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  1. 4 points
    linearpower

    Listening to new 5.25" mids

    Mike, I appreciate your answer and want to definitely add that I am not interested in trade secrets at all or anything specific. What I am curious of is what in general was done to specifically improve the drivers capability for the bolded sentence above. I believe I have answered all of this before, but I will one last time! It is a combination of cone weight being changed, dust cap mass, surround and spider weight changes, voice coil gap, and voice coil wire gauge and number of wraps and length of coil, which all add different factors to improve the sound, dynamics, low bass, and mid-range. The two obvious changes are that we are using a butyl rubber surround and a hard fiber dust cap instead of the treated foam surround and foam dust cap.(these make a change in performance by themselves) It is all about the combination of the different materials and how they are combined, as said before, you can combine the same group of materials in different ways to come up with a near endless amount of sound variations. I am not giving up any more information than that on the specific weighting of the cone, spider, surround, dustcap, former, voice coil or gap, amount of voice coil overhang, top plate thickness, pole piece extension, these are what make the difference in the new Blues versus the old Blues. ALL of these things were changed from the old to the new, even though the cosmetics are nearly identical. The crossover and compensation play a considerable role in the "SYSTEM" working together as good as it does. The is no one piece that makes the difference. I think Colonel Sanders "Secret Recipe" is still in a vault, those seven herbs and spices in JUST that special way is what makes his product unique too! Along with what makes Coca Cola "Coke" and Pepsi, Pepsi! I will call and see if there is any room in any of their vaults for my recipe. We are updating the Blues site with more information soon, we always said it was a work in progress, and only put it up to get preliminary information out on the product with the promise that as we had time we would improve it. It is more important to get the product designed and produced for the people already wanting it, than to fret that every spec is on the site for the few that want it. We will have all the specs that we are going to give out on the site, posted with in the next few weeks. We have been working on it. If anyone had wanted anything more specific than what we had so far, all they had to do was call and ask. I would have given them what we have planned to put on the site, but guess what, my phone has never rang with anyone asking for more specifics. It's not a matter of not having the specs, or not wanting to give them out, just the time to write code to add it to the site. On top of that, specs don't tell how a speaker sounds, there are other intangable effects that can't be put into a number that effect the way a speaker sounds. Numbers are a good starting point in design and can provide a direction to correct issues with response, phase angle or impedance, but they do not have total determination over whether the speaker sounds bad, good, or great. Numbers can direct you on the enclosure type and size, but again don't tell the whole story. Only a human ear can make the final judgement on whether a speaker has the sound the listener wants. Yes, this is subjective, but this is the way product is purchased by most people, to go in and listen to what you are buying, not what a number or a computer says. The more subjective listeners that listen and like and purchase a product determine the success of a product much more than a number on a piece of paper.
  2. 3 points
    Another great read that I felt was worth having here also: Anatomy of the Power Amplifier Dissecting the Modern Audio Power Amplifier and Power Supply By Robert Zeff With the Proliferation of Different Amp Types, Which is the One for You? In the past we had essentially two types of amplifiers to choose from: Class "AB" and class "A". Today we have AB, A, D, G, H, & T, in addition to some that do not have a class name. New technology brought down the size and price while improving performance and efficiency. We'll review the various topologies of the modern amplifier, spending extra time on the aspect of efficiency (as the quest for smaller, more efficient designs have spawned the class D, G, H, & T designs). We'll also try to dispel some of the misconceptions and folklore that seem to surround amp design. Amplifiers require circuitry for short and thermal protection, fan control, turn on delay, and over voltage protection. In the past we littered the designs with dozens of components to handle these events. Today we can use a single microprocessor to handle all of this in addition to having many more features without additional cost. The microprocessor can monitor the battery voltage, internal voltages, temperature, control volume and crossovers, and drive external displays. These embedded computer chips also allow features like compression and power limiting with little added cost. Of course, what is an amplifier without a power supply? First we'll visit the power supply designs, as every amplifier needs one. The Power Supply The purpose of the supply is to convert the auto's battery voltage to a higher voltage. For example, if an amplifier is to produce 100 watts into a 4 ohm speaker, we need 20 volts RMS. This implies that we need about +/-28 volts. (20 volts R.M.S. = 28.28 volts peak). We call that the "rail" voltage. Since the amplifier's output transistors cannot pull all the way up to this rail, we actually need a slightly higher voltage. The process is to convert the 12 volts DC into AC, feed it to a transformer and convert it back to DC again. Converting the 12 volt battery voltage to AC is simple, a PWM (pulse width modulator) IC feeds a bank of MOSFETS (MOSFETs are switching transistors perfectly suited for this task). The 12 volt power is switched at a very high frequency, somewhere between 40 and 150 kHz. Slower switching speeds require a larger transformer, but high speeds have more switching loss. Advanced transformer core materials, faster rectifiers, and clever winding methods have enabled us to utilize very high frequencies. Some of today's better amplifiers have very small power supplies that produce enormous amounts of power. Regulated