PASMAG - Tuning Essentials - Mobile Electronics Guide - Vol. 5 by PASMAG - Performance Auto & Sound

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The people who know Oz Audio know the sound quality of our speakers are beyond expectation. The same playback response that enabled Oz Audio to produce the first “Perfect Score” in an IASCA Competition: Tight accurate bass, incredibly uniform dispersion, ultra-smooth frequency response and remarkable clarity, make the Oz Audio Vector Series Speakers the benchmark that all others in their class should be measured by. So we say to you, “What Competition?”

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CONTENTS T U N I N G

E S S E N T I A L S

2 0 1 6

M O B I L E

E L E C T R O N I C S

5 T H

E D I T I O N

REPORTS SONY AUDISON High AV5.1K Resolution Amplifier & bit Audio System Ten D Processor

CLARION XC-series Amplifiers

AUDIOMOBILE EVO 2410 M-CARS Subwoofer

MEMPHIS CAR AUDIO Nanoboxx Subwoofer

FOCAL

KX2 Component Speakers

BELTRONICS GT-7 Laser / Radar Detector

REIKKEN

HO3642 Battery

42 48 52 56 62 66 68 72 TUNING ESSENTIALS // 2016 MOBILE ELECTRONICS // 5TH EDITION PASMAG

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CONTENTS T U N I N G

E S S E N T I A L S

2 0 1 6

M O B I L E

E L E C T R O N I C S

5 T H

E D I T I O N

tr. TRENDING 19 22

CES PREVIEWS DIMITRIADIS DOES EUROPE: Overseas car audio coverage

CLARION BUILDS NSX

COLUMNS 32

LISTEN UP with David MacKinnon: The Sound of Your Music

FEATURE 74

LEGENDS: MARK ELDRIDGE The never-ending quest to make music sound great

TUNING ESSENTIALS // 2016 MOBILE ELECTRONICS // 5TH EDITION PASMAG

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ISSUE PREVIEW

PASMAG (ISSN # 1710-1573) is published 6 times a year by Performance Auto & Sound Inc. 100A-219 Dufferin Street, Toronto, ON, M6K 3J1, Canada

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G R O U P P U B L I S H E R & C E O Tim Rutledge P U B L I S H E R S Blake Breslin & Perry Breslin F O U N D E R & S R . V P B U S I N E S S D E V E L O P M E N T Frank Spezzano

EDITORIAL E D I T O R Micky Slinger G R O U P M A N A G I N G E D I T O R Shaun Keenan E D I T O R I A L D I R E C T O R Michael Bettencourt T E C H N I C A L E D I T O R Garry Springgay D I G I T A L C O O R D I N A T O R S Nick Jambrosic, Adam Steinberg

CONTRIBUTORS George Dimitriadis David MacKinnon

ART & PRODUCTION C R E A T I V E D I R E C T O R Queue Gonzalez P R O D U C T I O N & S E N I O R A R T D I R E C T O R Patrick Dinglasan S E N I O R A R T D I R E C T O R Edward Shintani S E N I O R A R T D I R E C T O R Patrick Beltijar G R A P H I C D E S I G N E R Mike Chan

SALES & ADMINISTRATION D I R E C T O R , A U D I E N C E E N G A G E M E N T Randi Bentia D I R E C T O R , C L I E N T S E R V I C E S Richard Robles S E N I O R D I R E C T O R , B U S I N E S S D E V E L O P M E N T Matthew Adolfo D I R E C T O R O F O P E R A T I O N S Craig Sweetman S E N I O R S A L E S A S S O C I A T E Ken Rule C L I E N T S E R V I C E S Nicole Winters

Performance Auto & Sound Magazine welcomes unsolicited contributions including stories (typewritten), photos, club news, events, etc. (Forward to PAS, 100A-219 Dufferin Street, Toronto, ON, M6K 3J1, Canada) Canadian Publications Mail Products Sales Agreement #40069655

PERIODICALS POSTAGE PAID AT NIAGARA FALLS, NY AND AT ADDITIONAL MAILING OFFICES. U.S.P.S. # 022-608 U.S. OFFICE OF PUBLICATION: 1855 Maryland Ave., Niagara Falls, NY, 14305 U.S. POSTMASTER SEND ADDRESS CORRECTIONS TO: Performance Auto & Sound, Box 1082, Niagara Falls, NY, 14304 Occasionally, we make our subscriber list available to carefully screened companies whose products and services might be of interest to our readers. If you prefer to have your name removed from this list, please write to us at the address below and include your mailing label. For any subscription inquiries, including change of address, call 1 (888) 564-SUBS.

PERFORMANCE AUTO & SOUND Phone: (416) 922-7526 Fax: (416) 964-1836 Toll Free: (866) 737-8805 pasmag.com pas@pasmag.com

LOUD NOISES

You picked up this issue of PASMAG because you love your car audio – we get it. Welcome, friend. Our Mobile Electronics special issue is upon us once again, and as always, it delivers tips, tricks, advice, reviews and the hottest products out there at the moment.

arry Springgay, our audio reviewer and tuning fork extraordinaire, has been super busy testing the latest products so you know what’s right for you, like Sony’s high resolution audio system, Focal’s KX2 sound quality components, a digital amp and processor Audison combo, as well as Audiomobile’s EVO 2410 subwoofer with something called M-CAR in it. Want to know more? Flip over to those Test Reports. As advertised on our cover, there’s over 40 hot new products in here, some of which are actually CES exclusives that you’ll only see here first! Speaking of CES, I did a little newswire roundup of some of the stories and rumors milling about for the big electronics show. There’s a huge focus on OEMs and electric cars that drive themselves – blasphemy! If you’ve been around the car audio game for any part of the past

three decades, chances are you’ve heard of Mark Eldridge or his 1987 Toyota 4Runner. If not, maybe you’ll recognize him as the guy who makes award-winning audio builds out of freaking Sprint Cup cars. Eldridge is an engineer, an innovator, a winner, a fountain of knowledge and this issue’s Legend. If you want to learn yourself something real good, I’d make sure to absorb every iota of education that he dropped in Shaun Keenan’s interview. On top of all this, we’ve got columns from pros and even some audio event coverage from overseas. Get dug in, flip on through and let us know how we did when you’re done at letters@pasmag.com.

STAYLOUD. MICKY SLINGER

PASMAG EDITOR

SEMA Member

TUNING ESSENTIALS // 2015 TRUCKS // 3RD EDITION

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PASMAG

2015-12-17 4:47 PM

INTRODUCING

KW-V820BT MULTIMEDIA RECEIVER 6.8â&#x20AC;? CLEAR RESISTIVE TOUCH CONTROL

JVC Mobile Entertainment

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Official Hashtags: #JVCMobile #QualityBuilt #Since1982 CarPlay and its user interface are trademarks of Apple Inc. For safety, various touch-screen functionality is disabled while the vehicle is in motion. See your local authorized dealer for more details. All logos are registered trademarks of their respective owners.

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tr. TRENDING

GEORGE'S

CLARION

H OT

CES

AUDIO

BUILDS

NEW

P R E V I E WS ---------------

TO U R ---------------

NSX ---------------

PRODUCTS ---------------

HOT TOPICS & PREVIEWS

CES PREVIEWS AUTOMOTIVE TECH C YOU’LL WANT ON YOUR RADAR By Micky Slinger

ES, in Las Vegas’ LVCC, is a magical swarm of people and products that could shape the future. There’s always the question “what could we see next?” Could we see a 16K TV? Would our eyes be able to tell the difference? Is 2016 the year we see a fully autonomous car for the road? Will we finally get an actual hoverboard? Only time will tell. The one thing we can say for sure is that there will be massive involvement from automotive OEMs. There are more and more represented every year, and 2016 will be no different. Here’s what some of the big guys are unveiling at this year’s CES.

GM: Chevy Bolt Production Version Just to be clear here, the Chevy Bolt is different than the Chevy Volt. Yes, it’s confusing. No, we don’t know what they were thinking either. Anyway, looking past the naming scheme, the Bolt is supposed to be a major game changer as far as EVs (Electric Vehicles) go. The little Bolt promises a 200-mile (320-kilometer) range, which is ground-breaking for a car that’s estimated to cost as much as a Prius once all the government incentives have taken effect. The big fish out there, Tesla’s Model S, has a 265-mile range, which when compared to the Bolt, is 65 more miles, but at a cost of about $40,000 more. Could you see yourself cruising around in a Bolt?

Toyota: Artificial Intelligence

So far, we’ve only really seen Siri-esque levels of AI in technology. Siri will listen to your orders and misunderstand them if you have a slight accent, or call you whatever nickname you’d like. There’s so much more that could be done past a monotone and weirdly sarcastic robot voice. It seems that Toyota is thinking the same thing. Toyota has announced that it will be unveiling its plans to pursue artificial intelligence research for use in robotics and vehicles, and they’re serious, as they’ve already committed one billion dollars (insert Dr. Evil voice here). We’re already looking forward to the programmable Kit from Nightrider voice in the 2025 Corolla.

TUNING ESSENTIALS // 2016 MOBILE ELECTRONICS // 5TH EDITION PASMAG

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FEATURED EVENT

Faraday Future: Performance Electric Car

tr.

Honestly, I had no idea what Faraday Future (or “FF” as they’d prefer) was before I started writing this piece. What I do know is that they have committed one billion dollars to building a factory in the USA, they are backed by a very rich man from China named Jia Yueting, have ex-Tesla members on staff and promise to deliver an electric car that beats Tesla’s Model S in performance. Is this for real? It’s hard to say. The show they promise at CES could just be renders and maybe a concept car to show off. The site of this factory they’re talking about is still TBD after all. This could be another case of vaporware, like most supercar start-ups, but their backing and staff listing suggest otherwise. We could be on the verge of the first of the EV supercars – or not.

Volkswagen: EV Microbus Concept

Everyone knows the VW Microbus – some of you might even have memories spent with them. After sweeping the soot of that whole “diesel gate” thing under the rug, it seems that Volkswagen is turning to electric power and using one of its most recognizable faces to break into the market. There have been rumors swirling about the Microbus making a comeback, so it seems fitting that we’ll get our answer when this EV van is unveiled at CES. VW says the concept will be “long-distance” and “affordable,” but we won’t really know until the curtain has lifted. A Microbus-ish concept called the “Bulli” was unveiled at Geneva in 2011, but never made it to production. Maybe this new Microbus will.

Rinspeed: Etos Concept

For those that don’t know: Rinspeed is a Swiss car builder that almost always reveals an outrageous car at Geneva. For 2016 though, Rinspeed is thinking about technological advances in the automotive sphere and will unveil their Etos concept at CES. Is the Etos looking a little familiar to you? It should. It’s a BMW i8 with a redesigned front and rear. There’s also a little “H” on the back that’s actually a landing pad for a deployable drone, which can be used for taking pictures and even some errands, like paying tolls and charging your phone. Inside, there is a steering wheel should you choose to use it. If you’re not up for driving, the wheel will fold away and the car will drive itself. Is there a point to a self-driving sports car though?

TUNING ESSENTIALS // 2016 MOBILE ELECTRONICS // 5TH EDITION PASMAG

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DIMITRIADIS DOES EUROPE

Taking a look at the pictures here, youâ&#x20AC;&#x2122;ll see that Russia really knows how to host an event and make it a World Class show. A special thanks goes to the title sponsor, Alphard Sound Technology, who were in attendance with an army of competition and demo vehicles. In 2015, the DBDRA became the largest sound off organization in Russia, with more than 30 events spanning the entire country from Vladivostok to Sochi. By

SEPT 27 2015

RUSSIAN NATIONAL FINALS

for car audio in Russia. Vodka has been synonymous with Russia forever, but by the looks of it, car audio is going to be a close second!

ROSTOV-ON-DON, RUSSIA WRITTEN BY GEORGE DIMITRIADIS PHOTOGRAPHY BY DBDRA RUSSIA

Sunday, September 27th marked the largest Autosound event in the history of Russia. It was the first time that Russia has held a 4X DBDRA event, which is a pretty big deal. The event was judged by a good friend of

The organizers know that having a wellrounded event with a multitude of things to do is what attracts spectators, which is absolutely correct, as the event attracted over 7,500 visitors. Some competitors traveled more than 2,300

mine, who also happens to be one of the most

miles (3,700 kilometers) just to attend and

seasoned judges and officials for the DBDRA,

compete to prove who is the loudest. Many

Mr. Yiannis Lekkas. He traveled all the way from

world records were set and broken - one of which

Greece in order to oversee the judging alongside

happened to be Vyacheslav Vigonov of Team

Russian head judge Alexey Stroganov.

Alphard Russia and his Street Trunk world record

The weekend brought hundreds of competi-

the looks of it, 2016 is shaping to be a monstrous year

of 156 dB. To top things off, right after he set

tors to battle it out in multiple formats from dB

the world record, he got down on one knee and

Drag, Bass Race, EMMA and SPL-Show. An

proposed to his girlfriend!

event of this size also had other equally drawing

Another record was set by Team Stradivari

aspects, such as a drift show, sprint slalom event

Original with a new European record in Extreme

and a car and bike show.

3+ with a whopping 181.4 dB in their Ford Transit.

PASMAG TUNING ESSENTIALS // 2016 MOBILE ELECTRONICS // 5TH EDITION

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EVENT SPOTTERS GUIDE

GET THE FULL PICTURE

INSTAGRAM.COM/PASMAG

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tr. Making sure everything ran smoothly in the lanes was done so in part by head judges Matze Dolny and Gerri “DeBurper” Douven. What makes this event so unique are the various other aspects, such as the PS3 Racing Station competition, friendly poker tournament, vendor alley and, my personal favorite, the food vendors. Mr. Tasty, who happens to be an American residing in Germany, has some of the best BBQ this side of the Autobahn! Of course, an event like this is not possible without the support of many. Special thanks goes out to Epic Audio, Replay Audio, Audiophile-Carhifi, Atomic Germany, JBL/Infinity, ETON and FCA/DD/SPL Dynamics Germany.

JULY 25 2015

It goes without saying the volunteers and man-

2015 Mammut Üüüühh!!!

power to pull this off is absolutely vital, and Oki would like to give a big shout out to Team Lauschgif and, most importantly, his mother, Mrs. Muller. We look forward to seeing what 2016 brings for The

LIMESHAIN HAINCHEN, GERMANY

Big Mammut Üüüühh!!!

PHOTOGRAPHY BY MICHEAL "BIG OKI" MULLER

BOOSTED AND BLOWN UPDATES

TWITTER.COM/PASMAG

If there is a single audio event one

who of Europe’s audio competitors. The

must attend in their lifetime it is The Big

Mammut is a conglomeration of formats

Mammut Üüüühh!!!

and events all rolled into one jam-packed

You might ask yourself, “What is this

show. There were no less than four com-

‘Mammut Üüüühh!!!’ you speak of?”

petitor formats available at the event (dB

Simply put, it’s one of the largest car audio

Drag Racing, Bass Race, SPL Classics, AYA

events in Europe and is the brainchild of

Sound Quality) and between them, there

Michael “Big Oki” Muller.

was over 200 competing participants.

