INSTALL AMPLIFIER POWER: installation of a Stage
INSTALL AMPLIFIER POWER: installation of a Stage: flush_tb:
Widely known as phase, is critical when it comes to having a good audio equipment installed in a car. Make Off With this we intend to show step by step the basic assembly of the most correct, I do not show a thousand and one ways to install, that I will leave to your hand, whenever you have clear these first steps to get a mount effective.
INSTALL AMPLIFIER POWER: installation of a Stage
We recommend that, in undertaking any work in the car, wherever possible, desconectéis the positive terminal of the battery before starting any part of the installation.
The first step to be done is to verify that the cassette has pre-departure, because we are going to mount an amplifier that is fed from the signal given by this output. If it were the case that our source had no departure from previous exist in the market amplifiers and adapters that can be directly connected to the output of speakers.
To mount an amplifier just not enough with it, but we will require different cables to connect the supply, which has to be some specific dimensions, and the signal from the speakers. Think that a significant outlay with these materials is not you have to import, because at the time to get a good sound, they are essential.
The tools with which we are going to deal with this installation are, as always, very basic, pliers, screwdrivers, lamps test and, in this case, it is helpful a probe and a drill battery power with which we can screw hole and . But with these tools, we must also include certain items such as shrink based terminals, flanges Unex or insulation tape.
The chances of mounting amplifier are several, and its ideal location on the grounds of the trunk space and refrigeration. In any side on the floor, or even against the seat.
We will begin by placing the wiring feeding. Whenever possible, it will go through the side of the car without any other cable, thus avoiding possible “parasites” of the system. A large fuse on the line that is more advisable always to no more than 40 cm. The terminal of the battery to protect the line of a possible short circuit.
For an installation well done and not suffer damage in the short or long term, it is important to bear in mind also that the move is a cable of any kind, a compartment to another, it is necessary to protect the hole with a “pasamuros.”
The following cables that will install the signal, also known as RCA. These cables, whether the product is of high quality, usually accompanied by a small cable to the “remote” that must connect in the output of automatic antenna connector ISO to implement the amplifier.
With the speaker cables and we will follow the same procedure if querem
You make a good facility, we will proceed through the vehicle. With cable lines and past, we can proceed to set the amplifier, making sure that is in a strong site that behind and do not have any impediment (deposit gasoline, wheels, etc.).
One of the last cable that is not matched. The cable must be of equal or greater section that positive. It will join heavily and directly on the chassis, but before doing so they left the site of the plate in connection alive. Proper connection of the cable is vital to have neither “parasites” nor power failures that could end our team.
With the amplifier and placed on a solid precede connect all cables, the latter being a watchful eye on the proper connection, respecting positive, negative, etc.. Whenever necessary, we will use connectors, it is more advisable to coat these cables with silicone caps, founded shrink or, in more extreme cases, up to tape.
Here are the final result of this facility, a 4-channel amplifier Step placed against the seat. With this we can feed the front and a subwoofer or speakers placed in the tray. The installation of this form has the advantage of not subtract almost nothing space in the trunk and is well ventilated. Pay attention to when placing wires in an orderly manner, as it is essential to get a good finish work.
HOW TO GET MORE PARTY TO STAGE IN YOUR POWER
Above all, you must know that not all stages tolerate certain connections. Therefore we will review and specify the possibilities of each individual one.
BTL
It is the name of the stages of power more economical, more than anything else for their operating system, based on a virtually integrated power. Such steps do not offer the possibility of working with different impedances than those recommended, which is usually 4 Ohms, but “playing” with the manner of connecting speakers, we can expand slightly its possibilities. Nor do we allow puentearlas in mono. Not without its price rarely exceeds 60 € and their packaging looks impressive amount of watts, but no hard four pesetas. To begin with, that’s not bad, but quickly limitations in terms of performance, quality sound and distortion opened our eyes to something higher.
