TODAY'S GENIUS
I've been thinking about solutions to solve the problem that my new JBL horns are too powerful compared to my main horns.
I saw the solution when I fell asleep:
The main horns are connected in parallel, which turns 8 Ohm into 4 Ohm.
The JBLs were also connected like this - they are 16 Ohm, but became 8 Ohm in parallel.
The solution was simple:
I connected the minus of one JBL to the plus of the other (connected in series), and then 16 Ohm becomes 32 Ohm.
Most "experts" would have surely designed a power-reducing circuit consisting of different components to achieve the same thing, but I am fundamentally against using any circuit if this can be avoided, and I can do it by doing it the way I have done.
Many will say no, but I am sitting here with proof that this works !!!
Increasing the impedance of speaker as I have done from 16 ohms to 32 ohms also has a great advantage:
When a loudspeaker is connected to an amplifier output, the amplifier provides better control of the speaker motion and the speaker has a flatter frequency response if the output impedance of the amplifier is a lot lower than the impedance of the speaker.
This is most often specified as the “amplifier damping factor” into 8 ohms, rather than the actual amplifier output impedance. If the amplifier has a damping factor of 250, the output impedance is 8 ohms divided by 250, or 0.032 ohms. With such a low output impedance, the frequency response of the voltage supplied to the speaker is very flat and the amplifier maintains good control over the cone motion at low frequencies.
Now there is significantly more pressure on the main horns and the sub-bass, and the tendency for shrill human voices is non-existent.
NON-EXISTING..!
I didn't have the wildest imagination that this could work as well as it does.
Finding some compressor-driven horns that have the same signature as my others would normally have been very difficult; in fact almost impossible.
Talk about luck.
And the system can still be improved by making dipoles for the JBL and Philips horns, which will be the next and final work.
I've been thinking about solutions to solve the problem that my new JBL horns are too powerful compared to my main horns.
I saw the solution when I fell asleep:
The main horns are connected in parallel, which turns 8 Ohm into 4 Ohm.
The JBLs were also connected like this - they are 16 Ohm, but became 8 Ohm in parallel.
The solution was simple:
I connected the minus of one JBL to the plus of the other (connected in series), and then 16 Ohm becomes 32 Ohm.
Most "experts" would have surely designed a power-reducing circuit consisting of different components to achieve the same thing, but I am fundamentally against using any circuit if this can be avoided, and I can do it by doing it the way I have done.
Many will say no, but I am sitting here with proof that this works !!!
Increasing the impedance of speaker as I have done from 16 ohms to 32 ohms also has a great advantage:
When a loudspeaker is connected to an amplifier output, the amplifier provides better control of the speaker motion and the speaker has a flatter frequency response if the output impedance of the amplifier is a lot lower than the impedance of the speaker.
This is most often specified as the “amplifier damping factor” into 8 ohms, rather than the actual amplifier output impedance. If the amplifier has a damping factor of 250, the output impedance is 8 ohms divided by 250, or 0.032 ohms. With such a low output impedance, the frequency response of the voltage supplied to the speaker is very flat and the amplifier maintains good control over the cone motion at low frequencies.
Now there is significantly more pressure on the main horns and the sub-bass, and the tendency for shrill human voices is non-existent.
NON-EXISTING..!
I didn't have the wildest imagination that this could work as well as it does.
Finding some compressor-driven horns that have the same signature as my others would normally have been very difficult; in fact almost impossible.
Talk about luck.
And the system can still be improved by making dipoles for the JBL and Philips horns, which will be the next and final work.
