PROJECT EVEREST
DD65000 & DD67000
PRODUCT COMMENTARIES AND USER GUIDE
Thank you for purchasing a
JBL Project Everest loudspeaker system.
Before using the system, please take the time
to read through this user guide to understand
this loudspeaker well and also to use it properly.
TABLE OF
TC
CONTENTS
Preface: ....................................................................... 6
chaPter 1:
LEGACY .............................................................................. 8
chaPter 2:
THE PROJECT EVEREST DD65000 AND DD67000
LOUDSPEAKERS – A TRIUMPH IN ACOUSTICS
AND TECHNOLOGY ....................................................... 14
chaPter 3:
UNPACKING THE PROJECT EVEREST SYSTEM ............ 22
chaPter 4:
SELECTING SPEAKER WIRE ......................................... 26
chaPter 5:
AMPLIFIER RECOMMENDATIONS .................................. 28
chaPter 6:
PLACEMENT AND SETUP CONSIDERATIONS ............... 30
chaPter 7:
PROJECT EVEREST ADJUSTMENTS ............................. 32
chaPter 8:
PROJECT EVEREST CONNECTIONS ............................. 38
chaPter 9:
PROJECT EVEREST CARE AND MAINTENANCE ........... 44
troubleshooting and service guide: .................. 44
Project everest dd67000 system
sPecifications: ............................................................. 46
Project everest dd65000 system
sPecifications: ............................................................. 47
5
PREFACE
Thank you for selecting a Project Everest DD65000 or DD67000
loudspeaker system. These loudspeakers represent the
culmination of our research and developmental efforts in sound
reproduction over the last half century. We have endeavored
to create loudspeaker systems with no acoustical or electrical
limitations whatsoever.
However, it is the level of your listening pleasure that ultimately
determines how successful we are in this endeavor. To ensure
a perfect listening experience, we ask you to carefully follow the
setup and operation procedures outlined in this Project Everest
User Guide.
This guide serves several purposes. It contains all necessary
background information and detailed instructions for setting up
your Project Everest loudspeaker system, including unpacking
the loudspeaker, selecting the correct location, choosing speaker
wire, wiring method and amplication, and connecting the
speakers to their associated electronics. This information is found
in Chapters 3 through 8. In addition, we have included a detailed
description of your Project Everest loudspeakers in Chapter 2,
so that you may become thoroughly acquainted with their unique
design and technical features.
Despite the formidable nature of Project Everest, the setup
procedure for these loudspeaker systems is relatively simple.
Again, we strongly urge you to read this guide thoroughly before
you begin, and then consult it frequently throughout the process.
Certain considerations must be made in placing the speakers;
their physical characteristics make it imperative that you become
familiar with the entire setup process in advance.
Also, we believe that the historical and technical information
included will add immeasurably to your complete enjoyment of
your system. As a loudspeaker, the Project Everest DD65000 and
DD67000 are unparalleled in the eld of sound reproduction. The
story and principles behind them are an interesting, informative
and tting start to a lifetime of musical enjoyment.
7
LEGACY
THE HISTORICAL DEVELOPMENT OF
1
THE JBL PROJECT LOUDSPEAKERS
Of those who have sought perfection in sound reproduction, only a
few have actually come close. For one thing, it is a costly process.
It is rare indeed when an individual or group is able to triumph over
the constraints of economic and technological realities even once.
At JBL, this has happened nine times. In each case, our engineers
were told to build the speaker system they had always wanted
to build. Whatever resources were required would be made
available. Thus began an ongoing search for new frontiers in
sound reproduction, beginning in the mid-1950s and continuing
to the present day.
The products that have resulted from this venture are now known
as the JBL Project loudspeakers. Each represents the absolute
peak of every technological, material and engineering innovation
available at the time, combined into a single loudspeaker
system. They are Hartseld, Paragon, Everest DD55000, K2
S9500/7500, K2 S5500, K2 S9800, K2 S5800, Project Everest
DD66000 and K2 S9900.
Although differing in performance details and physical attributes,
all of the Project loudspeakers have shared a common objective
– to elevate sound reproduction to levels dened only by the
limitations of existing materials and technology. The fact that all
Project loudspeakers have many common features, despite
their having been created over a span of nearly sixty years, is a
testimony to the excellence of the technology and manufacturing
techniques upon which JBL was built.
JBL Hartseld
DEFINING THE PROJECT CONCEPT
The Hartseld began a tradition at JBL that continues today. First,
engineer a product as close to perfection as possible. When it
reaches that level, make it better.
In 1954, the Hartseld was signicant in that it represented not new
technology, but rather a new level of technical manufacturing, in the
spirit of the approach pioneered by James B. Lansing some twenty
years before. Like its Project series successors, it was a high-
efciency system incorporating compression driver technology and
combining the qualities of high-output, low-distortion, exceptional
stereo imaging and fatigue-free listening. Most important, it was
the rst loudspeaker system available to consumers to do all this.
JBL’s president in 1954, William Thomas, described the Hartseld
as the “speaker system we have always wanted to build [with] the
nest components ever made available to serious listeners.”
9
JBL-Ranger Paragon
®
Digital, DTS®, DVD-Audio and Super Audio CD (SACD™).
Dolby
Frequency responses to 50kHz, as well as three-digit dynamic
range and signal-to-noise ratio specications have now become
commonplace. To faithfully reproduce such robust sonic properties,
the loudspeaker needed to undergo drastic improvements to its
transducer, network and enclosure technologies.
The K2 S9800 employed a three-way design, incorporating
an ultrahigh-frequency (UHF) compression driver and horn
to reproduce high frequencies up to 50kHz. With the UHF
driver handling the higher frequencies, the high-frequency (HF)
transducer could then be upgraded to a new design using a
3-inch (75mm) diaphragm, which improved reproduction of
lower frequencies and blended better with the woofer than the
older generations’ 2-inch (50mm) diaphragm did. Both of these
new compression drivers utilized newly developed beryllium
diaphragms to provide the lowest distortion and attest frequency
response possible.
To recreate the extremely high dynamic range provided by
today’s audio sources, a brand-new low-frequency transducer
was developed from the ground up, utilizing an Alnico magnet, a
4-inch (100mm) edge-wound voice coil, and a 15-inch (380mm)
cone. Extensive computer-aided engineering and design effort
was necessary to develop the optimized port tuning employed
in Project K2 S9800, and resulted in a signicant advance in the
concept of state-of-the-art acoustic reproduction. As a result of
these efforts, a loudspeaker system with higher sensitivity and a
wider dynamic range became a reality without power compression
or distortion, even at extremely high drive levels.
He went on to describe the process behind the creation of the
Hartseld: “Most people who own and appreciate ne sound
reproduction equipment look forward to the day when they will
be able to assemble a system without limitation in just exactly
the way they think it should be done. Periodically a manufacturer
gets this same feeling. The science of acoustics has provided
us with the basic principles available to all for achieving precision
reproduction. It is only a matter of incorporating these methods into
a system design, and then taking every bit of trouble necessary to
build a system precisely to the design.”
