Hey ppls,

wondering if u can help me out. I just got myself a set of Boston Pro 60's, will be running off a Audison LRx 2.5 amp. Im looking for suggestions on where the best location & position is to have the mids & tweets. Ive just sound deadened my doors so will most likely use the factory position in the doors for the mids. Car is a R34 Skyline btw. Ive been told that it would be best if i can mount both mids & tweets off axis in this application, ie. having tweets in the kicks, woofers in the doors. Wot do u guys/gals think? The Pro 60's tweets has a metal dome so perhaps it may be a good idea to have them down low rather than on the A-pillars or they may end up being too harsh(in ur face)??

Anyone running Pro 60's out there i would be very interested to hear ur opinions on this and anyone else who may be able to provide some usefull suggestions please fire away.

Thanks in advance for the help.

I have heard the pros using the factory supplied bracket where they setup like a coaxial.They were in the doors and sounded great.

i was doing the same reearch for mine not to long ago..maybe look for my thread, its here in teh SQ forum..

i decided on having the mids on axis in the doors, and tweets mounted down in the tweets, and i was gunna play around between on/off axis

I think you mean kicks trism

Yea im guessing u mean kicks.

Let me know wot ur on/off axis experiment turned up... meantime ill do a search...

nah man, tweets mounted down in teh tweets sounds right.....



yeah, kicks

To make my search easier, can u tell me wot the thread was titled as Trism? Havnt found it so far.

ive had a bit of play with the S60's they sounded nasty when aimed at the head rests. i had to drop a bit of EQ out to make them sound better. by firing them across the dash at each other they sounded much better and i could take the EQ out i had to dial out.

i think down low in teh kicks with careful positioning would sound nice. the car i was in had mids mounte quite high in the doors and tweets below the line of the mids wasnt really an option.

http://www.caraudioaustralia.com/forums/in...c=78673&hl=

i would mount the tweeters coax and then put them in the kicks or angled up in the doors.

^^Do u mean using the bracket that comes with the Pro60's & have tweeter & woofer in one?

I was told its best to mount both on axis(only possible if both tweeter & woofer r mounted in the kicks) or both off axis (woofer in doors & tweeter in kicks). If this is true i would most likely go with option 2 since ive spent a considerable amount of time to sound deadened both layers of my doors already.

I'd strongly recommend against this application if at all possible.

In a factory designed (i.e. not active or custom passive) two way setup, you will have too many holes in your frequency response if both tweeters and mids are both mounted off axis. You'll get a heavy natural attentuation in your upper midrange caused by the off-axis application of your mids, and get another heavy top end attenuation caused by having your tweeters off axis. I'e heard how the the result usually sounds, and it's not particularly desirable. Tweeters off axis can deal with (depending on their cross over settings) because they aren't relaying many extremely critical sounds, but mostly ambient sounds. Mids are more critical because they handle alot of critical portions of the sound such as most vocals, and the majority of instruments. You could somewhat improve this 'mountain range' effect via the use of EQ, but while that will improve things, it'll be a weak way to do so and the problem will still remain to a degree.

Placing your tweeters up on the dash can also be effective, but it brings along some issues of its own (especially if mounted facing each other). Firstly, you will get sound wave reflections off the glass, which isn't desirable. Secondly, there may or may not be issues with separation between the mids and tweets.

Mounting your mids and tweets in the kicks as coax would be the best option from an overall performance point of view, but kick panel mounting may not leave enough 'enclosure' volume for the midbass drivers to operate to the best of their ability.

It may be worth while trying to get your midbass and tweeters installed as coax in the doors, both angled to be somewhat on axis using custom designed pods. This will create issues of it's own (with the comparative distance between the listener and each side causing staging / imaging issues) but it should at least keep a sharply focussed image, and help alot in avoiding 'drifting' of the sound through changes in frequencies.