The event takes place in a small,

Some of the loudest Extreme Class

unassuming town outside of Frankfurt,

vehicles in Europe and the world were rep-

Germany, named Limeshain. On any given

resented at the event: Superstany’s Opel

day, it’s quiet and relatively unevent-

wagon from Belgium, Team SGK Holger’s

ful, however, come the weekend of the

Volvo from Germany and Pezi Car Audio’s

Mammut, it all changes.

Volvo from Germany as well. It was a battle

The event draws hundreds of competitors from Austria, Switzerland, Belgium,

for supremacy in the Extreme Class. Also on hand was the Team GZ LPD

Netherlands, Czech Republic and, of

Super Street 5+ Seat Terra and its shatter-

course, Germany. It’s a veritable who’s

ing 170 db+ score.

TUNING ESSENTIALS // 2016 MOBILE ELECTRONICS // 5TH EDITION PASMAG

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Weatherproof Bluetooth® Products

MBT-RX Weatherproof Bluetooth® Receiver

MBT-CRX Weatherproof Bluetooth® Controller / Receiver

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EVENT SPOTTERS GUIDE

tr. THE LATEST TRENDS, FULL THROTTLE

FACEBOOK.COM/PASMAG

Making sure the vehicle is a wellrounded demo vehicle, Oki opted to add some styling in the form of 20-inch OZ Leonardo wheels and Dunlop rubber. Making sure the vehicle still handled correctly is thanks to a suspension kit from Supersport. After all, this VW has traveled all across Germany, putting on tens of thousands of miles, so it’s important that the added weight does not affect the usability of the vehicle. I’ve had the pleasure of getting a demo of the vehicle, and I have to tell you that words cannot describe not only how surreal it is, but just how vicious it can be. In order to be able to get a full tilt demo, we had to drive 10 minutes out of town and park in the middle of nowhere in order to not have any noise complaints. This vehicle has won numerous championships in Germany’s dB Cup organization, but its single biggest highlight was winning the 2009 Bass Race World Championship in the 159.9 category against the defending champion, Tommy “Kob” McKinney. I remember being there for that win, and let me tell you, it was priceless. Hats off to you Oki, your vehicle truly is one-of-akind!

OKI’s TouraN OWNER: M I C H A E L “ B I G O K I ” M U L L E R VEHICLE: 2 0 0 4 V W T O U R A N PHOTOGRAPHY BY MICHAEL “BIG OKI” MULLER When Michael “Big Oki” Muller sets his mind to

Head unit duties are handled by a Zenec in-dash

building a demo vehicle, you better believe its going

unit with navigation. A Zapco SX-SL II takes on pre-

to be a one-of-a-kind build. What you see before you

amp and processing duties, while front stage reproduc-

is a 2004 VW Touran, which is unlike any Volkswa-

tion is a mix of Radical and Andrian Audio speakers.

gen you have ever seen before. Let me introduce you to the VW Turann "Oki Edition." Between the initial build and subsequent rebuilds,

The subwoofer stage is a unique one, primarily because Oki’s options involve two different woofer selections. If he is in the mood for optimum musical

you are looking at no less than 1,600 man hours. The

reproduction, then he utilizes eight 15-inch Emphaser

single most impressive aspect of this build is the

Neo Comp woofers. If he is in the mood for maximum

fact that the entire build was done without cutting a

SPL output, then he switches to eight 15-inch Atomic

single panel or drilling a single hole. The entire build

APX woofers. Amplification is a mighty job, so it’s

is removable if need be, not that anyone in their right

handled by a large quantity of Zapco amplifiers. It’s a

mind would even know where to begin to do so.

combination of Zapco C2K 9.0s and 4KW amplifiers

When it was initially built in 2007, it was done

- anywhere from 11 to 19 pieces depending on what

with the support of ACR, which is a manufacturer

woofers and impedance is being run. That’s a lot of

and distributor of car audio products in Europe. The

power, so to make sure demands are fed, a total of

list of gear in the vehicle is something that gets me

nine Northstar batteries along with a 140-amp high-

chomping at the bit, so to speak.

output alternator were installed.

TUNING ESSENTIALS // 2016 MOBILE ELECTRONICS // 5TH EDITION PASMAG

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CLARION BUILDS NSX ROUND TWO IS LOOKING BETTER THAN EVER

himself, the BMW was given the stamp of “pure driver’s car.” Now, Clarion hopes to repeat their past success with a JDM legend, instead of a Euro one. The team has picked up a first genera-

STORY BY MICKY SLINGER | PHOTOGRAPHY COURTESY OF CLARION USA

tion 1991 Acura NSX, which they have some pretty big plans for. In almost any automotive circle, the

he Clarion Builds initiative

condition with a modernized

NSX is an absolute icon. To give

is a special project

interior, custom audio and per-

you an idea of just how big a deal

in the modified automotive

formance upgrades. After being

this car is, the NSX was tuned by

whipped around on the track

three-time Formula One cham-

and through some of California’s

pion Ayrton Senna and it redefined

scenic roads by Chris Forsberg

the supercar category when it was

landscape. In a world that’s becoming more and more

connected to their cars, Clarion is pushing the

Picking up the project 1991 Acura NSX

bill, but to the opposite side of automation. Instead of cheering for a car that drives for you, Clarion is for the driving experience of driver and car as one, which they’ve shown through their Builds projects. The twist is that they target awesome classics and return them to their former glory. If you’ll recall, we did a fun piece on their BMW 2002 last year. It was a car that was bought on Craigslist in rough shape, but with the help of their loyal fan following and some amazing shops, Clarion began to restore the Bimmer piece by piece. Fans on Facebook and Twitter were able to vote on such things as the inclusion of fog lights or the Europeanspec bumper. At the end of it all, the Builds team had restored the 2002 to OEM-plus

You can check out our feature on the Clarion Builds BMW 2002 and the behind the scenes work that went into that project in our August/September #132 issue.

1974 BMW 2002

OWNER: Clarion Builds // BUILT BY: BP Autosound, Coupe King, Diamond Hills Collision, Ireland Engineering, VR Wheels // LOCATION: Cypress, CA // ENGINE: BMW M10 2.0L I-4 // HORSEPOWER: 140 hp // TORQUE: 150 lb-ft

PASMAG TUNING ESSENTIALS // 2016 MOBILE ELECTRONICS // 5TH EDITION

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One-of-a-Kind… Once in a Lifetime Opportunity.

Your Bid Will Change Lives! 12-months of painstaking work, with a no-expenses barred attitude, resurrected and reinvented an icon the like of which does not exist. This unique, one-of-a-kind piece of automotive history, brought back to life and modernized bolt-by-bolt by the internationally acclaimed Clarion Builds program, received the “Petersen Perfection Award” in October 2015 and was featured on the cover of European Car magazine and extensively written about in publications such as PASMAG, DUB and BMW Car. With the story of the build reaching over 1.5 billion readers across the globe, this BMW 2002 restomod has been extensively documented, enhancing its desirability even further. You now have a chance to bid on this masterpiece and, in the process, save countless lives. Offered at Barrett-Jackson’s Palm Beach event in April 2016, the top bidder will not only win this beautiful icon, but help the quest to treat incurable diseases through the Human Genome Project. The proceeds of the auction will be donated to TGen, which may also allow the winning bidder to enjoy a sizable charitable tax deduction.

Find out about the car and the auction at www.clarionbuilds.com/BJ

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tr. FILL 'ER UP

PASMAG.COM

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PASMAG TUNING ESSENTIALS // 2016 MOBILE ELECTRONICS // 5TH EDITION

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WITH

Dave MacKinnon (Of Sound Mind Labs)

LISTEN UP osmlabs.com Osmlabs

THE SOUND OF YOUR MUSIC THE FRONT SEAT STAGING PROCESS IN MACKINNON'S OWN SUBARU WRX STI

STORY BY

Dave MacKinnon (Of Sound Mind Labs) A N D Andy Wehmeyer (Audiofrog Inc.)

Is music about emotion? Entertainment? Art? It is likely all of these and infinitely more. For many decades, we have been reproducing music in our homes, offices, cars and everywhere in between. Just as creating and capturing music is both a science and an art form, so too is faithfully reproducing these recordings. In this issue of Listen Up, we are going to look at the basics of reproducing music in your vehicle.

et’s dispel a longstanding myth. Music reproduction enthusiasts often suggest that the reference for music playback is a live performance. Sadly, this often isn’t true. If you want the nitty gritty details, give Sound Reproduction: The Acoustics and Psychoacoustics of Loudspeakers and Rooms by Floyd Toole a read. Ultimately, the reference for the recording you are listening to is the record producer’s perception of what he hears in his studio. They way it sounds

to this person is determined by the room acoustics, equalization, the speakers in the room and how he imagines the track should sound. This person uses that information to decide how the processing and mixing are performed. Now, we aren’t suggesting that you don’t attend live performances, but remember that each audio system was tuned by someone or something to a reference. The issue is, this reference is often as variable as the resulting system performance. That’s the perfect segue

into reproducing music in a vehicle. The basic design of a loudspeaker goes back many decades. While the concept of a fixed magnet and voice coil that moves a cone hasn’t changed a great deal. The materials used to build speakers and the ability to model the electrical and mechanical characteristics of those parts while in motion has allowed modern speaker designers to create speakers that produce significantly less distortion than even those manufactured a decade ago.

WHAT MEASURED PATH LENGTHS LOOK LIKE WHEN SOUNDSTAGING A VEHICLE

PASMAG TUNING ESSENTIALS // 2016 MOBILE ELECTRONICS // 5TH EDITION

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LISTEN UP

TARGET FREQUENCY RESPONSE

THE SOUND OF YOUR MUSIC

FUNDEMENTAL RESPONSE + HARMONIC DISTORT COMPONENTS

TARGET FREQUENCY RESPONSE AND SPEAKER DISTORTION GRAPHS FOR YOUR REFERENCE

WHEN WE LISTEN TO OUR MUSIC, WE NEED SOME SEMBLANCE OF ACCURACY IN THE REPRODUCTION. 34

Every speaker has a frequency range in which it performs its best. All speakers have a frequency at which the cone and suspension components naturally resonate. We want to avoid playing in that range as distortion increases. Conversely, all speakers have two high-frequency performance characteristics that need to be considered. The high-frequency limit of a speaker is based on its mass and suspension. There is a point at which it simply can’t move back and forth fast enough to produce an audible sound. There is also a matter of directivity. Directivity describes a reduction in sound reproduction off-axis from the speaker. In essence, you get a reduction in high-frequency output if the speaker isn’t pointed directly at you—speakers are like flood lights in the lower part of the range they’re designed to play in and like spotlights at high frequencies. Combining these speaker characteristics means that we need several different sized speakers to properly recreate the entire audio spectrum in our vehicles. We need a woofer to recreate the frequencies below 80 Hz, a midrange or mid-woofer to handle the frequencies from 80 Hz up to two or three kHz and a tweeter to take care of the information above that. This leads us to system design and tuning. With the proliferation of DSP processors in the past few years, a skilled system tuner can manipulate the signals going to your amplifiers to precisely control the sound of your system. Just like an engine tuner, these highly trained technicians have been educated in techniques and methodologies that produce a system that functions well but is also reliable. They understand how the physical size of the vehicle cabin affects subwoofer frequency response

– increasing its output at lower frequencies. They understand how the hard surfaces like the glass and dashboard can reflect high-frequency information. These reflections change the overall frequency response, and can also cause complications with imaging. Imaging refers to the ability to place sounds in their accurate position within the soundstage. Tuning is as skill, and can make or break the result of even a modest audio system. When we listen to our music, we need some semblance of accuracy in the reproduction. There is a correct sound with room for adjustments for personal preference or to add bass to an old recording that doesn’t have enough. [NOTE: In many cases, people’s car audio systems are the best and highest end systems they own. Let’s not imply that if someone listens to a mono Sonos system at home or a pair of earbuds, those should serve as their reference system.] Those of us who are on the “picky” side of sound reproduction grimace at the terms “warm,” “bright” and “forward.” If your system possesses any of these characteristics, that is the result of someone applying their preference to it, or it could be simply that the equipment used in the system isn’t free of distortion, or isn’t configured properly. There is always room for personal preference. But, remember, adding your own “spin” is like buying a beautiful painting, then getting out the Crayolas and making your own adjustments. Visit a local car audio specialist. Talk to them about accurate sound reproduction. Listen to some quality equipment that is both installed and tuned properly. The experience can be truly eye-opening. You may find that you are hearing your music for the first time, all over again.

PASMAG TUNING ESSENTIALS // 2016 MOBILE ELECTRONICS // 5TH EDITION

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tech·nol·o·gy: noun

1: higher performance in a smaller package. 2: the practical application of knowledge especially in a particular area: engineering " The Evo 10 delivered remarkably flat frequency response from 30 - 75 Hz, the critical subwoofer range, in the tiny 0.5 cubic foot enclosure." " ...the bass was deep, and very well defined. In fact I was quite impressed with the systems tonality and definition. Chord changes and other low frequency nuances were distinct and pure." " ...true no-compromise sonic performance and power handling. ...the Audiomobile system sounded simply excellent." Performance Auto & Sound - February 2016

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HOT NEW PRODUCTS

DD Audio SlimLine Series Subwoofers From $369 | DDAudio.com The SL Series subs are designed with space constrained installs in mind. They feature shallow mounting depths and suspensions tuned for small ported or sealed enclosures. With a front-mounted neodymium motor, they handle 400 to 800 watts RMS and are available as 10- or 12-inch with dual 2- or 4-ohm voice coil impedance.

Sony

WX-900BT Head Unit

XAV-V630BT Multimedia Receiver

$169.99 | Sony.com Enjoy wireless Bluetooth connectivity with NFC to stream music, make hands-free calls and control select smartphone apps directly through your receiver with SongPal. Android users can even control sources and respond to texts or emails by voice. Broaden your listening experience with Pandora internet radio and SiriusXM connectivity, or use the front USB input to connect, control and charge compatible USB devices.

$249.99 | Sony.com With its large display and intuitive interface, the XAV-V630BT makes in-car communication and entertainment easier than ever before. This stylish system features voice control, message readout and Siri Eyes Free compatibility – all accessible via a simple Bluetooth connection – so you can remain focused and stay safe on the road.

DD Audio Z-Wire RCA System

Sony

DDAudio.com

MEX-XB100BT Head Unit $229.99 | Sony.com With a body-shaking 4 x 100-watt power output—that’s the same as an external amp—driving your music, you’ll feel every beat and bass line as you cruise along. Vibrant beat-synchronized colors add a splash of color to every track, while new voice control functions let you stay safe and focused behind the wheel.

The Z-Wire RCA System makes high quality, custom length RCA cables easy. Simply cut the needed length of interconnect cable and then install the solderless RCA connectors. The interconnect cable features 5-way noise rejection and a 24-gauge OFC signal conductor for high noise rejection and low impedance. The metal RCA connectors feature spring grip for a perfect connection every time.