He added, “It isn’t easy, but that’s the way it is done.”
The Ranger-Paragon, JBL’s second Project system, was the rst
serious attempt at a reecting speaker system, and broke ground
in what was at the time, the new concept of stereo imaging.
Basically two independent full-range speaker systems installed in
a handsome, curved cabinet nearly 9 feet (2.7 meters) wide, the
Paragon’s enclosure was treated as an extension of its transducers.
In essence, the system had its own “built-in acoustics.” In many
respects, the Paragon anticipated loudspeaker developments
that would occur years and even decades later. This “built-in
acoustics” concept was present in the Project Everest DD66000
and has now been further rened in the DD65000 and DD67000.
For nearly 30 years, the Paragon remained one of the world’s
most highly-regarded home loudspeaker systems. Today, along
with the Hartseld, the Paragon is still the most sought-after
speaker in the world.
In 1986, JBL introduced a new Project system that retained the
Paragon’s overall sense of musicality while upgrading its character
by incorporating three decades’ worth of continuous development
in every facet of its design. Its name – Project Everest – reected
the pinnacle of achievement it represented. This was the original
Project Everest DD55000.
For the rst time, the rest of the sound reproduction chain – and
not the loudspeaker or its transducers – would impose limits on
overall system performance. Like the Paragon and Hartseld,
Project Everest was built around compression driver technology
and addressed a more rened stereo image than was previously
considered technically feasible.
Since the original Project Everest was introduced, sound recording
and playback technology has undergone a revolution of its own.
With the advent of the CD, extremely demanding recorded signals
became the rule rather than the exception – the typical source
material used by the average audio enthusiast became superior
to the best demonstration material of even just a few years
prior. In overall dynamics and transient response, transducers
became once again a potentially weak link in the high-end audio
reproduction chain.
It was in this environment that JBL set out to create its fourth and
fth Project loudspeakers, K2 S9500 and K2 S5500. As with
Hartseld, the simplicity of a two-way system was considered the
most promising design track. Advances in transducer design and
low-frequency alignment would make possible the construction of
a two-way system of unprecedented physical and acoustical scale.
Our engineers took the core components – the low-frequency and
high-frequency transducers – and optimized them by redesigning
their magnetic structures, diaphragms and framework for greater
linearity, dynamic capability and transient response.
In the years following the introduction of the K2 S9500 and K2
S5500, sound reproduction technology underwent another series
of revolutionary changes, with the introduction of DVD-Video,
JBL Everest DD55000
1110
JBL K2 S9500 JBL K2 S9800
The development of the Project Everest DD66000 loudspeaker
system was undertaken as a celebration of JBL’s 60th
anniversary and as a realization of the potential engendered by
the breakthroughs discussed above. The stately character of the
Hartseld, exceptional wood craftsmanship of the Paragon, the
“built-in acoustics” which treat the enclosure as an extension of the
transducers, and the state-of-the-art transducer technologies that
were built up from two generations of the Project K2 developments
were all poured into this new challenge to extend the acoustic and
electrical possibilities in this Project Everest model.
Despite its 21st century power and sophistication, Project Everest
DD66000 was a synthesis of tradition and technology. It reected
the design, material, engineering and manufacturing expertise
developed and rened through nearly six decades of experience
that are the exclusive legacy of one loudspeaker builder – JBL.
And now, with the introduction of the Project Everest DD65000
and DD67000 JBL presents additional renements that enable
these loudspeakers to outshine even the stellar performance
standard set by the DD66000 system.
JBL Project Everest DD66000
1312
PROJECT EVEREST
A TRIUMPH IN ACOUSTICS
2
AND TECHNOLOGY
This chapter describes the primary features and components of the Project Everest
DD65000 and DD67000 loudspeaker systems.
The basic system conguration is what JBL historically has referred to as an “augmented
two-way”. In the 1950s and 1960s, JBL primarily built two-way systems with a 12-inch or
15-inch (305mm or 380mm) woofer crossed over to a large-format compression driver/
horn combination. Some of the systems would be “augmented” by a UHF device, usually
the 075 ring radiator which would operate above 8kHz. These systems would have only a
single crossover point in the middle of the audio range, to minimize any sonic degradation
caused by the dividing network.
The DD65000 and DD67000 both have a single midrange crossover point – the
DD65000 at 750Hz and the DD67000 at 850Hz – blending one 1501 woofer to the 476
compression driver and horn combination. The 045 UHF driver is brought in at 20kHz to
cover an octave and a half of ultrasonic frequencies. A second 1501 woofer operates in
the bass frequency range from below 30Hz to around 150Hz, where it is rolled off at a
gradual 6dB/octave. This rst-order slope ensures proper amplitude and phase summing
between the two woofers over their entire operating range. Both woofers operate below
150Hz, but only one of them extends up to the midrange crossover point. This is done
to achieve proper directivity control throughout the entire woofer operating range, while
delivering powerful and extended low-frequency performance. Above the midrange
crossover point, the HF compression driver and horn combination operates unassisted,
all the way to 20kHz (see graph, below).
dBSPL
110
105
100
95
90
85
80
75
70
65
60
20Hz 50 100 200 500 1k 2k 5k 10k 20k 40k
DD67000 LF1
DD67000 LF2
DD67000 LF Combined
DD67000 HF
DD67000 UHF
DD67000
SPL vs Freq
On-axis response of the DD67000 system and of each
transducer through its crossover network (2.83V @ 1m)
15
The transducers, horns and crossover networks are housed
in a visually stunning enclosure that is reminiscent of both the
Hartseld and Paragon systems. The specially curved bafe
provides the sidewalls for the main high-frequency horn. The top
and bottom horn ares are accomplished by the attachment of
precision-molded SonoGlass
®
horn “lips” to the enclosure’s upper
surface. The UHF driver is mounted to a SonoGlass horn which is
itself mounted to a die-cast aluminum housing.
The entire Everest DD65000 and DD67000 enclosure is
constructed of MDF. The curved panels are formed out of two
thicknesses of MDF with an inner, outer and middle skin. The
MDF is internally grooved, allowing the panels to curve to the
desired dimensions. The voids in the material are lled with a
foam damping compound. The panels are held in place using
a complex internal bracing scheme and external xturing during
the curing process. The woofer bafe module is a six-sided 3/4
inch (19mm) thick shell, constituting an extremely rigid and secure
structure. The DD65000 has a 1 inch (25mm) thick veneer-
covered outer bafe, giving the total combined woofer bafe a
thickness of 1-3/4 inch (45mm). The DD67000 has an inner 3/4
inch (19mm) bafe constructed of Finland birch plywood and an
outer 1-inch thick bafe that is covered in carbon ber woven
cloth. The outer bafes of both models are removable (bolted from
the inside of the enclosure) to enable repair or replacement of the
covering surface, should that ever be necessary.
