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What amps are you using ?

252K views 1K replies 801 participants last post by  rob3980 
#1 ·
Just as the topic says...

What are you using in your systems ?
 
#453 ·
Dude, did you even consider that price or size may not matter to him. If I had the space and money having heard both amps, I'm taking the Tru. class D are fine for subs, but I wasn't happy with how they sounded full range. I can hear a difference, just because you can't doesn't mean there isn't. Nothing personal, just my opinion. If you can't hear a difference stay with JL they're a good product.
 
#454 ·
I can hear a difference, just because you can't doesn't mean there isn't. Nothing personal, just my opinion.
Actually, it does probably speak to your inability to properly match levels more than anything else. People lacking the basic technical competence to that often find that identical-performing amps sound different.

And for some reason there's a high correlation between willfully remaining scientifically illiterate and spending large sums of money on gussied-up commodity parts...
 
#456 · (Edited)
Hey DS-21, I wasn't going to get into this but since you are proving yourself a complete moron, I will. I've been around music my entire life. I've played in actual orchestras and various jazz and rock groups. I've also been in the audio business for 25 years. I know how things are supposed to sound and having been a professional MECP certified installer I know HOW to SET systems up. You probably listen to manufactured music and have read just enough on car audio to consider yourself an expert. But, you only know enough to get into trouble. Some people have an ear for actual musical instruments and can here differences in various equipment. Source, path, amps, and spkrs all effect SQ. If you can't get that, then this is the wrong hobby for you. Let people have there opinions. There's no need be such a condescending dick.
 
#457 ·
Hey DS-21, I wasn't going to get into this but since you are proving yourself a complete moron, I will. I've been around music my entire life.
Which is nice, but does not go to my point, which was that your ability to "hear differences" in commodity parts (amps) speaks to a lack of competence in matching amp levels.

If you had actually understood the point to which you replied, you would've spoken to level matching protocols, etc.

I've played in actual orchestras and various jazz and rock groups.
Which is nice, but does not go to my point, which was that your ability to "hear differences" in commodity parts (amps) speaks to a lack of competence in matching amp levels.

If you had actually understood the point to which you replied, you would've spoken to level matching protocols, etc.

I've also been in the audio business for 25 years.
OK, that's a black mark. Given your post, being acculturated in the "audio business" for a quarter century only speaks to your inability to distinguish propaganda from reality.

I know how things are supposed to sound
Or think you do, at least.

and having been a professional MECP certified installer I know HOW to SET systems up.
If you can show me anything in an MECP manual relating to level-matching two amps to 0.1dB across the audible band in order to facilitate a controlled subjective same/different listening evaluation, I just might give half a ****.

You probably listen to manufactured music
Yeah...it's obvious you haven't been around here long. But keep digging your hole. It's kind of cute.

Source, path, amps, and spkrs all effect SQ.
So does your ass. I quite admire your cheek control. It's rare to see someone type so well with one's nether muscles.

(And what the **** is "path" exactly? Are you actually claiming that wires of appropriate size and shielding for the application are anything but commodity parts from a sonic perspective?)
 
#458 · (Edited)
Your right, I am new to this forum stuff. I like to speak simply to broad audiences in terms that I think everyone including the novice would understand. I understand your point, but I don’t care. I wasn’t really speaking of your point, as much as trying to illustrate the fact that there are differences in gear they maybe small, and inconsequential to some, But noticeable none the less. As for talking out my ass, you sound like a man of great experience. I understand that you believe that there are no sonic differences. You may be right, there may be no audible difference, but in people’s minds the difference is very real and they will go with what is more pleasing to them. I still think that there is no instrument that can replace the human ear. Let’s move on.
 
#465 ·
I understand your point, but I don’t care.
Obviously, given your reply, you don't understand my point. So whether or not you "care" is quite irrelevant.

I wasn’t really speaking of your point, as much as trying to illustrate the fact that there are differences in gear they maybe small,
See what I meant about not actually understanding my point?

Often differences people claim to hear are really just small broadband level variations, which obviously disappear when levels are properly matched. That's what you seem to lack the intellectual capacity to understand.

but in people’s minds the difference is very real and they will go with what is more pleasing to them.
And if what's in "people's minds" is all based on total ****ing myth and risible propaganda, who cares because a quarter-century veteran of the audio industry really just sees fellow sales-hacks moving **** out the door based on that mythology, right?