Axxera

JBL

AV6336MB Multimedia Receiver with DualMirror

Legend CP100 In-Dash Smartphone Receiver

$239.99 | AxxeraAudio.com

$399.95 | JBL.com

Enjoy 2-way DualMirror for Apple and Android devices: mirror the screen of the connected device onto the receiver’s screen and control (Android only) the device directly from the receiver. Your smartphone connects via cable or wirelessly (DMH25 Wi-Fi dongle sold separately). The built-in Bluetooth supports audio streaming with ID3 tag and hands-free calling.

The JBL Legend CP100 in-dash smart phone receiver upgrades your dual-DIN system to a 6.75inch touchscreen connected car experience. The JBL Legend CP100 is Bluetooth-enabled, has a rear camera input, is steering wheel interface ready and provides turn-by-turn navigation through Android Auto and Apple CarPlay. You get traditional AM/ FM and smart phone connectivity in one package with a simple, clean interface.

Guardo Action Cam Plus $299 | GuardoCam.ca A small, sleek, Wi-Fi enabled HD action camera packaged with an assortment of mounts and accessories, at a fraction of the competition’s price. The entire package includes the Guardo Action Cam Plus, waterproof housing, IR remote control, two rechargeable batteries, various surface mounts, helmet mount, post mount and more. European design plus unparalleled value equals the Guardo Action Cam Plus.

PASMAG TUNING ESSENTIALS // 2016 MOBILE ELECTRONICS // 5TH EDITION

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HOT NEW PRODUCTS

Hertz Mille ML 2000.3 Mille Legend Subwoofer

AudioControl

DM-810 Digital Signal Processor

Full-Range Amplifiers

AudioControl.com

AudioControlâ&#x20AC;&#x2122;s DM-810 has 8 active high-level speaker inputs, 6 pre-amp inputs, and 2 digital inputs, plus 10 pre-amp outputs. Its 'Smart-user' interface contains the power of AudioControl processing through a flexible DSP PC interface. Features include 30 bands of EQ adjustment, parametric filters, signal timealignment, input delay, phase correction, AccuBASS, GTO turn-on circuit, as well as integrated input and output RTA's.

The two new 4-channel models feature over 200 watts RMS at 2 ohms. The LC4.800 and D-4.800 (D-4.800 incorporates AudioControl's Smart-User DSP software) models have 6/8 high-level speaker inputs that allow for signals to be summed directly into the amplifier. Other features include LC2i, AccuBASS management, GTO turn-on, Linkwitz-Riley crossovers and more.

EllecttroMedia-USA.com HertzAudioVideo.com The Hertz ML 2000.3 Mille Legend 8-inch subwoofer brings the feeling of a live performance to your car. Thanks to the massive neodymium magnet and the jumbo 4-inch voice coil, this extremely compact subwoofer can handle up to 1,400 watts (peak) without dynamic compression. The completely new design is optimized to play in enclosures with reduced boxes, combining reference performance and compact installation.

Diamond Audio Diamond Elite DE365C Component Set $699.99 | DiamondAudio.com The Diamond Elite series DE365C set consists of 25-mm aluminum hard dome tweeters, 200 Hz to 10 kHz 3.5-inch mid-range speakers that are engineered with a unique fiber weave cone and specially treated pulp for sound quality and a 6.5-inch mid-woofer that is constructed identically to the mid-range speakers. The external crossover aids in compensating for possible phase shifts and creating a proper level soundstage.

Motorsport HXM65 Coaxial Speakers $349.99 | DiamondAudio.com

$799.95 | KICKER.com

KICKER CompRT Subwoofer $179.95 to $249.95 | KICKER.com

Alpine X110-SLV & X110-SRA Multimedia Receivers $4,000 | Alpine-USA.com The X110-SLV and X110-SRA (2014+ Chevy Silverado and GMC Sierra) are new additions to the Alpine Restyle family of products, which consist of full-featured touchscreen systems packaged with vehicle-specific dash bezels and control keys. In addition to being full-featured systems, both models also have expansion capabilities that allow them to serve as the control hub for add-on products, such as camera systems.

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L7QB8 Compact Subwoofer Enclosure

The L7QB8 is more than the world's only all-aluminum subwoofer enclosure. Using reflex-subwoofer technology, this next-level bass machine is more efficient, can go deeper and take more power than any enclosure of its size. The myriad of technologies incorporated, from the reflex L7 subwoofer to the aluminum enclosure itself, reinforces the product's uniqueness. Available at KICKER Q-Class Dealers only.

Diamond Audio

The Motorsport HXM65 is an allweather UV-treated 6.5-inch coaxial speaker set. The HXM65 features a 1-inch bridge-mounted titanium dome tweeter that delivers crisp and accurate highs, with a mid-bass driver thatâ&#x20AC;&#x2122;s designed with a thermal-molded waterproof Kevlar aramid fiber cone, which provides for quick musical transition and minimizes output distortion. This set is compact enough to drop right into fairings of major motorcycle brands.

KICKER

Think thin. To make your bass fit under a seat, under a back dash or even in motorcycle bags, KICKER engineered a special motor and cone-support system that is as thin as it is powerful. It includes an extra-large surround roll for smoother, deeper bass. Truly strong bass is now as simple as two letters: R-T.

2015-12-18 10:15 AM

HOT NEW PRODUCTS

Pioneer AVH Multimedia Receivers $230 to $500 | PioneerElectronics.com The nine new models, AVH-180DVD, AVH280BT, AVH-X1800S, AVH-X2800BS, AVH-X3800BHS, AVH-X4800BS, AVHX5800BHS (double-DIN receivers), AVHX6800DVD and AVH-X7800BT (singleDIN receivers), now offer a new clear resistive touchscreen, advanced Bluetooth connectivity with enhanced features like Dual Device Connection and Music Library Browsing, Siri Eyes Free, Spotify, Pandora and FLAC file playback.

Audiomobile LDV6 OEM Interface $250 | Audiomobile.net Specifically designed to interface with most European premium factory audio systems, the LDV6 accepts up to 40 volts RMS (500 watts) and allows for bi-amp (4-channel summing) inputs and 6-channel 9.5-volt RCA pre-amp outputs. Additional key features include selectable 18-dB subsonic filter and unique “ELF-Q” sub-bass EQ, via the included RSL level control.

Memphis Car Audio

Memphis Audio

SRX Amplifiers

PRX Amplifiers

CSA Subwoofers

$139.95 to $299.95 | MemphisCarAudio.com

$299.95 to $499.95 | MemphisCarAudio.com

$149.95 to $179.95 | MemphisCarAudio

The redesigned Street Reference amplifier line from Memphis features topology and cosmetic upgrades from its predecessor. All models underwent a large cosmetic facelift, as well as a sleek size reduction. In addition, the 500watt mono amplifier now features Class-D topology, making it almost half the size of the previous model.

The redesigned Power Reference amplifier line from Memphis features power and feature upgrades from its predecessor. All models now feature signal sensing turn on and a magnetic logo cover to hide the controls while still making it quick to access. A new 300-watt mono and 150-watt power increase on the 5-channel model are now available.

The new cast-aluminum Special Application shallow-mount woofers from Memphis feature a 350-watt RMS and 700-watt peak power rating. In addition, they have a 4-inch or less mounting depth, butyl surround, compression wire terminals and a laser-etched aluminum dust cap. Available in 10- or 12-inch with either dual or single 4-ohm impedance.

Rockford Fosgate PS-8 Punch Powered Loaded Enclosure $299.99 | RockfordFosgate.com Perfect for tight spaces, the PS-8 features a Punch 8-inch subwoofer in a custom sealed enclosure and is powered by a 150-watt amplifier. The system is all-inclusive, so you only need to run power, ground and a signal from the source to get it moving. Features a durable exterior that resists scrapes and bumps while in the trunk or cargo area.

Illusion Audio C3CX Point Source Component Speaker $699 | IllusionAudio-America.com Illusion Audio’s C3CX is a point source component in the Carbon Series, which won the 2015 CES Innovations in Design and Engineering Award. The C3CX has a smooth and extended off-axis frequency response, so that all listening positions sound the same. With a 3-inch diameter and 1.4-inch depth, it's easy to mount in the A-pillar for the best sound stage image.

Rockford Fosgate T750X1bd Power Amplifier $799.99 | RockfordFosgate.com For those fanatics who want extreme power, but don’t have much room. The ultra-compact T750X1bd amplifier is perfect for hybrid, electric, small cars, trucks, motorcycles and side-by-side UTVs. The T750X1bd features high-level auto turn-on, CLEAN circuit with input/output clip detection, topmounted controls and dual fan forced induction cooling. Additionally, it has Rockford’s patented Punch EQ circuit built in with differential inputs.

PASMAG TUNING ESSENTIALS // 2016 MOBILE ELECTRONICS // 5TH EDITION

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HOT NEW PRODUCTS

Clarion Full Digital Sound System (FDS) From $649.99 | Clarion.com FDS is a revolutionary in-car full-digital sound system. Developed with an emphasis on providing uncompromised digital audio playback, FDS is highly versatile with connectivity options for a wide range of devices. Utilizing full digital transmission from digital audio sources to speakers, high-resolution sound sources can be input directly to speakers without worrying about sound deterioration.

Clarion NX706 Multimedia Receiver $799.99 | Clarion.com The NX706 in-dash multimedia station with built-in navigation and 7-inch touchscreen features intuitive operability, Siri Eyes Free for no-fuss operation, rich graphics, built-in Bluetooth for hands-free calling and much more. Fully equipped with a DVD/CD player, USB connectivity and dual zone entertainment, the NX706 is also Pandora and SiriusXM ready.

JL AUDIO

FiX 82 OEM Integration DSP

HX280/4 Weatherproof Amplifier

MBT-CRX Bluetooth Controller/ Receiver

JLAudio.com

The diminutive 4-channel HX280/4 amplifier employs JL’s high-speed NexD switching design to deliver tons of clean power. This amp produces 50 watts x 4 into 4 ohms and 70 watts x 4 into 2 ohms, and is fully bridgeable, so it can be used as a 2- or 3-channel amplifier producing a potent 140 watts x 2 into 4 ohms. It also features IPX6 water-resistance.

Designed for marine and powersports applications, the MBT-CRX delivers music from a Bluetooth-equipped device directly to your audio system. IPX6 water resistance makes the MBT-CRX ideal for small watercraft, motorcycles, ATVs or other utility vehicles. Equipped with a 2-volt RMS analog preamp and Bluetooth 4.0 with the aptX codec, the MBT-CRX delivers outstanding streaming audio performance.

JLAudio.com The FiX 82 is a state-of-the-art OEM integration processor employing an innovative process to synchronize, sum and EQ-correct complex factory amplifier outputs into clean stereo signals that can properly feed an aftermarket audio upgrade. Powerful DSP technology does all the work. Calibration is initiated with a single button press and takes only 30 seconds to complete, with no special equipment needed.

Rydeen

MD4BT Digital Mirror Monitor

PVR15W Advance Warning DVR System

$299 | RydeenMobile.com

$499 | RydeenMobile.com

The MD4BT is a 3-in-1 solution that incorporates a 4.3-inch LCD display Mirror Monitor for rear camera viewing, a Bluetooth hands-free system and Mi-Link – Rydeen’s digital link to any smartphone device. The MD4BT brings the internet to one's in-vehicle environment, and it is designed to fit thousands of vehicle applications utilizing Rydeen’s windshield mounting system.

The PVR15W incorporates optical recognition of the road ahead of your vehicle, making the unit a 3-in-1 solution that features advanced front collision warning, lane departure warning and a full-feature DVR with GPS and G-sensor. With all of its advanced features and ability to be played back on any device, the PVR15W can truly be a life saver.

Focal ES165KX3 Component Speakers $2,299 | Focal-America.com The ES165KX3 is a brand-new 3-way kit for 2016 from Focal, which has been fully redesigned and is ready to play accurate sound at any level. It comes with a bi-ampable 3-way crossover for more control and adjustability. This made in France 3-way kit is at the top of Focal’s K2 Power line.

TUNING ESSENTIALS // 2016 MOBILE ELECTRONICS // 5TH EDITION PASMAG

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HOT NEW PRODUCTS

tr. HOT NEW PRODUCTS

Cerwin-Vega Mobile VPAS Powered Active Subwoofer $299 to $349.99 | CerwinVega.com

Cerwin-Vega Mobile Stealth Bomber B54 Amplifier $399.99 | CerwinVegaMobile.com

Kenwood Excelon DDX393 Multimedia Receiver $349 | Kenwood.com Kenwood's DDX393 receiver delivers info on a 6.2-inch touchscreen display and is equipped to provide a connected driving experience no matter what smartphone you have, even if it’s two phones connected at once. A 50-watt x 4 internal amplifier, three 4-volt RCA pre-outs, 13-band EQ and Sirius XM readiness make this a full-featured and serious head unit.

The next generation Stealth Bomber B54 model 4-channel amplifier allows for a direct plug into the amplifier by using any of Cerwin-Vega Mobile’s latest assortments of Bluetooth receivers for total control of music playback functions via any Bluetoothenabled device. The B54 now comes equipped with speaker level input with auto turn-on and advanced rollback power for continuous and extended play.

The VPAS10 (Vega Powered Active Subwoofer) is an active 10-inch subwoofer that’s amplified for extreme output and compact enough for installation in the tightest of spaces . The VPAS10 is rated at 200 watts RMS at 2 ohms, 400 watts MAX. Features include auto power turn-on, bass boost, adjustable input sensitivity, phase switch and RCA and high-level inputs.

Kenwood Excelon KDC-X300 Head Unit $129 | Kenwood.com

Jensen VX7021 Multimedia Receiver

The KDC-X300 CD receiver is affordable model and delivers some kick, making it the best bang for your buck in the Excelon lineup. In addition to high-voltage pre-outs, a 50-watt x 4 amp and 13-band EQ, the unit also supports 48k/16-bit FLAC files via its front USB port. Phones can also be connected, even two at one time, whether they be Apple or Android.

MTX Audio

$349.99 | JensenMobile.com The VX7021 multimedia receiver offers built-in navigation powered by iGo Primo’s “Next Gen” navigation engine, with over 10 million POIs, US, Puerto Rico and USVI map data and text to speech. Other features include built-in Bluetooth, SiriusXM, iPhone/iPod connectivity via USB, Pandora, AV and rear-view camera inputs, 6-volt RMS preamp outputs (front/rear/sub), 10-band EQ and SWC ready.

Mosconi

S6512-44 Subwoofer

ONE 130.4 DSP Amplifier

$349.95 | MTX.com

$1,199 | Mosconi-America.com

The S6512-44 is the newest square subwoofer from MTX designed to produce exceptional SPL. Capable of handling up to 500 watts RMS power and utilizing a patented surround design, the S6512-44 is the perfect subwoofer for any enthusiast looking to get the most SPL from their subwoofer.

Mosconi’s new "ONE Series" amplifier is a Class-AB design with 130 watts RMS x 4. The 6-channel DSP inside features 2-channel DSP outputs to control an additional amplifier. Hook it up to a PC for setup, by either a USB cord or a Bluetooth wireless connection and get to tuning. This is a true SQ amplifier that is still proudly designed and built in Italy.