The system is ported on the rear with a tuning frequency of
32Hz for the DD65000 and 31Hz for the DD67000. Two large
4-inch (100mm)-diameter ared ports are combined with the
input connections on a massive three-piece die-cast aluminum
structure. The entire enclosure rests on four stainless-steel foot
assemblies. Stainless-steel coasters are included to protect
wood and tile oors from damage from the spiked feet. The grille
assembly is constructed of MDF and uses a thick, perforated
metal sheet to provide the curved shape. The grille securely
attaches to the enclosure with metal pins and rubber cups.
The low-frequency and high-frequency transducers for the Project
Everest systems are designed to be absolute minimum-distortion
drive units. Although they are capable of tremendous acoustic
output, they are designed to be nearly linear in every way, up to
a reasonably high drive level. This enables the system to sound
the same regardless of playback level. In addition, a great deal of
attention was paid to minimizing distortions and non-linear effects
occurring around signal zero-crossings. The result of this is that
Project Everest systems are able to play at very low levels and still
present realistic response and detail to a degree unattained by
other loudspeaker systems.
PROJECT EVEREST TRANSDUCERS
THE 1501AL FAMILY OF LOW-FREQUENCY
TRANSDUCERS
The 1501AL-1 (DD65000) and 1501AL-2 (DD67000) lowfrequency drivers are very similar to the 1501AL used in the
DD66000, and 1500AL and 1500AL-1 used in the K2 S9800 and
K2 S9900 systems. They all share a common motor assembly
and they all use a long 4-inch (100mm) diameter voice coil with
edge-wound aluminum wire. The 1501 family voice coil is wound
double impedance so that the pair of woofers in a Project Everest
system still allows an 8-ohm system impedance. Their voice coils
are completely immersed in an underhung radial magnetic eld
generated by an Alnico 5DG magnet. This underhung design is
a signicant feature because even at high output levels, the coil
will always see a constant drive force and will be more thermally
coupled to the motor than is possible with conventional designs.
Alnico was chosen for the magnet material because of its
stable operating point. This material is insensitive to temperature
changes and back EMF from the voice coil. JBL has overcome
Alnico’s tendency to demagnetize with high drive by utilizing
a massive shorting ring at the base of the motor assembly. In
addition to this, the top plate is constructed of alternating coppersteel laminations. The presence of the copper rings linearizes
the magnetic properties of the gap to all but eliminate both eddy
current distortion and local ux modulation.
A thick-wall, cast-aluminum frame is used to rigidly support the
motor structure. This fully vented frame and motor design also
serves to minimize the back pressure under the dome and spider,
helping to reduce harmonic distortion to even lower levels. JBL’s
Vented Gap Cooling™ (VGC) is incorporated within the motor
structure, and lowers the operating temperature of the coil during
moments of high power operation.
SonoGlass
UHF Horn
Adjustment
Panels
Crossover
Network
Die-Cast Aluminum Housing
045-Series 1" (25mm)
UHF Compression Driver
SonoGlass High-Frequency Horn
476-Series 4" (100mm)
HF Compression Driver
Crossover Network
1501AL-Series 15" (380mm)
LF Driver
Adjustment Panels
Crossover Network
Die-Cast Aluminum
Input Plate/Port Assembly
Spiked Foot Assembly
Project Everest DD65000/DD67000 System Major Components
Crossover Network
™
Vented Gap Cooling
Die-Cast Aluminum Motor Housing
Back Plate
Conductive Aluminum
Shorting Ring
Alternating
Copper/Steel Ring
Top Plate
Dual Inverted
®
Spiders
Nomex
Pure Pulp Sandwich
Cone with Foam Injection
Core (1501AL-2)
Pleated Cloth
Accordion Surround
(1501AL-2)
Polepiece
Alnico 5DG Magnet
4" Edge-Wound
Aluminum Voice Coil
Cooling Vents
5-Way Binding Post Connectors
Layered Paper-Pulp
Matrix Cone (1501AL-1)
Aquaplas Damping Material
Foamed Rubber Suspension
Aluminum Frame
(1501AL-1)
(1501AL-1)
Die-Cast
Vents
1501AL-Series Woofer Section View
1716
The 1501AL-1 employs a pure pulp straight sided cone body
attached to an outer suspension made of special foamed rubber.
This suspension material has the longevity and frequency-response
characteristics of traditional rubber surrounds, but with a low density
very close to that of foam surrounds. This material was chosen to
preserve the transient detail of musical signals while still providing
the movement required for high output at low frequencies. Unlike
traditional foam surrounds, the foamed rubber has a very long
service life and will not deteriorate. The cone consists of a special
layered paper-pulp matrix with proprietary Aquaplas damping,
which offers more pistonic behavior throughout the woofer’s
operating bandwidth, and controlled cone breakup beyond it.
The 1501AL-2 uses an “accordion pleated” high strength Poly-
Cotton cloth outer suspension. This material is then coated with a
sealing/damping compound to render it air-tight and provide the
appropriate amount of damping control. This surround is attached
1501AL-1
(DD65000)
Layered Paper-Pulp
Matrix Cone with
Aquaplas Damping
to a composite cone body consisting of an inner and outer layer of
pure pulp stock with an inner foam injection core. This sandwich
construction creates an incredibly stiff, but still relatively light cone
body with extremely good distortion characteristics.
®
Both woofers employ dual inverted Nomex
spiders for the
cancellation of even-order distortion components. The design
and material of these spiders have been further optimized for the
DD65000 and DD67000 systems to offer even greater freedom
of motion and dynamic range, specically at low playback levels.
All suspension elements are tailored for maximum mechanical
displacement linearity.
All together, these design factors provide reduced harmonic
distortions at very low and very high acoustic output, improved
power handling, reduced power compression, and more
consistent spectral balance with varying input drive level.
1501AL-2
(DD67000)
3-Layer Pure Pulp
Sandwich Cone with
Foam Injection Core
476Mg, 476Be HIGH-FREQUENCY
COMPRESSION DRIVER
The 476 family of high-frequency compression drivers make
use of a 4-inch (100mm)-diameter formed diaphragm with a
4-inch (100mm) aluminum edge-wound voice coil, operating into
JBL’s existing rapid-are-type, coherent-wave phasing plug. The
476Mg (DD65000) has a 95% pure magnesium alloy diaphragm.
The 476Be (DD67000) has a 98% pure beryllium diaphragm.
The use of an efcient neodymium rare-earth motor structure
with a new copper-sleeved polepiece maintains maximum gap
ux and reduced coil inductance at a minimal size and weight.
The combination of these features has resulted in drivers that can
deliver superior sound quality with very little distortion and power
compression, regardless of acoustic power output.
A high-purity copper sleeve is used for the polepiece. This greatly
improves the electrical conductivity of the polepiece for lower coil
inductance and thus greater high-frequency output at 15kHz and
above. The copper-sleeved pole piece quickly wicks away heat
generated by the voice coil, thereby contributing to a reduction
in dynamic power compression. To compensate for the higher
resistance caused by the use of the copper-sleeved polepiece, a
new magnet with special high-grade and high-temperature-grade
neodymium has been used.
