The box was about the size of a refrigerator and they had it on casters so they could move it around. It was able to hit the resonant freq of their suspended ceiling. Knocked out all the tiles around it. Kinda funny to watch.

Not all amps have internal fuses. The Zed amps fall into this category.

I think "wrong forum."

There are two kinds of phase: absolute and relative. Absolute means that the speakers move together. Realtive phase means that the signals from the speakers are in phase when the sound gets to your ears. This will vary with the position of the speakers and where your nugget is in relation to the speakers. Many times in absolute phase is out of relative phase. Relative phase is what you hear and what matters.

It could be an A/B. I can't find anything definitive either way on that.

A car's resonant frequency is not something you care to hit with your system. It is the freq at which the panels will sympathetically vibrate and the car will destroy itself. What you are looking for is the peak in the transfer function. That will vary depending on the size, location and facing of the enclosure.

If you were to plot it as a function of power response, or on a linear scale (rather than logarithmic scales as octave and dB scales both are) it would be an exponential decay. F3 is not a spec of the driver, Fs is. F3 is a spec of box/sub combo and is the point where the response is 3dB below the normalized level. It is usually referenced as the bottom of the usable freq range (3dB is a 100% difference in power after all) when talking about box rolloff. This will change in-car vs large room as the cabin gain of the car will extend the usable bottom end fairly significantly in a sealed system (not as much in a ported setup because of the phase cancellation from the port below tuning). The other significance of the F3 is the rollof does become constant below that point. There is rolloff above the F3 but is plots as a curved decay rather than the linear (on the normally used scales anyway) decay below that point.

The DLS is a Class A/B. Gonna suck some juice. The Audison is Class D.

Still doesn't make them good

All the JL surrounds are and always have been foam. They do have a tendency to deteriorate after a long time inthe garage. I had a set of W6s that went to hell after 5 years in the garage.

Getting the sub and port in phase is part of the issue. Getting the peak of the box in line with the best peak you can get out of the sub and the transfer function of the car is another part. Getting the standing wave node at the exact freq of the other parts at the mic location is the homerun. You can helo yourself with the port sub phase thing by running a phase plot and accouting for the phase difference at the peak freq with port and sub placement in the car.

Amps will produce more distortion into a lower impedance load and will also run hotter (think JL Slash series or PG Xenon series which do the same power regardless of impedance) becuse there is more current running through the power supply and output devices. The difference in distortion is going to be inaudible with a good amp, but the difference in efficency can be pretty big.

I was really liking it up until I saw the sub box. Just doesn't fit with the rest of the install or the car, for that matter. The amp setup looks great.

Thanks to all.

pi* r^2 would give you 108 in^2 where'd you get 350.

The question becomes "why?" Most dual mid setups I've seen have been a mid bass and a midrange coupled with a tweeter per channel. Each driver plays its own set of freqs. For a dual tweeter setup to sound good, you'd need to do the same. If the first tweet can't play up to 20kHz, why use it at all? It would really just be an extended range mid at that point anyway.

Where'd you get those numbers? Is the 355 supposed to be the cone area of the sub? If so, you're not even close. A typical 15 is gong to have a cone area around 110-115 in^2. 100 in^2 should be plenty and give you a managable, though still pretty long, port.

Clipping increases the average power beyond what it would normally be for the amp's rating, therby sending the sub more power than the amp should be able to produce. If this excess average power is more than the sub can handle the result is a cooked coil.

That give you a guide but not a square cut. That only works if you have a square edge to start with. He's already stated that he didn't. Haven't seen a chop saw with a 13" cut depth. Most only have a 10" blade.

Add more matt. Can never have too much matt.

Not to be an ass, well OK maybe a little to be an ass but it really bugs me, it's WHICH not WITCH.

Neither looks like it will be anywhere near optimal because of the port placement. No way into the cabin.

You said he's a rich kid, sue his parents and/or him. If his parents paid for his car, they're liabel.

Nice custom body work there, Troy.