Impious

Looks great. I mentioned to Aaron a year ago that you guys needed to make the Dcon in a shallow mount, so don't mind if I take credit for these . Can't wait to see specs and mounting depth measurements.

Don't recone it. Sell the motor to me. Problem solved.

Once these get rolling, we will stock more color options. I am considering a full set of blue for my own car.Meh, I'd save you money. Finding properly shielded interconnects in our price range isn't very easy. With that said, our products are made with American labor while avoiding chinese parts as best we can and we offer a 5 year no questions asked warranty. SounDrive wasn't made to make money - it was made to offer a product that people can enjoy at a reasonable price while making just enough profit to justify our time. I've been in this hobby for a few years and never ran into a noise issue in one of my vehicles attributable to the RCA cables shielding. That includes the times I've wired my entire vehicle for less than the cost of one 17' SounDrive cable, which I've been doing for the past decade....and I use a few cables in my installs. Nor have I ever needed to warranty a cable. "Reasonable" price is rather subjective..... WestCo on DIYMA has some cockamamie ideas....

Model it. I wouldn't be surprised if the differences were small enough to be virtually inaudible.

ok I may be wrong but I thought adding more mass inside the box ie larger sub mass would lower the ports Hz not increase the HzEnclosure tuning will increase as enclosure volume decreases for a given port length and cross-sectional area. So if the new subs take up slightly more volume, then the enclosure tuning will increases slightly. The difference in your case is small enough it will not make an audible difference however.

Once these get rolling, we will stock more color options. I am considering a full set of blue for my own car. Meh, I'd save you money.

The point is your method doesn't help him, at all. It isn't the right way to do it with a DMM.

It's not important. At all. As long as you are happy with the sound. A better analogy is to say you are listening to a ported enclosure and you enjoy the sound. Does it matter if the enclosure is tuned to 32hz or 35hz or 38hz ? No. If you are listening to it an enjoy the sound, then what difference does the number make? The difference in your analogy is that we can't just sit and turn a knob with an enclosure to see how different tuning frequencies or volumes sound. It's not that simple, and the enclosure affects a lot more aspects of performance than a crossover. A crossover in your case really is that simple. Turn the knob until it sounds best to you. It literally does not matter if that ends up being 76hz, or 82hz, or 93hz. It does not matter. What matters is that you are happy with the sound. Stop worrying about things that don't matter and focus on the things that do. The frequency does not matter, the sound does. That is the problem with this hobby....so many people worry about the shit that doesn't matter in lieu of of the things that do. That's what we are trying to explain to you. Stop worrying about the things that don't matter. This is one of them. Set it to where it sounds best, not some arbitrary number you think it should be set to. Setting it to an arbitrary number doesn't mean you have it set correctly. Setting it to where you think it sounds best is the proper adjustment, whatever number that may be.

Not really. The voltage will start to decrease BEFORE the crossover frequency. The crossover frequency is the -3db point (for a butterworth crossover) not the point where the signal starts to roll off. There is a way to do it with a DMM though.

They are made from 1/8" ABS plastic, so they are thin and poorly secured and will resonant and vibrate like hell. They are designed to mount directly to the plastic door panel, which is also thin and poorly secured plastic which will cause the entire door panel to resonant and vibrate like hell. That's before we consider things like proper airspace, proper back wave separation, etc. If there were a list of terrible ideas to use when mounting speakers in a car, these would most definitely be towards the top of that list.

This. The number isn't important. What is important is the resulting sound. Tune it by ear to where it sounds best. That simple. Don't worry about what that number ends up being. As long as it sounds good to you, the number isn't important.

If anything is ever explained to you at work, assume that the truth is the exact opposite of what they explained to you. I don't think I've seen you state one "fact" you learned at work that was actually correct. They are filling you with misinformation, and that's just confusing you more. The sound radiating from a loudspeaker becomes directional as the wavelength of the sound wave becomes shorter than the diameter of the radiating diameter of the driver (i. e. the cone). When the wavelength is longer than the diameter of the cone the sound is radiated equally in all directions, which is called omnidirectional and this region is referred to as the piston region. When the wavelength becomes shorter than the diameter of the cone then essentially the sound waves from one side of the driver will be out of phase with the sound waves from the other side of the cone and cancellation occurs when you are off-axis to the driver (off to the side, as you mentioned). As you move further off-axis this affect gets worse, also as you go higher in frequency this affect gets worse. This is called beaming. So what does this mean, and why are they wrong ? Because it's not just dependent on the frequency, it also depends on the diameter of the cone. A smaller cone will remain omnidirectional up to higher frequency before it begins to beam. So just the act of being in the "midrange" does not mean the sound radiated from the speaker is directional, as long as the wavelength is longer than the diameter of the cone. And even then it's not a brick wall affect, it's just the point at which the driver will begin to become directional and the top end of the driver will begin to gradually roll off and be attenuated when off-axis. A 7" driver will beam before a 3" driver which will beam before a tweeter. Look at a response graph that shows both on and off-axis response to see what I'm talking about. A 3" driver is omnidirectional at 4khz whereas a 7" driver is not. A 1" tweeter is omnidirectional at 10khz whereas a 3" midrange is not. Since the sound we hear is the sum total of the direct and reflected sound, it's important that not just the on-axis frequency response but also the total power response (on axis + off axis reflected sound) be relatively flat. So even if the driver is aimed toward the listener, you would generally still want to avoid running the driver far into it's beaming region (a few exceptions that are outside the scope of this discussion). The reason the sound drops off on your home speakers is because they crossed the drivers too high and in their beaming region......most people would agree that's probably a bad crossover design. The Dayton, Fountek, etc are not "pro audio" drivers. That is a specific genre of high efficiency speakers for live sound reinforcement or other large venues (clubs, etc). The drivers you are looking at are just raw drivers, or "normal" drivers, or DIY drivers. But not pro audio.

