Impious

These compression drivers from RC's GN should fit in swift's truck no problem

Crescendo seems to really lay on the fluff in their subjective descriptions, so I'd put zero weight in those. It's nice to see the mid uses a shorting ring, though it doesn't say where in the motor it's used. Thickness of the ring also has an affect along with placement in the motor, so the basic fact it has one is no guaranty of anything. But at least it's a step in the right direction. I've never heard anyone claim a phase plug has an affect on transient response before....that's a new one that doesn't make much logical sense to me. I also wouldn't call a phase plug unique considering there are thousands of drivers that use one. It's acoustic affect on that particular driver is probably minimal given the bandwidth it's playing. I'm interesting in hearing more about the cone. Every "woven" cone driver I've seen actually looks "woven"....there is only one picture on the website and it's a side shot so the cone is hard to see, but it doesn't look woven. For example, here is an Usher that also uses a carbon/kevlar woven cone. Not sure if it's just a bad pic or if they use a non-transparent resin/coating on the cone. That said a carbon/kevlar can be a good cone material if it's properly designed (that's a big IF), though IIRC they are stiff and can have poor break up performance....which could raise some issues with the high'ish crossover point. Crossover, no pics and not much info. Would be interested in seeing some measurements of this system off-axis and the behavior of the mid. Reason I say this is because if we assume the cone is 5.5" in diameter, it would start experiencing beaming at ~2450hz which is more than a half octave below the crossover point. And 3700hz is pretty high for any 6.5" driver to play, usually they run into some cone break up and other FR issues before that point. Not much info on the tweeter, though I do find it interesting they talk about their measures taken to lower the Fs of the tweeter, and then cross it pretty high at 3700hz. Seems to me if the tweeter really performed well down low, they would have ran it lower in the set as I don't see the utility in a 3700hz crossover point other than protecting a tweeter that can't cross much lower.

BA in liberal arts? LOL....not that useless. Mine is a useful degree I just hate the field I sort of started myself down that path career wise and then didn't have the balls to change.

I hate my degree. Wish I could go back 12 years in time, smack some sense into my 18yr old self and switched majors.

Proximity is one of several things to consider. Frequency is another. In the midbass you are probably correct, in the midrange you are not. For example, 4khz has a wavelength of 3.375"....unless the center-to-center distance of all of the speakers on the same channel playing that frequency are within that distance of each other (which would be impossible with a 6.5" or larger driver, FYI), then you are going to have acoustic interference issues between the drivers causing problems in the frequency response which would be impossible to fix with an EQ.

BMS makes small compression drivers, but not car audio styles horn lenses. They are supposed to be really good though, and would be a viable option for compression drivers if he had some empty horn bodies.

You're not going to. HLCD + one large pro audio midbass per door is what I would do. Sound 1000% better than your plans and considering HLCD can get loud enough to literally deafen you output isn't a problem either. Can you link me to some good examples of these HLCD's you are referring to. Image Dynamics & USD are two main HLCDs. You can usually find them in the used market for ~$300 or so. Or you can even sometimes find just the horn bodies themselves & then get a compression driver from places like Parts Express. The large bodies play down to ~800hz with a good compression driver, sensitivity in the 105-109db range, controlled dispersion. They need some EQ work to sound great but even un-eq'd they'd shit all over a supertweeter.

You're not going to. HLCD + one large pro audio midbass per door is what I would do. Sound 1000% better than your plans and considering HLCD can get loud enough to literally deafen you output isn't a problem either.

Good, because it's not a good idea. The helpful advice is telling them when they have a stupid idea. This qualifies as one of those times. We aren't an answering service, we aren't required to answer any and all questions posed exactly as they are proposed. We are also here to help educate and assist in devising a better solution to achieve their goals when and where possible, and when people are willing to listen and understand why something might be a bad idea or why there is a better way to go about something. If that's a "problem" with this forum, then I'm happy to be a part of that problem. That's part of the reason a majority of this forum is better educated than the average member base of the majority of forums I've been on. If you don't like it, you aren't required to come here.

Designing a sealed enclosure and creating a cut sheet is a rather simple task. You should be able to manage it with a paper and pencil.

No, 2 sets would not be better. It would be worse, actually. Where are you installing....in doors, or in kicks? What is your budget?

One of the many reasons I dislike CDT They come up with sales pitches to sell people a bunch of speakers they don't need.

Right on US-12 by the railroad tracks downtown. Thought about stopping a few times but never got around to it.

