Precision Power PC2.65C Benutzerhandbuch

  

The coil is wound on a 20mm Kapton 

  

  

 

former and sits entirely

 in an unde

rhung gap 

for 100% linearity and minimal distortion.

  

  

We did not invent the 

inverted dome, but w

e

 

wish we had.  We chose an anodized 

  

  

  

aluminum

 inverted and self-s

uspended           

diaphragm.

 The dome is te

xtured for rigidity 

and inverting the diaphragm yields more 

control over sound dispersion.

  

 

There are a few of ways to crossover a set of 3-way components

. 

 

A basic 3-

way passiv

e

 network would be the easiest.  Some com-

panies s

e

ll a 2-way kit

 with an “A

dd-A-Midbass” separate kit whic

h 

combined r

equires 2 passive net

works.  Or you can us

e all active 

crossovers with an amplifier channel per each individual driver

. 

 

While this allows the ultimate in 

flexibility and tuning, it also re-

quires very skilled installers/tuners or damage can easily be done.   

 

The crossover supplied with the 

2-way and 3-way kits are one in 

the same.  This reduc

es cost and si

mplifies

 installation.  There is a 

push-button switch to go from 2-

wa

y to 3-way application.  Pretty 

dang clever if we do say so ourselves!   

 

 In 2-way mode the crossover s

end a 12dB highpass

 signal to the 

20mm Tweeter at 4kHz, and a 12dB 

lowpass signal to the 6.5” 

Midbass driver at 4kHz as well. 

When the button is switched to 3-

way, the 6.5” Midbass speaker wires need to move down to the 

new location on the crossover to 

make room for the 2.5” Midrange.

 

The Midrange section of the cr

ossover now changes

 to a 400Hz 

highpass - 4kHz lowpass, creati

ng a bandpass signal for the mi

d-

range with plenty of protection. The new Midbass section is a  

400Hz lowpass for the 6.5” driver. 

We chose all 12dB per octave roll-

off slopes which keep

s all drivers in phase with each other. Did you 

know that 6db and 18dB crossovers

 shift phase by 9

0

 and 270 de-

grees? Not

 cool! For further protection of the Tweeters

, some com-

panies us

e a PT

C capacitor which 

is basically a heat activ

ated 

switch. Some other c

o

mpanies

 use 

a bul

b

 to absorb

 excess power 

during transient peaks

. We chose to use both for the ultimate protec-

tion for the Tweeter. All parts are t

op qualit

y as we believe that the 

crossover is just as important as t

he rest of the speak

e

rs in generat-

ing audiophile quality sound reproduction.  

The quest for the perfect soundstage has always been a great chal-

lenge. The ultimate goal is to get 

the stage to sound as if you were 

there live!

 The perfect soundstage

 would be at least ear lev

e

l or 

higher, wider than the vehicle its

e

lf

 and as far forward of the wind-

shield as possible. Many people do not

 realize that it is very possible

 

to hear the soundstage “outside of 

the vehicle” which means that the 

musicians and singers can be percei

ved as being on a larger stage 

than the dash.  Much larger!  In 

a well designed, built

 and tuned v

ehi-

cle, the members can be heard in 

the middle of the hood and further 

out than the edge of the fenders. 

 

Some people install their components 

in their doors while others want

 

them on top of the dash.  Som

e

 pe

ople s

tarted putting speak

e

rs in 

kickpanels to minimize pat

hlength differences from one side of the car 

to the other.  Pathlength is the dist

ance from the speaker

 to the ear or 

microphone. Obvious

ly, if we ar

e in 

the dr

iver seat, the driver s

ide 

sounds louder.  This is because sound 

diminishes the further it gets 

away from us.  If we sat in the 

mi

ddle of the car, both si

des would be 

equally as loud and the st

age would be

 dead center!  But since t

h

at’s

 

not an option, speaker placement becom

es critical to get the stage as