Ayuda a Configurar a 3 Vias Un Crossover Ashly XR4001

Ayuda a Configurar a 3 vias un crossover ashly XR4001

Que tal bueno pues me han regalado un crossover ashly 4001 que viene a 4 vias, pero mi sistema es a 3 vias ya le movi y le movi pero no doy con un tono decente, tiene unos divisores ~10 y los preciono pero no doy, alguien me puede ayudar con este aparatito, supongo que yo soy aqui el problema ya que no lo se configurar y la marca y el aparato es aceptable.

http://foros.doctorproaudio.com/newreply.php?do=newreply&p=53705

#212 jun 2009, 20:13

Federico González Fecha de ingreso: abr 2008País: ColombiaMensajes: 580

Efrain, por lo que leo te lo regalaron sin manual.Aqui esta el link para el manual ,esta en ingles pero es muy ilustrativohttp://www.ashly.com/Resources/Docum...r-manual-n.pdf

#312 jun 2009, 21:14

Efrain Hernández Cortés Fecha de ingreso: nov 2008País: MéxicoMensajes: 170

Si tengo el manual eso solo son 3 hojitas y no dice nada sobre la configuracion, solo trae un esquema de los botones y funciones del crossover, la hoja de advertencias y precauciones, y una de especificaciones tecnicas, pero no doy una ya combine de muchas formas y no doy, no se escucha como tiene que ser, la pagina que me dejaste no me lleva al maual aparece en blanco.8iAlguien por aqui lo tendra y me podra asesorar???

#412 jun 2009, 21:39


Efrain siguiente paso, que componentes tienes para las tres vias??Recuerda si te pones a mover y a ensayar sin saber lo que haces puedes dañar uno o algunos de tus componentes.

#512 jun 2009, 22:39


Bueno pues tengo:

2 sb8502 cajas dobles para medios de 15" con eminence de 500 rms




2 agudos JBLamplificado con crst CA12 Y RMX5050

En peroferia compresor alesis, ecualizador ashly 3102, y una meza peavey de 24 canales, y otras cositas, pero no las estoy usando, solo tengo los amplificadores al crossover y del crossover a un ipod con musica grabada.

Eh hecho las pruebas con bastante cuidado para no dañar los componentes aun asi me da miedo volar mis agudos u otra cosa, fue por eso que decidi pedir ayuda aqui en el foro.

#613 jun 2009, 08:33

Rogelio Victoria Rivero Fecha de ingreso: dic 2008País: MéxicoMensajes: 16

yo tambien tengo el mismo problema con el mismo crossover si alguien lo ha usado por favor que nos ayude digo mas o menos que nos de unos ejemplos de como cortar con este crossover

#713 jun 2009, 11:44


Mira este link, creo que el amigo que preguntaba en aquella ocasion tambien tenía inconvenientes.Por el buscador del foro encontraras varias soluciones http://foros.doctorproaudio.com/showthread.php?t=5631

#815 jun 2009, 23:13


Que tal Rogelio, ya que tenemos el ismo problema, me gustaria saber si ya le encontraste solucion.

Ya vi el post del señor Pinzon en donde dice paso a paso como configurar el crossover a 2 vias, pero no obtengo buenos resultados, el bajo suena muy deforme no tiene ese corte nitido y mazizo, se escucha muy flojo el bajo, y el medio se escucha demaciado chiyon ya trate de mejorarlo pero nopuedo alguien mas del foro podra ayudarnos?




Gracias por el link Federico, ojala alguien me ayude asolucioinar este problema.

#915 jun 2009, 23:51


Cita:

Ya vi el post del señor Pinzon en donde dice paso a paso como configurar el crossover a 2 vias

Perdon es a 3 vias no se por que puse ese 2.

#1016 jun 2009, 12:35

Francisco Catalan Gerardo Fecha de ingreso: ene 2007País: MéxicoMensajes: 14

Hola, yo hago lo siguiente, los graves(18") los saco de Low, los medios(12") de low-mid y los agudos de high, cancelo el de high-mid, solo extiendo el rango de low-mid hasta donde corto los agudos, esto lo probe porque el dueño del equipo no le mueve a nada en el crossover,, en un principio yo queria trabajarlo a 4 vias pero el patron no le gusto y queria a 3 nada mas. Se aceptan sugerencias! Saludos!