The phasing plug is of JBL’s traditional rapid-are, coherent-wave
four-slot design. This coherent-wave design shapes the wave
output, producing a truly coincident wave front as the sound
enters the Bi-Radial horn.
The diaphragm is formed of very high purity magnesium alloy
foil (476Mg, DD65000) or pure beryllium foil (476Be, DD67000)
that is manufactured with a proprietary high-temperature and
pressure-forming process. This process enables the integrated
JBL diamond-pattern surround to be formed as one piece with the
dome. Compared to other methods, forming the diaphragms out
of sheets of magnesium or beryllium foil yields greater reliability and
resistance to failure due to fatigue. If breakage ever does occur, the
diaphragm does not shatter into pieces or harmful dust. Beryllium
has a very high stiffness-to-density ratio of about ve times that
of aluminum, magnesium, titanium or iron. This maintains pistonic
behavior up to 20,000Hz, eliminating diaphragm modal breakup
and keeping the upper frequency response very smooth, with
minimal distortion spikes. Compared to the 475Nd compression
driver used in JBL’s original K2 S9500 system, this is about a 45
percent reduction in moving mass. With such a low mass, the
moving assembly is able to respond even more quickly to musical
transients, further enhancing the reproduction of musical detail
and microdynamic nuances.
Like the beryllium diaphragm in the 476Be, a proprietary thermal
forming process is used to form thin magnesium alloy sheets into
a 100mm magnesium dome shape of exacting dimensions for
the 476Mg. This includes the integrated JBL diamond surround.
The 95% pure magnesium alloy diaphragm of the 476Mg also
uses small percentages of aluminum, zinc, and other alloys to
improve characteristics such as diaphragm forming, fatigue
strength, corrosive and acoustic properties. Magnesium has very
low density, slightly lower than even beryllium, but with much lower
stiffness. However, with such a low density the thickness of the
magnesium alloy diaphragm can be increased to 130 microns,
greatly improving its stiffness. In fact, when compared to the
titanium diaphragms used in JBL’s original K2 S9500 and M9500
systems, this new magnesium alloy diaphragm is 2.5 times thicker
but maintains about the same moving mass of 3.4 grams. This is
benecial because with high stiffness, pistonic behavior extends
up to higher frequencies than is possible with current aluminum
or titanium diaphragms. Another benet of the magnesium alloy is
greater internal loss or damping when compared to aluminum or
titanium diaphragms. This greater internal loss quickly minimizes
the amplitude of resonances when the driver is asked to produce
frequencies beyond its acoustic limits.
Special Low-Density
Foamed Rubber
Half-Roll
Suspension
High-Strength Sealed
Poly-Cotton Cloth
Accordion-Pleated
Suspension
1501AL-1/1501AL-2 Cone and Suspension Comparison
Die-Cast Aluminum Front Cover
Diamond Surround
Top Plate
Neodymium Magnet
4" Edge-Wound
Aluminum Voice Coil
Copper-Sleeved
Pole Piece
Foam Damping Pad
Coherent-Wave, 4-Slot Phase Plug
Diaphragm Assembly
Acoustic Seal
Die-Cast Aluminum Back Cover
5-Way, Gold-Plated Terminals
476-series Compression Driver Section View
1918
JBL’s proprietary diamond-pattern surround is utilized to maintain
proper control and tuning of the diaphragm’s second resonance
(the surround resonance mode). The proper control and
placement of this surround resonance is critical for good highfrequency shape, extension and level.
These features, when taken as a whole, create a new large-format
compression driver with the greatest high-frequency extension,
lowest distortion, smoothest response and greatest sonic detail.
045Be-1 AND 045Mg ULTRAHIGH-FREQUENCY
COMPRESSION DRIVER AND BI-RADIAL
®
HORN
Like the original 045Be used in the Everest DD66000, the 045Be1 used in the Everest DD67000 incorporates a 1-inch (25mm)
beryllium diaphragm and 2-inch (50mm) neodymium magnetic
structure. The pure-beryllium diaphragm is less than 0.04mm
thick and has a mass of only 0.1 gram. The single-layer aluminumribbon voice coil is wound without a former and is attached
directly to the diaphragm. This driver employs the smallest
annular-slit phasing plug that JBL has ever designed. The 045Be-
1 has been re-designed to improve manufacturing efciency and
consistency. Small changes have been made to the top plate and
some signicant improvements were made to the surround shape
and clamping methodology. As a result, the driver’s output above
30kHz has been increased by nearly 5dB.
Newly created for Everest DD65000, the 045Mg incorporates
a very high purity magnesium diaphragm – the same material
used on the 476Mg. This material was selected to maintain
acoustic consistency between the high-frequency and ultra-highfrequency drivers. Also new to the 045 family is a new precision
cast magnesium phasing plug. Compared with the plastic phasing
plug used in the previous design, this new magnesium phasing
plug offers improved stiffness and better ability to wick heat away
from the voice-coil/diaphragm assembly. The extremely low
mass of the moving system combined with the high magnetic ux
density and high rigidity of diaphragms produces response that is
very smooth from below 8kHz to beyond 50kHz in the DD65000,
and beyond 60kHz in the DD67000.
The response curve has a slight downhill tilt, due to the constantdirectivity nature of the horn used in this system. The Bi-Radial®
horn used with the 045-series driver is properly scaled to maintain
a coverage angle of 60 degrees in the horizontal plane and 30
degrees in the vertical plane over the frequency interval from
10kHz to 50kHz.
INTERNAL CROSSOVER NETWORK
The circuit topology, combined with the acoustic behavior of the
1501-series and 476-series transducers, provides a 24dB-peroctave transition at 750Hz in the DD65000 and at 850Hz in the
DD67000. This is the primary crossover point of the system.
Additionally, the 045-series transducer is active above 20kHz to
provide extended response to beyond 50kHz in the DD65000,
and beyond 60kHz in the DD67000. A second 1501AL woofer
is active from below 30Hz to around 150Hz, at which point it is
gently rolled off at 6dB per octave. The design intent is to use both
woofers in the bass frequencies and slowly transition to a single
woofer in the midrange. This technique allows a primary crossover
point between just two drivers and permits proper control of the
system’s directivity pattern, while providing tremendous power
and air movement capabilities at the lower frequencies. As a
result, the speed and power of the Project Everest systems are
unmatched from the lowest to the highest frequencies.
All of the electrical components are of the highest quality and exhibit
the lowest internal loss. Air core inductors are incorporated to avoid
nonlinear hysteresis effects. Capacitors are constructed using
polypropylene foil, which is known for having minimal distortion
caused by dielectric absorption nonlinearities. The mid-, high- and
ultrahigh-frequency networks employ DC voltage bias to operate
the capacitors effectively in a Class A mode. Every attempt is made
to present as smooth a system impedance as possible to the
driving amplier. This design element is often overlooked in many
loudspeaker systems, yet ampliers work their best when they are
given a smooth, level load impedance in which to deliver current.