Power Supplies Most early audio amplifiers contained unregulated power supplies. Regulated supplies require very high quality filter capacitors (called "low ESR" capacitors), output chokes, and an optically isolated voltage feedback circuit. Regulation occurs by controlling the switching pulse width from 0 - 100% to compensate for changes in the battery and rail voltage. The same action occurs when the audio level increases. As the amplifier draws more power from the supply, the rail voltage drops. Again, the regulator circuitry senses this drop and responds with an increased pulse width. The high frequency PWM waveform is rectified (converted to DC) and applied to the output filter choke and capacitors. This output of this circuit is the + and - DC rails that feed the power amplifier. Unregulated Power Supplies Unregulated power supplies are less expensive than regulated supplies. They do not require an output choke, voltage sense or isolation circuitry. Because the duty cycle is nearly 100%, capacitor ripple current is much lower in unregulated supplies. Lower ripple current requires less expensive capacitors throughout. Often we hear that unregulated designs have more "headroom". That means that the amplifier will produce extra power during transients. Most home audio amplifiers employ unregulated power supplies. The power supplies in these amplifiers run at 60 Hz, thus the filter capacitors must be 200-500 times larger than those used in high frequency switchers. The extra capacitance in home audio amplifiers results in extra headroom. Headroom for anything other than very short transients simply doesn't exist in the unregulated designs. The following is an example of specifications for an unregulated vs. regulated amplifiers. Unregulated designs have a higher supply voltage at low power, causing higher voltage on the output transistors. This reduces the amplifier's efficiency. Small amplifiers (less than 100 watts) cannot justify the extra cost of the regulation circuitry, so we often see unregulated supplies in these amplifiers. Pros and Cons of Regulated / Unregulated SuppliesSome designers try to keep their supplies regulated down to battery voltages as low as 9.5 volts. The supply compensates by increasing the current. The following table shows voltage and currents for a 500 watt over-regulated amplifier operating at full power. The current increases dramatically at the lower voltages. Because of higher currents at the lower voltages, the supply efficiency drops further, requiring even more current. At higher voltages, the pulse width reduces, causing increased ripple current. This high current creates heat in the filter capacitors and can destroy the capacitor's electrolyte. Some manufacturers do not use capacitors of sufficient quality for this range of regulation. These amplifiers may not perform up to specification just one year after installation. Also, the extra current at low voltages is extra hard on a battery that is already suffering! So, we recommend that amplifiers stay in regulation down to about 11 - 11.5 volts. Any properly working charging system can easily keep the battery voltage well above this. The Amplifier Section, Class AB and AClass AB and A amplifiers are similar, so we'll discuss both here. Class AB amplifiers have transistors that pull up to the positive rail and transistors that pull down to the negative rail. This corresponds to the action of pushing the speaker cone out and in. Class AB means that the output transistors do not always have current on them. For example, when the upper transistors are pulling up towards the positive rail (pushing the speaker out), there is no current in the lower transistors. When the output signal swings through zero, towards the negative rail, the output transistor must go through a transition from zero current to a non-zero current. The best analogy that I can think of is driving an old car with too much slop in the steering. As you go from one side of the road's crown to the other, the steering crosses a "dead" zone, and you tend to over-steer. Special temperature compensated bias circuitry reduces this dead zone, known as notch distortion. The figure below shows the output of a class AB amplifier with too little bias and the resulting distortion. Notch distortion increases at higher frequencies and low volume levels. Some modern designs have reduced this type of distortion to very low levels. Class A means that every transistor is always conducting current. They are very similar to class AB amplifiers, but the bias circuitry is set so that there are very high currents in the output transistors. Because these amplifiers do not have this "dead zone', less feedback is required to achieve low distortion. A 100 watt amplifier may dissipate nearly 100 watts internally even when there is no audio output. This type of design is impractical in the harsh auto environment. Many class A amplifiers pedaled for the automotive market are not really class A. They are huge power wasters in the home as well. Input and Driver Stages The amplifier works this way: A small audio signal is presented to the amplifier's input. Transistors are not linear, which means that the input signal will distort somewhat as it passes through the various amplifier stages. To correct this distortion, a portion of the output is compared with the input. The difference creates a correction signal reducing this distortion. The input stage is a special type, called "differential". It has a + and a - input because it must accept both the audio input and the input from the feedback circuitry. Excess feedback can lower distortion dramatically, but cause instability. Careful design rules must be followed to avoid this instability. The output of the input stage feeds into the driver stage. The driver stage may use one, two, or three devices. Often this circuitry is referred to "Darlington", or "Triple Darlington". The driver circuit feeds the output stage, which may have two, four, six, or more transistors. The more output transistors, the better. Multiple output devices reduce distortion (requiring less negative feedback) and improve reliability. Bipolar or MOSFET? We have seen both MOSFET (Metal Oxide Silicon Field Effect Transistor) and Bipolar transistors used in audio amplifiers. Claims have been made that each is superior. I have seen claims that MOSFETs have a tube ("Valve" for the Brits) sound. This is more folklore. The musicians and their instruments are