Subwoofer Not Loud......
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Subwoofer Not Loud......
Hey everyone, lately I have been messing around with the settings on my amplifier to try to get my subwoofer to go its loudest. I have a JL Audio 12w3 w/ Alpine M300 and Alpine 7893. For some reason now, when I turn up my volume as high as it will go, my subwoofer seems to go down in volume when I turn my speakers are at their max, but when I turn the volume down a little more, the volume of my woofer goes back up. Overall, my subwoofer does not seem to be as loud as it used to and I keep messing with my amplifier and still I can't seem to get it to go louder, when I know it can. Could you all please help me, Id appreciate it. Thanks!
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From: Car Audioville, Quebec, Canada
Rep Power: 0 that amp has clipping protection. Set your gains properly. Minimize any Bass Bossing you have going on and it'll be fine.. Whener the amp detects clipping it regulates itself and lowers output.
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From: Southern Cali, California, US
Rep Power: 0 Where did you read that the amp goes into protection when the signal is clipped? I have the MRD-M500's and they have a clipping indicator to help adjust the gains, but I can clip the amp to a full square wave and they will not go into protection, just sounds like crap. I know the M300 and M500 are a little different but I dont remember reading it will go into protection if clipped?
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From: La Puente (626), California
Rep Power: 313 Here’s a quick checklist for initial set-up:
Mode 1: Input
1-1 Set the input SELECT to 2CH for nearly all cases. This will internally sum the left and right channels. Failure to do so can result in greatly reduced output with stereo bass recordings. The only reason to use 1CH mode would be if only one RCA connection is available, such as using separate left and right subwoofer amplifiers for stereo bass, or if the signal is already summed mono (e.g. using a processor with only one subwoofer output such as the PXA-H510).
1-2 Set the source level at the volume where you would like to achieve maximum output with the amp, using a recording with high average bass signal output. Also, make sure all subwoofer level controls and/or other up-stream signal adjustments (if used) are set to the maximum level. Then adjust the INPUT LEVEL to the setting where the input-clipping indicator (the decimal point after the last digit at the right of the amp status display) comes on occasionally. While this should also be the point where the onset of distortion becomes audible, it does not necessarily mean that the amp is delivering maximum power yet. Be patient and go through the rest of the setup, as the purpose to this setting is to apply the cleanest signal to the A/D converter at the front end of the DSP in the amplifier. If a very high bass level relative to other full range speakers is desirable, it will usually be best to turn down those gains rather than severely clip the amp’s input. In the special case where the amplifier is still not reaching maximum output soon enough, use the P.EQ to boost the output level (see Mode 4)…after going through the rest of the set-up.
Mode 2: Low-pass filter
2-1 Set to “ON” unless using an external crossover or processor.
2-2 Set to the desired crossover frequency.
Mode 3: Subsonic filter
3-1 Set to “ON” for most cases, especially when using vented box subwoofer designs.
3-2 Adjust to the desired cut-off frequency. Warning: Since it is possible to overlap the subsonic and low-pass filters, you may create a condition where amp will produce little or no output. Make sure that the subsonic filter frequency is significantly lower than the low-pass filter frequency, unless you have a very specific performance goal in mind.
Mode 4: Parametric EQ (P.EQ)
4-1 Set to “ON” for nearly all cases. The Parametric EQ is a valuable tuning tool, and is recommended for both personal taste and maximum performance. Most customers don’t appreciate a flat frequency response, and even if your particular customer does, they will still most likely want an imbalance in volume between the satellite speakers and the subwoofers.
4-2 Adjust to the desired frequency.
4-3 Set the width (Q) to affect the desired frequency range around the center frequency. For example, if you would like to boost frequencies between 45-75Hz, the bandwidth is 30Hz, which corresponds to Q=2 if the center frequency is 60Hz. Just keep in mind that higher Q is more narrow, and lower Q is wider. If an overall subwoofer level increase is required, it is advised to set the P.EQ to its widest setting (Q=1 for M300, Q = 0.5 for M500).
