altoncustomtech

Yes each side will equal the 30" length. I've also found that adding the width of the split to the length helps to ensure tuning is where it's supposed to be. So with your example you would add 3" to the 30" length making a total length of 33" to keep the tuning on par. On Torres calculate it like you would for a standard slot port that's on the side. EDIT: I think I get the dilemma in your question now. The calculation is still for the 30" total length. I'll find one that I drew up and toss it up for an example.

Aside from having nothing to do with a stereo system it's pretty cool. Spare tire blew.

to the forum!

It's definitely not a rule of thumb. The best calculator for port area was put up and made by a member on here, however I won't use the site anymore as it has numerous warnings from Chrome and my Anti-Virus/Malware/Spyware scanners telling me the site is a problem. The one on Carstereo.com is better than nothing or if you're not shy about doing some math the actual T/S formulas are out there. I tried doing a search and couldn't find anything but simple calculators, not nearly as accurate at the one that I can't use anymore, lol. EDIT: Found the actual formula's HERE. The formula's calculate minimum diameter in centimeters. A little more math and you can convert it to inches, then figure the cross sectional area to know what size the slot needs to be. Again, got to not be shy about the math, lol.

Nothing wrong with making it hard to steal and all the above ideas are great. Keep in mind though that a lot of thieves are fucking vindictive and when they can't get the shit out they may start destroying everything they can get to. It's happened that way to a few different people I've known over the years. It sucks having to pay the extra money but insuring the equipment itself (given your insurance company will do so, seems not many will) is the only way to make sure you don't lose big time if they get pissed because they can't steal it.

to the forum!

Maybe not right now, but some more time and experience and you can get it. Plus with all the members that live up in your neck of the woods there's bound to be someone local that's willing to help out as well. Hell I'd be more than glad to help myself, the only problem is that I'm about a 2.5 hour drive away from Indy.

Hell yeah, welcome to the IAK family brother!

That enclosure is also only 1.37 NET not counting the displacement of the sub at .15cuft. The total enclosure NET volume after the sub is installed will only be 1.22 cuft which falls just short of the recommended minimum FWIW. Are those dimensions the largest you can physically fit in the space you have? If not then it wouldn't hurt to try to get a little larger volume and possibly even a little more port area. To be sure you don't have to worry about port noise being an issue you should have in the neighborhood of 40 sq.in. of port area for the sub.

to the forum fellow Hoosier! Where abouts in the great state of Indiana are you located? This is a question that comes up A LOT and you'll get a ton of answers and opinions on what to do. As for which speakers, you should try to demo as many as you can. If you live in the middle of BFE like I do that 's not really an option and it will leave you having to trust the reviews and opinions of others. As for the installation itself, there's plenty that can be done to get the most out of a set of speakers and the factory locations. Custom baffles behind the door panel, a good sound deadening application, even things like building a plate to angle mount the tweeters beneath the factory grille on the dash to keep the factory look. If you would like a tinker tuner friendly DDIN HU take a look at the Clarion NX702. It has a host of crossover, EQ and DTA adjustments and is one of the few fully active capable DDIN HU's on the market. It's not currently being produced anymore but it can still be found all over the interwebz. $300 is a fantastic budget for a set of components IMO. It opens up the chance to get some very nice sets.

Happy Birthday Brother!!

I think that at higher frequencies it would be about the transfer of energy from one molecule to another at that scale (as far as feeling/knowing the air is moving), but not with sub bass frequencies. When someone is demoing a big system and it's doing hair tricks and the like what's moving if it's not the air? It's not continuous movement as the argument about a vacuum has been stated but when the pressure inside the enclosure is lower than outside the enclosure that lower pressure is by definition a vacuum and the air at the higher atmospheric pressure outside the enclosure is going to move into the enclosure even if it's only for the split second. The opposite will happen when the cone of the driver moves on the rearward stroke and pressurizes the air inside the enclosure. I just have a hard time understanding the purpose behind the debate at this point. Sure, the molecules get excited and transfer the energy from one to the other. That excitement means they're moving into each other. They are air molecules right? So I'm still not understanding how the air isn't moving. Albeit in very small amounts (compared to wind or a vacuum), bidirectionally, and at high speeds. If the air didn't move how would the smoke rings in be possible? The very science behind that phenomena is that the air is directed through the hole causing a vortex. It's a drum, the sound of which we hear is no different than the sound the driver reproduces. If the air didn't move it couldn't create the vortex to make the smoke ring.Okay, that's it. I'm done with this thread. Vacuum - as defined by the dictionary, "an enclosed space from which matter, especially air, has been partially removed so that the matter or gas remaining in the space exerts less pressure than the atmosphere (opposed to plenum )."

While I do love SSA and all the drivers I've experienced (DCON, ICON & XCON) I would have to admit that if I were looking at getting a new 15" driver and was considering something different I would definitely have to give a DSS Ethos a shot.

I have to take the 0g wire I have going to the amp powering my mids out and connect another 0g to it so it reaches the second battery. No. Don't. If the wire isn't long enough get another length of wire. Splices are not a good practice on wire that size and in a circuit that carries this much current. Even a small amount of resistance in the splice connection will lead to heat at the connection point where the resistance exists. That heat can cause a connection failure and that in turn can cause a fire. Wire isn't so expensive that something like this would ever be necessary, ever.

to the forum! The 80's? The car audio world must look completely alien compared to what was going on and available to buy back in those days!

Happy Birthday Mark!

to the forum!