supposed to have "the sound", not audio equipment! MOSFETs are tougher than Bipolars, and can pull closer to the supply rail. It takes more Bipolar transistors to achieve the same power as a MOSFET, therefore Bipolar amps tend to be more expensive. But, MOSFETs are very non-linear, compared to Bipolars and require much more feedback to achieve reasonable distortion numbers. They are a great choice for bass amps, as low frequency audio is not difficult for a MOSFET. The most expensive car and home amplifiers almost always use Bipolar transistors. Efficiency What makes an amplifier get hot? Both the power supply and the power amplifier generate heat. The maximum efficiency of the power supply is nearly 100%. Good power supply designs, with the highest quality components approach 85%. The class AB amplifier efficiency at full power can approach 75%. The total efficiency, including the power supply, can be about 65%. But, efficiency drops at lower power and can typically be under 20%. A class AB amplifier actually runs cooler at full power than it does at half power. Run this amplifier into clipping and it might run even cooler! Where is all this power going? The output transistor is basically a large variable resistor. If the instantaneous output voltage should be 40 volts and the power supply is 100 volts, then 60 volts must be "wasted" in the output transistors. Driving a reactive load (like a speaker) causes the efficiency to drop ever further. This brings us to the other audio classes designed to improve efficiency. Class D First, let's dispel another myth: Class D does not stand for digital. The input is converted to a two-state (binary) representation of the audio waveform. That's where the similarity ends. This distinction is important because class D doesn't provide the benefits normally associated with digital components. That being said, class D designs dramatically improve efficiency. Instead of wasting power in the output transistor, the output is switched at a very high frequency between the positive and negative supply rails. If the output is to be zero, then the waveform is at a 50% duty cycle. If the output is to be a positive voltage, then the duty cycle would be greater than 50%. Because the output devices are either completely turned on (no wasted voltage) or completely turned off, theoretically efficiency is 100%. So the audio input must be converted to a pulse width modulated waveform (PWM). The yellow trace below is the output of the amplifier; the blue trace is the PWM waveform. The blue waveform is fed to an output filter, which results in the yellow output waveform. Notice that the output looks somewhat distorted. All of the switching noise and distortion cannot be removed and the result can be seen here. Because of this process of converting the input signal to PWM and converting back to analog, a good deal of distortion is introduced. Conventional feedback like that used in class AB designs is used in these amplifiers to reduce distortion. MOSFETs are the only choice for class D designs. Most class D designs are useful only for bass amps as they can not switch fast enough to reproduce high frequencies. Some high quality, full range class D designs exist for pro audio, but they are complex with multi-phased outputs. Class T Class T (Tripath) is similar to class D with these exceptions: This class does not use analog feed back like its class D cousin. The feedback is digital and is taken ahead of the output filter, avoiding the phase shift of this filter. Because class D or T amplifier distortion arises from timing errors, the class T amplifier feeds back timing information. The other distinction is that this amplifier uses a digital signal processor to convert the analog input to a PWM signal and process the feedback information. The processor looks at the feedback information and makes timing adjustments. Because the feedback loop does not include the output filter, the class T amplifier is inherently more stable and can operate over the full audio band. Most listeners can not hear the difference between class T and good class AB designs. Both class D and T designs share one problem: they consume extra power at idle. Because the high frequency waveform is present at all times, even when there is no audio present, the amplifiers generate some residual heat. Some of these amplifiers actually turn off in the absence of music, and can be annoying if there is too much delay turning back on. Class G Class G improves efficiency in another way: an ordinary class AB amplifier is driven by a multi-rail power supply. A 500 watt amplifier might have three positive rails and three negative rails. The rail voltages might be 70 volts, 50 volts, and 25 volts. As the output of the amplifier moves close to 25 volts, the supply is switched the 50 volt rail. As the output moves close to the 50 volt rail, the supply is switched to the 70 volt rail. These designs are sometimes called "Rail Switchers". This design improves efficiency by reducing the "wasted" voltage on the output transistors. This voltage is the difference between the positive (red) supply and the audio output (blue). Class G can be as efficient as class D or T. While a class G design is more complex, it is based on a class AB amplifier and can have the same clean characteristics as well. Class H Class H is similar to class G, except the rail voltage is modulated by the input signal. The power supply rail is always just a bit higher than the output signal, keeping the voltage across the transistors small and the output transistors cool. The modulating power supply rail voltage is created by similar circuitry that you would find in a class D amplifier. In terms of complexity, this type of amplifier could be thought of as a class D amplifier driving a class AB amplifier and is therefore fairly complex. How to Choose? Regulated or unregulated? Class AB, D, or T?If you're really into a lot of bass, the class D or T may be for you as these amplifiers will produce the highest SPL with the smallest size. If you just want to wake the neighbors, blur your vision, or make a big splash in SPL contests, maybe you just need one of the inexpensive, powerful, & dirty class D designs. Want the cleanest high frequencies? Maybe a good class AB amp would be your selection. Whatever you choose, I hope this information helps you achieve the sound you're looking for! >> Click here for images and diagrams too <<
  3. 3 points
    Mike Flanagan