That's interesting. There is a ton in metro Detroit. I don't even search out for them and I know of 4 within a 15 minutes of my house. Detroit is about 3x larger than Ft. Wayne, but the Fort is still about a quarter million in population so it's certainly not small either. I'd probably need to take off my shoes to count the number of audio shops I've seen come and go down there. It's difficult to even try to shop locally for simple install products, usually ends up being a waste of time & I end up having to order them online. Are you South of Ft. Wayne? I have two JL dealers within 30 miles here. We also have several shops and pretty much all mainstream manufacturers are supported except for Pioneer. Hell, my neighbor's son owns a shop and he makes bank. Of course he gets the cash only clientele if you know what I mean. No, I'm north. The store in SB is 102 miles away. I guess there is one in Sturgis according to the website but I've driven by it a couple dozen times & would be surprised if they carried any stock....from the outside looks pretty low end to me. Never stopped in there though.

That's interesting. There is a ton in metro Detroit. I don't even search out for them and I know of 4 within a 15 minutes of my house. Detroit is about 3x larger than Ft. Wayne, but the Fort is still about a quarter million in population so it's certainly not small either. I'd probably need to take off my shoes to count the number of audio shops I've seen come and go down there. It's difficult to even try to shop locally for simple install products, usually ends up being a waste of time & I end up having to order them online.

I would agree with Monte, there isn't much money in retail sales in audio anymore unless you happen to hit a niche market. To make money you're going to have to add value, offer something that the customer isn't able to do themselves. Generally that's going to be installing/box building as most customers are going to walk into your shop to get your advice on products and then turn around and buy them on the internet. If you make a name installing then at least you have the option of that internet-purchase being brought to you for installation. To add another point; You have to offer for sale what people want to purchase. Everybody has this idea they can open a shop and sell what ever products they like best and people will flock to them because they are "the best". In reality 99% of the market has no idea what these products are, and if their buddies have Kicker, RF, Lanzar, Pioneer, etc those are the products the customer is familiar with and the products they will want to buy. They aren't going to walk in looking for a $200 Lanzar Vibe and walk out with a $700 Sundown. If you don't have that $200 Lanzar, they are going to walk out the door empty handed. I live within 30 minutes of the 2nd largest city in my state, and in that city there are TWO car audio shops left....10 years ago there were 7 or 8. Of those 2 shops, one is mostly home entertainment and as far as car audio goes has 2 headunits and 3 pairs of coaxials on display; the other is half car audio and half tool sales with no active display. Point being neither of them rely on car audio sales for a living. Both carry nothing but low end equipment or the lower end lines of mainstream companies. I don't have a JL dealer within 100 miles.....and they are the poster child of mainstream mass marketed car audio equipment.

Never used either but the owner of Skar is a jackass so the best way to spend money is to not spend it on his products.

It's still a mono amplifier. Those two sets of connections aren't individual channels; they are paralleled internally. It is simply to make it easier to connect multiple subwoofers to the amplifier. "Bridging" implies 2 individual channels. That's not what this amp has. It has two sets of connections, but not more than one channel. So you aren't bridging this amplifier.

M5 and 95Honda both hit on my main points. Accuracy of the equipment and load, basing the measurement on a visualization of a waveform on a O-scope of probably not great resolution, along with maintaining proper supply voltage throughout all of the tests are all issues. A long with that, clipping isn't a THD measurement so trying to compare these numbers to rated power or even necessarily usable constant power isn't going to be possible.

Do you already have the Polk? There are a few choices I would probably go with over that driver in a comparable price range.

Moved to the Crescendo section.

Do you plan to use the system strictly for music? Or will you be using it for movies as well?

Really has much less to do with technology and more to do with the variables involved. There's no easy solution, other than using your ears and head to set the gain.

You can do something a million times, means nothing if you've done it wrong every single one of those times. Glad to see you rejoined the conversation 4 months later. Hopefully the OP ignored your bozo advice a long time ago

You're missing the point entirely. You don't need to do this. No reason to. It won't help you. You'll gain nothing by doing it. You won't retrieve any useful information from it, and it won't help you set your gain. And no, you can not truly measure power output with a DMM. You can measure voltage output from the amplifier with a DMM, which if a subwoofer was a resistor would allow you to calculate power. But a subwoofer isn't a resistor, so in reality it turns out to be nothing but a guess. It also assumes a constant rather than dynamic source, which music is dynamic so again not helpful. In addition to that, if you set the gain with a DMM there is absolutely no reason the gain is inherently set "correctly". Forget about the measurement. Forget about the DMM. Set it by ear and use your head.