Pulled a muscle or something at the gym tonight. My back, shoulder and neck hurt so fucking bad......

Likewise there's no point in asking questions if you aren't going to listen, either. You asked what we thought of your planned setup. We told you. Your response was essentially "I'm doing it anyways". Been down that path many times with people, no point in wasting time answering questions if they aren't going to listen to reasonable advice. You are severely underestimating the complexity of a 3 way front stage with a digital processor that has a wide range of features. Your experience with the KX3 isn't even relevant. Not only is it not in the same ballpark, it's in an entirely different zip code. What you aren't grasping is that if you ACTUALLY wanted to learn, you would cut your teeth on a high quality 2-way active front stage with a digital processor that offers a wide range of features. If you want a stereo that you can never get to sound right and confuses the hell out of you, stay the course with your plan.

Any chance you can just post what the T/S are, or link to a picture of them ?

I tried explaining that in his equipment choice thread. He wanted no part of it there either. So I exited stage left. Apparently he would rather have a terrible sounding 3 way than an excellent sounding 2 way.

Pretty sure he has a PhD in acoustics.

I think for your first active system you should not go 3-way, it's too complicated. I also think for your first active system you are spending too much on the drivers. Last, I think trying to go active with only the amp's crossovers and an analog EQ is a giant waste of time and effort and even more of a reason not to go 3-way. For proper imaging & sound staging and ultimately the best sound you will absolutely need time alignment, which you won't be able to do with your setup. If you are planning to go active, buy less expensive speakers to start and learn with. Save additional money by going 2-way, 3-way will turn out sounding like shit when you are a novice and you'll drive yourself insane trying to figure it out. You won't learn anything with it because you'll be chasing your tail the whole time. And spend that saved money on a decent active head unit or an external digital processor and throw out the idea of just using the amp's crossovers with an analog EQ. So in short, scrap your plan and start over. You were getting in over your head and the plan for the processing was not good at all.

I wouldn't say that. Those mini amps have the same board used by a dozen other companies, including Hertz. They work just fine.

Keep in mind the effect of a phase plug is still dependent on the size of the plug in relation to the wavelength. Even at 2khz the wavelength is too long compared to the dimension of the plug for it to have much of an effect on high frequency response. At 1khz it won't matter at all, the wave is over a foot long.

I'd have to run the numbers but 3% seems about reasonable for 100db sensitivity, which it's rated at. I wouldn't be surprised if that rated Xmax was peak to peak.....although that seems a little low with 8mm of overhang, I have a hard time believing it will do 7.4mm one way linearly. Overhang + 15% still wouldn't put it over 5mm one way.However, HOLY LOW Qts. I'm on the iPad so can't model it, but if you want any kind of midbass you are absolutely going to need to port those. Look at the posted FR graph, they're down like 8db at 100hz....and that's free air. Put them in a sealed enclosure or car door and it'll be even worse. At 100hz they are at 90db, that's the average sensitivity of a "normal" 8" midbass, and the "normal" midbass would murder it lower than that in anything other than possibly a ported enclosure. So you have super high sensitivity in the midrange but below average sensitivity in the midbass with that driver. Everything is a compromise in audio........

There is nothing inherently bad about them. They've served the audio industry well for decades. Most people like the pots more than sliders due to it being more difficult to "accidentally" change a setting on pot than a slider.However, all analog processors (slider, pot, etc) are simply outdated and surpassed by the performance and features of today's digital processors. And with the relative affordability of the digital processors, there's really no reason to even consider the analog units. Digital provides so many more features and options, some of which analog can't even really do or atleast do easily. For example you can't use time alignment with an analog processor in the line, and there's no analog time alignment. There are some analog phase shifters, but that's not the same as time alignment and those units are few and far between anyways. In order to have time alignment, which just about every car stereo does need, you have to be in the digital domain. And then the possibilities for EQ and crossovers in the digital domain blows anything analog straight out of the water.

I would highly suggest not to do so. I guess you "could" send you zcon to PSI, then order zv4 softparts, and send that to them as well. But, even still, the measurements might not line up, and could sound like poop. Well my voice coil is all messed up right now on the Zcon,so I'm thinking about an upgrade. I have it running on a 3500 no clipping and not ran below 12 volts I don't know why the coils are going out. One of the coils are reading 20.8 and changing constantly but the other coil is 2.4 a sign that it is also going out I just want something that can handle the power Lol. Installation issue man, not sub. I played my zcon full tilt on my bc5500 for 8 months. I have had this sub in my car for 1 year 2 months defiantly not a installation issue. If you have a blown coil, that is absolutely user error. Figure out what you did wrong or it doesn't matter what you put in next, the result will be the same. And don't recone it with anything but an OEM recone kit from SSA. Using anything else will result in a cobbled together POS sub with zero engineering behind the design. That's not an upgrade no matter what soft parts you drop in it. If you didn't want to wait for a recone, you shouldn't have blown the coil.

Have people done it before? Yes. Then your crossover is broke. If you had an 18db/oct crossover set at 4.5K, then electrically at 120hz it would be down 102db. Absolutely no chance adjusting the EQ at 120hz would affect the tweeter no matter how wide the Q of EQ as long as everything was working properly That would change the effective slope of the filter. So you could likewise and more easily just use a steeper slope on the crossover.

No. There would be no audible change. However, I do like it so that I don't have to worry about accidentally shorting out the unconnected yet still live speaker wires.