SOLD FS DLS, Eclipse, Alto Mobile

[Here-I-Come 10+ year member]

Not looking for an trades at the moment. Need to cash to pay for a few things. Well unless you have a Eclipse ECD-510 or 416 for trade.

Ok up first I have 2 BNIB Alto Mobile UCS Pro’s 3-way with BNIB optional controllers. These have been gone thru by Mr. Mantz at ZED audio, So no noise problems here. This is one of the most flexible processor you will fine. I will include a copy of the PC tunning software.

Here are specs:

Channel Layout:…………………………2 inputs / 6 outputs (phono type)

Max. input/output level:………………..Inputs 2V rms / Outputs 2.2V rms (0dB).

Conversion:……………………………...24 bits A-D and D-A

Freq. Response:…………………………20Hz - 20KHz (+/- 1dB)

S/N Ratio:………………………………..>95dBA

THD+N:………………………………….0.05% (20Hz - 20KHz)

Channel Separation:……………………>100dB, 20Hz - 20KHz

Input/Output Gain range:……………..-30 to +6 dB (0.5 dB steps)

Crossover Filters:……………………….High-Pass & Low-Pass (Bessel, Butterworth or Linkwitz-Riley), Filter slopes: selectable 6, 12, 18, 24, 48dB per octave

EQ Filters (Input/Output channels):…Gain: +/- 15dB, 0.5dB step

Frequency: 15.6Hz to 16KHz

Bandwidth (Q): 0.05 to 3 octaves, 0.05 oct. step

Channel Delay (Time Alignment):……0 - 291 ms (outputs), 0.021ms step

Dynamic Level Control:……………….Variable Threshold & Ratio, per output channel

On-board Preset Memory:…………….1 factory / 64 user (non-volatile)

PC Interface:……………………………9-pin RS232. Requires PC running Windows 98/ME/XP

Other Interfaces:…………………………25-pin D-SUB connector for optional Programmer

Operating Voltage:………………………11 - 16V DC (negative ground)

Dimensions:……………………………..228 x 175 x 42mm (including mounting brackets)

Weight:……………………………………1.3kg

350 shipped each within the US. OBO

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I also have 2 BNIB Alto mobile ADP152 Fullrange Class D amps. These are small with great power and sound great. Some of the best midrange amps I have used, somewhat of a tube like warm sound. These amp are not 2 ohm stable, but they make the same amount of power into 4, 8, 16, or 32 ohms. Great for those of us who are using home or pro audio drivers.

Power Output (RMS, 4 ohms):………………….75W X 2

THD:………………………………………………….0.05% @10Vrms

Residual Noise:……………………………………

Xover:………………………………………………. HP/ LP/ FLAT switchable. 50Hz - 500Hz, 12dB/oct.

Input Gain Range (MAX - MIN):…………………400mV to >15V

Operating Voltage:……………………………….11 - 16V DC (negative ground)

Output Efficiency at Full Power:………………>90%

Protection Circuitry:……………………………..current (LS output), voltage (+/-), temperature

Idle Current (no signal):…………………………0.6A

Standby Current, REM input low:………………1mA

Size:…………………………………………………229 x 175 x 37mm

155 each or 280 for the pair shipped within the US. OBO

I Do have about 15 more of these available to me so is some one wants them I can get them.

I also have about 8 or the 4-channel version (ADP304) available also. Ratings and size are the same as above just with 75W x 4 (235 shipped for the 4 channels).

I also have 2 of the 150W x 1 mono version available to me (ADP150M) at 155 each.

I also have 1 ADP204 50x4 at 190 shipped

Here is the ADP304 I have in hand now for a size reference

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I also have available to me 5 of the Rare 8” Falstaff 8” subwoofer. This is one great sound subwoofer and built like a tank. This little monster retailed for over $750 and sold for around 575 each from dealers, Yep very costly little subs. 275 shipped each within the US.

Here are a few pictures of what a Falstaff 8 looks like with a spec sheet.

All the above are BNIB and Guarantee not to be DOA!!!

I also have a near mint DLS IR15. This one great sounding sub. It play loud, low and clean. Its heavy.

Specs:

DLS - Products

235 Shipped within the US OBO

Don’t really want to sell, but one of my Eclipse ECD-414 super clean and works 100%. Old school greatness. No cage or trim. Will send a copy of copy of the Dealer spec sheet with with unit. You will notice there is not Eclipse or model number markings on the face. I remove it because it was fading and I like the way they look with the face cleaned up (some of the labeling removed)

105 shipped within the US.

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Will get the rest of photos up shortly.

Thanks for all your help in advance!

Click to read more...