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XR-Series Crossovers

XR-1001/2001/4001

General Specifications

Spec Sheets1001 - 2001 -

4001Manual Brochure

The XR-Series crossovers are the product of an intensive research effort started in 1972 which combined a reexamination of traditional crossover theory with practical field use. Over the years, a number of refinements and new models have been added to our crossover series, but the original design goals have remained the same: to produce a crossover which is sonically accurate, is flexible enough to suit a wide variety of systems, and affords maximum protection for speakers and drivers.

All Ashly crossovers are based upon the same powerful state-variable filter circuit, which guarantees that two adjacent frequency band outputs always

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remain in phase. Our crossovers offer a number of useful and unusual features, including continuous tuning, a response control, and a unique output stage which maintains low noise at any level setting. These models also include a 200:1 tuning range, output mute switches, and both TRS and XLR connectors. Like other Ashly products, your crossover features low noise and distortion, active balanced inputs, a peak level indicator, a precision regulated power supply, protection against abnormal input or output conditions, and rugged mechanical construction. Conservative design and an unusually thorough procedure for quality control have earned Ashly a reputation for dependability in the recording, sound reinforcement, and broadcast fields.

Response Control; an Ashly Exclusive...This control, found adjacent to the crossover frequency control, adjusts the damping of the filter affecting the response shape of the filters at the crossover point. The dial calibrations refer to the amount of attenuation effected by the filter at the crossover frequency, i.e., a setting of 3dB means that the filter's high-pass and low-pass outputs are each "rolled off 3dB at the crossover point". This describes Butterworth filter response, or a gentle 3dB peak at the crossover point when the two filter output signals overlap. To obtain a flat signal, or "Linkwitz-Riley" response through the crossover region, set the Response control to "6". This attenuates each output of the filter by 6dB at the crossover point (two identical signals added together yield a +6dB increase). To obtain a notch at the crossover point, turn down the response control past "6" to best suit your needs.

The purpose of this control is to help offset the inaccuracies inherent in typical loudspeakers, thereby helping you to achieve a flat system response. NOTE: The Response control is not a "slope" control. A 24dB/octave crossover will always have a slope of 24dB/octave. The Response control only affects filter response shape in the immediate vicinity of the crossover frequency; the ultimate crossover slope is a fixed parameter.>

24dB/Octave Slopes Variable Filter Response Allows Tuning-In Linkwitz-Riley or Other Filters Output Mute Switches Balanced Inputs and Outputs 20Hz Third Order High Pass Filters XLR and 1/4" TRS Audio Connections Peak Overload Warning LEDs Five Year Warranty

dbx 234XL crossover

Precio: €227.00

Infórmese sobre este producto Información ( DBX )

Crossover de 3 vías estéreo, 4 vías mono con tomas XLR.

Crossover - conectores XLR High pass 40 Hz Interruptor de cambio de fase en todas las salidas Interruptores de función mono de 4 vías o 2/3 vias estereo Fuente de alimentación interna, 19 "1U

223XLStereo 2-Way/Mono 3-Way Crossover with XLR Connectors

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XLR balanced ins and outs Mode switch for stereo 2-way or mono 3-way operation Low frequency summed (subwoofer) output x10 range switch on both channels 40Hz high pass (low cut) filter both channels Phase reverse switch on all outputs Individual level controls on all outputs 24dB per octave Linkwitz-Riley filters (the professional standard) Stereo/Mono status LEDs indicate the selected mode dbx® 2 year parts and labor as standard CSA NRTL/C approved CE compliant

Let’s take a look at the construction features of the dbx® 223XL. As you turn the controls you will notice that these units are extremely well built. The controls exude great precision, and the feel is a solid “click”. Also, when you open the box, you won’t find the external power supply that

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accompanies most processors in this price range. That’s because we know how difficult external power supplies can be to work with and even though it costs a little more, we put the high quality power supply right in the unit. All the inputs and outputs are balanced XLRs that are screwed directly to the chassis. This connection of the jacks to the chassis insures that even if someone stomps on a cable plugged into the unit, it’s not going to tear up the circuit board inside. All dbx crossovers feature Linkwitz-Riley 24dB per octave filters, the professional standard. But then again, what did you expect?

