The ultimate dual 500 "rising from the ashes" build

oldphaser said:
They don't like like anything Phase Linear ever used. But who knows I could be wrong.

These caps look like some that may have a date code on them. Could you provide some closeups of the lettering?

Ed
Click to expand...

Ed you are on to something. It looks like 1982 this was added.
The came from a touring PA company that Perry got them from. This circuit is able to Handel feed back so maybe was on some horns or something that was hard to control. The high frequency circuit here has no real use in a home system. The next one I do will have a different control board.

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grapplesaw said:
Ed you are on to something. It looks like 1982 this was added.
The came from a touring PA company that Perry got them from. This circuit is able to Handel feed back so maybe was on some horns or something that was hard to control. The high frequency circuit here has no real use in a home system. The next one I do will have a different control board.

View attachment 23659
Click to expand...

That makes sense because these probably drove the flying S4 systems

"Modified Phase Linear 700 were used to drive the S4, so that is also consistent.

The S4 embodied the most off the shelf JBL components one could fit on the front baffle of a 45 x45 x 22.5 inch package, ideal for the 90 inch truck boxes of the time.
If you were on axis to one box the sound was that of a JBL studio monitor on steroids.
Unfortunately, they have lots of destructive interference patterns when arrayed.

As I recall, the S4 were normally run three way active, with a passive crossover between the 2440 (or 2441, 75 watts RMS) and the 2405 slot tweeters (10 watts RMS) at about 7000 HZ. IIRC, crossover points were 200 and 1200.
The 200 HZ cross point would be considered quite high for an 18” to 10” point now days, but was common back when S4s were ruling the concert world.
I am not positive of the 10 & 18” model numbers, but 75 watts RMS per 10 and 150 to 300 watt RMS power handling for the 18” would be typical for this era of drivers.

The system would have four cabinets per amp rack (block) 8x4 =32 S4.
Having 8 racks allows for flexibility of splitting the system into 4 or even 8 smaller systems, and allows for turning down the down front cabinets.

Henry Cohen gives the amp assignment in the next post.

The S4 embodied the most off the shelf JBL components one could fit on the front baffle of a 45 x45 x 22.5 inch package, ideal for the 90 inch truck boxes of the time.

The S4 is an odd duck for dispersion. Flown in a vertical hang, the 10” will work like a line array, but the hi mid 2343 exponential oval horn has a narrow 30 degree horizontal dispersion, and wider 60 degree vertical dispersion, which is somewhat narrowed by the vertical orientation of the two horns. The 2405 (20 watt pink noise) slot tweeters have very wide 140 horizontal dispersion and 40 degree vertical dispersion.

Because of the narrow hi mid horizontal dispersion, a 32 box system would typically be deployed 6 cabinets (three bumpers) wide, the inside 4 three deep and the outside two 2 deep. The bottom row of cabinets would be angled down until they “tipped” forward, the back of the bottom cabinet hitting towards the front bottom of the cabinet above. The rigging strap had a swivel that would allow the angle. This arrangement resulted in the front of the bottom cabinet not following a proper arc. All seats of an arena would be covered (with massive comb filtering).

The 440 pound cabinets required lots of chain motors. Clair's “bumpers” were a good design for the S4, and allowed for in the air aiming when using two motors between bumpers.

In latter years the S4 used a proprietary mid horn and new rigging that addressed some of the aforementioned problems. I don’t know the exact time of the changes, but I’d guess the corner rigging, the lighter weight back panel and the horn change were all done around the same time, though with touring commitments, probably were done over a fairly long period of time.

There are (and were) many cabinets with more consistent array coverage than the S4s, but they did about half of all the arena shows for well over a decade.
I often have wondered where around 1000 S4s (between Clair and A.A.- 4000 JBL components) ended up, other than the ones that found their way back into Clair’s other cabinets and into the crusher"

I am sure Clair used the D-500s in the same capacity as the 700s
 
Northwinds said:
That makes sense because these probably drove the flying S4 systems

"Modified Phase Linear 700 were used to drive the S4, so that is also consistent.

The S4 embodied the most off the shelf JBL components one could fit on the front baffle of a 45 x45 x 22.5 inch package, ideal for the 90 inch truck boxes of the time.
If you were on axis to one box the sound was that of a JBL studio monitor on steroids.
Unfortunately, they have lots of destructive interference patterns when arrayed.