Audison Voce AV 5.1k HD Amplifier ElettroMedia-USA.com / MobileSolutions-Canada.com Dedicated to the enthusiasts who wish to build an Audison full DA HD system and enjoy the quality of high-resolution audio files, this 5-channel power amplifier features the unique hybrid design made up of two 75-watt A-Class channels, two 250-watt AB-Class channels and one 1000-watt D-Class channel. The new, built-in AV bit IN HD digital interface is optimized to appreciate the superior dynamics of high-resolution audio files.

PASMAG TUNING ESSENTIALS // 2016 MOBILE ELECTRONICS // 5TH EDITION

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“THIS TRULY IS A BLACK BOX FULL OF DIGITAL MAGIC...” GARRY SPRINGGAY, TECHNICAL EDITOR PERFORMANCE AUTO & SOUND MAGAZINE

PS8 PROCESSOR THE WORLDS MOST ADVANCED MOBILE AUDIO SOUND PROCESSOR D E S I G N E D A N D M A N U FA C T U R E D I N T H E U S A !

WWW.ARCAUDIO.COM

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TEST REPORT

BY GARRY SPRINGGAY

Sony High Resolution Car Audio System Review

The rebirth of high quality audio is a system that fits in your car.

ntil a few years ago, many of my audiophile friends were lamenting the death of high quality audio. When the MP3 craze began, virtually everyone bought into the “convenience over quality” concept and as a result, our enjoyment of music to be heard as the artist intended has suffered. Recently, however, there has been a resurgence of high quality formats, and if you care about the quality of your music, you are probably already aware of the high definition recordings available from a variety of sources. You may even be aware that these high definition recordings are available for download from websites such as HDTracks, iTrax and AcousticSounds. To understand the difference in these high resolution tracks, we need to understand a bit about digital audio formats. For the non-geeks reading this, sampling frequency of a digital audio track means the number of times

samples are taken per second when the analog sound waves are converted to digital data. The more bits available, the more accurate the digital conversion will be. A CD uses 16-bit/44.1-kHz sampling and has a resultant transfer rate of 1411 kbps, but high resolution audio formats use 24-bit/96- or 192-kHz sampling rates, which have the ability to outperform the original CD. Obviously, there is a very significant difference in audio quality between these sampling rates. If you compare the new high-res format to MP3, the difference becomes even greater. The best bitrate possible with MP3 is only 320 kbps, but a 24-bit/192kHz file is transferred at a rate of 9216 kbps - roughly 29 times better resolution! Tell me you can’t hear that difference! If you have been blissfully unaware of the trend to higher quality digital music reproduction and you have a set of ears, you need to pay attention here.

Comparing the quality and enjoyment of true High Resolution Audio (HRA) to a typical MP3 is like comparing watching a movie on a 20-inch black and white TV from 1965, to watching the same movie on a modern 60-inch 1080p HDTV. High-res audio is gaining support from many companies, as well as a multitude of major labels and musicians. If you have a system that can take advantage of the high-res music, the difference can be spectacular. Over the last few years, companies like Sony have been hard at work developing hardware that can take advantage of this additional fidelity and resolution. This past year, High Resolution Audio became mainstream thanks to the release of more hardware that supports the format. To that point, Sony has now introduced a High Resolution Audio mobile system with specific pieces of gear that provide higher than normal performance parameters.

PASMAG TUNING ESSENTIALS // 2016 MOBILE ELECTRONICS // 5TH EDITION

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RSX-GS9 DIGITAL MEDIA PLAYER The Sony high resolution system starts with an all-new digital media player called the RSX-GS9. The RSX-GS9 is the world’s first native Direct Stream Digital (DSD) player that provides maximum quality audio from virtually any type of music file. Supported file types for the front and rear USB inputs include:

WAV/FLAC/AIFF/ ALAC DSF/DSDIFF MP3/WMA/AAC

Using Micro USB streaming playback via USB-DAC you get:

DSD Linear PCM

When connected to the Sony player, devices such as iOS and Android smartphones, as well as PCs that support high-res audio, allow streaming input to be sent directly to the RSX-GS9’s high performance onboard D/A convertor. Even if you are not playing back high-res files, Sony’s Digital Sound Enhancement Engine HX (DSEE HX) upscales typical compressed music files to maximize the quality of the sound. Drawing from the vast technical resources at their disposal, Sony has selected the ES 9018S D/A convertor for use in the RSX-GS9. This D/A (also known as SABRE32)

“THE RSX-GS9 IS THE WORLD’S FIRST NATIVE DSD PLAYER THAT PROVIDES MAXIMUM QUALITY AUDIO FROM VIRTUALLY ANY TYPE OF MUSIC FILE”

is usually found in very high-end home audio components. It delivers exceptional dynamic range and incredibly quiet signal to noise performance. In addition, a dedicated 80-MHz high-precision jitter cancelling clock is included to increase accuracy, with a dedicated power circuit placed in close proximity. The Sony RSX-GS9 looks different from a typical source unit. While it’s a single DIN chassis size, it has a small OLED display that indicates the type of file being played, and a large centermounted volume knob. The knob is very nicely damped and the front faceplate is made of 14mm solid machined aluminum. The unit has a very high end look and feel, and even the small buttons on the left side of the faceplate are made from aluminum. The circuitry of the RSX-GS9 is built in a two-layer arrangement, with the analog circuitry on the lower main board and all the digital circuitry located to the

upper PCB. To reduce resonance, the metal structure is designed for higher than normal rigidity by using 0.8-mm thick steel, twice as thick as a typical source unit. The bottom of the chassis is also built with a double floor for a total steel thickness of 1.6 mm. The result is a chassis that is approximately 300 percent more rigid, which shifts the unit’s natural resonance out of the vehicle’s normal vibration band. In addition, special attention is paid to reduce electromagnetic interference. Other features on the faceplate of the player include a 3.5-mm stereo mini plug for aux, a micro-B USB input and a standard USB input. In addition to the front mounted USB inputs, the back panel of the RSX-GS9 provides an additional USB input, front, rear and sub outputs, an optical output for connection to amplifiers or processors with optical inputs, highlevel inputs and the usual connector for hands-free Bluetooth operation. While the unit itself does not have any built-in tone controls or crossovers, you can use Sony’s SongPal app for iOS or Android to provide control for various settings, such as EQ settings or browsing of various streaming services. The RSX-GS9 provides four volts of signal on each set of RCA outputs, as well as extremely low distortion. With the RSX-GS9 providing the high resolution signal, now we need amplifiers and tweeters that can take advantage of the extended frequency response and dynamic range provided. To fill those requirements, Sony has built the XM-GS4 ultra wideband amplifier.

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TEST REPORT Sony High Resolution Car Audio System

XM-GS4 WIDEBAND AMPLIFIER The XM-GS4 is a four-channel Class-AB amplifier, rated at 70 watts per channel into four ohms or 80 watts per channel into two ohms. The amplifier is also bridgeable for use as a twochannel at 160 watts into four ohms. To ensure a flat response well above the normal limits of human hearing, Sony’s engineers filled the XM-GS4 with high quality components and attention to detail in the assembly. The power supply is comprised of high current MOSFET devices, which switch current through a low flux toroidal transformer, while energy

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is stored by high performance electrolytic capacitors. When it comes to controlling and shaping the signal, there are low noise potentiometers and twisted pair conductors to connect the various PCBs together. The rectification diodes are Schottky-barrier diodes, used for their inherently lower ripple and undershoot.

Housing the amplifier’s circuitry is a thick and rugged castaluminum heatsink, and a cooling fan is also employed to ensure good thermal performance under tough conditions. The amplifier’s feature list includes high- and low-pass crossovers with an adjustment range from 50 to 300 Hz, subsonic filters adjustable from six to 70 Hz and dual bass boost controls for front and rear channels. All of the controls are top mounted and accessed by removing two screws in a cap that, when installed, also covers the wiring terminals.

2015-02-02 4:01 2:29 PM 2015-12-17

XM-GS100 SUBWOOFER AMPLIFIER For the bass in this system, Sony recommends their XM-GS100 Class-D subwoofer amplifier. The XM-GS100 matches the cosmetics of the XM-GS4 and brings up to 600 watts of power at two ohms to the party. Tuning capabilities include a 50- to 300-Hz crossover, a six- to 70-Hz subsonic filter and a bass boost control with a center frequency of 40 Hz.

This brings us to the speakers recommended by Sony for their complete high-res audio system. For this review, Sony provided the following speakers:

XS-GS121D A 12-inch dual voice coil subwoofer that’s rated at 400 watts continuous and features Sony’s MRC honeycomb cone.

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XS-GS6921 Two-way coaxial 6x9 speakers. They’re rated at 100 watts and include mica reinforced cones (MRC) and a 1.18-inch soft dome wide dispersion tweeter.

XS-GS1621 Two-way coaxial 6.3 inch speakers, again using the MRC cone treatment and 0.98-inch soft dome tweeters.

2015-12-17 4:02 PM

TEST REPORT Sony High Resolution Car Audio System

XS-GS1 Super Tweeters These are one-inch component super-tweeters. According to Sony, a requirement for high resolution sound is a tweeter’s ability to “sprinkle” ultra-high-frequency sound into the listening area. For those of you who recall high school physics, the larger a sound source is, compared to the wavelength of the sound generated, the more directional it will be. Now, consider that a 30 kHz wavelength is 0.452 inches in length and the tweeter is basically an inch in diameter, you can understand why Sony states that the XS-GS1 tweeters are designed specifically to fire forwards and reflect the high frequency sound off of the vehicle’s dashboard. To improve the ultrahigh-frequency dispersion, these tweeters fire the sound towards the glass so that it is dispersed in a radial fashion throughout the vehicle’s cabin.

The XS-GS1 tweeters have extended high frequency response and are designed to complement the tweeters on the coaxial systems by adding output above 20 kHz, and extending up to over 50 kHz. The super tweeters are designed to maximize dispersion and have a wide mesh grille that is acoustically transparent. The XS-GM1 super tweeters come with either flat or angled mounting cups, or could be custom flush-mounted as well. For the tweeters’ crossover network, Sony has chosen a simple, but effective third order filter with an Fc of 20 kHz. The network uses an air core inductor and metalized polyester film capacitors.

From�Bassik to�Ultimate

Home & Mobile Audio Accessories

Terminals�for�your�demands Accepts up to ﬁve 1/0 Gauge Terminals

Optional Top Post Mount Connects Factory Battery Terminal

Bassik 3 Ring Port Battery Terminal

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Ultimate Battery Terminal with Ring Terminal Mount

0 / 4 / 8 Gauge Ports

2015-11-23 4:02 4:48 PM 2015-12-17

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LISTENING I have been buying high resolution audio music since the very beginnings of the HDTracks website, so I already have some experience with the differences typically heard when these tracks are played through home audio gear designed for high-res audio. I’m eager to see how the Sony gear performs with some of my favorite high resolution tracks. Because I do all my listening in a carefully controlled acoustically treated room instead of a car, I set up the entire Sony system as provided. The only difference in my setup from what Sony recommends is that I fired the XS-GM1 super tweeters directly at my listening position instead of reflecting them since my room lacked a good reflective surface. After a couple of hours of listening, I came away suitably impressed with this first effort from Sony. For my listening, I fed

the signal into the RSX-GS9 via USB from my computer. Dynamic range is excellent, and the music has a much more lifelike texture than a typical MP3 track. The system also has very low noise between tracks and is inaudible on even very quiet passages. The fidelity and resolution of my high-res music is definitely an audible improvement over typical high bitrate MP3 tracks, and the system sounds quite good in general, considering the coaxial speakers are quite a bit less expensive than the $7,000 home speakers I’m used to for my high-res listening. I’m not sure on the necessity of the super tweeters, as I only could perceive a very slight improvement with them added in. Perhaps in a car with them reflected off the glass the difference would become more obvious.

“DYNAMIC RANGE IS EXCELLENT, AND THE MUSIC HAS A MUCH MORE LIFELIKE TEXTURE THAN A TYPICAL MP3 TRACK” CONCLUSION When first introduced, high resolution audio was a hotly debated topic. As time went by and more and more music, as well as players became available, audiophiles began to spread the word. I’m sure there are some people who don’t understand it or have yet to experience it, particularly on a system good enough to take advantage of the superior fidelity and sound quality. All it takes is a few minutes of listening to

a well-recorded piece of high resolution music on a good system to convince even the most skeptical of audio enthusiasts. Kudos to the folks at Sony for bringing the ability to enjoy high resolution audio to our cars. If you are curious about just what you’re missing, drop into a Sony dealer near you and ask for a demo. Just be prepared to want to replace most of your existing music collection.

INTRODUCING THE DM-608 AND DM-810 NEW AUDIOCONTROL TUNING & CALIBRATION SOFTWARE

www.audiocontrol.com 425.775.8461

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TEST REPORT

BY GARRY SPRINGGAY

Audison Voce AV5.1k HD & bit Ten D Review

A fully-digital amplifier that teams up with one of the best processors on the market to produce some serious results.

he name Audison is formed from the Latin words “audio” and “sonus,” representing both the historic roots and the general philosophy of the company. Since the birth of the company, the Audison brand has earned a solid reputation for designing and building very high quality, high performance car audio products, many of which incorporate leading edge technologies. Over the years they have been the recipients of many prestigious awards and accolades, primarily because they have a passion for music, and take a no nonsense approach to the engineering of their products. And while generally not the most economical products available, the Audison brand of

mobile audio gear has always stood for high quality and excellent performance. For this review, we are going to combine a couple of their products, the new Voce AV5.1k HD amplifier, and the Voce AV bit Ten D digital interface. Voce means “voice” in Italian, and these products are engineered well enough to easily be the voice of the company.

FEATURES The Voce AV5.1k HD is a fivechannel amplifier designed to be the only amp you’ll need for your entire system. It is designed with the output power being staggered, so that the front and rear Class-AB channels have different power levels. The rated power for the front channels are listed at 75 watts per channel, while the rear channels are rated at 140 watts into four ohms and 250 watts into two ohms. The subwoofer channel has a 600-watt rating at four ohms and a 1000-watt rating into a two ohm load. If you were paying attention there, you probably noticed the front channels are rated for four ohm use only, but the rear channels and sub channel can be used with either four or two ohm loads.