Via a switch on the back panel, you first select whether you’re operating your system in stereo 2-way or mono 3-way. Then you also set, on the back panel, whether or not you want to mono sum the LF (subwoofer) out. (Most systems that use a subwoofer are mono subbed to take advantage of amplifier power and because low frequencies are non-directional.) Back panel switches allow you to select the range of the crossover frequencies individually for both channels. The crossover frequency controls have a green LED that indicates when the x10 switch on the back panel is activated (we wouldn’t make you check the switch position on the back every time you wonder where it’s set). All these switches are on the back panel because it could be disastrous if you were to change them mid-program. On the front panel you’ll notice there are LEDs that indicate whether the unit is in mono or stereo mode. Each channel has an input gain control for proper level setting. There’s a recessed 40 Hz low cut (HPF) on each channel to remove unwanted low frequencies. Both the low and high outputs on each channel have a gain control ranging from -infinity to +6 dB to allow muting of individual outputs and for level matching. Also, these outputs each have phase reverse switches that will help get you out of a bind without having to reconfigure your system. These phase reverse switches may be internally reconfigured as mute switches.

You’ll get great performance, all the features you’d expect from a professional product and the knowledge that you’re buying a processor from the people that have been producing the worlds finest processors for over 25 years. The technology that made us famous brings you a dbx crossover that has been tested to the highest professional standards at a price that’s just too low to admit!

For product availability and pricing please contact your local dealer

dbx Home > Crossovers > 234XL

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234XLStereo 2/3 Way, Mono 4-Way Crossover

XLR balanced ins and outs Mode switches for mono 4-way or stereo 2-way/3-way operation Low frequency summed (subwoofer) output x10 range switch on both channels 40Hz high pass (low cut) filter both channels Phase reverse switch on all outputs Individual level controls on all band outputs









24dB per octave Linkwitz-Riley filters (the professional standard) Stereo/Mono status LEDs indicate the selected mode dbx® 2 year parts and labor as standard CSA NRTL/C approved CE compliant

Let's take a look at the construction features of the dbx® 234XL. At first glance you'll notice the units are great looking, and as you turn the controls something else becomes apparent; these units are extremely well built. The controls exude great precision, and the feel is a solid "click". Also, when you open the box, you won't find the external power supply that accompanies most processors in this price range. That's because we know how difficult external powersupplies can be to work with and even though it costs a little more we put the high quality power supply right in the unit. All the inputs and outputs are XLR balanced jacks that are bolted down to the chassis. This "nutting down" of the jacks insures that even if someone steps on a cable plugged into the unit, it's not going to tear up the circuit board inside. All dbx® crossovers feature Linkwitz-Riley 24 dB per octave filters, the professional standard, but then again, what did you expect?

Via two switches on the back panel you first select whether you're operating your system in stereo 2-way, 3-way or mono 4-way. Another back panel switch also selects whether or not you want to mono sum the LF (subwoofer) out. (Most systems that use a subwoofer are mono subbed to take advantage of amplifier power and because low frequencies are non-directional.) Back panel switches allow you to select the range of the crossover frequencies individually for both channels. The crossover frequency controls have a green LED that indicates the X10 switch on the back panel is activated (we wouldn't make you check the switch position on the back every time you wonder where it's set). All these switches are on the back panel because it could be disastrous if you were to change them mid-program. On the front panel you'll notice there are LEDs that indicate whether the unit is in mono or stereo mode. Each channel has an input gain control for proper level setting. There's a recessed 40 Hz low cut (HPF) on each channel to remove unwanted low frequencies. Both the low and high outputs on each channel have a gain control ranging from - to +6 dB, to allow muting of individual outputs and for level matching. Also, these outputs each have phase reverse switches that'll help get you out of a bind without having to reconfigure your system. These phase reverse switches may be internally reconfigured as mute switches.

