dave_Edwards

why do you think you need 1200 watts on a Brahma?----yes they can hold it but you have to reolize you will have to do some major overhauling of your electrical system to run 2400 watts for just the bass and what are you planning on for comps up front? What size enclosure are you going to run your Brahmas in? read up on this http://www.adireaudio.com/Files/BrahmaPowerHandling.pdf then you might reolize you don't need that much on your sub-drivers.

within a fraction of a dB or so.

here is the TRUE way of metering an amplifier http://www.concept-intl.net/download/measurwatts.pdf

as for SQ----Eagles "Hell freezes over" is a good set up CD as is Enya (only time) I also like Dire Staits"Brothers in Arms"

maybe on the first runs of the Brahma's----the new ones (Mark II) are very well built--- the differances in the 2 are simple---- Fs----- The Brahma has a lower Fs so it will be leaning towards the SQ side---the RE being higher Fs will be more SPL based----both have XBL^2 motor tech---a flatter BL load for both is always a plus over alot of other sub-drivers. It is really what you are looking for and what you plan on using them for----IE---enclosure size---power applied-----enclosure design.

Thanks for the kind words.If you guys need anything there are easy ways of reaching me----call me at work--- 1-540-382-2981 ext 4504(it MIGHT take me a while to return the call). As GodSmack learned----passion is what made this hobby more than a hobby to me.

Well guys it has been a while since I have been here---ALOT of changes are about to be made---- 1--I am selling the Explorer 2--I am getting a 2005 All-Wheel Drive Dodge Magnum R/T in cool vanilla---can't wait 3--I am the top salesman at my Dodge dealership(I am in sales) 4--me and the wife just celebrated our 4 year ann. 5--I am also getting a MaxxBass 103 for the hell of it to test it out just to see if it is what it says it is. anything new from you guys? PS---winter will be fun---340 HP---390 lbs of torque and about 3000watts of pure SQ----any takers on helping me?

well if you could get a fully loaded 2005 Magnum RT---(I will have the first AWD Magnum in SW Virginia)----wouldn't you trade? and get this---payments of only 396 a month for 60 months---God I love being in the car buisness!---Denim---If you want to help come on down this winter---PS---I will get pics of EVERYTHING as soon as it comes in!

for u....$1500...hehe rookie??? man, ur tough...hehe wait till it's done..hehe...then u can call me rookie..hehe.... wheeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee You even called yourself a rookie----I didn't mean it to be a bad sign of your work---It looks great man----and $1500? what is up with that?lol