On one end of the amplifier you find the input section featuring fully digital input connections. There are no RCA or high level inputs on the amplifier. To properly drive the Voce AV5.1k HD, you will need an Audison bit One or bit Ten D processor, with the connections done via an included high quality CAT5 Ethernet cable and an RJ-12 cable. Setup of the channel addressing is straightforward and takes only a few seconds. The digital audio bus is capable of carrying signal for up to eight channels. With the bit Ten D processor, OEM and aftermarket integration problems are a thing of the past. The bit Ten D is capable of interfacing with virtually any analog or digital source and provides incredible signal manipulation capability, making tuning the system easy and producing excellent sonic results. The bit Ten D is a direct descendant of the highly praised bit One, and all Audison bit processors are equipped with incredibly powerful 32-bit 147-MHz Cirrus Logic DSP (Digital Signal Processing) and are controlled by easy to install computer software. For those of you who are into such details, the bit Ten D uses 24-bit A/D and D/A convertors. Tuning and adjustability includes the ability to reconstruct a full range signal from multiple bandwidth limited sources, the ability to “remove” the factory EQ from the signal and a 31-band equalizer. For sources without a dedicated

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subwoofer signal, the bit Ten D can also construct a mono center channel or subwoofer signal from the existing stereo signals. There are high- and low-pass crossovers with adjustable frequency and slope, phase inversion and signal delay with enough delay to “move” a speaker over 16 feet! In addition to all of the above, the bit Ten D provides four channels of speaker level input, an auxiliary input and other cool features, like a cell phone mute function. There is also an optical digital input allowing the typical A/D conversion in your player to be bypassed. Five RCA outputs can drive aftermarket amplifiers, or you can use the digital connections to drive the Voce AV5.1k HD as I did for this review, which segues us back to that incredible amplifier.

The amplifier is equipped with heavy duty power and speaker terminals, which will accept fourgauge and eight-gauge cables, respectively. A second B+ terminal is provided for the connection of an external super capacitor. Also found on this end of the amp is a connection for the 12-volt trigger input and output. The amp and the bit Ten D can be configured to turn on with a traditional 12-volt trigger signal, or by using the audio signal, which is very “THE AUDISON SYSTEM handy in certain vehicles without SOUNDS VERY MUCH a traditional LIKE MY EXPENSIVE trigger output. There are STUDIO REFERENCE several other AMPLIFIER IN MANY things that set the AV5.1K apart RESPECTS” from other five channel amplifiers, such as the way the front channels are biased for maximum fidelity, or how the Amplifier Management Processor (AMP) continually monitors the operational condition of the amp and communicates the condition to the user via four different colored LEDs. 4 OHM POWER vs THD 100hz 12.6 Batt

All of that aside, what really sets this amplifier apart from everything else is the fact that this is a full digital input amplifier. The advantages of using digital signal transfer between components in a car are significant. First of all, by sending a digital bitstream of data, you automatically eliminate the possibility of radiated noise issues entering your signal cables, which is a major source of complaint for many people. Second, the digital signal provides optimal signal to noise

and dynamic range in the audio signal, and these benefits can be easily heard even by an untrained listener. Speaking of listening…

LISTENING For my listening session, I connect the amp’s front and rear channels to two pairs of high performance studio monitor speakers and a 12-inch woofer in a sealed enclosure. After a few tweaks of the crossovers and level adjustments, I sit down and begin my listening with a true

4 OHM POWER vs THD 100hz 14.4 Batt

MAX FLAT - FREQUENCY RESPONSE

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TEST REPORT Audison Voce AV5.1k HD & bit Ten D AudisonHertz.com

TECHNICAL DATA The following power measurements were obtained using industry standard methods. (100 HZ @ 1.0% THD+N Battery voltages shown +/- 0.2 V)

AMPLIFIER MEASURED PERFORMANCE SPECIFICATIONS Manufacturers Rated Power

Actual Measured Power @ 1.0% THD+N @ 12.6 V Battery

Actual Measured Power @ 1.0% THD+N @ 14.4 V Battery

75 W x 2 @ 4 Ω + 140 W x 2 @ 4 Ω + 600 W x 1 @ 4 Ω

78 W x 2 @ 4 Ω + 125 W x 2 @ 4 Ω + 604 W x 1 @ 4 Ω

99 W x 2 @ 4 Ω +156 W x 2 @ 4 Ω +753 W x 1 @ 4 Ω

75 W x 2 @ 4 Ω + 250 W x 2 @ 2 Ω + 1000 W x 1 @ 2 Ω

78 W x 2 @ 4 Ω + 193 W x 2 @ 2 Ω + 851 W x 1 @ 2 Ω

99 W x 2 @ 4 Ω +251 W x 2 @ 2 Ω +1071 W x 1 @ 2 Ω

test for any amp that’s going to drive a full system: The Atlanta Symphony playing Introit and Kyrie from Requiem Opus 48. This track is an excellent test for how well an amplifier can reproduce complex choral voices and a full symphony orchestra at the same time. The Audison gear performs perfectly with a resulting listening experience that is not just enjoyable, but memorable. Needless to say, I am impressed! I move on to more popular, but still very revealing tunes… The soft passages and reverberance in the Cowboy Junkies’ Trinity Sessions really is amazing through these Audison products. This recording was made with the band standing around a microphone in The Church of the Holy Trinity in Toronto, Canada. The recording does a brilliant job of capturing the ambience of the room, and the Voce amplifier reproduces it with almost startling clarity. The session continues with me listening for any telltale signs of digital artifacts, such as high frequency harshness or added high frequency noise. I find nothing at

all to complain about; in fact, the Audison system sounds very much like my expensive studio reference amplifier in many respects, which is to say, the AV5.1k HD and bit Ten D are natural and realistic sounding. The system has more than enough power to handle dynamics, yet it’s very quiet when it’s supposed to be. All in all, this is very good sounding gear. This is my first experience with an all digital input amplifier and it was impressive. For those of you who are wondering how to get a digital audio source in your car, there are several companies who build products that will connect to an Apple or Android device. This approach allows you to bypass the player’s limited quality onboard DAC and provide a fully digital signal via SPDIF or digital coaxial outputs, which can then be fed directly into a bit processor.

exceeds every one of its published power numbers. Distortion measures very low, especially on the high-biased front “audiophilestyle” channels. A look inside the amplifier reveals what could best be described as artistry. These products are incredibly well made and use only the finest components. As a person who sees the inside of literally hundreds of products each year, I can tell you the Audison stuff makes everything else look really average. It is worth noting that this amplifier

Audison.Official

AudisonChannel

can draw a significant amount of current, so you will want to make sure you use top quality pure copper cables. You may want to take advantage of the terminal provided for the external super capacitor as well.

CONCLUSION The Audison AV5.1k HD amplifier coupled with the amazing bit Ten D processor should prove to only further the excellent reputation and accolades of the audio gear from a company that clearly cares about sound. If you are serious about your sound quality and don’t mind spending a few extra bucks for a quality product that will undoubtedly provide many years of enjoyment, the Audison AV5.1k HD and bit Ten D should be on your short list of equipment to audition. Once you hear it, you’ll probably own it.

PERFORMANCE/ BENCH MEASUREMENTS The five-channel Audison amplifier measures well on the test bench. Frequency response is excellent and the amplifier easily

CROSSOVER RANGE - FREQUENCY RESPONSE

@AudisonOfficial

SUB CH CROSSOVER RANGE - FREQUENCY RESPONSE

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MILLE.3 turned into Legend. 15 YEARS OF HISTORY AND CONTINUOUS EVOLUTION TO LET YOU EXPERIENCE A LIVE PERFORMANCE IN YOUR CAR.

www.hertzaudiovideo.eu Elettromedia USA

Contact phone: 877-567-3030 www.elettromedia-usa.com

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Trends Electronics Canada

Contact phone: 877-946-9255 ca.hertzaudiovideo.com

10/07/15 13:39 2015-07-16 10:06 AM

TEST REPORT

BY GARRY SPRINGGAY

Clarion XC Series Marine Amplifier Review

Many different models for many different applications where good, clean power is needed.

n this review we are going to have a look at a very popular series of compact amplifiers from Clarion. The XC series of amplifiers have been designed from the outset to maximize power delivery and efficiency, while maintaining as small a footprint as possible. In addition, these amplifiers are specifically built to be used in very tough environments such as boats, motorcycles, ATVs, UTVs and other motorsports applications. The series consists of three models: a mono subwoofer amp (XC2110), a four-channel version and a five-channel model, which we reviewed in these pages a few months ago. Since we looked at

4 OHM POWER vs THD+N @ 1000 Hz 14.4 V Batt

the XC2510 five-channel in detail last spring, this time we’ll measure up the XC2410 four-channel.

FEATURES All of the XC series of amplifiers from Clarion feature hard-anodized extruded aluminum heatsinks with UV protection so they won’t fade or change color from sunlight. Through optimization of the Class-D design, the Clarion amplifiers have excellent power efficiency (watts consumed versus watts produced), which means that they generate less heat per watt than other amplifiers of similar construction. Adding to the efficiency of the overall package is a heatsink design that provides great heat transfer, which in turn allows the engineers to reduce the size significantly for the power being developed. In fact, these are some of the smallest high-power amplifiers on the market! The XC amplifiers mount using steel tabs at each end of the chassis. Wiring and connections are simple, with the power and speaker harnesses coming out one end

and the input harnesses (RCA and high-level) coming out the other. Speaker wiring uses the same standard color codes as a head unit, and the amplifier’s 40-amp fuse is in an inline holder in the 10-gauge power wire. Controls are also pretty basic, with a gain pot and crossover frequency control for each pair of channels. The four- and five-channel models use high-pass crossovers that are adjustable from 15 to 250 Hz for their full-range channels. The subwoofer channel on the XC2510, as well as the crossover filter used in the XC2110, are 35 to 250 Hz low-pass filters. All filters on all models use second order or -12 dB/Oct slopes. To ensure reliability in extreme operating environments, the Clarion XC amplifiers are built to meet tough ultraviolet and salt/fog protection standards. To this end, they use a Humiseal conformal coating on the PCBs and have sealed covers to keep moisture out. Even the connectors and terminals are designed to be corrosion resistant.

THE BASIC POWER SPECIFICATIONS OF THE THREE AMPLIFIERS ARE AS FOLLOWS: XC2510

4 x 50 W + 1 x 200 W @ 4 Ohms or 4 x 50 W + 1 x 300 W @ 2 Ohms

XC2410

4 x 50 W @ 4 Ohms, or 4 x 75 W @ 2 Ohms

XC2110

1 x 150 W @ 4 Ohms or 1 x 300 W @ 2 Ohms

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©2015 Mitek Corporation. All rights reserved. MTX and Feel the Thunder are trademarks of Mitek Corporation. All other trademarks are the properties of their respective owners and no endorsement is implied.

Experience the

Shape and Sound • Patented Surround Geometry Resulting in Greater SPL • Radial Ribbed T-Yoke Dissipates Heat and Decreases Distortion • Progressive Suspension Reduces Distortion • Integrated High Power Tinsel Leads • Available in 12" and 10" Models • 500-Watts RMS / 1000-Watts Peak Power

MTX005325 RevA 10/15

Get them from an authorized MTX dealer or at mtx.com

Ke e p Up d a t e d

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2015-12-15 10:13 AM

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TEST REPORT Clarion XC Series Marine Clarion.com/ca

All models in the XC series use MOSFET PWM (Pulse Width Modulated) power supplies, and are designed to drive two-ohm loads. They also feature special soft turn-on/off circuitry to eliminate popping or any other noises that are common in other amplifiers.

LISTENING For my listening session, I decide to do two sessions. In the first I use the four-channel XC2410 in three-channel mode by bridging the rear channels to a fourohm, 10-inch woofer in a vented enclosure. The audio signal for the subwoofer is provided by the head unit’s low-pass subwoofer output. This arrangement allows me to use the amplifier’s built-in high-pass filter as a subsonic filter to prevent excessive power from being applied to the woofer below the tuned frequency of the enclosure. The front channels are connected to a set of reference component speakers, and the crossover is set to 50 Hz. As I have listened to several XC amplifiers in the past, I know this is going to be fun. The XC2410 provesit has plenty of power and easily drives my system to higher levels than I would have expected from such a small amp. As I experienced with the five-channel version, overall sound quality

is very good. Subtle details in complex orchestral passages are easily apparent, and the amplifier sounds very open and natural. Bass output is authoritative and clean and, at the same time, the amp provides a discernible sense of space and natural reverberation in the playback of several favorite selections. With the sensitivity set at about mid-point, quiet passages are completely noise-free, with the Clarion unit turning on and off without any clicks or popping. During my listening, I’m thoroughly impressed by the capability of the XC2410, but when I really want it loud, the amplifier does eventually and noticeably run out of steam. This is where the second session comes in. For this go-round, I run the XC2410 in two-channel bridged mode to my components,

Signal to Noise Ratio referenced to 2 V output. (CEA-2006A) (1 watt @ 4 ohms)

-84.7 dBA

Signal to Noise Ratio referenced to full output.

-92.6 dBA

THD+N at rated 4 ohm power

0.04%

Maximum Efficiency at full 4 ohm power per ch.

84.3%

Maximum Efficiency at full 2 ohm power per ch.

74.2%

Idle Current

0.7 A

Input Sensitivity

RCA’s High Level

The following power measurements were obtained as follows: (100 HZ @ 1.0% THD+N - Battery voltages shown, +/- 0.1 V)

ClarionUSAOnline

and add the XC2110 to run the subwoofer, which gets swapped out for a two-ohm version of the same 10-inch woofer. Now with 600 watts on tap, the sound quality remains the same, but the added power allows for higher average volume levels, and I can play the music as loud as I want with no signs of stress from either amp.

PERFORMANCE/BENCH MEASUREMENTS Moving the amp from my listening room to the test bench, it’s time to get the real performance numbers out of the XC2410. I run the amp through my usual battery of tests and I’m happy, but not surprised, to report that it easily exceeds all of its published performance specifications. It exceeds the published power numbers

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by a considerable amount, while other critical specs like signal to noise and frequency response also measure very well.

CONCLUSION If you need good quality audio power that fits in a very small space, or if you need amplification that will withstand the rigors of marine or off-road use, the Clarion XC amplifiers should be high on your list of potential candidates. These amps are well built, engineered to sound good and deliver lots of clean power with minimal current draw and heat. When it comes right down to it, what more can you ask for in a small footprint amp? Check the entire series of XC amps out for yourself at a Clarion dealer near you, and visit them online at Clarion.com.