DC-DC
These are the stages that would recommend to anyone who buys with the intention to develop the system. In most stages of this type of connection possibilities are increasing their benefits, sometimes substantially, without having to give up a good quality sound. Among the hundreds of models that exist, we can find one that is more in line with our abilities and budget. The vast majority bridge loads 2 Ohms per channel (sometimes less), can puentearse to mono (single-channel) or running in trimode (2 channel stereo to a Channel 4 Ohms + monkey 4 Ohms). In addition, since there are many incorporating crossovers and other benefits in terms of peculiarities. Its distortions are low and moderate their consumption. Not too warm and there are models both single channel and multichannel, or of 2,3,4,5,6,7, and so on. Channels. Are We think that can not be overcome? Yeah. For those who want a stage for life (at least in terms of possibilities for expansion refers), we must gastarnos pulp and choose stages…
HIGH CURRENT
Yeah. Such stages are allowing to maximize its circuitry. They are capable of working impedances 0.5 Ohms, even puenteadas a monkey, which shows the high quality of its components, the connection possibilities are immense, and with them the potential for expansion. Thus, with a stage stereo these features could move around a complete system of 7 or more speakers, including subwoofer and center channel, if you want. It’s beasts are these stages (and their price).
THE CABLES
They are important and never menospreciables. The necessary to connect the stage will be: the signal, power and speaker. The signal can be of two types: high, which would be the cables that alimentarían speakers from our sound source and the low, highly desirable and essential systems level, recognized by all as shielded coaxial (although as you seen in the section of cables and accessories there are other developments equally valid), and its connector is the famous RCA. The supplies are three: the good that is fed directly from the positive terminal of the battery, inserting a fuse for protection (of both car and stage), the negative: either subject to the chassis of the car (previously sanded and oiled to prevent oxidation), we must unite all those who feed the different components of our system, thus avoiding a potential difference between them (loop) and the remote or activation phase, which connected to the source (or remote output antenna electronics), turn on and turn off the power stage when we do with the source. Lastly, the speaker cables, which will always be two per channel, the positive and negative.
CONECTANdO
To start, matched an imaginary stage, stereo, and ability to work loads and Ohm stereo or connection trimode. This is the typical stage Dc-Dc an economical price (180 €), which takes any fan installation. In principle, it might seem that only we can connect two speakers, one per channel, but now we will see how to expand it gradually.
Let’s start then with the first scheme in which show how to connect a stage in our power autorradio.
The lines will be orange and grey signal cables (RCA), and matched one end in the RCA jacks source normally marked as “out”, and the other end into the RCA jacks on the stage marked “IN”. Also at the source find a cable, usually blue, marked as “remote”, which also matched to the stage at the entrance “Rem”. In case of lack of output cable at the source, we can use the marking as “Ant +”. The power cables on the stage, I marked in red, positive, and black, the negative. The first matched directly into the positive terminal of the battery and at the entrance of the feeding stage marked as “post” or “+”. Especially not you confundáis with some of the positive loudspeaker output, the supply will be close to negative and will be larger than the speaker. Remember that it is essential to install a fuse protection to 30 cm maximum positive terminal of the battery. The negative terminal will be connected by a cable of the same caliber that the positive, which will link the negative entry on the stage with the chassis of the vehicle, before sanding and cleaning to ensure good contact. This part of the scheme will be common in all of them, since they start from the basis that our only source Rca has two exits, one per channel, and the stage is also two channels. So, this is what we show in esquema1, which have logged only two speakers, which could be full range or coax, ensuring that the positive and negative are respected in both speakers, which in this case will be from 4 Ohm impedance.
The outline 2, we use the stage in bridge mode or “Bridge” (which is the same in English) from one of the exits left speaker, and another pole of the output of the loudspeaker law. Thus, what we get is to unite the power of both channels, in addition at least thus get a minimum power of 100 watts in mono, since we have only one channel. It is very important that you ensure what is the pole of each connector speaker must use to bypass the stage. Normally, suggested in the same connectors, but still it is worth to note that coincides with the guidelines in the manual phase. There are stages that puentean two poles positive. It is very important that you not equivoquéis in this connection, since the stage could suffer irreparable damage. Also prestad special attention to the minimum impedance that can work the stage connected in a bridge, as it usually tends to be twice as much as in stereo. Since powers are usually obtained high, this type of connection is used mainly to feed subgraves, because they are often the most potent, but can be used with any other speaker, whenever the power is adequate. Finally, if we use a subwoofer and the step or not the source has a built crossover asset (or have one external), we must add a passive low-pass filter interspersed as in the scheme to prevent the sub try to reproduce what it can not. But if the power to manage is very high, you advise a crossover assets, and liabilities that do not support too much power.