 

[Here-I-Come 10+ year member]

Here is the spec sheet of the Alto 8

Each sub was individually tested by the manufacturer, so thats not me writing in specs myself.//content.invisioncic.com/y282845/emoticons/biggrin.gif.d71a5d36fcbab170f2364c9f2e3946cb.gif

couple more pictures of the IR15

 

[Here-I-Come 10+ year member]

The features of the UCS Pro are second to none. Here is quick, well not so quick run down of the features:

Edit Mode (Password Protection)

UCS PRO incorporates a password system and your installer may have set a password to ensure that vital settings are

not altered. In this case you will NOT be able to alter all of the parameters via the PC Editor.

In the PC Editor, select FILE > OPTIONS and then the LOCK tab. This will present you with a menu:

Full Edit: This is the DEFAULT mode. No password is set at the factory. From here you can lock the unit by clicking within

the empty Partial Lock or Total Lock buttons. A text box will open, allowing you to enter a password of your own choice.

Click OK. It is important that you remember this password.

Partial Lock: In this mode, only the INPUT parameters may be edited. This is useful since it allows critical settings such

as the crossover points to be locked, while still allowing the user access to some overall EQ adjustment.

To enable Partial Lock, a new password must be entered as above. To disable the lock, click within the empty Full Edit

button. A text box will open. Type the password that was used to set lock mode. Press OK.

Total Lock: No editing is possible in this mode. To enable Total Lock, a new password must be entered as above.

To disable the lock, follow the same instructions for disabling Partial Lock.

Parameter Menus & System Set-up

Introduction to the PC EDITOR

Click on one of the icons on the welcome screen (the block diagram) of the PC Editor. A window will appear showing one

of several 'pages' where you can set the parameters using virtual knobs and sliders or by typing the values. Here is a

brief overview of the various functions that make up the UCS PRO PC Editor. Each is explained in more detail in the next

section.

This page presents 8 virtual slide controls, similar to what you would see on a professional sound mixing desk. From here

you can adjust the input/output LEVELS and output channel MUTE and PHASE.

GLOBAL:

Within the PC Editor's tabbed menu view, you will see a tab labelled "Global" on the far right. This window shows the response curves of all channel outputs and provides a convenient overview of your settings.

NOISE GATE:

You can set the UCS PRO to cut the signal if it falls below a certain level. Most often used to cut the background noise between music tracks.

MASTER DELAY:

Allows a delay to be applied to the signal fed from one or both of the Input Channels.4

CROSSOVER (XOVER):

The UCS PRO is equipped with independent HIGH-PASS and LOW-PASS filters on each of the 6 output channels. For each filter there are 10 different filter type/slope options.

CHANNEL DELAY:

Allows a delay to be applied in order to "time align" each individual output channel. Includes a graphical interface of 6 virtual speakers.

PARAMETRIC EQUALIZATION (EQ):

Each of the channels (both inputs and outputs) has a fully variable 5-band parametric equalizer.

DYNAMIC GAIN CONTROL (CMP/LIM):

Each Output channel has its own independent COMPRESSOR/LIMITER. Careful setting of the parameters will help to

maintain a more consistent and pleasurable listening level and extend the performance of your speakers.

PARAMETRIC EQUALIZATION (EQ):

5-band full parametric equalization is provided on each of the Input and Output channels. The Center Frequency, Gain and Bandwidth are all variable. In addition, the UCS PRO allows you to select from a list of different EQ contours.

Freq: The center frequency of each band can be set between approximately 16Hz and 16,000Hz.

Gain: The level at the chosen center frequency can be increased or reduced by 15dB.

Band: This dictates how the frequencies next to the center frequency will be affected during Gain boost or cut. With a

narrow bandwidth (minimum 0.05 octave), frequencies other than the center frequency and its immediate neighbours will

be largely unaltered. With a broad bandwidth (maximum 3 octaves), gain changes will be spread more widely. The effect

can be seen on the PC Editor's real-time graph.

Type: This section allows several types of EQ contour to be applied. Depending on the EQ Type selected, certain parameters

(Gain, Bandwidth) are automatically set (they become greyed out).

Peaking - This default setting is the traditional parametric mode, allowing gain cut or boost at and around the chosen

center frequency.

LowSh6 - This creates a shelved response with a 6dB/octave slope, with the frequency shift occurring towards the lower

end of the frequency scale. Bandwidth adjustment is disabled in this mode.

LowSh12 - A shelved response as above but with a 12dB/octave slope.

HiSh6 - This creates a shelved response with a 6dB/octave slope, with the frequency shift occurring towards the higher

end of the frequency scale. Bandwidth adjustment is disabled in this mode.

HiSh12 - A shelved response as above but with a 12dB/octave slope.

MASTER & CHANNEL DELAY:

A wide ranging amount of delay, from as little as 21 microseconds (that's 0.021ms, equivalent to a distance of a little over

7mm), can be set on each of the input and output channels. This allows the signal transmission from the various speaker

drive units to be aligned to the listening position (a process known as "time alignment"). Values can be input as distance

(millimeters/meters) or time (microseconds/milliseconds).

