The main point here is to configure a crossover, so I set the first channel (high) to have a High pass setting of 171hz, using a Butterworth 18 db/octave crossover. So I configured the DriveRack as a 2圆 (pro-sound terminology -), that’s two inputs and six outputs, split across two stereo channels. Which sounds weird for a two-way speaker, but besides panel to woofer crossover, I also wanted to further split out the low ( So, how do I use this beast in my system?įirst, I wanted to have a three-way crossover for my Monoliths.
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Full control of settings and stored program via a PC application
SubHarmonic synthesis (OK, a gimmick, but great on old recordings) Parametric EQ on inputs and per output (each band has its own PEQ) Compressor or limiters (if needed) to keep from overdriving a specific output Output adjustments for polarity and phase (in 1 degree increments!) Delays on any output channel, can delay the highs relative to lows O Mix-and-match, the LP can one filter type, while the HP can another O Pick from types of filters: Butterworth, Bessel or Linkwitz-Riley O Pick from any slope from 6/db octave to 48/db O Pick from stereo 2 way or 3 way ( & many other, but not applicable here). Heck, since many ‘high-end’ units already have balanced interconnects, even that’s not the issue it might be.įor my application, several features of the DriveRack caught my attention: So other than the weird connectors, they tend to work fine in a home A/V setting. These units are built like tanks (have to survive roadies) and have really good specs (amplify a noisy x-over and the audience won’t like it). So what does a pro-gear unit have to do with an audiophile’s system? Well anything you care to do with it. Therefore it is chock-full of features designed to accommodate almost any combination of drive unit (low/mid/high) pairings and positioning in challenging acoustical environments. The premise behind the DriveRack 260 is to meet the demands sound professionals have for setting up and configuring ‘high-end’ speaker and amp rigs in different venues. Man, the description light up my eyes and spun my propeller fast! Then I read up on the DBX DriveRack 260 speaker processor ( ). However, I’m never satisfied with the status quo, therefore I kept an eye peeled for better units. For the money (around $300), it was a huge bargain in my book.
The highs were a whole new dimension of clean. The critical low midrange and upper bass now merged better and the overall ‘tightness’ of the bass was improved.
Using a pro-gear analog crossover, an Ashly XR2001, I got to see just what I had been missing. Secondly, I started playing around with active crossovers. But even after replacing those, I felt more could be had from this speaker. One was my ten year old woofers were beginning to go.
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In my case, I have a pair of Martin Logan Monolith IIIs with passive external crossovers that we’re just not giving me the best results with respect to panel and bass driver integration. If you like active’s, then the question becomes: which one? Replacing a speaker’s passive crossover with an active unit is generally considered to be a positive step.
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