You'll get great performance, all the features you'd expect from a professional product, and the knowledge that you're buying a processor from the people that have been producing the world's finest processors for over 20 years. The technology that made us famous brings you a dbx® crossover which has been tested to the highest professional standards at a price that's just too low to admit.


©2011 Harman. All Rights Reserved. dbx® Professional Products • 8760 South Sandy Parkway, Sandy, Utah 84070 - (801) 566-8800

234XL Front Panel



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XLR balanced ins and outs Mode switches for mono 4-way or stereo 2-way/3-way operation Low frequency summed (subwoofer) output x10 range switch on both channels 40Hz high pass (low cut) filter both channels Phase reverse switch on all outputs Individual level controls on all band outputs 24dB per octave Linkwitz-Riley filters (the professional standard) Stereo/Mono status LEDs indicate the selected mode dbx® 2 year parts and labor as standard CSA NRTL/C approved CE compliant


Via two switches on the back panel you first select whether you're operating your system in stereo 2-way, 3-way or mono 4-way. Another back panel switch also selects whether or not you want to mono sum the LF (subwoofer) out. (Most systems that use a subwoofer are






mono subbed to take advantage of amplifier power and because low frequencies are non-directional.) Back panel switches allow you to select the range of the crossover frequencies individually for both channels. The crossover frequency controls have a green LED that indicates the X10 switch on the back panel is activated (we wouldn't make you check the switch position on the back every time you wonder where it's set). All these switches are on the back panel because it could be disastrous if you were to change them mid-program. On the front panel you'll notice there are LEDs that indicate whether the unit is in mono or stereo mode. Each channel has an input gain control for proper level setting. There's a recessed 40 Hz low cut (HPF) on each channel to remove unwanted low frequencies. Both the low and high outputs on each channel have a gain control ranging from - to +6 dB, to allow muting of individual outputs and for level matching. Also, these outputs each have phase reverse switches that'll help get you out of a bind without having to reconfigure your system. These phase reverse switches may be internally reconfigured as mute switches.




234XL Rear Panel







Downloads o Literature/Manuals o Software/Firmware o 3rd Party Controllers o Speaker Tunings o CAD Drawings o dbx Wallpaper




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XLR balanced ins and outs Mode switches for mono 4-way or stereo 2-way/3-way operation Low frequency summed (subwoofer) output












x10 range switch on both channels 40Hz high pass (low cut) filter both channels Phase reverse switch on all outputs Individual level controls on all band outputs 24dB per octave Linkwitz-Riley filters (the professional standard) Stereo/Mono status LEDs indicate the selected mode dbx® 2 year parts and labor as standard CSA NRTL/C approved CE compliant


Via two switches on the back panel you first select whether you're operating your system in stereo 2-way, 3-way or mono 4-way. Another back panel switch also selects whether or not you want to mono sum the LF (subwoofer) out. (Most systems that use a subwoofer are mono subbed to take advantage of amplifier power and because low frequencies are non-directional.) Back panel switches allow you to select the range of the crossover frequencies individually for both channels. The crossover frequency controls have a green LED that indicates the X10 switch on the back panel is activated (we wouldn't make you check the switch position on the back every time you wonder where it's set). All these switches are on the back panel because it could be disastrous if you were to change them mid-program. On the front panel you'll notice there are LEDs that indicate whether the unit is in mono or stereo mode. Each channel has an input gain control for proper level setting. There's a recessed 40 Hz low cut (HPF) on each channel to remove unwanted low frequencies. Both the low and high outputs on each channel have a gain control ranging from - to +6 dB, to allow muting of individual outputs and for level matching. Also, these outputs each have phase reverse switches that'll help get you out of a bind without having to reconfigure your system. These phase reverse switches may be internally reconfigured as mute switches.




234XL Front Panel


Ayuda a Configurar a 3 Vias Un Crossover Ashly XR4001

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