Channel (Output) Delay: A small amount of delay can be applied to the signal from each output channel. The amount of delay is usually calculated from physical measurements of the distances between the various speakers and the driver's ears. The delay compensates for the difference in speaker mounting positions, with the speaker furthest away (commonly the woofer in the trunk) being the reference point to which all other speakers are aligned (i.e. delayed).

When applied correctly to all speakers in the system, the result is an improvement in the apparent stage position, height and depth, and the location and focus of the performers on the 'virtual stage' that should extend across the dashboard. Ideally there should also be the feeling that the low bass is coming from ahead of you, even where the woofer is physically behind you.

Master (Input) Delay: From here you can delay an input signal before it is sent to the channel routing stage, so that all the outputs fed by that input are delayed by the same amount. This feature is more applicable to PA applications, where it is used to compensate for the distance between blocks of speakers in large concert halls and stadiums, but it has applications

in the car too.

For example, if you are not feeding your subwoofer(s) through the UCS PRO, then you could use the Input Delays to time align your mid-woofers (for example) to the subwoofer(s) and then use the Output Delays to time align the remaining speaker drive units (i.e. the mids and tweeters) to the mid-woofers. This would ease the job of fine-tuning the alignment of the subwoofer(s) to bring the bass forward, by only having to adjust the Input Delay settings.

Alternatively, you may like to try a creative use for the Input Delay. Apply a very small amount of delay on one channel only - this can give an added sense of stereo width that, while artificial, can provide quite a striking effect.

Temperature Compensation: This allows the current in-car temperature to be keyed in. The system uses

this value to compensate for any variation in the speed of sound when calculating time delay.

ADVANCED TIP

This is a feature carried over from the pro audio version of the software and is more applicable to PA applications, inwhich it allows the delays to be set during the sound-check and quickly adjusted at the time of the concert if necessary. The distances between speaker banks in these situations can be quite large and the difference clearly audible. In the car the improvement will be much more subtle, but one application is in Autosound Competition. Here the demands for the best possible imaging make even the smallest improvement worth doing. If the temperature inside the vehicle during the contest is dramatically different from when the system was set-up, here is where you can quickly compensate for it.

CROSSOVER FILTERS:

The UCS PRO is equipped with independent High-Pass and Low-Pass filters on each of the 6 output channels. For each filter there are 10 filter type/slope options:

Butterworth type with 6dB, 12dB, 18dB or 24dB per octave slope

Bessel type with 12dB, 18dB or 24dB per octave slope

Linkwitz-Riley type with 12dB, 24dB or 48dB per octave slope

The different filter characteristics can be seen on the PC Editor's graphical display. For each of the filters, the crossover

point can be set between approximately 16Hz and 16kHz. The filter can be bypassed by selecting THRU.

Using both the High-Pass and Low-Pass filters together creates what is known as a Band-Pass filter, most often used for optimizing the signal destined for midrange and mid-bass speakers. Also for subwoofers, by using the High-Pass as a subsonic filter typically in the range 16-30Hz.

 

[Here-I-Come 10+ year member]

More:

Parameter Menus & System Set-up

Please note that choosing the Linkwitz-Riley 48dB/octave filter will reduce the number of EQ bands available

on that channel.

DYNAMIC GAIN CONTROL (CMP/LIM):

Each output channel has its own independent COMPRESSOR/LIMITER, allowing you to determine the amount of level gain (i.e. increase in volume) above a threshold point that you set. This helps maintain a more consistent listening level and both protects and extends the performance of your speakers. Input and Output levels and the amount of gain reduction are displayed on the PC screen in real-time as an aid to system set-up.

Threshold: Allows setting of the level above which the Comp/Limiter intervenes (compressing or limiting the signal). If the music stays below this threshold setting, the level is unchanged.

Atk/Rel: There is a choice of 3 reaction speeds combining attack and release times. You can choose whether the Comp/Limiter reacts more rapidly or slower than the default NORMAL setting when the signal exceeds or drops below the threshold. Set faster for high frequencies (tweeters), slower for bass frequencies. For midrange or full-range speakers, the NORMAL setting will generally be the optimum one. For Subwoofers, the SLOW setting will usually be best.

Ratio: The value selected here dictates how strongly the level is controlled when it exceeds the Threshold point you set. The range is 1.1 to 20.0, plus an additional LIMITER setting.

 

[w00tah 10+ year member]

Those Falstaff's are supposedly one of the uber-SQ subs.

Free bump for some killer gear man.

Kef

 

[Here-I-Come 10+ year member]

Taken offers

 

[gymfreak101 10+ year member]

bump for a good guy and pm coming your way about the iridium .