Thanks to everyone who remarked on the unusual male-to-male XLR cable configuration. Very careful rereading of the Ashly manual suggests that the XLR chassis output is a male. All the diagrams about pin assignments show only male XLR connectors. The female reference occurs once burried in text about other things.
I wonder why this is the standard. RCA and phone plug interconnects are all male-to-male.
I am considering this crossover, to replace very satisfactory Marchand units, because I want to be able to easily change the SW/Main crossover frequency. My Marchand crossover consists of three of their boards which I put together into a chassis, which is located in the cellar, with my power amps. Changing frequency involves taking off the cover and pluging in a different frequency select module. I have determined that there is no best crossover frequency for my system, which includes custom built multi driver subwoofers that are capable of good response to higher frequency than most subwoofers. Organ music, loud orchestral pieces, and mass chorus performances are best when the six big dynamic drivers pump it out: X/O 80 - 150 Hz. Chamber music is best when the Maggies do most if not all: X/O 50 Hz.
Because the new X/O will be located with the source equipment, (not in the cellar with the amps) the interconncts to the power amps will get a lot longer, and that's why I am interested in trying the balanced line capability.
Thanks again. I'm glad I asked.
I wonder why this is the standard. RCA and phone plug interconnects are all male-to-male.
I am considering this crossover, to replace very satisfactory Marchand units, because I want to be able to easily change the SW/Main crossover frequency. My Marchand crossover consists of three of their boards which I put together into a chassis, which is located in the cellar, with my power amps. Changing frequency involves taking off the cover and pluging in a different frequency select module. I have determined that there is no best crossover frequency for my system, which includes custom built multi driver subwoofers that are capable of good response to higher frequency than most subwoofers. Organ music, loud orchestral pieces, and mass chorus performances are best when the six big dynamic drivers pump it out: X/O 80 - 150 Hz. Chamber music is best when the Maggies do most if not all: X/O 50 Hz.
Because the new X/O will be located with the source equipment, (not in the cellar with the amps) the interconncts to the power amps will get a lot longer, and that's why I am interested in trying the balanced line capability.
Thanks again. I'm glad I asked.