See the compression there on the negitave side of the positive wavelength,that is compression,you are talking about reflection. Sound is a Mechanical Wave Sound and music are parts of our everyday sensory experience. Just as humans have eyes for the detection of light and color, so we are equipped with ears for the detection of sound.We seldom take the time to ponder the characteristics and behaviors of sound and the mechanisms by which sounds are produced, propagated, and detected. The basis for an understanding of sound, music and hearing is the physics of waves. Sound is a wave which is created by vibrating objects and propagated through a medium from one location to another. In this unit, we will investigate the nature, properties and behaviors of sound waves and apply basic wave principles towards an understanding of music---- wave can be described as a disturbance that travels through a medium, transporting energy from one location to another location. The medium is simply the material through which the disturbance is moving; it can be thought of as a series of interacting particles. The example of a slinky wave is often used to illustrate the nature of a wave. A disturbance is typically created within the slinky by the back and forth movement of the first coil of the slinky. The first coil becomes disturbed and begins to push or pull on the second coil; this push or pull on the second coil will displace the second coil from its equilibrium position. As the second coil becomes displaced, it begins to push or pull on the third coil; the push or pull on the third coil displaces it from its equilibrium position. As the third coil becomes displaced, it begins to push or pull on the fourth coil. This process continues in consecutive fashion, each individual particle acting to displace the adjacent particle; subsequently the disturbance travels through the slinky. As the disturbance moves from coil to coil, the energy which was originally introduced into the first coil is transported along the medium from one location to another------A sound wave is similar in nature to a slinky wave for a variety of reasons. First, there is a medium which carries the disturbance from one location to another. Typically, this medium is air; though it could be any material such as water or steel. The medium is simply a series of interconnected and interacting particles. Second, there is an original source of the wave, some vibrating object capable of disturbing the first particle of the medium. The vibrating object which creates the disturbance could be the vocal chords of a person, the vibrating string and sound board of a guitar or violin, the vibrating tines of a tuning fork, or the vibrating diaphragm of a radio speaker. Third, the sound wave is transported from one location to another by means of the particle interaction. If the sound wave is moving through air, then as one air particle is displaced from its equilibrium position, it exerts a push or pull on its nearest neighbors, causing them to be displaced from their equilibrium position. This particle interaction continues throughout the entire medium, with each particle interacting and causing a disturbance of its nearest neighbors. Since a sound wave is a disturbance which is transported through a medium via the mechanism of particle interaction, a sound wave is characterized as a mechanical wave. Lesson 2: Sound Properties and Their Perception Pitch and Frequency A sound wave, like any other wave, is introduced into a medium by a vibrating object. The vibrating object is the source of the disturbance which moves through the medium. The vibrating object which creates the disturbance could be the vocal chords of a person, the vibrating string and sound board of a guitar or violin, the vibrating tines of a tuning fork, or the vibrating diaphragm of a radio speaker. Regardless of what vibrating object is creating the sound wave, the particles of the medium through which the sound moves is vibrating in a back and forth motion at a given frequency. The frequency of a wave refers to how often the particles of the medium vibrate when a wave passes through the medium. The frequency of a wave is measured as the number of complete back-and-forth vibrations of a particle of the medium per unit of time. If a particle of air undergoes 1000 longitudinal vibrations in 2 seconds, then the frequency of the wave would be 500 vibrations per second. A commonly used unit for frequency is the Hertz (abbrviated Hz), where 1 Hertz = 1 vibration/second As a sound wave moves through a medium, each particle of the medium vibrates at the same frequency. This is sensible since each particle vibrates due to the motion of its nearest neighbor. The first particle of the medium begins vibrating, at say 500 Hz, and begins to set the second particle into vibrational motion at the same frequency of 500 Hz. The second particle begins vibrating at 500 Hz and thus sets the third particle of the medium into vibrational motion at 500 Hz. The process continues throughout the medium; each particle vibrates at the same frequency. And of course the frequency at which each particle vibrates is the same as the frequency of the original source of the sound wave. Subsequently, a guitar string vibrating at 500 Hz will set the air particles in the room vibrating at the same frequency of 500 Hz which carries a sound signal to the ear of a listener which is detected as a 500 Hz sound wave. The back-and-forth vibrational motion of the particles of the medium would not be the only observable phenomenon occurring at a given frequency. Since a sound wave is a pressure wave, a detector could be used to detect oscillations in pressure from a high pressure to a low pressure and back to a high pressure. As the compression (high pressure) and rarefaction (low pressure) disturbances move through the medium, they would reach the detector at a given frequency. For example, a compression would reach the detector 500 times per second if the frequency of the wave were 500 Hz. Similarly, a rarefaction would reach the detector 500 times per second if the frequency of the wave were 500 Hz. Thus the frequency of a sound wave not only refers to the number of back-and-forth vibrations of the particles per unit of time, but also refers to the number of compression or rarefaction disturbances which pass a given point per unit of time. A detector could be used to detect the frequency of these pressure oscillations over a given period of time the period of the sound wave can be found by measuring the time between successive high pressure points (corresponding to the compressions) or the time between successive low pressure points (corresponding to the rarefactions). the frequency is simply the reciprocal of the period. For this reason, a sound wave with a high frequency would correspond to a pressure time plot with a small period - that is, a plot corresponding to a small amount of time between successive high pressure points. Conversely, a sound wave with a low frequency would correspond to a pressure time plot with a large period - that is, a plot corresponding to a large amount of time between successive high pressure points.The ears of humans (and other animals) are sensitive detectors capable of detecting the fluctuations in air pressure which impinge upon the eardrum. The mechanics of the ear's detection ability will be discussed later----it is sufficient to say that