Built-In UpStage design
Built-In 2-3 way design
Built-In Mid-EQ design
The versatile master of all situations is achieved in one module with the highest quality parts. This is a large module. Any of the functions above are available. Many program modes are toggle switch selected. The mid-woofer is instantly reversible in phase by toggle switch. This module will work in two-way, three-way and/or upstage mode in any combination. Additionally to any of the prior modules three transient optimized main Tweeter levels are selectable. There are 5 settings for mid-woofer upper taper which shapes the mid woofer sound as well as the level adjustment for the upstage Tweeter.
Crossovers are 250 or 300 Hz for the mid-woofer in 3-way mode. The upstage crossover is approximately 8kHz and the main Tweeter crosses over at 3.7 kHz. The L and C jumpers cross over the main Tweeter and mid-woofer as a mated pair to the upstage Tweeter. The taper and attenuation settings operate to moderate the contribution of the mid-woofer to the midrange. All the functions of the best modules are available. Defeat able upstage Tweeter protection is available.
The HEX-6000 is a passive design master system that includes all the functionality required for the installation of a system wide four or five-way system, including the subwoofer. This includes a switching function to select between a three or four way passive installation. The subwoofer and image Tweeter combined with the basic two-way crossover implements a four-way system. A pair of HEX-6000 could, with one, two channel amplifier implement a three-way crossover by itself. The typical optimum installation would utilize one four-channel amp with two channels for the subwoofer and the other two for the front and rear right and left channels. The front channels are programmed with the HEX-6000. The rear speakers play a lesser role in enhancing the sound and we recommend they be driven through an LP-2.
This wide-band but low bass filtered module adjustably attenuates the signal to the rear speakers to just the right amplitude for acoustic rear "fill".
Each rear speaker constitutes an entire system typically simply consisting of a very good full range speaker or a two-way integrated unit. A large or elaborate vehicle might employ a model 04 with a model 01 Tweeter in an isolated chamber (enclosure) and one or our crossover units especially the ES/HD 200Z. This module provides the same zone adapter function found in the HEX-6000. Mounting a midrange speaker in many places in the vehicle will result in a little more midrange than the driver designer intended. The zone adapter anticipates this and allows the midrange drivers response shape to be altered. In some cases the overall level may be increased by the mounting position, and then using the attenuation feature is appropriate. Both the
LP-2 and the HEX-6000 may be connected to one amplifier channel to thereby implement one side of the vehicle front and rear.
The front system we recommend uses Upstage Tweeters preferably mounted on the A-pillars with one of the mounting systems provided in our Upstage speaker kits. Our best kits also employ the HEX-6000 and woofers having polymerized black fabric cones with a polymer semi-soft dust-cap and rubber surround. These models furthermore employ a shorting ring above the pole-piece to control inductance modulation and reduce distortion. The model
07.2 implements a two-way system with the HEX-6000 and your choice of Tweeters and the model 07.3 similarly implements a three-way system. The model 07.2 uses a 7" woofer and the model 07.3 is the same except it adds a 4" mid-woofer. The HEX-6000 in each kit will handle the crossover function with either driver complement.
The front speaker systems in the vehicle would typically be mounted in the door and/or kick panel areas. The "lower" Tweeters (versus the above dashboard upstage Tweeters) are mounted as high as practical to blend with the upstage set. One setting in the HEX-6000 will adjust the level and the gradual crossover frequency to the upstage Tweeter pair. Since the "lower" Tweeters are low-pass filtered by the HEX-6000 and the upstage Tweeters are closer to the ear, the acoustical level of the "lower" Tweeters will always be less than that of the upstage pair. This level is therefore fixed. The two-way system, which combines the lower Tweeters with one of the cone drivers, is also adjustable relative to the upstage system as is the level and slope of the midrange roll-off within that system. Thus there is adjustment within adjustment to obtain a critical balance from the all-important front system. These adjustments have particularly appropriate predetermined filter slopes and frequencies to optimally interface the drivers in this area. Trying to do the same thing with an active multi-channel system would be very challenging and the driver integration would almost certainly be inferior.
The next step is to adjust the elements. Either the three-way (five-way including a sub and image Tweeters) or the two-way (four-way system including a sub and image Tweeters) can be adjusted by using this procedure.
Turn the subwoofer all the way down (no bass) and remove the image Tweeter jumper (it may be installed sideways to store it with no effect on the sound) this mutes the Upstage and subwoofer parts of the system. Set S1 to two-way. This will mute the woofer if installed. Now only the mid-woofer and lower Tweeter, are playing. Set the M-W phase to + . Adjust the high pass crossover to the lowest frequency to supply nearly full-range bass to the system.
The system is now reduced to a two-way system. There are four settings that will now act on the midrange portion and two on the Tweeter. The functions L-frequency and C-frequency act on both drivers and the M-W attenuator and M-W taper act only on the mid-woofer. Only two settings need to be adjusted at one time.