    Listening to new 5.25" mids

    Ok, help me out. What objective answers are you wanting? Im not an engineer and have never professed to be. But from reading your posts on other sites, neither are you. That being said, I do notice that you have some sort of animosity toward Ray, Randall, Richard, Johny and least of all me because of our association with Linear Power/Blues. Im sorry you feel that way but the one thing you need to understand is we dont put up with that tone that I've seen you have on other sites (like the name calling, or putting people down because they need help or have an opinion about a certain product) on this site! We are laid back and enjoy having chats about SQ and our vehicles. Thats it! If you dont like that, there are plenty of other sites that will suit your need to start unending arguments (you should know this, Ive seen plenty of the arguments you've started!). As for objective answers, I think youve gotten all the answers your gonna get until you go buy a set of Blues Speakers yourself! Then you can get all the objectiveness you can handle! I dont know of any other speaker manufacturer that puts out any and every detail on changes made to their speakers nor Every reason for those changes nor ALL of the specifications regarding those changes. Why should you expect those from Blues? Plus EVERY speaker company claims to have the BEST sounding speaker so why would you go out of your way to pick on Ray and Blues? Those are some objective answers I would like to have!
  4. 3 points
    linearpower

    Listening to new 5.25" mids

    That is one part of it, Rick. The crossover is not as simple as some think to build a one way 12 db crossover with full compensation, there is a lot of reaction between the different sections and to tune it well takes many test combinations. If you look at (the screen shots of the graphs on the website) the phase angle of the component system it is VERY flat and sits on zero degrees mainly, not many speaker systems will do that, nor will they have such a flat impedance curve(the curve sits basically on 3 ohms for most of the bandwidth until it encounters the low freq rise of the woofer). Most passive systems but some type of "dirty" impedance loads (low impedance drop outs or dips) on the amplifier somewhere in the audio bandwidth. These impedance dips can cause amplifiers to heat up, thermally protect, or damage outputs. Other things they do it cause dips and peaks in the frequency response since the amplifier will produce more power at the frequencies where these dips in impedance occur and less power where the impedance rises. These crossvers do not do that when combined with the matching speaker system. Of course its not all in the crossovers either, it is in the materials used in the speakers and how they are used. different cone weightings, spider and surround weighting combinations, voice coil lengths, wire gauge sizes, size of magnetic gap, top plate thickness, The new Blues speakers have almost identical outside cosmetic looks of the old Blues speakers, but they are different in a lot of other ways that are not visible. It is a speaker SYSTEM and must be treated as that, the individual components will work well by themselves but work great as a complete system. It's like when you walk into Waffle House and they have the sign on the wall saying there are 1,082,000 ways to have your hamburger and hashbrowns, there are many different weightings of cone materials, surounds,and spiders which all look the same cosmetically, combine those with the different options of top plate thickness, voice coil lengths, and wire gauge sizes and you could make 100 (and still many more) of the same size speaker which ALL LOOK THE SAME but all sound different. It is a balancing act to get a speaker system to sound really good, handle a decent amount of power well, and do it efficiently, and that is no easy task as some would make it out to be.
  5. 2 points
    pro-rabbit

