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Kenwood 2-way crossover
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Old 24th January 2020, 08:52 PM   #11
Galu is online now Galu  Scotland
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I calculate that the 12 ohm resistor is providing 8dB of attenuation.

Prologue has asked for an extra 3dB of attenuation giving 11dB in total.

Using this calculator L pad calculator - attenuation dB damping impedance decibel loudspeaker speaker voltage divider - sengpielaudio Sengpiel Berlin this degree of attenuation can be obtained by using a single resistor close to 20.39 ohm or by an L-Pad arrangement close to 5.75 ohm in series with tweeter and 3.14 ohm in parallel.
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Old 24th January 2020, 09:23 PM   #12
Douglas Blake is offline Douglas Blake  Canada
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Quote:
Originally Posted by Galu View Post
P.S. Thanks for the endorsement re the variable L-Pad.
You're welcome. Truth be told, I don't really understand why they aren't the norm. It sure makes adjusting the speaker into the room a lot easier.
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Old 24th January 2020, 09:42 PM   #13
Andersonix is offline Andersonix  Sweden
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Kenwood 2-way crossover
Even garbage L-pads are already too expensive. But a 2-pole on-off-on switch would let you have a cheap and useful -1, 0, +1dB on the tweeter.
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Old 24th January 2020, 10:20 PM   #14
Galu is online now Galu  Scotland
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Quote:
Originally Posted by Andersonix View Post
Even garbage L-pads are already too expensive.
The extra expense of variable L-pads will account for the fact that few manufacturers incorporate them, but pay 4,000 for JBL L100 Classic speakers and you will get them!

Another negative point is said to be the fear of intermittent wiper contact. However, I've been using L-pads on my tweeters for over 30 years without incident and, horror of horrors, they are branded 'Realistic' from Radio Shack!
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File Type: jpg JBL Classic.jpg (619.2 KB, 40 views)
File Type: jpg Realistic L pads front.jpg (224.5 KB, 43 views)
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Old 24th January 2020, 11:21 PM   #15
Douglas Blake is offline Douglas Blake  Canada
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I've used the realistic ones myself... never had a problem.
Yes, back in the day my L-100s had them.

I've also used 10 position rotary switches with resistors strung from one contact to the next...

I don't think they're too expensive when the alternative is that you end up returning a perfectly good speaker that is too bright in your room.

But then, what do I know? I still like tone controls.

Last edited by Douglas Blake; 24th January 2020 at 11:24 PM.
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Old 24th January 2020, 11:31 PM   #16
Galu is online now Galu  Scotland
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You know Douglas, you can't beat an occasional tweak!

(And, at the risk of upsetting the purists, I wouldn't be without tone controls!)
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Old 24th January 2020, 11:33 PM   #17
Douglas Blake is offline Douglas Blake  Canada
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Quote:
Originally Posted by Galu View Post
You know Douglas, you can't beat an occasional tweak!
Especially when you have uneven acoustics to contend with.

Quote:
(And, at the risk of upsetting the purists, I wouldn't be without tone controls!)
(Ditto)
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Old 25th January 2020, 11:03 AM   #18
Prologue is offline Prologue  Belgium
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Thanks all for your reply



Quote:
Originally Posted by Galu View Post

Using this calculator L pad calculator - attenuation dB damping impedance decibel loudspeaker speaker voltage divider - sengpielaudio Sengpiel Berlin this degree of attenuation can be obtained by using a single resistor close to 20.39 ohm or by an L-Pad arrangement close to 5.75 ohm in series with tweeter and 3.14 ohm in parallel.

I'm going to experiment an Lpad of -8 dB to start with.




I m aware there not worthing a lot but it is for educational purpose
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Old 25th January 2020, 12:02 PM   #19
AllenB is offline AllenB  Australia
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Kenwood 2-way crossover
Quote:
Originally Posted by Galu View Post
I wouldn't be without tone controls!
I don't find it's the acoustics that change, it's the source material that varies (and having a control kind of implies needing regular variation).
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Old 25th January 2020, 01:12 PM   #20
Galu is online now Galu  Scotland
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Originally Posted by AllenB View Post
it's the source material that varies
That's precisely the reason I value my tone controls.

Within my vintage LP collection there are variations in frequency balance and a 'poor' recording can be rescued with the judicious application of bass and/or treble controls.
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