MEASURED PERFORMANCE SPECIFICATIONS Actual Measured Power @ 1.0% THD+N @ 14.4 V Battery

Manufacturers Rated Power

Actual Measured Power @ 1.0% THD+N @ 12.6 V Battery

50x4 @ 4 Ω

46x4 @ 4 Ω

61x4 @ 4 Ω

75x4 @ 2 Ω

74x4 @ 2 Ω

97x4 @ 2 Ω

2 OHM POWER vs THD+N @ 1000 Hz 14.4V Batt

BRIDGED 4 OHM POWER vs THD+N @ 1000 Hz 14.4V Batt

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CROSSOVER RANGE - FREQUENCY RESPONSE

200 mV – 9.4 V 850 mV – 17.0 V

Maximum Current @ full power, lowest rated impedance

36.3 A

Frequency Response (-3 dB)

15 Hz – >30 kHz

High Pass Crossover

15 Hz – 250 Hz -12 dB/Oct

Low Pass Crossover

N/A

Subsonic Filter

None

Bass EQ boost

N/A

TECHNICAL DATA

@ClarionUSA

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TEST REPORT

BY GARRY SPRINGGAY

Audiomobile EVO 2410 / M-CAR Subwoofer System Review

Looking for a woofer that delivers nocompromise sonic performance and power handling, yet fits in some tight spots? Look no further.

very so often a product is sent for review that causes me to pause and reflect on the design and history of the concept. Such a product is the Audiomobile EVO 2410/M-CAR subwoofer system. Based on a tried and true theory of operation, the M-Car (Modular – Coupled Acoustic Radiators) concept is quite unique in the car audio industry. Basically, the system uses an EVO 2410 10-inch dual voice coil woofer ($349.95) and a matching 10-inch passive radiator driver ($199.95) in a very small enclosure. Passive radiators are nothing new in the audio world, but they are fairly rare on the car audio side of things. The concept of a passive driver that used the energy from the backside of the driven woofer to augment the system’s output was patented in 1935 by Harry Olson, an acoustical engineer who held a great number

QUICK TECH SPECS

Power Handling

500 Watts RMS

Frequency Range

30-120 Hz

Sensitivity (system)

85.5 dB/SPL @ 1.0 W

Nominal Impedance

(2) 4 ohm coils

Mounting Depth

EVO 10 100 mm M-CAR 63 mm

of patents for various acoustic devices from microphones to synthesizers. A passive radiator is basically a woofer that has no magnetics and no voice coil. It is driven by the air pressure in the enclosure, and it is tuned via adjustments to its suspension stiffness and moving mass.

FEATURES In many ways, a passive radiator works like a typical bass reflex (vented) system, but there are distinct differences and advantages. Of course, like a vented system, the ultimate goal is to utilize the “free” energy from the back side of the woofer to increase the output of the woofer system. As in a bass reflex system, the passive radiator controls the woofer cone excursion near the tuned frequency, which increases power handling. But - and this is key - in a passive radiator system, the enclosure does not need to be made larger as you would for a typical vented system, and in fact can be significantly smaller for the same tuning. Obviously, there is no port noise or pipe resonance in a passive

radiator equipped system, and the output of the passive radiator is flatter over a wider bandwidth than that of a vent. Also, the placement of the passive radiator in the enclosure is not as critical as it is with a vented system. For these reasons, audiophiles tend to prefer the sound of passive radiator systems to a typical bass reflex design. The only drawbacks to a passive radiator system are that they are typically more difficult to design, and may have a higher cost. In a car system where enclosure size is a serious concern, a passive radiator makes a lot of sense and this fact is not lost on the Audiomobile design team. In fact, the system sent for review had the dual 10-inch cones providing roughly the same piston area as a 13-inch woofer, but all in only a 0.6-cubic-foot box. The EVO 2410 woofer is designed for optimal performance in small enclosures, and because of its sealed back plate and 4-inch depth, the enclosure can be built to fit in difficult vehicles like trucks and exotic sports cars. The folks at Audiomobile have

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TEST REPORT Audiomobile EVO 2410

put a lot of thought into the M-CAR program, and it shows. All you have to do is build the box to the correct volume dictated by Audiomobile and the system will be tuned perfectly. For example, if you wanted to build a system with a single driven woofer and two passive radiators, they can help you with that by simply adding 50 percent to the enclosure volume and bolting in the additional radiator. This would result in roughly the same cone area as a 16-inch woofer, but the box volume would only be three-quarters of a cubic foot!

WOOFER TECHNICAL FEATURES The EVO woofers are built using die-cast aluminum baskets, low carbon steel top plates and high energy ceramic magnet motors. The suspension for the moving assembly comes from a nitrile butyl rubber surround, and an eight-

LISTENING

inch diameter cotton composite linear type spider. The amplifier’s electrical energy is routed through woven-in tinsel leads and is used to drive a pair of four-ohm 53-mm copper coils, wound on a Kapton former. All of this in turn moves the Kevlar-reinforced composite cone, which was originally devel-

oped for professional subwoofer applications with a very high stiffness to mass ratio. Six radial cooling vents are built into the woofer’s frame, which is also cross-drilled under the spider to improve voice coil cooling. As a result, the woofer has a power rating of 500 watts.

With the Audiomobile M-CAR system connected to my reference system, I begin what turns out to be a rather lengthy and very enjoyable listening session. The setup of the system is pretty simple: I have a low-pass electronic crossover set at 90 Hz at -24 dB per octave and the woofers coils in parallel, resulting in a two-ohm load. I believe that a well-designed subwoofer system should be able to play any type of music well and simply reproduce the sound the recording engineer intended. To that end, as usual, I use a wide range of musical styles for my listening session. I begin with some music that I think would be a good test for the system, with a few wellrecorded and very revealing jazz and classical music selections

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from some of the best audiophile labels. On these exceptional recordings from Sheffield Lab, DMP, Telarc and others, the Audiomobile system sounds simply excellent. Listening to complex work from Weather Report and the London Symphony Orchestra, to Jennifer Warnes and Donald Fagen, the bass is deep and very well defined. In fact, I was quite impressed with the system’s tonality and definition. Chord changes and other low frequency nuances are distinct and pure. Okay, so it can play good, but can it play loud? Switching to some high-output bass tracks from Yello, Thomas Dolby and Motorhead, the passively assisted system proves that it is more than up to the task. During my listening, it’s hard to believe the energy is all being generated by a single 10-inch woofer and that passive element. All in all, regardless of

“THIS WOOFER SOUNDS VERY GOOD IN THE RECOMMENDED SEALED BOX, RIGHT UP TO THE 500-WATT POWER HANDLING LIMIT”

the musical genre, this woofer sounds very good in the recommended sealed box, right up to the 500-watt power handling limit.

ON THE BENCH With the woofer system on the test bench, I make impedance plots that confirm a tuned frequency of 34 Hz. Then I remove

the woofer and measure the usual parameters with my Klippel analyzer. Because this is a little bit different design for car audio, in addition to the usual Klippel and SPL measurements, I also do a bit of extra testing. Once I have the response curve from the M-CAR system, I want to really show our readers how well a passive radia-

tor works. So, I remove the EVO 2410 woofer and mount it in a half-cubic-foot sealed enclosure. Then I measure the system response and scale it to one watt at one meter. The Evo 10 delivers remarkably flat frequency response from 30 to 75 Hz, the critical subwoofer range, in the tiny 0.5-cubic-foot

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TEST REPORT Audiomobile EVO 2410

Audiomobile.net

M-CAR System Response

enclosure. As good as the woofer is by itself, the graphs produced show the incredible difference in output gained by the passive radiator. At 53 Hz, the difference is almost 12 dB!

CONCLUSION

M-CAR System Response vs. the same woofer in a sealed enclosure.

I have to hand it to the folks at Audiomobile. With the development of the M-CAR concept, they can produce subwoofer systems small enough fit into the most difficult installations, yet provide true no-compromise sonic performance and power handling. However, this outside the box thinking is not new for these guys. This is the fourth product I have reviewed from Audiomobile and this is just

AudiomobileUSA

further evidence that when it comes to challenges in car audio, they “get it.” For example: unlike almost everyone else, they do not make a 12-inch “slim” subwoofer. Realizing that when it comes to bass reproduction there is no replacement for displacement, they have taken a somewhat different approach. Instead, they offer a solution that uses dual eight-inch woofers, which still has the piston area of an 11-inch woofer, but obviously fits into a much smaller footprint. While that’s an example of thinking outside the box, some might say that solution, as well as this M-CAR system prove that the inside of their boxes are simply packed full of common sense.

AUDIOMOBILE EVO 2410 PARAMETERS

Coils in Parallel

Electrical Parameters Re

1.76 Ohm

electrical voice coil resistance at DC

2.722 mH

frequency independent part of voice coil inductance

2.845 mH

para-inductance of voice coil

R2 Cmes

4.14 Ohm 2519.21 µF

electrical resistance due to eddy current losses electrical capacitance representing moving mass

Lces

13.60 mH

electrical inductance representing driver compliance

Res

16.07 Ohm

resistance due to mechanical losses

27.2 Hz

driver resonance frequency

Mechanical Parameters (using laser) Mms

210.865 g

mechanical mass of driver diaphragm assembly including air load and voice coil

Mmd)

203.888 g

mechanical mass of voice coil and diaphragm without air load

Rms

5.208 kg/s

mechanical resistance of total-driver losses

Cms

0.162 mm/N

mechanical compliance of driver suspension

Kms

6.15 N/mm

9.149 N/A

Lambda

s 0.078

mechanical stiffness of driver suspension force factor (Bl product) suspension creep factor

Loss factors Qtp

0.703

total Q-factor considering all losses

Qms

6.917

mechanical Q-factor of driver in free air considering Rms only

Qes

0.759

electrical Q-factor of driver in free air considering Re only

Qts

0.684

total Q-factor considering Re and Rms only

Other Parameters Vas

equivalent air volume of suspension

0.066 %

reference efficiency (2 pi-radiation using Re)

80.42 dB

characteristic sound pressure level (SPL at 1 m for 1 W @ Re)

Lnom

80.97 dB

nominal sensitivity (SPL at 1 m for 1 W @ Zn)

Sd EBP

26.0422 l

336.54 cm²

diaphragm area

35.8

PASMAG TUNING ESSENTIALS // 2016 MOBILE ELECTRONICS // 5TH EDITION

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TEST REPORT

BY GARRY SPRINGGAY

Memphis Car Audio Nanoboxx Slim Amplified Subwoofer System Review A slim woofer system that delivers good output and comes in either an eight - or a ten-inch. Might as well get a couple!

lmost everyone is tight on space when it comes to adding a subwoofer system to their ride. Well, there is tight, and then there is really tight! If you are driving a car with virtually no room at all for a subwoofer and amplifier, but you need some real bass for the everyday commute, the folks at Memphis Car Audio may have a solution. Thanks to some clever engineering and skilful blending of components, Memphis has introduced an incredibly small and

thin subwoofer system, dubbed the Nanoboxx. And by system, yes that means complete and ready to play with the required amplifier built in. The SA Nanoboxx series of bass solutions is available in two models, an eight-inch (SA108SP) and the SA110SP 10inch version, which is the one we were sent for testing.

FEATURES The 10-inch Nanoboxx system is incredibly small, measuring 14.375 x 9.875 x 3 inches! With such a small footprint and very low height, the unit should fit under the seat of most cars, or behind the seat of even the tightest pick-up cabs. The cabinet is constructed almost entirely of solid extruded aluminum for strength and low resonance. A specially designed ultra-slim profile woofer is utilized, which is driven with the built-in Class D amplifier designed specifically

for optimum performance with this woofer. Thanks to the high efficiency design, the amplifier draws less current and generates less heat than a conventional amplifier. And because of the extruded aluminum enclosure design, the enclosure also serves as the amplifier’s heat sink. All of the connections and controls are located on one end of the amplifier, with the opposite end used for the output of a cleverly integrated passive radiator to augment the system’s output. Power connections are made via setscrew type terminals that will accept up to eight-gauge cable. The SA110SP can be driven with either high level signal directly from the car’s radio or conventional RCA inputs. There is also the choice of a conventional remote turn-on wire, or for compatibility in virtually any system, the unit is also equipped with signal sensing turn-on functionality.

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TEST REPORT Memphis Car Audio Nanoboxx Slim MemphisCarAudio.com

@MemphisCarAudio

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@MemphisCarAudioUSA

Tuning is accomplished via a full set of controls including gain, variable crossover with a range of 80 to 150 Hz, a bass boost function with up to 12 dB of available boost, and a 0-180 degree phase switch. Installation is a simple matter of choosing a location, running power, ground and input signal wires, and then tuning it for the vehicle.

LISTENING Okay, I will admit that my expectations were fairly low when I was hooking the diminutive Nanoboxx woofer into my reference system for the listening session. You simply can’t expect big rich bass from a complete woofer system that is smaller than many amplifiers. However, after getting it connected and fired up, I’m quite surprised at the overall quality of the sound. I begin with Ricky Lee Jones’ Danny’s All Star Joint. This track has the amazing Willie Weeks on bass, laying down very well defined electric bass lines, with some awesome plucking thrown in for good measure. The Nanoboxx system sounds really good! Willie’s bass sounds quite real, with good definition and a sense of warmth and fullness. Next up was Level 42’s World Machine. Once again, I’m impressed with the woofer’s ability to reproduce Mark King’s infamous “slap-bass” playing. Sustained low notes, like the

keyboards in Billy Idol’s Prodigal Son, are also reproduced with reasonable authority. If you turned your back, you wouldn’t guess you were listening to a shallow-mount subwoofer in a tiny enclosure. Of course, the system lacks a little overall output when compared to a big woofer in a big box with a big amp, but the performance it delivers is a hell of a lot better than having no woofer at all. Overall, I’m quite impressed with the sonic performance of the woofer, and I think it will surprise more than a few people when heard in a car, where the vehicle’s transfer function will increasing the output of the lowest octaves.

QUICK SPECS

Advertised Power

150 Watts RMS

Frequency Range

40 Hz –150 Hz

Bass Boost

0 to +12 dB @ 55 Hz

Input Sensitivity

123 mV to 3.5 V (RCA) 2 V to 20 V (Spkr Level)

CONCLUSION The Memphis SA110SP powered woofer would be an excellent choice where space is very limited. If you are looking for bass that bounces quarters off the car roof, this isn’t going to satisfy you, but if you are simply enthusiastic about the quality of your sound without rock concert volume

levels, and you want the full, rich sound that only a subwoofer can provide, this might be the perfect choice. Considering the incredibly small size, the system sounds very good, and because it can fit into very small spaces, you may just be able to use a pair of them! Once again, proving that you really can’t have too much of a good thing.

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CompQ™ Subwoofer

High-caliber bass for every music genre

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Luxury shouldn’t be boring. Available exclusively at Authorized Q-Class Retailers. See the list at www.kicker.com. Untitled-1 1

2015-12-07 2:46 PM

TEST REPORT

BY GARRY SPRINGGAY

Focal K2 Power 165KX2 Component Review As part of Focal's K2 Power line, these components are supposed to be played loud and sound good doing so.

usic enthusiasts who insist on nothing but the finest are very familiar with the name Focal. The brand has a strong worldwide following, with the company’s headquarters and manufacturing done in Saint-Etienne, France. This time we’re going to take a look at the all new K2 Power 165KX2 6.5-inch component system. The Focal Elite K2 Power series speakers are designed for very high quality musical reproduction and use the finest available materials. The system comes complete with the midrange drivers, tweeters with several different mounting cups, high quality crossover networks and all grilles. Suggested retail price in the U.S. is $1,299.