Keeping up with the sub stage is a little backward thinking. A simple component set just isn't enough to keep up with almost any substage. Too much of a difference in cone area and power for those little woofers to have any hope of actually keeping up with the subs. For a balanced sound you set the gains on everything then turn the subs down to blend with the highs. When you want more, as you obviously do, is when we get into the discussion that's been going on so far. @NCC - There's a good chance he's already got the HPF set for the components. He's simply pushing them to their limits trying to get more from them than they can deliver. He can raise the HPF or use the EQ to tone the bass back a bit. You're right, he's driving them past their limits and they'll soon get toasted if he doesn't watch it closely. Using the EQ to tone the bass down a hair is the ideal way to go IMO. It sounds like it's pretty close to giving full output with a little stress on the bass at that volume level. One could turn the bass back a tad on the EQ to save the component mids and tap the sub up a notch or two to cover the lost output. It's a trick I practiced a lot when I was installing for people. They'd want to get it done as cheap as possible and HU's back then didn't have much of any crossovers built in. The speakers were often factory and run off the HU regardless so getting much output was a balancing act. I'd leave the subs off, adjust the bass and treble, or whatever adjustments were available, until it sounded pretty good and clear at high volumes then bring the subs up to compensate for the lack of bass from the rest of the speakers.

Pretty much. When you're running passive the crossover included with the speakers does the job of separating the signals to the appropriate driver. The crossover capabilities of the 80PRS, CZ702 or any other active capable HU aren't required to do that job.

I think you misunderstood. The full ranges are on the Highs channels, with the HPF set to 250hz. The midbasses are on the mids channels, the HPF set to 63hz and the LPF set to 630hz the lowest it can go. I'm using the LPF on the amplifier to cross it down to the ~250hz the midbasses need to be at to blend properly with the full ranges. As Brendan mentioned it's not a bad compromise. The subwoofer is on the sub channel with the HPF set to 31.5hz (using it as SSF) and the LPF is set to 40hz. If you really want to use the SLS 8 for some serious midbass response you won't have much of a choice but to go with a full range for the highs. Trust me that they play everything they're designed to beautifully as long as you install them on axis. The only other option for using the SLS 8 is a 3 way setup like a 4" midrange and tweeter but you're DEFINITELY not ready for a 3 way active setup yet so you'll have to make a decision. Either try out the 3" full ranges and do the work it will take to mount them properly or slide back down to a 6.5" and tweeter active setup and maximize the installation to get the response you're looking for. With the SLS 8 and full range you cannot use the 80PRS as so many have pointed out now but the Clarion can do it with a little ingenuity but if you decided to do the 6.5" mid and tweeter the 80PRS will excel for you over the Clarion in that setup. No matter which you decide to use you'll have to do everything you can to make sure the installation is as close to perfect as you can get it. The SLS will not have good response and cause insane rattles if the door isn't deadened and braced properly. You'll never get anywhere near satisfactory midbass from a 6.5" either if the same isn't done for it. What have you done so far with your current installation to ensure the way its installed is giving it's best chance at the response you're looking for? If you've not at least fully deadened the location they're installed and used a custom baffle for mounting then you've not even begun to get all you can from the components you have now. I'm getting midbass I can feel in my chest and that moves pant legs from the 6.5" Bravox mids that are in my doors right now from doing just the custom baffle and about 50% of the sound deadening work that needs done. I'll have to do a great deal more when I go to install the SLS's though if am to expect better performance from them.

Using the SLS 8 with a tweeter is going to prove to be problematic. It can't play high enough to cross with a tweeter. The response falls to shit after 300hz and no tweeter will begin to touch that low, you wouldn't want it to. That's why the SLS 8 gets paired with a full range like the Founteks or used as a woofer in a 3 way. The SLS is a great choice but only if it's used correctly. The same goes for any speaker. If you really want to use the SLS for great midbass response you'll have to pair it with something other than a lone tweeter.

Oh definitely is the HU a cheaper and easier solution when starting on a first active setup. I would also toss the recommendation of the Clarion CZ702 out there as well. It's slightly more capable as dad as the amount of tuning that can be done on the crossovers and the frequencies therein and of the EQ. The only real limitation is it's lower number of bands of EQ and the fact it's not separate for left and right. It's been said before that if someone could combine the best capabilities of both units it would be the ultimate active capable HU.

It does. When the driver plays the positive half of the waveform and moves outward (assuming standard polarity) it causes rarefaction (vacuum) and when it plays the negative half of the wave form it pressurizes the air behind it. The vibration you're seeing in your mind is simply due to the frequency. The pressurization and rarefaction are happening very quickly. Think of TV, with a frame rate of 24fps you can't tell it's one picture after another and not a continuous movement. If you slow down the frame rate you can begin to see each picture. If you played a 1hz sine wave the pressurization and rarefaction are much easier to notice. Also the amount of air the driver is pressurizing/depressurizing is directly associated to the size of the cone and the drivers XMAX. that's typically not a great volume of air compared to something that creates constant air moving pressure like a air nozzle on an air hose, or the depressurization from a vacuum. Frequency again, because the speed the air is trying to move is directly related to it, changes how the air and therefore the driver pushing it reacts through openings. That's why a port works in the first place. The air inside a given enclosure volume, and a given port size, can only be moved so fast because the air has mass (albeit very small). Change the volume of air in the enclosure or port, you change the mass, you change how fast or slow it can move, that changes it's resonant frequency and voila it tunes the enclosure. More or less.

Beautiful build going on here. Wish you were local, I'd love to check out those XCON's in your ride and go over some stuff to do with your front stage. I second the thought on the RF 3sixty, or the JBL MS8, or the JL Cleansweep. They're all good DSP's designed specifically for integrating a factory HU with aftermarket audio equipment. Of course they're all a little pricey, all the DSP's seem to be, but they can do WAY more for you than the LC6 was ever capable of doing.