As I recall, the S4 were normally run three way active, with a passive crossover between the 2440 (or 2441, 75 watts RMS) and the 2405 slot tweeters (10 watts RMS) at about 7000 HZ. IIRC, crossover points were 200 and 1200.
The 200 HZ cross point would be considered quite high for an 18†to 10†point now days, but was common back when S4s were ruling the concert world.
I am not positive of the 10 & 18†model numbers, but 75 watts RMS per 10 and 150 to 300 watt RMS power handling for the 18†would be typical for this era of drivers.

The system would have four cabinets per amp rack (block) 8x4 =32 S4.
Having 8 racks allows for flexibility of splitting the system into 4 or even 8 smaller systems, and allows for turning down the down front cabinets.

Henry Cohen gives the amp assignment in the next post.

The S4 embodied the most off the shelf JBL components one could fit on the front baffle of a 45 x45 x 22.5 inch package, ideal for the 90 inch truck boxes of the time.

The S4 is an odd duck for dispersion. Flown in a vertical hang, the 10†will work like a line array, but the hi mid 2343 exponential oval horn has a narrow 30 degree horizontal dispersion, and wider 60 degree vertical dispersion, which is somewhat narrowed by the vertical orientation of the two horns. The 2405 (20 watt pink noise) slot tweeters have very wide 140 horizontal dispersion and 40 degree vertical dispersion.

Because of the narrow hi mid horizontal dispersion, a 32 box system would typically be deployed 6 cabinets (three bumpers) wide, the inside 4 three deep and the outside two 2 deep. The bottom row of cabinets would be angled down until they “tipped†forward, the back of the bottom cabinet hitting towards the front bottom of the cabinet above. The rigging strap had a swivel that would allow the angle. This arrangement resulted in the front of the bottom cabinet not following a proper arc. All seats of an arena would be covered (with massive comb filtering).

The 440 pound cabinets required lots of chain motors. Clair's “bumpers†were a good design for the S4, and allowed for in the air aiming when using two motors between bumpers.

In latter years the S4 used a proprietary mid horn and new rigging that addressed some of the aforementioned problems. I don’t know the exact time of the changes, but I’d guess the corner rigging, the lighter weight back panel and the horn change were all done around the same time, though with touring commitments, probably were done over a fairly long period of time.

There are (and were) many cabinets with more consistent array coverage than the S4s, but they did about half of all the arena shows for well over a decade.
I often have wondered where around 1000 S4s (between Clair and A.A.- 4000 JBL components) ended up, other than the ones that found their way back into Clair’s other cabinets and into the crusher"

I am sure Clair used the D-500s in the same capacity as the 700s
Click to expand...


Cool stuff. The 500 will be a beast that we will tame
the next one will possibly have Joe's board in it.
 
grapplesaw said:
Ed you are on to something. It looks like 1982 this was added.
The came from a touring PA company that Perry got them from. This circuit is able to Handel feed back so maybe was on some horns or something that was hard to control. The high frequency circuit here has no real use in a home system. The next one I do will have a different control board.

View attachment 23659
Click to expand...

Yep it looks like the date code is 8221 which would make it the 21st week in 1982. So I would say these are not the original capacitors.

Ed
 
Back plate finished

new fuse holders, power plug, 30 amp binding posts.
I drilled the frame to take the short switchcraft RCA plugs

just need to order a few thing to finish it up

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Ugh!!
I bought some 6 pin strips
they are the same as the .35 cents one I got from Sky
these were pictured as the originals Phase used

the ones with the green back ground are what were listed, and what I wanted. The second shows what I got

beware of item 141599573458 on eBay

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The Ebay seller turned out to be one of the good guy's

He is sending the correct items. I will give him an A+++++ rating
 
grapplesaw said:
The Ebay seller turned out to be one of the good guy's

He is sending the correct items. I will give him an A+++++ rating
Click to expand...

Glen, I bought a couple from this seller also. And I did receive the correct ones that match the oem Phase part.
So good to hear he is taking care of you. Probaby just reached in the wrong bin.

Great work so far on the 500 Glen. Looks amazing.
 
grapplesaw said:
The Ebay seller turned out to be one of the good guy's

He is sending the correct items. I will give him an A+++++ rating
Click to expand...

Almost all of my dealings on ebay are with the good guys. Out of thousands of transactions , one bad one.....
 
Need some clips to hold the fan in place
one more fab job for the weekend. Now if only I had a machine shop Lee



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(Not actual unit only used for illustration )
 
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