FEATURES AND CONSTRUCTION Focal’s motto is “The Spirit of Sound.” The Elite K2 Power series of speakers were developed to perform at very high levels of sonic accuracy, while also being able to provide listening levels high enough to satisfy even the most enthusiastic user. The signature Focal yellow Aramid fiber cones are

cones are stretched by hand at the Focal factory in France, Sensitivity (2 V/1 M) 88 dB SPL with the result being 60 Hz - 25 kHz Frequency Response (-3 dB) a very strong, yet Mounting Depth lightweight cone 3.05 in. (77 mm) (approx) that’s perfect for higher output levels. Instead of a dust cap, the center of used on both the tweeter and mideach driver is fitted with a glassrange driver, and represent years reinforced phase plug, which has of development and incremental been coated with a metalized coatimprovements. These drivers and ing for good looks and protection the materials they are made of from the elements. were designed specifically for the rigors and hostile environment of the car audio world. TWEETER The tweeter used in the 165 KX2 system has been under MIDRANGE constant development for over The 6.5-inch midrange woofers 10 years. Among the interesting use rigid cast-aluminum baskets, design elements of the 34-mm which are finished in a gray powtweeter is an inverted dome, dercoat with machined surfaces which has been designed using and the traditional Focal four-hole a patented “M profile” to reduce mounting system. The famous directivity and improve off axis yellow Aramid cone is based on dispersion. The tweeter also is built a thermoformed structural foam with air vents behind the dome, center core, with the Aramid fiber which connect to a rear chamber on the front side and a layer of for a lower resonant frequency. The glass fiber derived directly from steel mesh grille is removable and the highly acclaimed (and very exheld on by the tweeter’s magnetic pensive) Utopia BE series. The back energy, a method used by Focal of side of each cone is covered with many years. a special fiber back “skin.” These

QUICK SPECS

Recommended Power

120 Watts

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@focalofficial

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FocalCorporate

“AN EXCELLENT CHOICE IF YOU ENJOY YOUR MUSIC A BIT LOUDER THAN MOST OF YOUR FRIENDS, BUT DON’T WANT TO GIVE UP SOUND QUALITY” Max Flat Cogent Audio Labs

CROSSOVER The K2 Power crossover networks are what you’d expect from a company who has built their reputation on sonic distinction. Behind the clear covers on the crossovers are high performance components, like polypropylene capacitors and air core inductors. Fully bi-ampable crossovers also offer a significant amount of tuning ability once installed with a three-position tweeter level switch, as well as a switch that boosts midrange output when the speakers must be mounted low in the doors. There are also switches that allow you to select different slopes for the woofer and tweeter filters. This amount of adjustability will be very helpful when tuning the system to various different types of woofer and tweeter mounting locations. Electrical connections are made via nickelplated screw terminals.

LISTENING Because component systems like this are not intended to reproduce the lowest registers, I typically use a high-pass crossover set at 80 Hz to feed the system. This allows me to drive the system to high power levels without fear of damage from over excursion. After installing the K2 Power system in the listening room’s baffles and connecting it to my reference system, I proceed to put the Focal system through a series of musical paces, chang-

ing genres and volume levels as I evaluate the system’s sonics. As regular readers of my reviews will already know, the sound of a speaker system is a very personal and preferential thing. What you like may be completely different from what I like, and neither one of us are wrong. The Focal system reproduces complex orchestral passages with very good clarity and definition, and the system has no problem handling the drastic changes in dynamics available in a good classical recording. These are fairly transparent sounding speakers, that is to say they reproduce the music without adding any significant amount of coloration. Multiple voices singing in harmony were easy to identify as individual singers, and in my listening room, the system presents a very believable soundstage. I also find that this system certainly doesn’t mind being played loud. But the thing about the 165KX2s is that while the music is loud, it’s also always very listenable and enjoyable. The system shows very good articulation of detail and subtleties, all the while playing at high levels. Mid-bass and vocal clarity are excellent, and the system is very pleasant to listen to for a long period of time. That being said, despite having the tweeter output set at +3 dB, I personally find the tweeters output to be slightly on the “polite”

FREQUENCY RESPONSE – Tweeter Levels

TW slope 2nd ord Cogent Audio Labs

FREQUENCY RESPONSE – Crossover slope changes

side, and find myself looking for a bit more output occasionally. However, when installed in a car where the mid-bass drivers will be mounted in the door and off-axis, the extra bit of missing tweeter adjustment would be there. Others who had the opportunity to listen to the system love the way it sounds, so again, when you spend this much money on a set of speakers, you really need to hear them for yourself before buying.

CONCLUSION I have long been a fan of the Focal products and this system does nothing to change that. The

K2 system is an excellent choice if you enjoy your music a bit louder than most of your friends, but don’t want to give up sound quality and audiophile-type performance. The Focal K2 series of speakers provide very high quality sound reproduction with more than enough output. The system has been designed for the automotive environment and (thanks to making it very tunable) able to truly provide “The Spirit of Sound,” with a kick. The K2 series of speakers combine excellence in dynamic reproduction with a level of detail and sophistication. But in a store display setting, I’d still like just a little more top end…

TUNING ESSENTIALS // 2016 MOBILE ELECTRONICS // 5TH EDITION PASMAG

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POWER

PAGE

BELTRONICS GT-7 RADAR AND LASER DETECTOR B Y

G A R R Y

S P R I N G G A Y

Regular readers already know I’m a firm believer in using top quality radar/laser detectors in all my vehicles. Now don’t misunderstand, I am not a habitually fast driver, and rarely do any of my vehicles see much above about 10 mph over the posted limit, however, in my experience, speeding tickets are often simply a source of revenue generation, and I already pay enough taxes, thanks. Over the years, my detectors have paid for themselves many times over by providing an early warning of an impending speed trap. Only once did I receive a performance reward from the local authorities while using a good detector. On that occasion, I was travelling at 3 miles per hour over the limit and I chose to ignore a laser warning, thinking I was well within the usual leeway most officers afford. Nope. I got cited for 78 mph in a 75 zone. If that’s not a classic example of tickets used solely for revenue generation, I don’t know what is.

ith cutting edge performance and class leading features, like their exclusive “Defender Database” connectivity, my choice of detectors is almost exclusively something made by Beltronics. Their latest and greatest windshield mount type detector is the GT-7. The GT-7 is an

extreme long-range detector combining powerful digital signal processing with GPS location technology to create a very high performance defense system. With the DSP technology, the detector monitors the entire bandwidth for possible radar signals, and can almost instantly identify police radar while ignoring the

“THIS METHOD OF DETECTION PROVIDES EARLIER AND FASTER WARNINGS, AS WELL AS FEWER FALSE ALARMS. IT WILL EVEN AUTOMATICALLY ADJUST THE SENSITIVITY DEPENDING ON YOUR SPEED"

background noise. This method of detection provides earlier and faster warnings, as well as fewer false alarms. It will even automatically adjust the sensitivity depending on your speed. In fact, the GT-7 can sniff out police radar at over eight times the distance that the radar will work. With the GPS functionality, the

GT-7 is very quick to learn annoying false alert locations and make them a thing of the past. Just press the mute button at the location of a false alarm signal and the GT-7 will remember the signal and mute itself the next time by. Or, the AutoLearn feature will lock out false alarms after three encounters without

PASMAG TUNING ESSENTIALS // 2016 MOBILE ELECTRONICS // 5TH EDITION

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POWER

PAGE

BELTRONICS • GT-7 RADAR AND LASER DETECTOR

With the Beltronics GT-7 you are protected from X, K, Ka Radar, POP and laser threats.

“THE NEW GT-7 HAS A RACY NEW LOOK TOO, WITH A CLASSY AND SOPHISTICATED BLACK AND COPPER COLOR SCHEME THAT WILL LOOK GREAT IN EVERYTHING FROM A MIATA TO A MAYBACH"

The GT-7 is also compatible with the Escort Live!

any input from you! You can also add your own locations to the memory with a simple tap of a button, a handy function for a road where the speed limit changes quickly, or where heavy enforcement is likely. Of course, the Defender Database will alert you to the presence of red light, safety and radar camera locations all across North America. You can maintain the database and download updates via the Beltronics website. A subscription is required, but the unit comes with a free 90-day trial. The GT-7 is also compatible with the “Escort Live!” service, which provides real time tracking of radar and laser threats in your vicinity using your Bluetooth enabled smartphone. Your phone’s GPS information provides access to reported radar data from other Escort Live! users in your vicinity, allowing you to report radar hotspots so others driving in

your wake will know about potential encounters. You’ll need to purchase an Escort Live! cord for your iPhone or Android phone, as well as a subscription to use the Escort Live! service. The new GT-7 has a racy new look too, with a classy and sophisticated black and copper color scheme that will look great in everything from a Miata to a Maybach. The GT-7 comes with a “SmartCord,” complete with mute button, a very well made suction cup type windshield mount and a carrying case so you can take it from vehicle to vehicle. With the Beltronics GT-7 you are protected from X, K, Ka Radar, POP and laser threats. An improved signal sniffer checks the signature of each signal it receives to weed out false alarms. The GT-7 is also invisible to typical VG-2 radardetector detection. To make the unit easier to use, the read-

out has been redesigned using a multi-color OLED display. The new display features easy to understand graphics and icons, and you can even change the color of the backlighting to match your car. The Beltronics GT-7 has a suggested list price of $499.95, and at this level of performance, that makes it one of the most affordable extreme range detectors available. If you are looking for one of the most advanced, highest performance, yet simple to use radar/laser defense systems available, go get a Beltronics GT-7. You can thank me later. And you will. For more information on all the Beltronics products, check them out online at Beltronics.com

PASMAG TUNING ESSENTIALS // 2016 MOBILE ELECTRONICS // 5TH EDITION

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2015-12-18 10:38 AM

Live life in the passing lane. NEW Extreme Radar / Laser Detection with supercharged GPS-accelerated accuracy to block false alerts

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Department: PAS

2015-12-16 4:30 PM

POWER

PAGE

“ONE OF THE MOST POWERFUL BATTERIES THEY PRODUCE IS THE HO3642, A BATTERY THAT TIPS THE SCALES AT 70 POUNDS, AND CAN DELIVER UP TO 3,600 WATTS OF ELECTRICAL ENERGY!"

It’s not uncommon for a Reikken battery to last six to 10 years

REIKKEN HO3642 BATTERY B Y

G A R R Y

S P R I N G G A Y

The battery in our cars is the type of component we seldom give a second thought to - until the day comes that it won’t start. Well, since we aren’t thinking about batteries much, it’s a good thing the folks at Reikken are. With over 50 years of combined experience in the 12 volt industry, Reikken batteries have developed a loyal following.

utomotive battery designs have come a long way in the last couple of decades. We have gone from a typical wet cell lead acid battery that used to need regular maintenance and added water (even then, would last just a couple of seasons), all the way to the new high-tech Absorbed Glass Mat (AGM) designs that will reliably start our cars for two or three times as many years, requiring no maintenance, don’t leak, don’t corrode and vastly outperform the old designs in every possible way. There is no question that AGM batteries are becoming more and more popular. The design lends

itself better to withstanding shock and vibration, and most will give you at least several years of maintenance free service. All AGM batteries are not created equal, however. All of Reikken's batteries are of the AGM type, but technically, these batteries are known as “valve regulated lead recombinant” batteries. Reikken manufactures batteries for a wide variety of applications, including some of the most extreme duty situations you could imagine. One of the most powerful batteries they produce is the HO3642, a battery that tips the scales at 70 pounds, and can deliver up to 3,600 watts of electrical energy! The

HO3642 is a BCI Group 30H battery, measuring 13 x 6.85 x 8.5 inches. It has top-mounted terminals, with the positive being on the left when oriented with the terminals closest to you. Because it is a non-spillable battery, it can be mounted in any position. Most of the AGM batteries you can buy today use recycled lead, which shortens their service life. It’s not uncommon for a Reikken battery to last six to 10 years, which is attributed to it being manufactured with 99.9 percent pure virgin lead. Because this pure material can be made thinner when compared to the recycled lead used in other batteries, more plates can be fit into the same space.

This translates to increased power - sometimes as much as double that of a conventional battery. This construction also provides very low internal resistance (under three milliohms is typical), so it can not only provide more cranking amperage than other AGMs, but it also recharges faster as well. Low internal resistance is also very good for powering car audio amplifiers because an amplifier actually draws current in very fast pulses. The lower the resistance in the feed circuit, the faster the amp’s internal capacitors recharge, resulting in improved musicality and better performance. In fact, the characteristics of how the Reikken batteries are engineered make them specifically suited for car audio applications. So if it’s time you gave the battery in your ride some thought and you want a reliable high performance replacement that will give you years of trouble free service, as well as the high performance characteristics demanded by audio amplifiers, check out the offerings from Reikken.

PASMAG TUNING ESSENTIALS // 2016 MOBILE ELECTRONICS // 5TH EDITION

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lEGeNDS

MARK ELDRIDGE AND THE NEVERENDING QUEST TO MAKE MUSIC SOUND GREAT S T O R Y B Y Shaun Keenan PHOTOGRAPHY COURTESY OF

Mark Eldridge

PASMAG TUNING ESSENTIALS // 2016 MOBILE ELECTRONICS // 5TH EDITION

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If you’ve been around the car audio game for any part of the past three decades, chances are you’ve heard of Mark Eldridge or his 1987 Toyota 4Runner. Probably both. Known throughout the car audio world as one of its mightiest heroes, Eldridge has won countless sound competitions at the highest level with his own vehicles, and has helped others on the various competition teams he has been a part of do the same. He’s worked with the best of the best, tackled some great feats of engineering and is a veritable fountain of knowledge and inspiration for legions of up-and-comers.

ldridge owns and operates Mobile Soundstage Engineering (MSE) in Bixby, Oklahoma. In addition to building some pretty incredible autosound vehicles, he holds regular Car Audio Advanced Sound Quality Seminars where rookies, amateurs and professionals alike can learn about the fundamentals as well as the latest trends and techniques pertaining to the car audio and mobile electronics industries. He is a car audio legend in every respect, so read on and learn a thing or two.

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You’ve been in the car audio / mobile electronics industry for as long as I can personally remember. How and when did it all get started for you? Man, I’ve been into music since I don’t even know when. My dad had records, and I always enjoyed having music in the house. When he finally got a new sound system and I got my hands and ears on his old record player (I was eight, I think), that was the real start of everything with music and audio for me. I was learning about car stereos even before I got my first vehicle. As soon as I finally got my used ’74 Chevy Blazer in ’79, I started on the audio system. I ripped out the factory AM radio and put in a huge Pioneer 8-track tape player under the dash with 6x9 dual cones in the back and tweeters on top of the dash. And then I got a Clarion EQ Booster and put in a Pioneer KE-2000 electronic cassette deck, and it was on! Great sounding music. That’s where it all started for me. It’s always been about the music.

So, what do you do these days? Several different things keep me busy, and they are all related to sound and music. I work as a mobile electronics representative for several manufacturers as part of Team Sales, owned by Brian Tolley and Mark Couch. We cover the four states of Oklahoma, Texas, Arkansas and Louisiana. I have Oklahoma and Arkansas, and we work with JL Audio, Wet Sounds, K40, Audio Control, Compustar, Power Bass, and a few other brands. It’s all good high-end stuff, which is perfect for me, and I get to work with guys I’ve known for many years. As somebody that’s been in the car audio and mobile electronics industry for many years, what is most important to you? It’s all about sound and making cars sound good. Getting loud is great, but if it doesn’t sound good when it’s getting loud, then it’s just not doing it. That’s why I enjoy working with Team Sales and the brands we rep. They make great products that get loud and sound good. I also host training seminars that focus on how to make cars sound good. We start with the music, how it is produced, and why some recorded music sounds better than others. We get into the human hearing system, how we hear and perceive sound, cover speaker placement, vehicle interior acoustics, component selection and all that stuff. Then we set up a simulated vehicle interior, work with speaker placement, tuning, etc. It’s a very full two days. I’ve taught these classes all over the U.S. and around the World. I also teach classes at many of the industry conferences like MERA Knowledgefest, and they are always related to music and sound.