    Various pictures of our work

    These will be randomized a bit but here are a few images from our work. Much more to follow!! Designs..
  6. 2 points
    Thank you all for taking your time to help me. I have a few questions about equipment and setup. I am installing this equipment in a 97 grand marquis. most of the equipment I have is either old or given to me so please keep that in mind. I will be installing a jensen vm9512 I also have (4) 6.5 Earthquakes I was considering for the rear. I have a old polk Db i believe it 400w rms its in a sealed fiberglass box amps: mtx 102 hifonics zx-4000 clarions apa 450 pioneer gm7200 and a small jensen 18wx2 rms was considering using for tweeters in a component have access to a clarion dpx 2250 if needed as well I have been reading a lot and confused best way to set up the amps and speaker? I'm not sure which amp to what speakers is best. I have a few ideas but........ Also I'm having a really hard time deciding on speakers for the front doors? i was considering 5.25 such as: infinity reference 6032cf , polk db 5.25, mq quart dsh 213 or maybe even soundstream sst5.25 I been doing a lot of research and rattling my brain unfortunately I am on a budget and don't have someone where close by to listen to variety of different speakers. I promise not looking for the easy route by asking for help. Any advice or guidance would be greatly appreciated Thank in advance
  7. 2 points
    Aaron Clinton

    SSA customer pictures

    I see a few from time to time and this one is quite good:
  8. 2 points
    Here is more ... Everything in these amps was done with a purpose for SQ and reliability. The amps share NOTHING between the two channels, they source their own ground from one common point in the power supply and are not combined anywhere in the signal chain. Every signal path in the amp is shrouded by a ground trace on each side of the signal line to create a 360 degree noise shield around the signal, the board is 3 OZ copper, the big big class D amps are proud of saying they use 2 OZ copper. We use 3 OZ to minimize any high current losses, increase efficiency, and to reduce heat build up in the board. We use twin Burr Brown op-amps and neither channel is shared between the two. Every electrolytic cap in the signal path and some in the power supply use WIMA by-pass caps as a SQ improvement. Tru Technology gets several hindred dollars jsut to add these caps as one of their stage upgrade to the amps. Even the gain pot is a 10% part where the standard for the industry is a 20% gain pot. The gain pot is the nearest point that the two signal paths come to each other. These amps can be ordered with a DIP header and a DIP pack to set the voltage input exactly to the headunit (2,4,5 7,8 volts in) instead of using a gain control. There will be a plug in crossover card availiable and factory installed when ordering for the people that want a crossover. For those who don't the siganl path will be un-effected by the crossover since it will not be plugged in. The crossover card will also utilize a gain control or DIP packs to exactly set the crossover points and stop any chance of signal difference between the two channels. Ther is plenty more I can go over about these amps. We will post a pic of the old heat sink in a little bit and I will go over those improvements we added to the new heat sink. These amps can't be touched by anything we have done in the past and will outperform anything on the market that is true SQ. The power filtering is handled in three stages to decrease noise to a bare minimum, the power is filtered directly at the bridge rectifiers, then again when leaving the power supply in the center of the board, and again directly at the output devices to keep the power to them as squeaky clean as possible and to storing energy directly at the output devices. All caps are high grade audio caps, that are extremely low ESR and high temp caps. 6 different protection systems protect the amp, and are non-interactiive with the signal path. This is just a few of the advantages to this amp. Power supply efficiency is in the plus 80 percent range and over all efficiency is in the low to mid 70 percent range. The LP2150 will make rated power of 150 x 2 with 30 amps of current. An example of the 2.2HV versus the first prototype of the LP2150, the 2.2HV had an internal voltage of 97 volts and the LP2150 had an internal voltage of 84 volts, yet the power output was almost identical except at low frequency and the 2150 beat the 2.2HV, the final version of the 2150 makes tons more power than a 2.2HV and also sounds tons better, and the 2.2HV was known as one of the great SQ amps. We also use the highest grade of audio devices currently offered by On semi (Motorola) these devices only run at 30 percent of their capability, they are also the largest plastic cased audio devices on the market (they have the EXACT electrical specs as the meatl cased TO-3 transistor, these are TO-3P devices, they are jsut derated by 25 watts of heat dissaparion from the TO-3 metal cased parts). we used these to dissapate heat effectively and quickly into the heat sink. The power supply only runs at around 27 percent of its capability at rated power. This terminates in well over 3 dB of headroom, and the damping factor is rated at the speaker terminals at 20 Hzs at greater than 375, not taken from an point on the circuit board to get a higher rating or at a higher frequency to make the figure bigger.
  9. 2 points
    The amp has arrived!!!
  10. 2 points
    linearpower