I still think that there is no instrument that can replace the human ear. Let’s move on.
A less infantile statement that showed some actual understanding rather than just an ability to regurgitate propaganda at a 2d grade level would be that there are some things for which the ears must be the final judge (i.e. whether there is an actual sonic difference between any given two boxes under properly controlled condition), and there are some things for which the right instruments have much higher resolution than any human ears. Matching levels, for instance.
 
#460 ·
Well, I had a kicker 700.5 and the sub section was great but the highs I had problems with. It worked but just didn't make me happy not sure if it is my drivers or what. Just took that out and put in a temp setup with an old alpine mrvf300 and and a cheap dual that is 170rms on a 4510 mtx. What a step down from 420rms on quad 12s but will have to do. It sounds good likely pointless to dial on it hard lol. Kickers are supposed to be someplace in the middle, I dunno, but I did research and found a deal on this one so I got it. Techs said they are well built for the price, but I had no problems with it just a little noise from the alternator and didn't like it at max output. However, the car drives nicer without 80lb of crap behind the seat. I need to weigh that baffle loaded and see how much the 15s will save me.
 
#471 ·
As topic says. I was using a PPI sedona for highs and a soundstream rubicon 404 for focal access midbasses and a bridge for hertz dieci subwoofer, now i'm putting a PPI family together, black ppi pc2100 for helix rs806 mids, black ppi pc250 to put in the place of the sedona and looking for a black pc275 to play my sub bridged. I'm very happy with the little sedona, but want all black :D
 
#479 ·
what i have to use....

PPI A100.2 or A300.2 for my alpine SPX PRO Tweeter
PPI A300.2 or A600.2 for my alpine SPX PRO 6.5 driver
PPI A600.2 or ProArt50 for my PIONEER 8" shallow (3" mounting depth FTMFW!!)
PPI A1200.2 or ProArt100 for a pair of PPI PRO 12" 4 ohm. old school flat pistions


Still debating... serious thinking a100.2 for the tweeters. 25wrmsx2, A300.2 75wrms for the 6.5 driver, A600.2 (150wrms)for the 8" in doors and my A1200.2 (300x2) for my subs.

however the alpine 9887 has caught my eye and i may scrap the 8" in door idea.

oh yea,,, eq a pair of pmq 210 and crossover frx456
 
#485 ·
nice to see the PPI Arts are about to come out and play :D

I should have my full active system up and running by next week. I'm currently running on semi active mode.

here's the plan:

A200 for Focal Mistral tweeters
A600 for Vifa TG9s midrange (a bit of an overkill, I know)
Pro Art 100 for Focal Mistral 6.5s midbass(a bit of an overkill as well)
Pro Art 50 bridged for Soundstream VGW-12

I might do an amp reshuffle when I beef up my power. I guess that's the good thing with having 4 2 channel amps. If ever I do a reshuffle, the a200 will stay with the tweets, pro art 50 for the midrange, a600 for the midbass and upgrade the sub to possibly idq or idmax to maximize the pro art 100s 800w bridged power.

I'm not knowledgeable enough to participate in the technical arguments so I'll stick with my old school amps ;)
 
#480 ·
If I can get my 15s installed I'll put a class D on them for power reasons...but I have some old school stuff to try on highs. How about HK CA240 and 260, couple SS first model rubicon 302s, USA MTX mosfet amps RT and BT, some old alpines T757/407 a 1002 (mrv), 3555s, F345, and some newer normal amps just to compare like infinity. I have no idea what will work best.:confused: Will not be putting the kicker back in though, too many other amps to play with.
 
#490 ·
Phoenix Gold MS-275 to horns, MS-2125 to midbass and MS-2250 to subs. Also have an Octane LE and a few few MS-2125s I'm considering doing something with.
 
#491 ·
2 x KAC-X4R (Kenwood)
JL HD 750/1

I am pretty pleased with the Kenwoods. I switched my front end from a Blaupunkt Velocity and found the X4R to have a much warmer, richer sound (class D amps). Together with my hu's xover I was able to run my front (2-way) active, picked up an extra rca to my sub amp with it's own xover and t/a'd the whole thing through the X4R. I bought another and now have an x4r powering each channel (tweets and 7"s). It's a bear to adjust but, I am satisfied as long as it holds up until I can find a complete double din.

Oh yeah, the HD 750/1 is fine. What can I say, it make go boom and is small!
 
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