the human ear is capable of detecting sound waves with with a wide range of frequencies, ranging between approximately 20 Hz to 20 000 Hz. Any sound with a frequency below the audible range of hearing (i.e., less than 20 Hz) is known as an infrasound and any sound with a frequency above the audible range of hearing (i.e., more than 20 000 Hz) is known as an ultrasound. Humans are not alone in their ability to detect a wide range of frequencies. Dogs can detect frequencies as low as approximately 50 Hz and as high as 45 000 Hz. Cats can detect frequencies as low as approximately 45 Hz and as high as 85 000 Hz. Bats, who are essentially blind and must rely on sound echolation for navigation and hunting, can detect frequecies as high as 120 000 Hz. Dolphins can detect frequencies as high as 200 000 Hz. While dogs, cats, bats, and dolphins have an unusual ability to detect ultrasound, an elephant possesses the unusual ability to detect infrasound, having an audible range from approximately 5 Hz to approxmately 10 000 Hz. The sensations of these frequencies are commonly referred to as the pitch of a sound. A high pitch sound corresponds to a high frequency and a low pitch sound corresponds to a low frequency. Amazingly, many people, especially those who hae been musically trained, are capable of detecting a difference in frequency between two separate sounds which is as little as 2 Hz. When two sounds with a frequency difference of greater than 7 Hz are played simultaneously, most people are capable of detecting the presence of a complex wave pattern resulting from the interference and superposition of the two sound waves. Certain sound waves when played (and heard) simultaneously will produce a particularly pleasant sensation when heard, are are said to be consonant. Such sound waves form the basis of intervals in music. For example, any two sounds whose frequencies make a 2:1 ratio are said to be separated by an octave and result in a particularly pleasing sensation when heard; that is, two sound waves sound good when played together if one sound has twice the frequency of the other. Similarly two sounds with a frequency ratio of 5:4 are said to be separated by an interval of a third; such sound waves also sound good when played together. The ability of humans to perceive pitch is associated with the frequency of the sound wave which impinges upon the ear. Because sound waves are longitudinal waves which produce high- and low-pressure disturbances of the particles of a medium at a given frequency, the ear has an ability to detect such frequencies and associate them with the pitch of the sound. But pitch is not the only property of a sound wave detectable by the human ear. Lesson 3: Behavior of Sound Waves Interference and Beats Wave interference is the phenomenon which occurs when two waves meet while traveling along the same medium. The interference of waves causes the medium to take on a shape which results from the net effect of the two individual waves upon the particles of the medium. if two crests having the same shape meet up with one another while traveling in opposite directions along a medium, the medium will take on the shape of a crest with twice the amplitude of the two interfering crests. This type of interference is known as constructive interference. If a crest and a trough having the same shape meet up with one another while traveling in opposite directions along a medium, the two pulses will cancel each other's effect upon the displacement of the medium and the medium will assume the equilibrium position. This type of interference is known as destructive interference.But how can sound waves which do not possess crests and troughs interfere constructively and destructively? Sound is a pressure wave which consists of compressions and rarefactions. As a compression passes through a section of a medium, it tends to pull particles together into a small region of space, thus creating a high pressure region. And as a rarefaction passes through a section of a medium, it tends to push particles apart, thus creating a low pressure region. The interference of sound waves causes the particles of the medium to behave in a manner that reflects the net effect of the two individual waves upon the particles. For example, if a compression (high pressure) of one wave meets up with a compression (high pressure) of a second wave at the same location in the medium, then the net effect is that that particular location will experience an even greater pressure. This is a form of constructive interference. If two rarefactions (two low pressure disturbances) from two different sound waves meet up at the same location, then the net effect is that that particular location will experience an even lower pressure. This is also an example of constructive interference. Now if a particular location along the medium repeatedly experiences the interference of two compressions followed up by the interference of two rarefactions, then the two sound waves will continually reinforce each other and produce a very loud sound. The loudness of the sound is the result of the particles at that location of the medium undergoing oscillations from very high to very low pressures.Now if two sound waves interfere at a given location in such a way that the compression of one wave meets up with the rarefaction of a second wave, destructive interference results. The net effect of a compression (which pushes particles together) and a rarefaction (which pulls particles apart) upon the particles in a given region of the medium is to not even cause a displacement of the particles. The tendency of the compression to push particles together is cancelled by the tendency of the rarefactions to pull particles apart; the particles would remain at their rest position as though there wasn't even a disturbance passing through them. This is a form of destructive interference. Now if a particular location along the medium repeatedly experiences the interference of a compression and rarefaction followed up by the interference of a rarefaction and a compression, then the two sound waves will continually cancel each other and no sound is heard. The absence of sound is the result of the particles remaining at rest and behaving as though there were no disturbance passing through it. Amazingly, in a situation such as this, two sound waves would combine to produce no sound.locations along the medium where destructive interference continually occurs are known as nodes. Destructive interference of sound waves becomes an important issue in the design of concert halls and auditoriums. The rooms must be designed in such as way as to reduce the amount of destructive interference. Interference can occur as the result of sound from two speakers meeting at the same location as well as the result of sound from a speaker meeting with sound reflected off the walls and ceilings. If the sound arrives at a given location such that compressions meet rarefactions, then destructive interference will occur resulting in a reduction in the loudness of the sound at that location. One means of reducing the severity of destructive interference is by the design of walls, ceilings, and baffles that serve to absorb sound rather than reflect it.The destructive interference of sound waves can also be used for advantageously in noise reduction systems. Ear phones have been produced which can be used by factory and construction