Why don’t we talk about some of your builds? Do you have a build or an accomplishment that you’re the most well-known for? I’m known for my two personal competition vehicles. There’s the 1987 Toyota 4Runner that I ran for, jeez, so many years, from ’92 up through ’03, or actually into ’05. And then there’s the NASCAR Sprint Cup car I’ve been running since ’07. It took me a couple of years after selling the 4Runnner to get this one done. It’s a pretty extensive build too. Head lights, turn signals, and everything needed to be street legal outside, plus hand painted custom graphic and a full custom acoustically designed interior. The audio system has an Alpine 9861 head unit that plays anything I need it to, a couple of dbx DriveRack 482 processors, two JL Audio HD750/1 sub amps, four HD 600/4 amps for high frequency signals, four pairs of C5-650 separates (three pairs up front in a very special array configuration, and one pair in the rear for ambient fill), plus a pair of 12W6v3 subs in the kick panels. It’s also got an Xbox and audio in the trunk for entertainment at shows. And then there is the 450+ horsepower motor under the hood, with the full NASCAR drivetrain and chassis.

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lEGeNDS Has it actually raced in a NASCAR series? It did, yeah. Casey Atwood raced it for Ray Evernham in the 2002 NASCAR (then) Winston Cup Series. It was raced seven times. I’ve got the history of the car (it’s written on the driveshaft actually), but I know it ran in Michigan, Pocono, Indianapolis, Fontana, Kansas and Las Vegas. It ran on the bigger flat tracks. So, it’s long since retired, and is just a show piece these days? Well, let’s not go that far. It is a show piece, but we do get it on the track and it still goes fast, man. Russ Dugger’s, a buddy of mine that races stock cars in ARCA and NASCAR, and we will take the car out and take turns scaring the crap out one another. We still take the car out to the Hallett Motor Racing Circuit just west of Tulsa (or any other track we can get on) and hammer on it! The car has also been on display at many NASCAR races, SEMA, CES and many other major automotive industry events.

Which of your installs is your favorite and why? I don’t really have a favorite. I look at all of them differently – kind of like how I look at music differently. You can look at one and go ‘Wow, it’s really cool because of this,’ but then this one over here is really cool because of this. The 4Runner had, oh I don’t even know how many different installations in there... I had under-dash horns for a little while. Then I rebuilt the whole dash and made the top of the dash and windshield parts of the horns. That was really cool. And then I took those out and cut the firewall out, put the speakers way out, halfway out to the hood, just conventional drivers. It sounded great! In the back of the truck, I started with PPI and JL Audio, then had Kicker stuff in there with the big sloping wall – ski slope if you want to call it that – coming down the back. I had MTX stuff for a while – liquid-cooled amps in the side windows – and the last version had the JBL stuff in there with the whole fighter jet on fire theme, which was really cool. I learned a lot working on the 4Runner, but all that said, the (NASCAR) car I’ve got now happens to have the bestsounding system I’ve ever built in it. I can go and drive the hell out of it as fast as I want to, and when I’m done driving I can listen to a killer audio system. Let’s talk more about your competition background. This car is in the Expert class. I always compete in the highest possible class there is. I want to be in that Sprint Cuptype class where there is just nothing more competitive. I’ve been competing with that mindset since ’95. I competed once back in ’92 when I was just getting started, but ’93 was my first real competition season, and I competed in the Amateur 251 to 500 class, then went to Pro 251 to 500 the next year. Then in ’95, myself and Chad Clodner, Eric Stevens, Mike Mineo and a bunch of other guys jumped into the IASCA Expert class. We all wanted to go to the highest possible competition

level we could, so we decided to go there. We didn’t talk about it to each other, we just all did it, so it was really cool. It was the first year the Expert Class became really competitive. I’ve been competing in the Expert class ever since in IASCA and USACi, and in the Master Class in MECA. Have you ever seen an installation by someone else and thought ‘Man I wish I had done that, that’s so cool?’ Oh yeah, all the time. You walk around, especially in years past, I’d look at some of the stuff Speaker Works did with the Buick Grand National. Then Richard Clark bought it from them, and took it even further. I actually got to work on that car, we were going to rebuild it in 1998, but it didn’t develop. But just looking at some of the work in that car and then taking those ideas and building on them was awesome. And some of the stuff any number of guys have done. Chad Klodner’s Mustang back in the mid ’90s still blows me away. The quality of work he did in that car is one that pushed me to go to the extremes I have. I loved competing with him and being friends with him, too. I learned a lot from Chad. We’d help each other when needed, even when we were in the same class. Have you ever built a car for somebody and you wished you didn’t have to give it back to them? No, because if I’m building a car for somebody else and when I’m done they look at it and they are totally happy about it, then that’s the most important thing. The most recent example for me is Ben Vollmer’s Acura Legend, which was originally Harry Kimura’s car that Speaker Works built in the early 1990s. When I first got into car audio competition and I was learning about how the competition scene worked, I read

a lot about this car. I was like ‘Man, I want to build a car that can compete and do as well and sound as good as that car does.’ Then, about four years ago, Ben Vollmer calls me and says ‘Hey, I bought Harry’s old Legend from Speaker Works, do you want to rebuild it for me?’ It was so cool – getting to completely rebuild it from hood to trunk, top to bottom, every part of that car that had so much history in it already, and to take it and push it to another level. It’s back on the circuit now, so people can see it again. Was that the most challenging build you’ve had to work on to date? Considering the pedigree? I tend to make them all challenging. I mean seriously. What it comes down to is every vehicle is different, and I always push my own limits. When you want to maximize the sound quality of any particular system, you’ve got to look at what you have as far as the palette to work with, and then push the boundaries of what you know, to make it sounds as good as possible. Even if you take the same speakers and put them in two different cars, they can sound totally different. You have to understand the acoustical properties of the listening environment, understand how the human hearing system works, and then look at what you have, and design the system within the limitations and boundaries at hand. They are all challenging, and there’s no car (at least that I’ve ever heard) that sounds perfect.

PASMAG TUNING ESSENTIALS // 2016 MOBILE ELECTRONICS // 5TH EDITION

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lEGeNDS Any strange or bizarre projects you have been a part of? Yeah, SPL vehicles! (Laughs) When I was working for Autosound 2000 in 1997, Tim Maynor had this old hydraulic repair van that everybody called “the bread truck” that he wanted to compete in for SPL. Dave Navone, Richard Clark and I were looking at this thing and Tim was like, ‘Man, you know I’ve competed and done a wall of 18 15-inch subs, and I’m hitting 162 dB in USAC legal SPL, and mid 160s in dB Drag, but I want to break those records.’ We were all like, ‘Well what can we do?’ Later, Richard and I were talking, and I brought up an idea that came about in 1994 when Doug Winker, Chris Lewis and I were coming up with ideas to break the SPL record then – about doing something totally off the wall. The idea was to have one gigantic speaker that would move so much air and get so loud that nothing could compete with it. I did some calculations, and it was obvious that Chris, Doug and I could not build a speaker like that, so we shelved the idea. But Richard had the people and tools available to do it. He said, ‘Okay, maybe we can build that.’ It was really cool to build that woofer and take that whole concept to the World Finals. Moving through the qualifying rounds, it did well at lower than max output. We didn’t want to break anything in the early rounds. Then just before the final round against the Team Gates Bronco, Alma Gates filed a protest because the computer used to control the woofer’s output was not installed in the vehicle. It was an external device – she was right – so, for that round, Richard had to try to control everything manually with a couple of cables and no computer. When the round started, the five-foot woofer did one forward stroke of the cone, then broke instantly, but hit 167 dB on that single

stroke! It sounded like an explosion! The truck jumped and sounded like it was coming apart. People were diving for cover (Wayne Harris included). But Alma’s Bronco hit 169.4 dB and won. Shortly after that, the broken parts of the woofer were redesigned, but it was outlawed from competition by all of the organizations anyhow, so it never competed again. It did 167 dB with one forward stroke of the cone, which is amazing! If it had gone for just two seconds, it would have hit, well, a lot higher… What are you doing these days? Right now I’m working with Team MSE/JL Audio. We have about 15 guys all over the country running JL Audio gear in all sorts of sound quality competitions. They’re a super group of people. Basically we go to shows and hang out, share information, help each other, help tune cars, etc. We just enjoy car audio and have a good time together. What do you do outside of the car audio world? I run the technical department at my church, so I manage all the sound systems and maintain all the technical aspects of the sound system there. Mixing live sound is so different than what we do in car audio. The person on the sound board at any live musical event really is as important as the musicians. Regardless of how good the performers are, the sound person can make them sound great, or really bad. I also play drums – been doing that again for a number of years now. It’s great to be able to connect the creation side of music as a musician and the reproduction of it on a sound system in a car or in a home. I also started a new company called Artisan Customs where I’m making custom exotic wood products for musicians. Drumstick holders, guitar hangers and stuff like that.

Who or what have been your biggest inspirations? The music is where it all started for me, so I guess that would be my biggest influence. As for naming all of the people that have influenced me over the years? Holy cow! I don’t think it’s possible. I’ll mention some, knowing I am leaving out many. (Sorry about that.) Kyle Davis and I were best friends in high school and college in the late ’70s and early ’80s, and we re-worked everything home and car audio we possibly could. When I first started reading Car Audio in 1990, of course it was Richard Clark, Dave Navone and the Holdaway’s from Speakerworks. You could also list many of the major SQ competitors from the early ’90s too. I ended up working with Dave, Richard and Patrick Poovey at Autosound 2000 later on, and that was one of the most significant learning periods in my life. Manville Smith has been there since 1990. His wife, Ellen, was the first person to begin teaching me how to listen critically, and evaluate audio systems properly. Other big influences include Doug Winker, Robert Ables, Chris Lewis, Dan Merritt, Chad Claus and all the guys I’ve been friends with since the mid ’90s. Robert was my co-pilot for almost every show I went to for many years. Greg Davis helped me with my first sponsorship with Kicker in 1994, and we’ve been close ever since. Gary Biggs, who I still see almost every day, has been a huge factor ever since we started working together in the Kicker Competition Group days. Of course there’s also the late Alma Gates, and I could just go on and on and on.

PASMAG TUNING ESSENTIALS // 2016 MOBILE ELECTRONICS // 5TH EDITION

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How long do you spend on a project vehicle? What’s the most time consuming project you’ve worked on? Was it worth it? For any vehicle, there’s a limit, a goal, a date you’re trying to get it done by and, because of the totally custom nature of what we do, that date doesn’t always get met, unfortunately. It might be 500 or 1,000 hours, depending on the end goals. Several demo vehicles we did for Kicker, JBL and some others were each in the 500 to 750 hour range. On Ben Vollmer’s car, however, I don’t remember how much time I had in when it was done, but probably 2,000 hours or so, which is more than initially planned. But it was a complete rebuild, all new dash, all new panels, moving everything behind the dash to make room for the audio system. If we were to look at the time I put into my 4Runner over the years (there were so many different versions of it), it’s probably in the 6,000- or 7,000-hour range over the 17 years I worked on it. But that was the platform on which I experimented, tried new things and learned so much for so long. I look at it as a major platform for my education. I worked on a number of vehicles before and during the 4Runner years, but I figure maybe 75 per cent of what I know now I learned while working on it. What is your daily driver, and does it have a system? My daily driver is a Chevy HD 2500. It’s a four-wheel-drive pickup, and is what I use to haul my car trailer around. It has a simple system, representative of what a consumer might want in a vehicle – a nice Kenwood head unit, a JL Audio XD 700/5 amplifier, two sets of the JL Audio C3-650 components and a Stealth Box in the center console with a 10W3v3 inside. It’s something I can take to a store, do a demo for anyone, and it sounds really good. It’s not my Cup car, but for a system that somebody’s going to spend a few thousand dollars on and enjoy every day, it’s perfect.

What advice do you have for PASMAG readers that are just getting into car audio? If you love music, focus on the music. Make your system sound great. Loud if you want it, but make it sound great at the same time. Also, a nice audio system in your home and/or car is a necessity. Most importantly, spend some time listening to live music too. There’s an emotional connection you get at a live performance that just doesn’t translate through an audio reproduction system. I love listening to music on a great sounding audio system, but given the choice, I will go to a live concert over listening to a car audio system every time. When it comes to the audio system in your car, you have to set goals and be realistic about them. If you want to compete in the car audio competition scene and go win a World Championship in the Pro, Ultimate, Master or Expert classes, you need to be realistic about what that is going to take, and it’s not going to be easy, cheap or quick. But, if you want your daily driver to sound really good and enjoy it every day, that’s a whole different ball-game, and much more achievable in an affordable, shorter time frame. Take some well-recorded music you enjoy and really learn what it sounds like on a nice home or studio system before trying to tune your car audio system. Know what your end goals are, how you want the system to sound, and work with people that can help you attain that. There are many more considerations, but these come to mind first. Very well said. If the person is more interested in joining the car audio competition world, what would that checklist look like? You’ve got to learn about the competition scene first. Go to some shows, talk to the judges, talk to the competitors, look at the organizations

lEGeNDS and read the rule book(s) because you need to learn all the different aspects before you jump in. I’ve seen too many people build a system for competition, but have never really talked to or worked with experienced competitors and judges, or even listened to some of the better cars on the circuit. They simply got the rule book, read through it, and started building. After a few shows, they learned that they needed to rebuild major parts of their systems to sound better and be more competitive. Don’t go that route… You might be able to learn it all on your own, but there are many people out there that can shorten your learning curve. You just have to get in touch with them. Plus, it’s fun to go to a bigger car audio shows and listen to all of the cars. One thing you’ll notice is that they all sound somewhat different. We are all trying to achieve the elusive goal of perfect sound. But you might listen to five different cars and go ‘Wow I like this one because of this, and this one because of that, but I like mine because it does this.’ The way you learn what you like best is to go out there and get the exposure; listen to the best car audio systems on the circuit now, ask questions and learn. What’s next for you? Honestly, I don’t know. Installation wise, I don’t have a palette yet. I know I’ll be teaching sound quality classes, helping others make their systems sound as good as possible, working with Team MSE/ JL Audio, and playing drums every chance I get. Whatever ends up in my shop, it will be related to making music sound as good as possible. That much I do know. That’s all we have space for in this issue, but you can read the full transcript of our interview with Mark Eldridge on PASMAG.com.

PASMAG TUNING ESSENTIALS // 2016 MOBILE ELECTRONICS // 5TH EDITION

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