    The NEW Linear Power amps

    I'm sorry to say they won't be that cheap, but compared to the prices of the other SQ amps on the market (Zapco, Tru Technology, Focal, Mosconi, Audison) we will be considerablly cheaper but with better electrical engineering and parts. We have already had the prototypes reviewed by several different people that have tested our prototpyes against several of these brands in a direct comparison, and our amps came out on top. Most of these brands have a retail price tag of $1499.00 - $1699.00 USD for a 110 x 2 to a 150 x 2 amp, one even has stages of mods that only bring their amp up to near what we do in our normal production amp and that raised the price of their amp another $1100.00 for a total of $2600.00, As well as, the other amp's power ratings are derived from 14.4-14.5 battery volts, at 1K Hz sine wave, at 1.0% THD. Our power ratings are derived from 12 volts at 20 Hz at less than .08% THD, so your buying an even bigger amp from us than their so called power rating.
  11. 2 points
    NicholasJohnson

    First build in old F100

    Got the box done and installed today! still have to get ports though and a few other things for securing the box.
  12. 2 points
    bum

    Where can I get 6x9 sub?

    http://www.parts-express.com/pe/showdetl.cfm?Partnumber=264-837 me i would try and fit this in it if not re build it for it link below. http://www.parts-express.com/pe/showdetl.cfm?Partnumber=264-838
  13. 2 points
    I feel that if you don't understand in depth electronics, there are some things in the article that can be mis-understood. First, "damping factor and output impedance"; to most people, they immediately think of the speaker impedance. This is NOT what is being discussed here, it is the inpedance or resistance of the output circuit of the amplifier which is internal to the amplifier. As this internal resistance is decreased, power, circuit efficiency and control (damping) increase. As the speaker impedance is decreased as attached to the amplifier the combined damping factor of the circuit and speaker go down. So, a low internal electrical impedance common to the components of the circuit board are needed to give better control to the speaker, BUT the lower the speaker load the less the damping factor of the total circuit.. He also talks about damping factors not needing to be more than 5 or so. This is TOTAL SYSTEM damping factors (NOT amplifier damping only), which include electrical damping (as provided by the amplifier), the mechanical damping (as designed into the speaker) and the acoustical damping (from the enclosure and the area and shape of the area the speaker and cabinet is loaded into) When all of these factors are calculated together, the overall damping factor (total system damping) will be a small number. BUT to even achieve enough of this low total damping to control the speaker and have it sound decently tight and clean, an amplifier needs to have a fairly high electrical damping factor.
  14. 2 points
    linearpower

    5002 vs zapco studio 500

    There is no difference in a 5002 and a 5002IQ other than the stereo bridge switch in a 5002 was removed and the point was jumpered so the amp was in "INVERTED" mode al lthe time so the right channel speaker output connector polarity was reversed for stereo use and the amp would bridge or run mixed-mono without flipping a switch. The 5002's always had a delayed speaker relay in them from day one, when the speaker relay circuit, i.e. quiet circuit, and the inverted channel (IQ) was added to the 2202, 952,452, 652, making them the 2202IQ, 952IQ, 452IQ, 652IQ and so on they changed the model number for the 5002 to 5002IQ to match. But the 5002 was the first real "IQ" series amp and all the other amps were modeled after this circuit.
  15. 2 points
    bromo

    Bromos Build Log

    The Havoc The Box Threw a LA Storm Neo just for the shot.
  16. 2 points
    Just got this woofer. Its the old school w/foam surrond. I believe it came from the ISO KIT, simply because it has "ISO KIT" on the side of the magnet, lol. Does anyone here knows what enclosure is recommended for it? Or any blueprints out there or any graphs or specs? By the way its a 12".
  17. 2 points
  18. 2 points
    bowtieguy

