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Just so you know, some of us write those loud pipes too. I own a Harley, it's not the loudest thing in the world, but can be loud. I have enough respect to shift early in town, residential areas, so as to not disturb folks. Same when I had beats. Kept it turned town in town, residential areas. Had a little respect for my neighbors. More people should practice that. wheeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee

I don't see how receiving a ticket for having a full on bumping system is violating anyone's first amendment rights. What is said in the lyrics might be protected, but not the booming bass that goes along with it. Also, who can hear the lyrics when all there is is boom? People can get mad as much as they like, as ///M5 said, you choose to turn it up, be prepared to pay for it. You made the choice, now man up and accept the consequences. Plain and simple. wheeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee

Here's a few updates. First of all, a little messing around. What's that old saying?? Oh yeah, curiosity deafens the cat? Wiring and installing the first sub. Some pictures of the soldering of the Neutrik Speak-on terminals. Wiring and installation of the second sub. And everything to do with the subs and the box are DONE! I think the look of the subs and the enclosure turned out almost exactly as I had hoped. The motors on them Q's are just SEXY!

That rule of thumb is not accurate sometimes, when you have drivers with <15 mm excursion you run into a problem when using that rule of thumb to design the port. The more xmax the woofer has the more air it will displace, so if you don't have enough port you basically have a "leaky" sealed box. That is why I design the port for the airspace the woofer displaces, not for the airspace the woofer will be in.

If you have to ask, your not ready for 7K.

Thanks. I spent most the day working on it. Attached the end caps and added some 2x4 pieces to reinforce the joints. I also added some trim pieces for looks on the rear brace. Started doing some of the filling and smoothing but still have a lot of sanding to do. Another test fit. I need to do a couple of slots for the wiring but it fits real good other than that.

He had it under his other company name and then some scamming issues went down. Bad rep is probably why he changed to this name.

Andrew

18sound seems to produce pretty good drivers, albeit they can be on the pricier side of things. The Fs is pretty low for being pro audio, however the Q is very low so it's going to begin it's roll-off pretty early with a shallow slope. Definitely don't plan on great low end extension unless you plan on building a ported enclosure into your door. The DE500 is the compression driver the ID Neo is based on (possibly a copy of, though I believe ID claims there are differences). So it's a good performing unit as well. The compression drivers are not designed to be direct radiating devices. The are specifically designed for horn loading. The horn lens (or "body") improves sensitivity by improving the acoustic impedance match between the source (the speaker or compression driver) and the air into which it's playing. The horn body is what gives HLCD (horn loaded compression drivers) the benefits that they have; high efficiency, controlled directivity, etc. Yes, choice of horn lens is very important. For starters, the design of the body sets the usable bandwidth of the HLCD. The length and mouth area of the body will determine the effective operating bandwidth of the horn. Generally speaker, the shorter the horn and smaller the mouth, the higher the cutoff (crossover) frequency needs to be....the longer and larger the horn, the lower the cutoff frequency. So the size of the horn is going to determine how low you will be able to effectively use the HLCD, and this must be matched with your system design goals. You can't use a horn body that's only good down to 3khz if you intend on trying to cross the horn at 1200hz. Second.....part of the benefit of using a HLCD is controlled directivity. Instead of the sound being radiated in all directions from the speaker as is the case with a direct radiating driver (with the exception of things like beaming), the horn body controls and limits the off-axis response giving a certain dispersion pattern. The shape of the horn is going to determine the dispersion pattern. This is usually stated in degrees, and basically tells you how the off-axis response of the horn will be. Now, with standard pro audio horn bodies you're going to have symmetrical dispersion in the horizontal plane.....for use in a car, this is generally not a good thing. This is why car audio-specific horns have the shape they do....they are designed to allow the sound to radiate towards areas we want it to be (like towards the driver and passenger), but limit it's dispersion towards areas we don't want it (like towards the doors). This can help improve the sound by reducing reflections off of various surfaces in the vehicle and can help achieve a more uniform dispersion pattern across the listening area. Another consideration is the shape of the horn. The shape of the horn and horn termination (how thing are treated at the end of the horn's mouth) is going to affect frequency response and internal reflections in the horn itself. This will, obviously, have a large impact on the response of the horn. Anomalies in the response as a result of internal reflections can't be fixed with an EQ since it's an acoustic effect occuring within the horn....a poor horn design is going to have poor performance unless steps are taken to physically modify the conditions within the horn body such as use of foam and differing termination techniques. There are some other things to take into consideration that will affect sound also, but I think that gives you the jist of things. So.....the short answer to your question could have just been yes, the horn lens matters I wouldn't try to use pro audio style horns inside a vehicle unless you are only worried about how loud you are able to get. Car audio specific horns, while definitely not perfect, take our specific considerations into account. The only real outlet for those right now are Image Dynamics. In which case, unless you've already found a set of horn bodies you are trying to mate compression drivers to, you would probably be best off to just look for a set of new or used ID HLCD's (includes both the horn body and compression driver); either the CD1-Pro, CD2-comp or the newer Ultra's. USD Audio had some as well, but they are harder to find. Illusion Audio and Veritas also had some horns, but those are harder to find. Those are the only companies I would really trust to purchase car audio horns as there were a couple other companies that I probably wouldn't recommend. It's possible to buy the ID horn bodies by themselves and then purchase compression drivers separately, but normally not cost effective if you can find a good used pair unless you simply want to use a different compression driver than ID uses. The ID's come in mini-horn (shorter) or full-bodied (longer) styles. As noted above, the full bodies will play a little lower but are harder to fit. Not if setup properly. The midbass will be used within a region where the ear can't really differentiate height cues, and car audio horns placed under the dash are designed to use the dash essentially as an extension of the horn body.....so the sound will "roll" up the dash and provide a higher sound stage. The horns need to be properly mated to the underside of the dash without any gaps between the bottom of the dash and the top of the horn mouth. How they are aimed (horizontally and vertically) will affect imaging. Generally you want to mount them as wide (side to side) and as far back (towards the fire wall) as possible. Also keep in mind, a large part of sound stage reproduction is frequency response and time alignment (there's much more to it also, of course, but these fundamentals need to be right to have a good foundation). You will, I repeat will, need equalization. You will also want to make sure you have adequate control over time alignment of all of the drivers. Hope that helps.

