Hope it works out well for you. I could never fall in love with the sound of these things. I always thought the upper midrange was a little too harsh. That may have been the Rhapsody crossover though, its considerably different than the one used in older models and not compatible with the Tobin mods on it's own. Also probably partly my ears. I tend to prefer 2-way speakers that many people describe as having a "hole" in the middle.
Very likely not your ears. Bozak was trying to compete with other awful speakers and made its own awful speaker. Nobody wins that speaker comparison battle, particularly the consumer.
I don't own a Rhapsody, and the crossover schematics are often inaccurate or different, but here's what I have in my notes about the stock Rhapsody.
The Rhapsody:
(a) Switchably overlaps woofer and midrange to boost the low end;
(b) Switchably gaps or overlaps midrange and tweeter to reduce or boost the midrange.
Such a design, of course, is disastrous for the sound.
NB:
The crossover points as set forth may be incorrect for all models, as I have not directly pulled them from a crossover and somewhere found them without noting the source.
The stock schematic for the Rhapsody crossover only notes the capacitor values, which likely suggests Bozak used multiple inductor values to tinker with the crossover point over the speaker's lifespan.
The ceilings for the crossover are (again, based upon what I read in the documentation and elsewhere on the interwebs) peculiar:
Woofer crossover ceiling point is fixed by an inductor at ≈800 Hz. This value makes no sense given the midrange crossover point of 1,326 Hz for two switch positions and 796 Hz for the third. So it is likely that the inductor is smaller and the woofer actually transitions slightly higher at 1,250 Hz as this is reasonably close and a standard crossover point for other Bozak models and it would overlap with the midrange for two "normal bass" positions and one "boost bass" position. The schematic does not specify the inductor's value.
Midrange crossover ceiling is fixed by an inductor at ≈2,500 Hz. Again, the gap between this point and the tweeter at 5,000 Hz or 8,000 Hz makes it unclear if the midrange actually runs to 5,000 Hz with a smaller inductor. Using 5,000 Hz makes more sense given the switchable positions of 7,958 Hz, 4,979 Hz, or 1,989 Hz, as that would correspond to "treble mute", "treble normal", and "treble boost". The schematic does not specify the inductor's value. It is not clear why Bozak added gaps, instead of using the 8 µF capacitor standard on the numerous Bozak three-way models transitioning at ≈2,500 Hz (actual 2,498 Hz).
The switch selects a combination of:
(a) Midrange capacitor of either 10µF or 25 µF.
(b) Tweeter capacitor of 2.5 µF, 5 µF, or 10 µF.
But all combinations are not available.
A switch controls the crossover point only for the midrange and tweeter:
Position 1 (Bass Muted, Treble Muted)
Midrange Floor: 1,326 Hz (15 µF)
Tweeter Floor: 7,958 Hz (2.5 µF)
Result:
(a) Woofer and midrange have a gap from 800 Hz to 1,326 Hz.
(b) Tweeter output is reduced by creating a gap between midrange and tweeter from ≈2,500 Hz to ≈8,000 Hz.
Position 2 (Bass Muted, Treble Muted)
Midrange Floor: 1,326 Hz (15 µF)
Tweeter Floor: 4,979 Hz (5 µF)
Result:
(a) Midrange and woofer have a gap from ≈800 Hz to 1,326 Hz.
(b) Midrange and tweeter have a gap from ≈2,500 Hz to ≈5,000 Hz.
Position 3 (Bass Normal, Treble Boosted)
Midrange Floor: 796 Hz (25 µF)
Tweeter Floor: 1,989 Hz (10 µF)
Result:
(a) Midrange and woofer transition at ≈800 Hz. (Only matching point!)
(b) Midrange and tweeter slightly overlap from ≈2,000 Hz to ≈2,500 Hz, boosting output and creating distortion.
If one were going to create a speaker with comb artifacts and distortion, boosted woofer at the high end of the range, overlapping midrange and woofer, overlapping midrange and tweeter, it would be more difficult to effect awfulness worse than the Rhapsody's crossover points.
Similar awfulness abounds in the two-way designs, and the ported cabinets, filled with fiberglass instead of cotton batting and lacking any curtain, which strangle the B-199 with a backwave..
@
drbiggles fixed the Rhapsody awfulness by using the speaker as raw material, i.e. a cabinet and drivers, and then from-scratch constructing a Tobin crossover with an L-pad for the tweeter attenuation.
Edit: Fixed some math and clarified crossover points.