I say, play with different tweeter locations for starters and see what you like best. Speakers all have different characteristics of course, but they should all mostly be affected similarly by different mounting methods. So if you have a current set of speakes experiment with those, and then once see see what you like, you'll probably find it works well with the bostons as well.

The thing is Boston probably more so then any other manufacturer design the speakers to be installed in factory like positions. One of Boston's main design philosophies is to design a speaker that works well in factory positions, which is why they can tend be very strong in certain freq ranges, those that are generally attenuated in factory positions.


But I'd just put the woofer in the door and just move the tweeter around till you find a position you like the sound off.

Luke

Regardless of their design ideas, i don't believe they would have the issue remedied.

30 degrees off axis can make a fair significant reduction in the upper midrange.

60 degrees off axis makes a dramatic reduction in the upper midrange.

Most manufacturers don't even indicate the type of drop off you would face when mounding 90 degrees off axis (generally the case with an in door installation). You may well be looking looking at attenuation of 10dB or more at higher midrange frequencies. For any speaker disigneer to intentionally design a speaker with that magnitude of gain at such frequencies would imo be insane... it would essentially mean the speaker is an entirely innacurate tin of garbage. I'd be very surprised if they factor such a high degree of adjustment into their in-car drivers.

At least, thats my opinion.

Thanks muzzy.

Can anyone, specially those running the Pro's tell me wot the best crossover point would be?

Someone said to me `I liked to cross them at 65hz. Blended nicely and bass imaged up front'.

Any opinions?

No single person could tell you the best crossover point, no matter how much experience they have with those speakers. It depends on your speakers, your sub, your sub enclosure, your deck (which may determine what crossover points are available), and most of all your car.

Until the speakers are in your car and running, you will never be able to answer that question - any claims from others would be simply a "hit-and-miss. hope for the best" guess. What works well for them, may not work so well for you.

atm, i have them running passive.

mids pointing straight out, tweeters up on dash, base of A-pillars pointing each other...

crossed over at 80Hz on a -12dB slope... thats running off the h/u.

when the amp comes ill try crossing them lower.

a bit of eqing, and t/aing, and they sound sweet......

nice high soundstage, nice and centred..

gotta play some more though...

hopefully the amp will be here mid next week

.

I had my Z6s mounted flat in the doors and thought they sounded quite good... But I did have to fiddle with the EQ a bit to get it sounding right... After a while , I found it still didn't seem to have the snare snaps and upper vocals quite right, kinda too laid back in the midbass, so I mounted them more on axis....

With the covers off, I can see both of the midrange cones clearly (whereas before they were only half protruding from the doors),from a flat mounting to about say... 20-30 degrees off axis to the front seats. I reckon the difference from changing the position of the woofers was like going from night to day!!!!

All of my little gripes with the system seemed to go away once I mounted them more on axis. No more EQ probs, More midbass snap (that chest snap feeling of a quick snare hit you get when its just right), and I found the soundstage improved as well.

For some reason the Focals I used to have seemed to work better than the Bostons in an off axis setup, and
when comparing the Boston mids to the focals I used to have, I noticed that the Z6s cone shape was slightly deeper, and IMO this is why it makes it more critical for these speakers to me more on axis than most other types. The Pros you have are almost identical to the Z6s, so I think you'll find the same result.

I think that boston may have decided to forego a little on the off axis response in order to make the cone shape more rigid, which is probably why the Boston mids have come to have a reputation for excellent midbass output characteristics.

Another point to add is that by angling the mids more towards the listener, you'll have less chance of cancellation in the lower frequenciesbetween the 2 splits up front...

I'm most happy with my setup at the moment, running the front splits passive, crossed over at 100Hz (12dB), with 300WRMS on tap each side, no EQ, with just a hint of TA. This setup gives a good front presence, albeit a little high on the highpass freq for the mids... Having the highpass at 100Hz however enables a much higher output from the front splits, and keeps the upper midbass ultra clear, plus I know I won't cook a midbass at full volume playin a "missy elliot" track (if I wanna show off the subs)

I love em!!!!