It looks good the only thing that looks like they didnt do is sand the paint where they ground to the frame, but if they did my fault. Did they do a ground wire from your engine block to car's frame or negative battery post as well. You can put a fuse between the positive wire going from the postive battery post to the positive alternator post, its up to you but the fuse will help in case anything happens so its a safety hazard or precaution. Some use a fuse and some dont, hope that helps.

Depends where you go and what tint you get, at least go to a nice spot and get the lifetime warranty. Anywhere from $100-$150 or better but its summer so shops are running deals plus the economy so they will work with you.

that is the ugliest riviera i have ever seen. good luck doing.. whatever it is you are doing. looking at your other builds you're gonna need it

Anywhere from $150-400 new, each. What exactly are you trying to accomplish here? More dynamic sound but with good accurate reproduction and proper imaging? Or just trying to be heard from a half mile away? Really hard to give any suggestions without knowing your actual goals. Too many people equate pro audio with "who cares how it sounds as long as it's loud!" (and many of the users require only this level performance out of their own systems using these speakers), so when someone asks for recommendations on high sensitivity drivers the suggestions pay little attention to the actual quality of the sound produced or goals for the system. Most of those "loud" pro audio car setups don't follow the best acoustic practices either. The reality however is that there are lower-average quality products that have lower-average performance and higher quality products that are very well behaved in terms of distortion, linearity and response. Knowing your goal will determine which product range fits your needs. Also, knowing your goals as far as imaging will help provide a realistic expectation as speaker placement and as a result, size constraints. I will say that you are not going to find a high sensitivity 3" or 4" driver. Sensitivity is partially a function of cone area, and as cone area goes down and motor size decreases, you begin to limit the driver's ability to maintain a high sensitivity. So matching a low sensitivity 3" full range driver with a high sensitivity midbass and midrange is going to require you reduce the level of the midbass and midrange to properly level-match the drivers......which sort of defeats the purpose (unless you are purchasing the high sensitivity driver for it's other traits, such as distortion performance. But that doesn't sound like your objective). Also, most super-tweeters or bullet tweeters need highpassed in the 3khz - 5khz range. A 6" driver is going to begin beaming well below that point as well as probably run into some potential issues with things like cone breakup modes/etc. Now, not all beaming is bad as it can serve as pattern control, but it's also not always good or useful and can create another layer of complications to the installation/tuning if good sound and imaging is your goal. Horns in generally are not newb-friendly. That's not a knock at you as I have no idea of your abilities, but if your tuning skills are on the newer end of the spectrum expect to spend considerable time tuning the system before it sounds (atleast until you get that MS-8 listed in your sig which will take care of most of the hard work for you). However, for other reasons such as better pattern control and horn loading as well as available bandwidth (and overall performance in general) they are a much better option than bullet tweeters. So, after a bit of rambling......what exactly are you trying to accomplish?

and its only going to get worst.. thanks to the whole immigration reform LOL a lot of businesses cant afford buying product in american to sell in america so they outsource there products to other countries due to having to pay high wages and benefits to full citizen americans..