    Extra Cab Mazda Build

    Made some progress today, got all the wood cut for the new box. Sorry I didn't take any pics of the wood cut but I do plan on starting the building of the box tomorrow after work. I will be sure to make pics then for all the pic whores I am excited to hear how the new (better) box will sound. Decided this box will be installed in the grey Mazda without carpet until the green one is ready. No sense in letting it just sit and wait right? Might as well put it to good use. Still trying to decide if I should do the plexiglas window in this one too. What do you guys think? Help me decide.
  19. 2 points
    linearpower

    The NEW Linear Power amps

    We have gone over high voltage and high current designs, and now I will speak about regulated and non-regulated power supply design. In a regulated amplifier the power supply is controlled or regulated to work with in a voltage or power window and produce a given amount of power in a very small range. This reduces the peak current draw and averages it into a more continous current draw. The so called marketing advantage to this system is a product that looks more efficient and that will make the virtual same power from say 10 volts to 16 volts. The actual BAD things of this design is that first, if voltage drops, the amplifier has to make up for this voltage loss across the circuit by supplying more current which at very low voltages and over a sustained period of time drives a heavy load on the power supply and the power supply fets which in turn often fail. Secondly, there is no advantage for keeping voltage up and consistant (other than to keep your power supply alive), there basically is no power increase, other than a very small one. Thirdly, a regulated power supply has set a power ceiling as such on the capabilities of the power supply, this reduces overall dynamics and headroom of the amplifier, because there is no extra power to draw from. This is why most amps on the market have 1 dB or less of headroom or reserve power and very little dynamics. They fall on their face when a peak musical note comes along in the music and the amp is already being stressed to produce nearly full power for the normal listening level. They maybe able to respond with a little extra power but no where near the burst power to make a musical peak be reproduced properly. A NON-regulated, or unregulated power supply design on the other hand has several advantages. One is that if battery power is held to a normally high level the amplifier can give you more power than it is rated for, if it was rated correctly to begin with. Secondly, if battery power drops the amp will not respond by driving itself with extraordinarily too much current and kill itself, the power just drops back. This gives the amplifier a secondary type of protection from low voltage, it just drops the power back with the drop in battery voltage and does not over current itself. It should be your responsibility whether you have a regulated or unregulated power supply designed amplifier to have an adequate electrical system to support the amplifier. In 22 years of repairing all brands of amplifiers (90 pecent being regulated design) this is the second most common failure in amps (over driving or over curent of the power supply), this is only second, next to "too low of speaker impedance", which destroys the outputs then over drives the power supply, since most of these amps are high curent design and cannot utilize over current protection well enough (if at all) to protect the power supply. This is because the over-current protection to protect the power supply from too low of loads, bad speakers, or shorted wiring cannot discriminate closely enough between a short and the "normally" low load of the speaker. Either it is set to protect and falsely trip all the time (custmers bitch), or set not to false and provide inadequate or no protection and the amp fails(customers bitch). This is another good reason to drive higher impedance loads with high voltage amps, they can have protection that works, and that is not confused by a normal low impedance load or a NON normal bad low impedance load. Thirdly, a unregulated power supply design typically has an average current draw less than that of a regulated amplifier which makes it more efficient on average. A unregulated power supply does have more peak instantanious current draw for dynamic musical input, this gives the amplifier the unbridled capability to asking from the battery the power (this peak draw can be 4 times or more the rated fuse size, but only lasts for a few milli-seconds at a time)it needs to try to reproduce a peak muscical note. This in turn gives unregulated amps much more headroom and dynamics than regulated power supply designed amplifiers. This is why all the old Linear Power amps sounded so good and dynamic, they had 3 dB+ of headroom, and plenty of reserve power for dynamics. Other things that go with the unregulated design to make it work well is that the design should be over built. An example of this is that the power supply for the new Linear Power LP2150 is only working at around 15 percent of capability to produce rated power, this gives tremendous reserve power and headroom, and nearly un-believable longivity and reliability.
  20. 2 points
    Like I said, it's 80% driver and 15% tire. Sure, one can dump money into the car, but it isn't necessarily going to make him win. The 6-time National Champion runs a stock-class Mustang with a set of Koni Yellows as its own mod. Of course, he's on R-comps. Hell, we've come in 4th overall on a regional level in a stock 70whp shitbox. This was in a very heavy rainstorm with standing water on the track, and we brought the right tires. Interestingly enough, the shop that preps our car runs several stock block/heads, etc Evolutions in the high-9s. Yea, they break parts.
  21. 2 points
    linearpower