workers to reduce the noise levels on their jobs. Such ear phones capture sound from the environment and use computer technology to produce a second sound wave which one-half cycle out of phase. The combination of these two sound waves within the headset will result in destructive interference and thus reduce a worker's exposure to loud noise. Interference of sound waves has widespread applications in the world of music. Music seldom consists of sound waves of a single frequency played continuously. Few music enthusiasts would be impressed by an orchestra which played music consisting of the note with a pure tone played by all instruments in the orchestra. Hearing a sound wave of 256 Hz (middle C) would become rather monotonous (both literally and figuratively). Rather, instruments are known to produce overtones when played resulting in a sound which consists of a multiple of frequencies. Such instruments are described as being rich in tone color. And even the best choirs will earn their money when two singers sing two notes (i.e., produce two sound waves) which are an octave apart. Music is a mixture of sound waves which typically have whole number ratios between the frequencies associated with their notes. In fact, the major distinction between music and noise is that noise consists of a mixture of frequencies which have no mathematical order to them and music consists of a mixture of frequencies which have a clear mathematical relationship between them. While it may be true that "one person's music is another person's noise" (e.g., your music might be thought of by your parents as being noise), a physical analysis of musical sounds reveals a mixture of sound waves which are mathematically related. Lesson 4: Resonance and Standing Waves Natural Frequency a sound wave is created as a result of a vibrating object. The vibrating object is the source of the disturbance which moves through the medium. The vibrating object which creates the disturbance could be the vocal chords of a person, the vibrating string and sound board of a guitar or violin, the vibrating tines of a tuning fork, or the vibrating diaphragm of a radio speaker. Any object which vibrates will create a sound. The sound could be musical or it could be noisy; but regardless of its quality, the sound was created by a vibrating object. Nearly all objects, when hit or struck or plucked or strummed or somehow disturbed, will vibrate. If you drop a meter stick or pencil on the floor, it will begin to vibrate. If you pluck a guitar string, it will begin to vibrate. If you blow over the top of a pop bottle, the air inside will vibrate. When each of these objects vibrate, they tend to vibrate at a particular frequency or a set of frequencies. The frequency or frequencies at which an object tends to vibrate with when hit, struck, plucked, strummed or somehow disturbed is known as the natural frequency of the object. If the amplitude of the vibrations are large enough and if natural frequency is within the human frequency range, then the object will produce sound waves which are audible. All objects have a natural frequency or set of frequencies at which they vibrate. The quality or timbre of the sound produced by a vibrating object is dependent upon the natural frequencies of the sound waves produced by the objects. Some objects tend to vibrate at a single frequency and they are often said to produce a pure tone. A flute tends to vibrate at a single frequency, producing a very pure tone. Other objects vibrate and produce more complex waves with a set of frequencies which have a whole number mathematical relationship between them; these are said to produce a rich sound. A tuba tends to vibrate at a set of frequencies which are mathematically related by whole number ratios; it produces a rich tone. Still other objects will vibrate at a set of multiple frequencies which have no simple mathematical relationship between them. These objects are not musical at all and the sounds which they create are best described as noise. When a meter stick or pencil is dropped on the floor, a vibrates with a number of frequencies, producing a complex sound wave which is clanky and noisy. an alteration in either speed or wavelength will result in an alteration of the natural frequency. The role of a musician is to control these variables in order to produce a given frequency from the instrument which is being played. Consider a guitar as an example. There are six strings, each having a different linear density (the wider strings are more dense on a per meter basis), a different tension (which is controllable by the guitarist, and a different length (also controllable by the guitarist). The speed at which waves move through the strings is dependent upon the properties of the medium - in this case the tightness (tension) of the string and the linear density of the strings. Changes in these properties would effect the natural frequency of a particular string. The vibrating portion of a particular string can be shortened by pressing the string against one of the frets on the neck of the guitar; this modification in the length of the string would effect the wavelength of the wave and in turn the natural frequency at which a particular string vibrates at. Controlling the speed and the wavelength in this manner allows a guitarist to control the natural frequencies of the vibrating object (a string) and thus produce the intended musical sounds. The same principles can be applied to any string instrument - whether it be the piano, harp, harpsichord, violin or guitar. As another example, consider the trombone with its long cylindrical tube which is bent upon itself twice and ends in a flared end. The trombone is an example of a wind instrument. The "tube" of any wind instrument acts as a container for a vibrating air column; the air inside the tube will be set into vibrations by a vibrating reed or the vibrations of a musicians lips against a mouthpiece. While the speed of sound waves within the air column is not alterable by the musician (they can only be altered by changes in room temperature), the length of the air column is. For a trombone, the length is altered by pushing the tube outward away from the mouthpiece to lengthen it or pulling it in to shorten it. This causes the length of the air column to be changed, and subsequently changes the wavelength of the waves it produces. And of course, a change in wavelength will result in a change in the frequency. So the natural frequency of a wind instrument such as the trombone is dependent upon the length of the air column of the instrument. The same principles can be applied to any wind instrument -whether it be the tuba, flute, wind chime, organ pipe, clarinet, or pop bottle. To conclude, all objects have a natural frequency or set of frequencies at which they vibrate when struck, plucked, strummed or somehow disturbed. The actual frequency is dependent upon the properties of the material the object is made of (this effects the speed of the wave) and the length of the material (this effects the wavelength of the wave). It is the goal of musicians to find instruments which possess the ability to vibrate with sets of frequencies which are musically sounding (i.e., mathematically related by simple whole number ratios) and to vary the lengths and (if possible) properties to create the desired sounds. Now you should know about everything about the nature of soundwaves