The next step is to preset these four settings as follows:
L-Frequency to Hi
C-Frequency to Hi
These remain fixed during this step.
M-W Attenuation to 0 (zero)
M-W Upper Taper to MIN
The next step is to adjust these settings to provide a smooth response with a gradual roll-off on the upper and lower frequency extremes. Since the mid-woofer is driven full range the balance on the lower end will extend into the bass. This is helpful in judging the sound subjectively.
You can use a test disk and a microphone but these must ultimately be put aside for a final setting by ear. If using instruments set the drivers position for a flat response using the two jumpers. On the other hand if working by ear the following comments may be helpful.
The design situation here is that the mid-woofer and closely associated Tweeter will be mounted down in an area that that acoustically boosts the woofer sound and misdirects and absorbs Tweeter output. The upper end of the mid-woofer will suffer the same fate as the Tweeter. The M-W Upper Taper attenuates the upper end of the woofer so the Tweeter will be proportionally higher in output. The M-W Attenuator lowers the entire range of the mid-woofer to bring the broad range of the driver down. Lowering the mid-woofer restores the proportion of high frequencies.
The sound should be smooth and natural without blaring or getting nasty in any way. Basically you want to move the attenuator until the Tweeter is well proportioned. Next you want to try the Upper Taper to best blend the drivers. This is a more restricted adjustment.
If vocals and especially the saxophone are prominent the midrange is too strong. If this is an M-W Level problem the highs will lack energy.
Remember, at this point the upper highs are absent and the highs will always lack bite. The midrange is being set so the Tweeter will blend smoothly into this midrange. If the sound is perfect and natural the M-W attenuation and Upper Taper can be left alone. If there is some harshness (or brightness to some) move the M-W Attenuator jumper down toward -6. At 6 the Tweeter will be standing out. Gradually move this jumper up and down. Choose the best setting. This is really a balancing act between the upper bass and Tweeter level.
Next you want to properly blend in the upper midrange. Move the M-W taper up and down until the lower highs sound natural. There should be plenty of range to make the mid-woofer level upper range too low.
This balancing act is easiest to set now with the L and C frequency set to HI. Typically both of the Attenuation and Taper jumpers will be a few steps down from the top. Listening to harmony as in a vocal quartet can help also in arriving at a final decision. There are 35 possible settings. This should quickly be reduced to less than 10. If the Tweeter starts sounding separate, raise the midrange taper toward MIN and if the male vocal or harmony among voices sounds unnatural rebalance the M-W attenuation.
The next step is to add the Upstage. It is unlikely the Tweeter will be damaged but the S-Tw Fuse jumper can be in either position for the next step.
The L and C Frequency jumpers are going to act to low pass and shape the upper end of the two-way system you just tuned to interface with the Upstage Tweeters.
Turn the S-Tweeter Level jumper around or retrieve it and put it in the Low position. You will immediately hear top end. The idea is to balance the level of lower midrange sound with the top end. This may not blend optimally at first. The highs could be too brassy try massed brasses as found in a marching band. To control this brass edginess, move the L-frequency jumper down one or two steps. After this readjust the Upstage S Tweeter Level to restore an overall natural balance. Now try the C-Frequency jumper in the Low position. If this seems more natural, it will preferentially accentuate the lower highs slightly, leave it in and retune the settings slightly to bring the system to optimal balance. At this point the system should sound very good but bass shy. When the bass is added you will usually want to raise the Upstage level a notch or even two to balance the added bass weight. Up till now the system will have sounded more natural with the Upstage Tweeters down a bit to compensate for the lack of bass.
If the system is a three way only, toggle S1 to the three-way position. Now the extra woofer is engaged. The concern here is that the new driver crossover cleanly in the lower midrange. To insure this, toggle the M-W phase switch. Again select the most natural sound. Try the M-W lower taper in the Hi and Low positions. Check the phase again. There are only four combinations here. The lower piano keys and plucked bass should sound tight and yet rich. If the Woofer is still a bit prominent the entire rest of the system already adjusted can be brought up slightly by moving the M-W Upper Taper and Attenuation and S-Tweeter Level up perhaps one step or even two. As each driver is added the overall system can be fine-tuned to best work with it.
Finally adjust the subwoofer to work with the system as it is now. Raise the high pass and low pass filters in the Amp or external crossover if used. Adjust the subwoofer level and phase for clean fast bass. There are four adjustments and at least three will be continuous over a range.
Take note that any driver can be deliberately wired to the module in reverse if it works better that way. The one unlikely possibility is to have the woofer in the three way system inverted while the Mid is in the + position.
The one pitfall is to avoid having the woofer in the three-way system be too efficient and out of proportion. Purchasing CDT drivers assures that the sensitivity and impedance will be compatible among all the drivers. If the driver is in a deck, door or kick panel with a large empty volume of air behind it a small resistor in series perhaps two or three ohms will lower the level and add mid-bass punch.
The HEX-6000 coordinator has now perfectly aligned the entire system.