The aggregate of these attributes allows the DD65000 and
DD67000 systems to translate the electrical signal from source
material into an accurate and unencumbered three-dimensional
sound eld. These systems can do this at any desired listening
level, from whisper-quiet to big-band loud, while at the same time
maintaining unchanged acoustic characteristics.
Surround
Back Plate/
Driver Exit
1" Edge-Wound
Aluminum Voice-Coil
Stainless-Steel
Mounting Bracket
Magnesium
Phase Plug
1" Diaphragm
Neodymium Magnet
Top Plate
Die-Cast
Aluminum-Alloy
Back Cover
Gold-Plated
Input Terminals
045-Series Compression Driver Section View
Ohm
50
45
40
35
30
25
20
15
10
5
0
20Hz 50 100200 5001k2k5k10k 20k
Impedance vs Freq
DD65000 System Impedance
2120
UNPACKING THE
PROJECT EVEREST
3
SYSTEM
All components of the Project Everest system have been very carefully packed for
maximum protection against damage. As with any superior audio product, it is advisable
to keep the original packing materials, in case it is necessary to transport the Project
Everest system. Because of the bulk and weight of this loudspeaker, at least two people
are required to unpack it.
NOTE: Stainless-steel round feet are installed on the bottom of the speaker cabinet.
To avoid damage to your oor, we strongly advise unpacking the speakers on a wellprotected surface, such as a thick carpet or cardboard. (Note: Your loudspeaker system
is packed with a protective wrapping, but this is omitted for clarity in the drawings below.)
1. Cut the straps securing the carton with scissors or a knife. (Please be careful so that
the cut straps don’t spring up and hit your face or hand.)
2. a) Slowly lift the top cover up and remove it. b) If there is not enough room above the
box to pull off the top cover, carefully cut the side and top of it with a knife and pull
it horizontally.
A B
23
3. Remove the cardboard and packing materials. Remember to
take the accessories out from the upper endpads.
Remove
Accessory
Package
6. Cut tapes at the corners of the bottom cardboard.
7. Slide the loudspeaker system together with bottom endpads
out toward you.
9. Remove the protective wrapping.
INSTALLING SPIKES
REMOVING THE GRILLES
Project Everest loudspeakers are shipped with their grilles installed
on the enclosures. You will need to remove the grilles to access
the adjustment panels when you set up your speakers. You can
remove the grilles with the following procedures.
1. Hold the lower part of the grille with both hands and push it up.
4. Remove the upper endpads.
5. Together with the bottom cardboard, slide the loudspeaker
system down from the bottom board
8. Lift the system slightly on the right and left, in turn, to remove
the bottom endpads.
Project Everest speakers are shipped with round-tipped feet on
the bottom of the cabinet. If you would like to use pinpoint spikes,
remove the round-tipped feet and replace them with the supplied
pinpoint spikes. If the round-tipped feet are hard to loosen, use an
11/16-inch (18mm) wrench.
IMPORTANT: To prevent damage (scratches, indentations, etc.)
to wood or linoleum oors due to the weight of these speakers,
always use the included coasters. Be especially sure to use the
coasters on tile surfaces to prevent cracking the tile.
Push bottom of grille UP
2. Pull the bottom of the grille toward you to remove the grille from
the lower pins on the enclosure.
Pull bottom of grille OUT
3. Pull the grille down and remove it from the enclosure.
Pull grille DOWN and remove
Repeat the above steps in reverse order in order to install the
grilles back on the enclosures.
2524
SELECTING
4
SPEAKER WIRE
Speaker wire and interconnecting cables are an important
component in any audio system. With a system like Project
Everest, they assume an increased level of importance.
Project Everest loudspeakers are internally wired using highquality oxygen-free copper wiring. The same care that was
given to the selection of the loudspeakers’ internal system wiring
should be afforded to the selection and application of the wires
that will connect the Project Everest loudspeakers to your other
system components.
Many manufacturers produce audiophile speaker wire worth
considering for Project Everest loudspeakers. As with all electronics
and associated components, however, every manufacturer
offers products of varying quality to suit a range of budgets and
applications. We advise that you use high-quality wire and to
select the highest grade of wire available from the manufacturer.
Project Everest specialist dealers have the experience and
knowledge to recommend suitable speaker wire to best
complement your particular system. We recommend using an
audiophile-quality speaker wire of not less than 16-gauge for
connections of up to 15 feet (5 meters) as a minimum requirement.
For maximum signal purity, we advise that you place the
amplier(s) as close as possible to the loudspeakers, even if
this means that a longer distance will be needed between the
amplier(s) and preamplier.
The connections between the left and right ampliers and
speakers should be the same length. If the distance between one
speaker and its amplier(s) is greater than the distance between
the other speaker and its amplier(s), use the longer length of wire
for both connections.
For bi-wire connections, the same type of wires may be used for
both low-frequency and high-frequency sections to reduce wire
effects (resistance, inductance, etc.) and to avoid intermodulation
of low and high frequencies in the wires. Specialized wires for
low-frequency and high-frequency sections may yield excellent
results. Whatever wires you select, be sure that the low-frequency
wires are as short as possible, and that the left and right wires for
each section are the same length.
27
AMPLIFIER
5
RECOMMENDA TIONS
No single type of amplier is specied for use with Project Everest
Loudspeaker systems. The speakers are highly efcient and will
operate adequately with an amplier or receiver of 70 – 100 watts.
However, the transient response and audio denition of a high-end
system such as Project Everest will expose all the inaccuracies
and distortion in the electronic chain that precedes it. For fullrange operation, Project Everest loudspeaker systems should not
be used with an amplier/receiver of less than 100 watts. Highquality ampliers/receivers of 100 – 500 watts will ensure optimal
system performance.
There is no effective limit to the power handling capabilities of
the Project Everest loudspeakers when driven by consumer audio
ampliers. No damage will occur when used with high-powered
components. The selected amplier(s) should have a very high
current capacity and must be capable of driving a low-impedance
load. Low output impedance is also an important criterion in
selecting an appropriate amplier.
For bi-wiring or bi-amplication applications, four identical ampliers
or two dual-channel units may be used, although specialized low-
frequency and high-frequency ampliers offer clear advantages.
(If four amplier channels are used, the high-frequency amplier
may be up to 6dB less powerful than the low-frequency amplier.
Due to the power-versus-frequency distribution of music, the
loudspeaker’s low-frequency section requires approximately four
times the power of the high-frequency section.)
Project Everest dealers can recommend amplication to best suit
your individual needs. In all cases, the left and right ampliers for
each section must be identical. When bi-amping or bi-wiring,
make sure that the input sensitivity of the two ampliers is equal
or that input level controls are provided to maintain the proper low
to mid/high balance. If two identical stereo ampliers are chosen,
each amplier may be located near a loudspeaker and drive low-
frequency and high-frequency sections through short wire runs.
If you are bi-amping the loudspeakers, a separate electronic
crossover network (not included) must be connected to the
outputs of the preamp/processor and to the inputs of the
ampliers that are powering the loudspeakers’ low-frequency and
high-frequency sections. Refer to HF Drive/LF Drive in Chapter 7,
for more information.
