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'Confidence with Competence' 'Coming Soon neo-D E-130'
'2.75in Voice Coil winding depth' 'JBL C8R2123'

Above TOP is the newest prototype of the Kennedy Alpha-II venue / custom 15 (soon also 18/21) inch woofer with 4 or 5-6 inch travel, the rare high amperage full range speaker in existence. Most zero to 100 hertz amplifiers, especially solid state, prefer voltage drive over current driven transistors because of the extra circuitry needed to buffer the voice coil reversal process and avoid transistor leakage and burnups. Another important reason is the heat dissipation or efficiency. Only class 'D' offers great watts per British Thermal Unit operation cost advantages. As a designer of Bi-Polar Transistor type (class H) bass instrument and playback woofer amplification, Mr. Kennedy has experience and knowledge beyond the obvious design improvements you see in photos of such transducer parts. These are pre-order or large volume unless you are able to pay an extra price. Thiel Small parameters just tested on 15 inch model are: Fs = 16.15 hertz free air resonance measured in JBL cabaret enclosure, ported. Qts (total Q) = 4.2 this is 4 to 8 times any other speaker in this size. Qes (electrical Q) = 5.15 called the ratio of stored energy to electrically used energy. Qms (mechanical Q or suspension) = 14.18 Most speakers average 5 with 10 the usual highest possible. The wattage is continuous with extra ventilation for 2 to 3 thousand watt rated amplifiers of all classes. This all means we have made a speaker with more punch, for bass drum and subsonics, but does not require class-D with expensive filtering for Class-D to get clarity if bass effects are used or smooth warm bass is wanted. It is also showing that it is more full range capable and also more sensitive (electrical Quality Q) R5.67 and LE 0.99H This spec on the 15 inch model is nowhere near the heavy duty large Alpha II not yet prototyped except for voice coils. This is just the junior version for large venue sound and stage where you need a few great speakers with high capability rather than many specialized designs.

Call me ONLY on this subject to discus orders at 920 area code and last for digits are zero and then same as area code. 850 prefix - John

Our web site is DIFFERENT from others. For guitar players, we enable them to think of their entire production chain both for tone and power. Without the proper speaker, good advice is worthless and the most common concern of wasted money can not be thwarted. Most buyers don't realize that Les Paul used more gain in the pre-amplifier stage of his tube amplifiers than is available from a 12AX7 tube used today. I am concerned that too many buyers are not getting a good replica of the kind of overdrive sound that sold this type of guitar in 1959 and, as is also true, the fender overdrive sound which requires more gain in the preamplifier chain due to the lower output of single coils, but greater ability to push limiters near their clip settings without sacrifice of tonal quality or adding artifacts and dingy string resonance.

The reality of present market availability is a direct result, IMO, in the need for ruler flat frequency response across the entire guitar spectrum. This was begun very early in guitar development to eliminate feedback problems. Just one example is the change from even (2nd) harmonic rich triode power tube amplifiers of the 1920's to beam tetrodes. A power triode such as a 6B5 amplifier works fundamentally opposite that of amplifiers produced after sound production capability was first offered to the general consumer public. Instead of turning power on from grid input signals, the newer thinking was to shut off power to the collector plate as the primary mode of operation. Changes or 'mods' that put a small capacitor back into tetrodes became very unpopular for good reasons. You just can not have flat response in guitar tone and use a small capacitor on a power tube to reverse the effect of a low music factor, low punch flat tone. Feedback for stringed amplified instruments that sit near the instrument and can cause standing wave loops and out of control microphonics was, at that time, impossible to compress, equalize out and limit or brickwall. Hearing damage as well as equipment failures, audience rejection and sound reinforcement with speaker reconing they considered as unknowable or too expensive. Another example is the anti-intuitive change of the long wanted and awaited bridge pickup of a Stratocaster to a Humbucker high output type in bridge position (treble). All the above changes introduce negative feedback as a method to achieve the lower overtone flat acoustically 'correct' sound stage profile. And then, as if not yet damped enough, hi-fi system tube amplifiers added ultralinear taps to the output transformer to further enhance both the sharp cutoff and remove any possible cathode follower dual preamp tubed differential signal modification possibilitys. If all this engineering talk is a bit over the top, then know this: That the engineering of your present guitars, especially stratocasters, could force you to rethink the amplification system beginning with speaker sensitivity, power/headroom capacity and, of course, thermal durability and duration service interval times. Heat compression is a major consideration in speaker designs. Mostly, constraints were imposed to allow more customers to buy at a $500 price point for a completed retail sale system. And that is what we are; really the most valued source on the internet for tone, punch, and tube sound. We are pushing away the old engineering values that say products should just barely meet the high demand needs. In the new Order Of Audio, there are few remaining such Theatines but God's little disgusted techno-devils. We also think that being able to offer such value at what historically would be very low investment levels is a feather in our dust caps.

The original design thinkers, now long lost both in documentation and like mindedness, did have an ingenious method of letting A/V users restructure the control system. On most vintage equipment, several taps on output transformers were used to allow lower or higher ratios of coil resistance to speaker resistance. A good starting place, if you have such options, is to determine if you want more treble peaks, or the effect of overlaid treble resonances either from wood instrument resonance or distortion pedals, power tube control couplings or interstage line matching devices. This applies to bass tones or higher midrange and above. If this 'presence' as it was called is desired, then for the same speaker impedance use a lower resistance output, which increases the impedance match ratio across the entire spectrum. The only disadvantage was that you then effect the entire spectrum, but equalization tone controls or bi-amping and other options can be added. In today's market, solid state interfaces use about a 20:1 match in just such a way to counterbalance the effects of higher solid state feedback controls that are internal and unchangeable by the users. In vintage design, a ratio of 4 or 5 to 1 was considered maximum allowable for power transfer reasons as well as transformer ringing effects. JBL used this to advantage by offering many speakers in 16 ohm versions, especially their higher frequency specialized voice coils. However, still today, a 16 ohm bass dual bass guitar speaker with extended pole pieces or the shorting rings are still the single greatest example of why everyone has become an audio designer these days, for lack of better support and so much ongoing development in electronics. To take full advantage of our services and past experiences with what national bands have bought and liked, this is a recommended way to justify a buying decision. You don't have to be a national act to be doing this, but it just may help you to get your sound up to that level first and publish your work after that.






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