TRIMODE
It is the connection shown in the third scheme, and is neither more nor less than the sum of the previous schemes. That is, the connection of two stereo speakers (one per channel), while a third speaker bridge. To do so the indications are the same as in the one two schemes, with the exception of the adoption of a high-pass filter liabilities for stereo speakers, thus limiting their response to low frequencies, which are returned by the sub, getting better sound quality. The only sticky is the inability to use active crossover, as it serves as the input signal, all speakers would “cut” at the same frequency. As for the power obtained will be the result of the sum of the stereo channels and channel bridging, in our case 50 +50 +100 = 200 watts. Thus, we are making better use of our stage, but watch out for the distortion (vigilad earnings). Also notice that the stage is heated more, keep in mind the installation site.
Again I remember what the impedances, 4 ohms per channel minimum, in this case.
Some believe that if a stage is only capable of 4 ohms per channel when connected in trimode, you can not install a separate set of tracks (2 or 3), as two speakers in parallel 4 ohms (6 “and by Tweeter example) results in a final 2 ohms impedance. And it is true, but only if reproduced common frequencies. If the 6 “works until 3 kHz, the Tweeter from 4.5 kHz (for example), the impedance of the package will be connected in parallel to 4 ohms, since none of the two frequencies ranging loudspeakers played by the other speaker . In it the main advantage of separate tracks is the best of each speaker. The outline 4 show you how to do it, and in the framework 5 you connect two sets of parallel multi-which, in this case, as share frequencies, the impedance it will be reduced to 2 Ohms, so the step we took as a reference to the principle of the rule must remove the connection overridden, and consequently, the Sub.
WE WANT TO SUB
And the multi two sets, as well sonorizaremos the vehicle entirely with a single step, everything has a solution. In the scheme we have added the sub 6 in trimode connected to the two sets Multivía, but to solve the problem of impedances, we have also added a back channel resistance in each, so that the sum of the whole rear ohms (4) and the added strength is necessary for the resistance when connected in parallel with the whole front is the result of 4 ohms. Sounds valuable? You explain it, but not with formulas, but in a home. Joined the impedances of speakers or groups, the outcome was reached in the media, ie, is divided by the number of speakers or joint together and the result turns to divide again by the number of speakers or groups combined. The result will be the final impedance. This will occur whenever be connected in parallel with each other, ie all positives united on the one hand and all negative on the other. If the connection is in serious (inserting the component in the line), simply add up all the impedances of speakers or groups. Thus, “the account of the old” if we add back the whole resistance in series of 8 ohms, we get two sets of different impedance: the rear of 12 ohms (8 +4), which are connected in parallel : 16 Ohm (total) divided by 2 (joint), is equal to 8 ohm, and as we return again to divide by the number of sets connected in parallel (2), we get the final result of 4 ohms. Therefore, we can connect in a sub trimode, provided this is not to lower impedance 4 ohms. Against: the loss of power in heat resistance. Pro: attenuation receiving the rear of the vehicle we will improve the image of our system.
MORE SUB
There are two subs we have installed in Schedule 7, by reference to the outline 4, but also true to the outline 5 or 6, because although connected in parallel, are subs with an impedance of 8 Ohms, who will share the 100 Watts Bridge (50 for each). Hence the fact that there are in the market for subwoofers 2, 4, 6 and 8 ohms, and with one or two coils, in order to combine them in the manner with which we are most interested in: connecting the coils in series or in parallel, thus enhancing the Speaker’s own chances (and merging three different impedances into one). If we add to this that there are stages in the market capable of handling even at very low impedances bridge (read High Current), the potential for connection and use of the stage are only limited by our imagination. : Flush_tb:
ONLY SUBS
If we have a stage with crossover beneath incorporated, or have an external, we can only feed dedicarla subs. In the diagrams 8 and 9 show you two of the infinite combinations that could carry. In the case of Schedule 9, feed 16 to 4 Ohms Subs each with a stage in stereo connected bridge. I am locked in joint speakers to be more clear shall see. The dotted lines contain two sets Subs connected in parallel with each other, with a final 2 ohms impedance. The blue lines enclose four sets of 2 ohms each, connected in series with each other, so we get an impedance end of 2 +2 +2 +2 = 8 ohms. Finally, we connected in parallel the two sets of 8 ohms, obtaining a final impedance of 4 ohms for the whole of the 16 speakers. Clearly, the power to provide the stage bridge will be split equally to the 16 speakers, and that connections of this type in which two or more Subs share amplification is highly recommended that the subs are employees of the same brand and model, to avoid consumption different from each speaker, something that would harm the functioning of the stage and would seriously affect the final outcome sound.