29
PLACEMENT
6
AND SETUP
Project Everest loudspeaker systems are designed to be less affected
by room acoustics than conventional direct-radiator systems. However,
they are still sensitive to the overall symmetry of their locations relative to
the listening position, and their proximity to walls, ceilings and corners.
Ideally, any listening room should contain a combination of live surfaces
(e.g., walls and windows) and absorbent surfaces (e.g., drapes,
carpets, upholstery). If the distance between the oor and ceiling is
minimal, it is preferable that one surface has an absorbent covering.
To obtain the best stereo effect, each speaker should be placed an
equal distance from the listening position.
• The distance between the right and left speakers is determined by
the relationship between the distance from the listening position to
the speakers and the angles of the speakers. The Project Everest
loudspeakers’ imaging qualities enable them to be placed relatively
far apart from each other, but this weakens the imaging of sounds
such as vocals, that are typically mixed to the center of the stereo
soundstage. In such an installation, increasing the inward angle (toein) of the speakers toward the listener will improve the center imaging.
Less
Toe-In
40° – 60°
• The listener should be centered in front of the speakers, and furniture
should be of an appropriate height so that when the listener is sitting,
their ear level is about the same height as the high-frequency horn
(approximately 36 inches/91cm from the oor),
Approximately
36" (91cm)
• Placing the speakers closer to the wall behind them or to the side
walls will result in an abundance of bass, but placing them too close
will result in dull sounding bass. On the other hand, too much distance
between the loudspeakers and the nearest wall will reduce the bass
output but result in fast and sharp sounding bass. The loudspeakers’
low-frequency alignment feature enables placing the loudspeakers
near (or even in) a corner without producing an overabundance of
bass. This corner placement allows optimal performance, even in
small rooms. Careful listening using various source materials will
enable you to nd the most suitable location for your loudspeakers in
your listening room.
Each Project Everest loudspeaker in a stereo pair needs to be
designated as the right or left speaker, depending on its installed
location. Once speaker locations are decided upon, please refer to
System Orientation, in Chapter 7, to set them up.
More
Toe-In
60° – 90°
CAUTION: Project Everest is a massive loudspeaker, consisting of
materials chosen for their density, with its weight concentrated in
a relatively narrow area. Verify the integrity of the oor surface before
placing and setting up the speakers. See Floor Requirements (below).
Remember that these loudspeakers cannot be easily moved once they
are installed.
FLOOR REQUIREMENTS
The oor at the locations you select for your Project Everest loudspeakers
must be capable of supporting a load of 310 lb (141kg). Because
of the coupling effect of the stainless-steel feet, a at, hard surface
such as wood or linoleum is preferable. However, the design of the
loudspeakers’ coupling system, along with the speakers’ substantial
weight, should result in excellent performance on any surface, even
on carpets.
To prevent indentations on wood or linoleum oors caused by the
weight of the loudspeakers, always utilize the enclosed coasters.
IMPORTANT: Do not set up the Project Everest loudspeaker directly
on a ceramic tile oor; the concentrated weight might cause the tiles
to crack.
31
PROJECT EVEREST
7
ADJUSTMENTS
The DD65000 and DD67000 have two control panels under the cover at the center
bottom of the front bafe. Shorting bars and switches on the control panels allow you to
switch orientation of the system, engage bi-amplication if desired and adjust woofer and
high-frequency levels. After removing the grille (see Removing the Grilles, in Chapter 3),
remove the control panel cover to expose the adjustments.
To change setups using shorting bars, use the supplied hexagonal driver to remove the
screws securing the bar. Move the bar according to the setup you require and then reinstall the screws.
ATTENTION: To avoid poor electrical contact caused by loose shorting bar mounting
screws, make sure that the screws are rmly installed. However, if you overtighten, there
is a risk of damaging the terminals themselves. Please use the supplied hexagonal driver
and tighten screws with reasonable torque, by hand only. DO NOT USE POWERED
SCREWDRIVERS OF ANY TYPE.
33
The following adjustments are made using the above procedure:
HF DRIVE/LF DRIVE
SYSTEM ORIENTATION
As described earlier, the loudspeaker’s two low-frequency drivers
operate over different frequency ranges. For proper stereo
imaging, it is necessary that the midrange woofer (LF2) be in the
inboard position (closer to the other speaker). The proper setting of
the system orientation jumper bars can congure a single Project
Everest system as either a “left” or “right” system. It is necessary
that both bars be set in the same position. Improper sound will
result from staggering the bars. The bars select which woofer
receives the low-frequency signals and which woofer receives
the midrange signals. One system should be set to “left” and
positioned as the left speaker. The other system should be set to
“right” and positioned as the right speaker.
System Orientation:
Left Speaker
System Orientation:
Right Speaker
These jumper bars allow you to set the loudspeakers for normal
operation (using a single stereo amplier or pair of mono ampliers)
and bi-amp operation (using two sets of stereo ampliers and an
external dividing network). The shorting bars are set at the factory
for Normal (single-amplier) operation, so move the shorting bars
only if you are bi-amping the loudspeakers.
Normal Operation
Bi-Amp Operation
3534
Setting the LF- and HF Drive shorting bars in the Bi-Amp position
bypasses the speaker’s crossover function for the full-range woofer
and the high-frequency driver. The low-frequency woofer and the
ultrahigh-frequency drivers are unchanged. Setting the shorting
bars in the Bi-Amp position requires the addition of an external
dividing network (electronic crossover) to provide the 750Hz
(DD65000) or 850Hz (DD67000) primary crossover point for the
system. The built-in attenuation and equalization for the 476-series
high-frequency driver remains in place. The high-frequency level
trim control remains operational, as does the diode biasing for both
the low-frequency and high-frequency network sections.
Normally, all three sets of shorting bars (two LF and one HF)
would be moved together to set the loudspeaker for bi-amping.
It is possible to operate the system with just the low-frequency
system or the high-frequency system set for bi-amping. In this
circumstance, it would be necessary to use a combination of an
external dividing network and the internal network. However, this
is not generally recommended.
The graphs below shows the low-frequency and high-frequency
voltage drive functions necessary to properly bi-amplify a
DD65000 or DD67000 system using an external dividing network
and two amplier channels. Neither the low-pass nor the high-
pass drive is a standard Butterworth alignment or, for that matter, a
standard alignment at all. The provided drive curves were derived
using the internal passive network and resulting acoustic low-pass
and high-pass shapes. Duplicating these shapes will result in the
same frequency response and directivity pattern as the passively
driven system. The low-pass section is made up of two cascaded
second-order sections and the high pass is a single high-pass
section. The values within a high-quality analog dividing network
can usually be modied to achieve these results. Recent digital
crossover units will have no problem duplicating these curves.
HF AND LF1 LEVEL SWITCHES
High-Frequency
Level Switch
LF1 Woofer
Level Switch
The HF Level switch adjusts the attenuation applied to the
476-series high-frequency transducer by approximately ±0.4dB
over the range of 1,000Hz to about 8,000Hz. The action is
accomplished by trimming the main attenuation resistors.