4-4 Adjust the level as needed for either boost or cut. Please note that it may be necessary to go back and re-adjust other settings such as input level at this point, depending on your tuning goal.
Mode 5: Bass Compensation
4-1 Set to “ON” for most demo board cases. This function is unique to Alpine (based upon MediaXpanderä technology), and basically restores or adds harmonic overtones in real time to the music. It is especially effective with compressed media, such as MP3’s. It will also have the effect of increasing the perceived bass level of normal recordings in most cases, but is much more than simple equalization. It should be noted however, that if engaged on already bass heavy music, it might have the effect of “muddying” up the bass in some cases. In general though, its use will be a matter of both personal taste and program material.
Mode 1: Input
1-1 Set the input SELECT to 2CH for nearly all cases. This will internally sum the left and right channels. Failure to do so can result in greatly reduced output with stereo bass recordings. The only reason to use 1CH mode would be if only one RCA connection is available, such as using separate left and right subwoofer amplifiers for stereo bass, or if the signal is already summed mono (e.g. using a processor with only one subwoofer output such as the PXA-H510).
1-2 Set the source level at the volume where you would like to achieve maximum output with the amp, using a recording with high average bass signal output. Also, make sure all subwoofer level controls and/or other up-stream signal adjustments (if used) are set to the maximum level. Then adjust the INPUT LEVEL to the setting where the input-clipping indicator (the decimal point after the last digit at the right of the amp status display) comes on occasionally. While this should also be the point where the onset of distortion becomes audible, it does not necessarily mean that the amp is delivering maximum power yet. Be patient and go through the rest of the setup, as the purpose to this setting is to apply the cleanest signal to the A/D converter at the front end of the DSP in the amplifier. If a very high bass level relative to other full range speakers is desirable, it will usually be best to turn down those gains rather than severely clip the amp’s input. In the special case where the amplifier is still not reaching maximum output soon enough, use the P.EQ to boost the output level (see Mode 4)…after going through the rest of the set-up.
Mode 2: Low-pass filter
2-1 Set to “ON” unless using an external crossover or processor.
2-2 Set to the desired crossover frequency.
Mode 3: Subsonic filter
3-1 Set to “ON” for most cases, especially when using vented box subwoofer designs.
3-2 Adjust to the desired cut-off frequency. Warning: Since it is possible to overlap the subsonic and low-pass filters, you may create a condition where amp will produce little or no output. Make sure that the subsonic filter frequency is significantly lower than the low-pass filter frequency, unless you have a very specific performance goal in mind.
Mode 4: Parametric EQ (P.EQ)
4-1 Set to “ON” for nearly all cases. The Parametric EQ is a valuable tuning tool, and is recommended for both personal taste and maximum performance. Most customers don’t appreciate a flat frequency response, and even if your particular customer does, they will still most likely want an imbalance in volume between the satellite speakers and the subwoofers.
4-2 Adjust to the desired frequency.
4-3 Set the width (Q) to affect the desired frequency range around the center frequency. For example, if you would like to boost frequencies between 45-75Hz, the bandwidth is 30Hz, which corresponds to Q=2 if the center frequency is 60Hz. Just keep in mind that higher Q is more narrow, and lower Q is wider. If an overall subwoofer level increase is required, it is advised to set the P.EQ to its widest setting (Q=1 for M300, Q = 0.5 for M500).
4-4 Adjust the level as needed for either boost or cut. Please note that it may be necessary to go back and re-adjust other settings such as input level at this point, depending on your tuning goal.
Mode 5: Bass Compensation
4-1 Set to “ON” for most demo board cases. This function is unique to Alpine (based upon MediaXpanderä technology), and basically restores or adds harmonic overtones in real time to the music. It is especially effective with compressed media, such as MP3’s. It will also have the effect of increasing the perceived bass level of normal recordings in most cases, but is much more than simple equalization. It should be noted however, that if engaged on already bass heavy music, it might have the effect of “muddying” up the bass in some cases. In general though, its use will be a matter of both personal taste and program material.
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