and if he can't help----I will also lend my knowlege to your qwest for the all mighty SPL!

I was thinking about getting one of those----never got to play around with it much but it looks GREAT dude-----if you EVER want to sell it----hit me up---wink wink but not for $1000----and I can do my own install by the way----it looks like you did a good job(even for a rookie )

NO! I know it all... even Dan Wiggens bows to my incredible pot of knowledge. Newbie... hah, I laugh at newbies. But seriously... if you aren't learning anymore something is quite wrong that is true----so very true!

for a first time glass job----killer job----looks great-----you should be proud---I wish my first one came out THAT good----I had to carpet mine to hide all the mistakes but like you said "practice makes perfect" and I am getting alot better now--------my next toy----2005 Dodge Magnum RT(Midnight Blue) But anyways----looks like you had Grandma in on the action too---looks like you had fun doing it too.

you know----I have heard the same also----but you know what---a good deep cycle battery with a HO alt is a hard combo to beat and I have yet to see any damage to the batterys or my alt.(4 Stinger 1700 and a custom 250 amp alt.) and I test and tweak my truck every weekend.

what series subwoofers and what amp do you have? I think I might already know what the problem is---just want to make sure. Tell me EXACTLY how you have everything wired also please.

http://www.soundsolutionsaudio.com/forum/i...?showtopic=1285 enjoy!

what costed me $1K was my amp----that is a deal and a half!

voltage rail spikes happen more than you think----that is what it sounds like to me---electrical componets are prone to failure even under "perfect" installs----that is why companys have warrentys----it sounds to me that the voltage spike made the voice coil jump the voice coil former and was hitting the top of the former----return them with warrenty papers enclosed. hope this helps.

http://www.carsound.com/UBB/ultimatebb.php...c;f=20;t=006303 check into this first

I was thinking duel EQ's(one for EACH side) but I think this is a simple and straight forward install---with a focus on quality and SQ

best shot I could get of everything

cover of the crossovers and EQX(mirror on the other side)

do I see 2 amps???

EQX and Crossover network for the Alpine SPX177A