Midrange sound becomes softer by reducing the level and
stronger by increasing the level. No additional parts are inserted
in the signal path and there is no sonic deterioration by position or
adjustment functions.
There is also a level trim switch available for the LF1 woofer. LF1
is the low-range woofer (that operates up to 150Hz), and each
position will affect the output level in the range of 40Hz to 120Hz
by about ±0.5dB. The purpose of this adjustment is to allow ne-
tuning of the bass to mid-bass response of the system to better
integrate with different room characteristics. The adjustment is
accomplished by a change in value of a parallel damping resistor in
the LF1 woofer circuit. No insertion loss is caused by this control.
dBm
10
5
0
-5
24 dB/Oct
LP1: Fo = 430 Hz, Q =1
-10
LP2: Fo = 1100 Hz, Q = 1.4
Gain = 2 dB
-15
-20
-25
-30
20Hz 50 100 200 500 1k 2k 5k 10k 20k
Voltage vs Freq
12 dB/Oct
HP: Fo = 700 Hz, Q = 0.94
DD65000 Voltage Drive
dBm
10
5
0
-5
24 dB/Oct
LP1: Fo = 440 Hz, Q =0.71
-10
LP2: Fo = 700 Hz, Q = 1.8
Gain = 3 dB
-15
-20
-25
-30
20Hz 50 100 200 500 1k 2k 5k 10k 20k
Voltage vs Freq
12 dB/Oct
HP: Fo = 800 Hz, Q = 1.0
dBSPL
110
105
100
95
90
85
80
75
70
65
60
20Hz 50 100 200 500 1k 2k 5k 10k 20k
SPL vs Freq
= LF1 Adjustment Range
= HF Adjustment Range
DD65000 Control Adjustment Range
dBSPL
110
105
100
95
90
85
80
75
70
65
60
20Hz 50 100 200 500 1k 2k 5k 10k 20k 40k
SPL vs Freq
= LF1 Adjustment Range
= HF Adjustment Range
DD67000 Voltage Drive
DD67000 Control Adjustment Range
3736
PROJECT EVEREST
8
CONNECTIONS
CAUTION: Turn off all ampliers before connecting or
disconnecting Project Everest loudspeakers. Making
connections while an amplier is operating could seriously
damage the loudspeaker system and void the warranty.
All ampliers must also be turned off before connecting or
disconnecting cables at the amplier or preamplier inputs.
All connections between the amplier(s) and the Project Everest
loudspeaker system are made at the terminals located on the
rear of the enclosure. The left-hand terminals (black rings and
black logos on the terminal knobs) are negative, and the righthand terminals (red rings and red logos on the terminal knobs)
are positive. Twisted-pair shorting straps connect the netative
terminals together and the positive terminals together.
Assign one of the two speaker wire conductors as the negative
conductor and the other as the positive conductor. These should
correspond to the negative and positive speaker terminals on
the speaker and amplier. Use these same designations for all
system wiring. Always connect the conductors of the speaker wire
appropriately to the corresponding negative and positive terminals
on all system components: amplier “+” to speaker “+”; amplier
“–” to speaker “–”. This will ensure that all components will work
together in proper polarity (sometimes referred to as “in phase”).
Refer to your receiver’s or amplier’s instruction manual to conrm
its connection procedures. Connecting the loudspeakers with
improper polarity (sometimes referred to as “out of phase”) will not
damage them but will result in reduced low-frequency output and
impaired stereo effect.
39
Speaker wires may be fastened to the loudspeaker terminals by
several methods. The most positive connection is usually made
by directly connecting clean, bare wire (exposed by stripping the
insulation from the ends of the wire) to the terminal posts.
For this type of connection, loosen the knobs on the terminals to
expose the holes in the terminal shafts and insert the bare end
of each speaker wire into the hole exposed on the terminal shaft.
(Again, make sure to connect amplier “+” to speaker “+” and
amplier “–” to speaker “–”.) Tighten the knob on each terminal so
that a snug positive connection is achieved. Do not apply excessive
force and do not overtighten. To avoid a short circuit that could
damage the loudspeakers or your amplier(s), trim off any excess
wire that is not in contact with the binding post contact surfaces.
A B
C D
Project Everest loudspeaker terminals are also designed to accept
spade connectors or banana connectors, which are fastened to the
ends of the wires and, in turn, are attached to the terminal posts.
A B
C D
Spade Connection
A B C
Project Everest loudspeaker connector panels have two sets
of terminals that provide a choice of three different connection
methods: single-wire, bi-wire and bi-amp. Use the most suitable
method for your audio system.
SINGLE-WIRE CONNECTION METHOD
The single-wire method requires one amplier channel and one
set of wires for each loudspeaker. You can make the connections
to either the loudspeaker’s upper set of terminals or its lower set of
terminals. IMPORTANT: DO NOT REMOVE THE SHORTING
STRAPS. Make sure the conductors and sleeves of the shorting
straps are rmly fastened at the terminals.
Bare Wire Connection
Banana Connection
Receiver or Amplier
(one channel shown)
Use Either Set
Terminals
of
Speaker
Connector Panel
Single-Wire Connection Method
Note: Do Not Remove Shorting Straps
Do NOT Remove
Shorting Straps
4140
BI-WIRE CONNECTION METHOD
BI-AMP CONNECTION METHOD
IMPORTANT: When you use the bi-wire or bi-amp connection
method, remove the shorting straps from the terminals (referring
to the gures below) and re-tighten the knobs on the terminals. If
the ampliers are connected to the Project Everest loudspeakers
in the bi-wire or bi-amp mode with the shorting straps still on,
the amplier outputs will be shorted, which could result in costly
amplier damage when power is switched on.
The bi-wire connection method requires one amplier channel and
two sets of speaker wires for each loudspeaker. After removing
the shorting straps, you can make connections to the individual
network sections using all four connectors, with one set of wires
to the upper (high-frequency) terminals and another set of wires to
the lower (low-frequency) terminals.
The bi-amp connection method requires two ampliers, one for
the low-frequency transducers and one for the high-frequency
transducers, and an external dividing network (electronic
crossover). After removing the shorting straps on the loudspeaker
connector panels, wires from the high-frequency amplier are
connected to the upper terminals, and wires from the low-
frequency ampliers are connected to the lower terminals.
Preamp/Processor
(one channel shown)
INPUT
OUTPUT
High-Frequency
Amplier
(one channel shown)
Low-Frequency
Amplier
(one channel
shown)
INPUT
HIGH-
FREQUENCY
OUTPUT
LOW-
FREQUENCY
OUTPUT
INPUT
Use Both
Set of
Terminals
Speaker
Connector Panel
Shorting Straps
Removed
Receiver or
Amplier
(one channel
shown)
Use Both Set
of Terminals
Speaker
Connector
Panel
Shorting Straps
Removed
Bi-Wire Connection Method
Note: Remove Shorting Straps
Electronic Crossover
(one channel shown)
Each of these connection methods described above has its own
advantages – your Project Everest loudspeaker system will deliver
superb performance with any of the methods described.
