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There's no reason with today's technology to look at big, low impedance class A/B amplifiers when you can get exactly the same performance in a potentially smaller and more efficient package with other amplifier classes. While it may be big in Italy for whatever reason (can't say I can understand the appeal of the systems in the above links personally), the rest of the world is advancing with technology into the future with amplifier designs that provide more benefits than class A/B has to offer. I've really yet to see any valid reasoning as to why you feel the need for the amplifiers to be class A/B as opposed to other topologies other than "because it's the big thing in Italy right now". That's not really valid reasoning, that's just following the herd. Class A/B has it's place as a topology.....big, high powered, low impedance amplifiers isn't really that place anymore.

I go directly to SAX-500.2 In Europe there is the boom in low-average number of installations in the door, and good sounding Class AB, and stable to 1ohm would be ideal ... here is full of companies that have focused on this band many are so power Stereo RMS @4ohm Watt 335 x 2 power Stereo RMS @2ohm Watt 650 x 2 power Stereo RMS @1ohm Watt 1200 x 2 I was semi-joking. As the market is going, smaller and smaller amps are the wave. That is mostly being done by Full Range Class-D, or more efficient design of board and parts. So for Jacob to build a monster A/B amp, especially with FR class-D's approaching or matching THD of class-A/B and standard class-D technology getting cheaper, it would not make sense money wise to build a surfboard. The traditionalists like me are getting fewer and fewer, and do not pull the trigger on amplifiers as fast and easy as the younger or competition crowd. Money wise, it makes sense to probably not build much larger then the existing A/B's in the line up. Heck, the 125.2 is a strong amplifier as is, and can power plenty of daily driving sub woofers with ease, along with big mid's or higher power handling tweeters. But the 125.2 does not sell as many units as a 1500D or 100.4. That shows Jacob, there is little market for an even larger, class-A/B amp that is a current hog, has a large foot print and is more expensive to build then a comparable class-D amp of the same power output in mono that is cheaper to build and smaller of foot print. Many people do not understand that in most amplifiers today, the most expensive part on the amplifier is usually the heat sink. Again making it more cost prohibitive to build a big class-A/B amp that will need much more cooling then a class-D of comparable output. A constant in this business is the cost of materials continue to climb. To go along with the whole idea of smaller being the better direction, across the world, smaller cars are picking up more and more of the market. People are going to have less and less space for big power amplifiers. Which means amp companies need to squeeze out more power from less size. Something that is very difficult or very expensive. Alpine has been leading the charge with the PDX amps, but the seemingly unending feedback their noticeable distortion levels do not put them at the top of the market.

MI....I haven't been up there since I was a kid. LOL Thank you for the compliments!!! Well, I have one more freaking panel to cut and it's too dark to see out here so........ HERE'S SOME PICS!!! (only 4 of them sorry..) Tomorrow she slides back into the Ranger for a final test fit !!!!! Carpet may have to be a later on kinda thing. I still have the amp rack to fab up, plus a few other details that are more important before I compete at Slamology 2010.

Audax PR170M0 6.5" Midrange - 100dB from Madisound 100db sensitivity. But with .5mm Xmax you aren't going to get much midbass out of them IIRC companies like B&C, 18sound, Eminence and Faital all have high sensitivity 6.5" mids. But.... We have that stinking Hoffman's Law to contend with. Problem with small drivers is their small cone area, so you really need to give up the ghost in low frequency performance in order to gain efficiency. So how they were able to get 50hz performance out of a 6.5" with 94db sensitivity and 250w continuous power handling (which will be put to the test if I remember to get a pair).....I'll be very interested to find out. BTW, I have an email dispatched to them to try to get a little more info. We'll see if they divulge.

I use fuses as well. I read somewhere that everytime a (Car Audio Application) circuit breaker opens (Tripped) it get's weaker over time and becomes useless. http://www.bcae1.com/cirbrakr.htm a good read on Circuit Breakers

Rob Clay's

Your amp wouldn't like the touching, that's for sure. As for what to try. Since you have a throw away in there strain it. Grab some cd you are familiar with and use normal listening levels and keep reducing the crossover point until it sounds funky to you. Before adjusting turn the volume all the way down and then back up. It usually helps to listen to just the tweeters and not all the drivers. Don't do this to destruction levels, just use it to familiarize yourself with stress. Its possible that some sort of vibration is causing your amplifier to do funny things. I would also drive around listening to just the throw away tweets with nothing else. Perhaps at lower levels and lower cross points so you can listen to see if anything on the road creates some stress in them. If it is really tiresome to your ears to just listen to your tweets you could have your mids playing, but turn their levels way down so the tweeters dominate to make it easier for you. I too think its your amp, but perhaps it isn't a problem when sitting still.