Shared knowledge provides increased knowledge
If we all share everything we have, we all have everything
Every theory is only a hypothesis until it is practically proven
KEYBOARDS, SYNTHS & MODULES I HAVE HAD AND HAVE
Casio CTK 811-ex ||| Roland EXR-7 76 ||| Yamaha DGX-620 ||| Yamaha PSR-550 ||| Yamaha PSR-S700 ||| Korg Pa800 ||| Korg Pa3X 61 ||| Deebach XMS-Pro ||| Ketron Ajamsonic ||| Casio WK-7500 ||| Yamaha Tyros5 61 ||| vArranger ||| Ketron Audya5 61 ||| Yamaha PSR S950 ||| Solton X8 Chromatic ||| Yamaha Tyros4 10th Anniversary ||| Korg Pa4X 61 ||| Roland BK-7m ||| Technics KN-6000 ||| Technics KN-7000 ||| Roli Seaboard RISE 49 ||| Deebach MAX Plus ||| Yamaha Genos ||| Korg Pa700 ||| Korg Kronos2 73 ||| Tyros4 61 ||| Deebach BlackBox ||| Korg Pa2X Pro ||| Yamaha A3000 ||| Ghenos Plus ||| Medeli AKX10 ||| Korg Nautilus 73 ||| Yamaha DGX-670 ||| Korg Krome EX-88 ||| Korg OASYS 76 Sondius-XG version ||| Korg Pa5X 76 (Pythagoras Tuned) ||| Yamaha Tyros1 ||| Ketron Audya 76 (Own developed OS) ||| Yamaha PSR-3000 ||| Yamaha 9000 Pro ||| Yamaha MODX M8 ||| Korg Grandstage X ||| Roland Juno-D7 ||| Korg Kronos 1 73 (Pythagoras Tuned)
MY PA EQUIPMENT NON-ACTIVE AND ACTIVE
Aune S6 32 bit/384 kb DAC ||| Topping USB Isolator ||| MOTU 32 bit Audio Interface ||| TEYUN Q26 32 bit/384 kb Audio Interface ||| FM Acoustics FM 300A Power amp ||| FM Acoustics FM 255 Resolution Series Pre amp ||| MBL 6010 Pre Amp ||| STAX SR-L300 (Lambda) electrostatic headphones with STAX SRM-252S Amplifier ||| beyerdynamic T70 headphones (without pads) ||| Baffle horns equipped with Seas Exotic 8" fullrange units ||| JBL horns with Compression Planar membranes ||| Fountek NeoPro 5i (Special Edition) ribbon tweeters with Compression Planar membranes ||| Hexagonal subwoofer with 12 pieces Push&Pull coupled Seas Prestige 8" units, 1 item 10" slave unit and built-in XTZ power amplifiers & Cambridge Azur 640A as pre amplifier ||| Yamaha HS-5 active monitors connected to all keyboards
If we all share everything we have, we all have everything
Every theory is only a hypothesis until it is practically proven
KEYBOARDS, SYNTHS & MODULES I HAVE HAD AND HAVE
Casio CTK 811-ex ||| Roland EXR-7 76 ||| Yamaha DGX-620 ||| Yamaha PSR-550 ||| Yamaha PSR-S700 ||| Korg Pa800 ||| Korg Pa3X 61 ||| Deebach XMS-Pro ||| Ketron Ajamsonic ||| Casio WK-7500 ||| Yamaha Tyros5 61 ||| vArranger ||| Ketron Audya5 61 ||| Yamaha PSR S950 ||| Solton X8 Chromatic ||| Yamaha Tyros4 10th Anniversary ||| Korg Pa4X 61 ||| Roland BK-7m ||| Technics KN-6000 ||| Technics KN-7000 ||| Roli Seaboard RISE 49 ||| Deebach MAX Plus ||| Yamaha Genos ||| Korg Pa700 ||| Korg Kronos2 73 ||| Tyros4 61 ||| Deebach BlackBox ||| Korg Pa2X Pro ||| Yamaha A3000 ||| Ghenos Plus ||| Medeli AKX10 ||| Korg Nautilus 73 ||| Yamaha DGX-670 ||| Korg Krome EX-88 ||| Korg OASYS 76 Sondius-XG version ||| Korg Pa5X 76 (Pythagoras Tuned) ||| Yamaha Tyros1 ||| Ketron Audya 76 (Own developed OS) ||| Yamaha PSR-3000 ||| Yamaha 9000 Pro ||| Yamaha MODX M8 ||| Korg Grandstage X ||| Roland Juno-D7 ||| Korg Kronos 1 73 (Pythagoras Tuned)
MY PA EQUIPMENT NON-ACTIVE AND ACTIVE
Aune S6 32 bit/384 kb DAC ||| Topping USB Isolator ||| MOTU 32 bit Audio Interface ||| TEYUN Q26 32 bit/384 kb Audio Interface ||| FM Acoustics FM 300A Power amp ||| FM Acoustics FM 255 Resolution Series Pre amp ||| MBL 6010 Pre Amp ||| STAX SR-L300 (Lambda) electrostatic headphones with STAX SRM-252S Amplifier ||| beyerdynamic T70 headphones (without pads) ||| Baffle horns equipped with Seas Exotic 8" fullrange units ||| JBL horns with Compression Planar membranes ||| Fountek NeoPro 5i (Special Edition) ribbon tweeters with Compression Planar membranes ||| Hexagonal subwoofer with 12 pieces Push&Pull coupled Seas Prestige 8" units, 1 item 10" slave unit and built-in XTZ power amplifiers & Cambridge Azur 640A as pre amplifier ||| Yamaha HS-5 active monitors connected to all keyboards



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