    Linear Power

    Hi guys, I'm Ray from Linear Power, I have been with Linear Power for 28 years, and I now own the joint. I am also the President of TIPS Inc. which does warranty/service work on many brands of car audio equipment, including factory authorized service for Pioneer, Kenwood, Clarion, JVC and Panasonic. I have been in car audio since 1975 when I started installing stereo equipment at a local shop. I then managed a local retail store before going to work for the regional independant marketing company out of Oklahoma for Kicker and Linear Power at the time. During that time I designed, and ran a stereo contest in the Texas, Arkansas, La., and Ok. area called Power Wars, this was in the day when George Reed was running Thunder on Wheels contests for Rockford Fosgate. This was all in the early 80's. After working for David Lee Marketing, I went on to do contract work with Linear Power at the same time I was working for Stillwater Designs (Kicker) as head of R&D and designing the original Kicker Competition Separates. I left Kicker in the late 80's and did design work for one of the original founders of Kicker, Don Mitchell, who started Richmond Hill Corp and made Blues speakers originally. In addition I have built many factory demo vehicles and some of the largest and loudest car stereos for their time. 1980 Ford Mustang with 8 -15 inch subwoofers,(1983) Astro van with 9-18 inch subwoofers(1989), Linear Power Breadtruck (1998), multiple vehicles for Kicker, and a few national winners for customers. I built big systems but they all had to sound good too, we were not building at that time for just SPL. At this same time (1989) I started TIPS Inc(Technical Information and Product Services) as a service company. This is what I have been doing for the past 21 years until I decided enough was enough and made my mind up to bring some REAL American products back to the market. We have re-introduced the Blues speaker line under the Linear Power company and we are making them better than they ever were before, and they rival or exceed the best sounding speakers on the market today. We are in the works with the ORIGINAL Linear Power engineer who has spent the last 12 years or so at Kicker as their head engineer to build a better Linear Power amp than we ever had before. Jeri McCord left Kicker in Oct. 2009 and has devoted his full time in working with me on re-developing the new line of Linear Power. Don't worry folks, its going to be the same old Linear Power philosophy just BETTER. Everything will be made in the USA and designed and engineered totally in house by us. The Blues speakers started shipping about 3 weeks ago(June 15th 2010)and they have been received very well. We had prototype equipment being used by a select few people in the contest arena for a little over a year now, in that time we have placed 1st or 2nd at every local or regional event, and the few times we placed second was only to one of our own vehicles for first, with only one exception so far where another brand actually placed first. We had one SQ entry in USACi World Finals last year using early prototype and 20 year old Blues product and Linear Power amps and he placed 4th in the world. He had as little as 5000.00 in his whole system and beat out systems worth over 40,000. From that time to current we have gathered over 40 trophies with as few as 5 vehicles competing, with most of those trophies being won by the first two vehicles that got built. So car audio has been a minimum of 35 years of my life to this point, I don't really see changing. We hope to meet a lot of nice and interesting people on this site, and are willing to help with your questions in any way, about our products, or any general audio questions that we can help with.
  22. 2 points
    ssaudio

    Installing a new skin.

    http://www.skinbox.net/live/ipb-3-1-x-skins/magnetic-s115-p1.html
  23. 2 points
    Cablguy184

    Cablguy184's 1997 Chevy Silverado

    Linear Power 2.2hv and Linear Power 502hv.(All Modified by TIPS/Linear Power) Blues Car Audio Iso-kit 10 subs (pair). Separate enclosures tuned to 22 htz. More pics and info soon.
  24. 2 points
    Is that an audio amplifier circuit? It looks more like something found in an industrial electronics textbook. An audio amplifier will look similar in that it has a DC bias on it at the output of the transistor but the bias is removed before the final outputs so there is only AC on the outputs.
  25. 2 points
    An amplifier does not output dc if it is working good. It will always output AC. Your theory with the lightbulb is ridiculous. Lightbulbs do not care about polarity connection so if you flick a switch on and off in a DC circuit it will act the same as if it is connected to an AC power supply. The amplifier section is supplied with DC and it produces AC. It will never produce DC at the output. You can use a resistor in AC. Its impedance will vary based on how it is built (inductance) and the frequency of the signal. I'm not sure if you are joking or not but that is stupid. You connected a 12v dc bulb to the wall outlet and expected it not to blow ? Please use better english and punctuation when typing. Makes it easier to understand what you are saying and easier to discuss.
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