* SAZ-1000D on left / SAX-1200D on right -- dual transformers and output inductors + new more powerful MOSFETs... all N channel outputs vs. N-P in the 1000D. * Side by side with 1000D for size reference. * Close up shot. This is a newly tooled board for Sundown Audio... been testing it for a while. The initial prototype was about 200-watts stronger than the 1000D as expected... but I went a step farther and used higher powered FETs and we are expecting around 500-watts more than the 1000D from it. MAP price is $60 more than the 1000D for ~500 watts extra power -- not too bad if I say so myself Expected pricing on the SAX-800D will be a little under the SAZ-1000D for similar power output in reality (this model has NOT yet been started... so please don't ask for an ETA). I'll get testing up on the revised prototype when I get my hands on it -- so far my testing has been on the first prototype.

Last time I checked, the Sundown 3500 was Xenon. It's Zenon. Xenon was an amplifier line by Phoenix Gold. http://www.zenonaudio.com/logout/company/introduction.htm

All you did was prove you can't hear distortion. Either way you REALLY shouldn't use your eq for boost, just cut. The purpose of it is to fix anomalies and 99% of the time that means cutting them out.

And here you are a demonstrating a fundamental lack of reading comprehension. Where did I "down" them? Show me one sentence where I said anything negative about the speakers, their sound or performance. I said that they won't be perfect which is essentially what you (or Navid, if that's who you were quoting) stated, that the limited info that's been provided is essentially useless (which it is, that's indisputable), and lastly when a couple people mentioned that they were "rated' to play lower than most "pro audio" speakers I mentioned the simple fact of physics that other things would have needed to have been compromised....such as efficiency. That's not negativity, that's honesty. As a matter of fact, I distinctly remember saying that if Navid's goals for the drivers aligned with what you are looking for in a driver, they may be a great fit for your needs. None of that is negative, and if you took it as such then you are simply being defensive and not actually reading the statements being made. Since when is Pro Audio synonymous with loud and nothing else? If you're trying to imply that Pro Audio does not equate to high performance low distortion designs, then that is a misconception on your part. Brands such as JBL, B&C and Eminence have been producing extremely high quality pro audio drivers that are not just high efficiency but also very low distortion and extremely well performing drivers for decades. Most people look at various aspects of the driver design outside of simply how loud they get. Maybe all you look for is to get loud and nothing else, but to characterize the entire genre of Pro Audio as sharing that same opinion is simply and indisputably wrong. I'm using one of JBL's high quality, low distortion well performing "Pro Audio" mids in my own system at the moment, the 2118H. And trust me, I consider much more than simply how loud they will get before selecting them (as have thousands of other people, from professionals to amateurs). Don't expect that info to go uncontested.....which is exactly what you apparently expected to happen. Like I said before....if that is the type of thread that you want to have, it's not going to happen here.

The Xcon is more of SQ subwoofer with great output. The BL is more of an all around ground pounder. Both are great subwoofers, the BL is slightly cheaper, and overall great. I owned the 15" BL and enjoyed it on 1500 watts from my Saz-3000d. It is a toss up, but for an overall daily, ground pounder the BL and Xcon are great. The Xcons are awesome in lower tuned enclosures, and BL's get loud from 30-35hz Xcons can be sealed, BL's cannot. the Xcons like Sealed: 2.0 - 2.25 cu.ft, Sealed: 2.75 - 3.0 cu.ft. optimal, Ported: 3.0 - 3.25 cu.ft. @ 26-33 hz, Ported: 4.0 cu.ft. @ 26-33hz opt. For the Bl Ported box we recommend using 2.8-4 cubic feet @ 28-37Hz.

I had 1 of both. 18's though off the same power. I prefered the xcon over the bl. It got much lower hit much more accurately and overall sounded better. You'll be happy with either product as both companies are great, but xcon>bl imo.