FINAL CHECKLIST:
• Connect all other system electronics and plug into AC
power outlets.
• Check all connections. In case of bi-amping or bi-wiring,
make sure both shorting straps are removed.
• Make sure the system orientation and HF/LF drive jumper
bars on the control panels are correctly set.
Bi-Amp Connection Method
Note: Remove Shorting Straps
The loudspeakers are now ready for use. The Project Everest
loudspeaker system is fully functional as soon as it is set up. There
may be subtle tonal changes in bass output over the rst week to
10 days of operation. These are caused as the movement of the
low-frequency drivers becomes more uid and the parts settle in.
This process is completely normal and natural with transducers of
this caliber. Even during this initial period, there is no restriction on
the amount of amplication that may be applied. Enjoy!
4342
CARE AND
9
MAINTENANCE
Project Everest loudspeakers require no maintenance other than occasional dusting with
a soft, dry, lint-free cotton cloth. The horns may also be wiped with a soft cloth. Treat the
lacquered surface very carefully to avoid scratching the nish. To remove ngerprints and
smudges, apply a small amount of diluted ammonia-free or alcohol-free neutral detergent
to the cloth and gently clean the surface.
• Never use any abrasive cleaners or chemicals to clean the enclosure. If the enclosure
becomes noticeably scratched or otherwise damaged, consult a qualied furniture
repair shop.
• Do not spray insecticide near the cabinet.
• To remove dust from the grille fabric, use a vacuum cleaner set to low suction.
• Do not wash the grille in water, as water may fade the grille's color or make it uneven
• Never apply suction or pressurized air to the high-frequency or ultrahigh-frequency horn.
• If the surfaces of the low-frequency driver cones become dusty, you can carefully
sweep them clean with a soft, dry calligraphy brush or paint brush. Do not use a
damp cloth.
All wiring connections should be inspected and cleaned or remade periodically.
The frequency of maintenance depends on the metals involved in the connections,
atmospheric conditions, and other factors. Consult your Project Everest dealer for specic
recommendations.
TROUBLESHOOTING AND SERVICE GUIDE
Project Everest loudspeakers are designed to provide years of trouble-free service.
No maintenance is required.
If a problem occurs, make sure that all connections are properly made and clean. If a
problem exists in one loudspeaker, reverse the speaker wires to the left and right speakers.
If the problem appears in the opposite speaker, the cause is in another component or
cable. If the problem remains in the same speaker, then the fault is in the loudspeaker. In
this event, consult your Project Everest dealer for assistance.
45
PROJECT EVEREST SYSTEM SPECIFICATIONS
DD65000
Low-frequency transducer: 15" (380mm) Layered paper/pulp matrix cone woofer (1501AL-1) x 2
High-frequency transducer: 4" (100mm) Magnesium compression driver (476Mg)
Ultrahigh-frequency transducer: 1" (25mm) Magnesium compression driver (045Mg)
Maximum recommended amplier power: 500 Watts
Frequency response (–6dB): 30Hz – 50kHz (half space), 40Hz – 50kHz (anechoic)
Nominal impedance: 8 ohms
5.0 ohms @ 80Hz
3.8 ohms @ 40kHz
Sensitivity (2.83V@1m): 96dB
Hor n directivity (horizontal x vertical)
High-frequency:
Ultrahigh-frequency:
Crossover frequency: 150Hz (LF1 6dB/octave)
100º x 60º
60º x 30º
750Hz (LF2 24dB/octave)
20kHz (UHF 24dB/octave)
DD67000
Low-frequency transducer: 15" (380mm) Pure pulp sandwich/foam core cone woofer (1501AL-1) x 2
High-frequency transducer: 4" (100mm) Beryllium compression driver (476Be)
Ultrahigh-frequency transducer: 1" (25mm) Beryllium compression driver (045Be-1)
Maximum recommended amplier power: 500 Watts
Frequency response (–6dB): 30Hz – 60kHz (half space), 45Hz – 60kHz (anechoic)
Nominal impedance: 8 ohms
5.0 ohms @ 85Hz
3.0 ohms @ 40kHz
Sensitivity (2.83V@1m): 96dB
Hor n directivity (horizontal x vertical)
High-frequency:
Ultrahigh-frequency:
Crossover frequency: 150Hz (LF1 6dB/octave)
100º x 60º
60º x 30º
850Hz (LF2 24dB/octave)
20kHz (UHF 24dB/octave)
Control functions: HF level control (Low, Mid, High)
LF level control (Low, Mid, High)
LF/HF drive mode bars (normal/bi-amp)
System orientation bars (left/right)
Dim ensions (H x W x D):
(including feet)
Weight: 302 lb (137kg) without grille
Package weight: 383 lb (174kg)
38" x 43-5/8" x 18-1/2" (965mm x 1109mm x 469mm)
312 lb (142kg) with grille
Control functions: HF level control (Low, Mid, High)
LF level control (Low, Mid, High)
LF/HF drive mode bars (normal/bi-amp)
System orientation bars (left/right)
Dim ensions (H x W x D):
(including feet)
Weight: 302 lb (137kg) without grille
Package weight: 383 lb (174kg)
38" x 43-5/8" x 18-1/2" (965mm x 1109mm x 469mm)
312 lb (142kg) with grille
4746
Thank you for purchasing a
JBL Project Everest loudspeaker system.
JBL AND HARMAN INTERNATIONAL
JBL is part of the HARMAN International, a group of companies with a common purpose: combining technology with a love of music to
manufacture audio products that provide new levels of satisfaction, performance and value.
To promote variety and creativity, JBL operates independently in research and development. When it comes to translating the results
of these efforts into actual consumer and professional products, JBL draws on the full combined strength of HARMAN International’s
resources, which include one of the world’s most advanced manufacturing facilities. The result of this teamwork is that JBL’s renowned
excellence in engineering is successfully carried through to each individual product, regardless of its application or price range.
As new audio concepts and technologies are pioneered, the partnership of JBL and HARMAN International guarantees that consumer
and professional audio users everywhere will be able to enjoy their full range of benets.
JBL continually engages in research related to product development and improvement. Because of this, new materials, production
methods and design renements may be introduced into existing products without notice. For this reason, any current JBL product
may differ in some respect from its published description, but will always equal or exceed the original design specications unless
otherwise stated.
HARMAN International Industries, Incorporated.
8500 Balboa Boulevard, Northridge, CA 91329 USA
© 2012 HARMAN International Industries, Incorporated. All rights reserved.
JBL, K2, SonoGlass and Bi-Radial are trademarks of HARMAN International Industries, Incorporated, registered in the
United States and/or other countries. Vented Gap Cooling is a trademark of HARMAN International Industries, Incorporated.
Dolby is a registered trademark of Dolby Laboratories.
DTS is a registered trademark of DTS, Inc.
Nomex is a registered trademark of E.I. du Pont de Nemours and Company.
SACD is a trademark of Sony Corporation.
Part No. JBLP4578 Rev: A www.jbl.com
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