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The Reference For Great Sound

Great SoundListening to music goes back to the dawn of man. From banging a few tree branches together to the latest computer-generated pop hit, music is a universal language that everyone can enjoy. People who put significant effort into the accurate reproduction of the music they enjoy are often called audiophiles. There is a running joke that audiophiles sometimes concentrate more on listening to the equipment they use to make great sound than to the music itself. While this so-called joke is certainly true during the purchasing and setup stage, once audiophiles have their systems sounding the way they want, the focus turns to enjoying the music.

If you get into a discussion about choosing high-end audio equipment, inevitably someone will suggest that you seek out a reference. The ultimate reference is a live performance. We want to be clear: Artists don’t make money like they used to from album sales. Supporting the performers you enjoy by attending concerts not only is great entertainment for you, but allows the performer to make a few dollars.

With this in mind, the reference for what the reproduction of a recording should sound like is not a live performance.

This article provides a generalization about most music heard on a car radio. There are exceptions; we understand that. We want you to think outside what you were once told.

How Music is Recorded

Great SoundFor most music, each musician or performer is in a recording studio. Microphones are used to capture the subsequent performance. For a singer, the mic is usually directly in front of them. For a group of singers, each individual may have a mic, or they may be gathered around a single centralized mic or a pair of microphones set up to capture the performance in stereo. For someone playing an electric guitar, the mic is most likely in front of the amplifier.

In some recording sessions, the amplifier is placed in a small room and cranked to 11 so it clips and distorts the sound, and that gets recorded. This overdriven performance gives the guitar “a certain sound” that some producers and engineers like.

Great SoundThese techniques go on and on. At the very extreme might be a drum kit. Some recording engineers have microphones on each drum and cymbal, then overhead mics to pick up rim shots and another set of mics forward of the drums to capture the room’s acoustics. Consider this as well: The sensitivity pattern of a microphone is not so narrow that it only captures what is directly in front of it, so each microphone captures information from all of the drums and cymbals, to some extent.

The specific placement of a microphone relative to the instrument it is recording has a dramatic effect on what it captures. Let’s take a look at recording an acoustic guitar. A microphone a few inches in front of the soundhole will capture significantly different information than if the mic is located halfway up the fingerboard. The question now becomes, What microphone position is correct? The next question is, If we were standing in the recording studio with the guitarist, would we hear the same thing that the microphone recorded?

The Effect of the Studio

Great SoundEach make and model of instrument has its own unique characteristic set of harmonics that gives it a “sound.” So, too, does each studio. Some are very large with acoustically absorbent surfaces. Some are very small and have a “live” sound. Placing the same performer with the same instrument in each of these studios will result in a different sound in the listening and recording position. If you haven’t seen it, watch the Foo Fighters’ documentary, “Sonic Highways.” It provides a great look at how different studios can affect the sound of a performance.

Let’s review what we have so far. For a given performance, we have a unique performer, their choice of instrument, the environment, the choice of microphone and the microphone placement that affect what we hear. We are just warming up!

The Control Room

Great SoundIn a studio, the musicians perform in what is called the live room or sometimes an isolation booth. We already know that the shape, size and finish of these rooms affect what gets recorded, but what about the control room? This is a separate room from where the performance is taking place and where the recording engineer and producer typically sit. In this room are the control console, computers to capture and process the recording, and – most importantly – monitor speakers.

In a gross and undetailed generalization, once each microphone channel has been recorded, the producer manipulates each channel to produce the final mix. This manipulation can be as simple as the left-to-right panning and level of each instrument, or as complex as equalization, compression, gating, adding distortion and much more. Often, many processes are applied simultaneously to each channel. It can take weeks or months to mix a single complex track.

We all know how different each and every set of speakers can sound. When we add the acoustics of the control room to the mix (pun intended), the number of variables increases dramatically. Listening to the same master track in two different control rooms can result in dramatically different results. This begs the question once again of what is correct, and how do we know?

Measuring and calibrating the frequency response of the monitoring speaker system will certainly help a lot, but that doesn’t account for the distortion characteristics of the speakers. Let’s say the speakers sound a little warm because the midbass driver has a resonance problem due to nonlinearities in the spider. Even a mild resonance can wreak havoc with the perceived balance of the speaker. Worse, you can’t EQ it back out. Yes, you can flatten the overall response level of the system, but if you are getting some 120 Hz content because the cone is playing 60 Hz, that can’t be removed. Lack of distortion in speakers is crucial to accurate reproduction.

Circle of Destruction?

So, we have our performers in a studio playing music. Microphones are set up in specific locations to capture that performance and the acoustics of the environment. The recording engineer is listening to what is captured by the microphones on that studio’s monitor system. The engineer makes adjustments to the mix based on what he hears. The music is then sold to the public. We listen to it on our reference systems and, if everything has gone according to plan, we enjoy it.

But what if we don’t enjoy it? What if we think what we hear doesn’t have enough bass or has too much high-frequency information? Do we make adjustments to the tone controls on our radios? Does the act of attempting to reproduce sound evolve from a scientific task to a form of art?

What about the Live Performance?

Great SoundOur friends and experts suggested that our reference for listening to music be a live performance. Is it an acoustic performance? Is it in an open-air stadium or a small club? Are any band members drunk? The number of variables that can affect what we hear is nearly infinite. Your best hope of using a live performance as a reference is to listen to a recording of that particular performance. If the recording took place anywhere else, it just might not work. Will the experience be worthwhile and enjoyable? The answer to that is a resounding yes! That performance is not our reference.

What is our Reference For Great Sound?

Great SoundFor a given performance in a given location with a specific set of instruments and microphone placement techniques, the absolute reference for what that performance should sound like would be the control room where the final mixing took place. Even if we expanded our example to a simple two-microphone recording of a choir in a massive cathedral, the recording engineer is likely to make some small adjustments, using a reference audio system or reference headphones, before that recording is released to the public.

Reproducing and listening to music is about more than just frequency response. Time response, reflections in the listening environment and much more affect what we hear. The best way to develop a reference is to listen to the same recording on as many great systems as you can. Ignore the make, model, color and cost of the equipment you are auditioning. Work to quantify the difference between what you hear and what you have heard previously.

After a while, you will start to develop a reference for what sounds good. Continue to listen. Evaluate new products, new applications and new environments. Sure, a personal preference is still involved, but that is your contribution to the art of recording and enjoying music: You can make it sound the way you want.

Your local specialist mobile electronics retailer will have many different systems you can audition. Drop by and ask to listen to a few. If they have a demo car, then definitely listen to that! Listening to music is a lot of fun – never forget that.

This article is written and produced by the team at www.BestCarAudio.com. Reproduction or use of any kind is prohibited without the express written permission of 1sixty8 media.

Filed Under: ARTICLES, Car Audio, RESOURCE LIBRARY

Product Spotlight: Sony XAV-AX5600 Multimedia Receiver

Sony XAV-AX5600

When it comes to bang-for-your-buck car audio receiver upgrades, the Sony XAV-AX5600 offers amazing value and performance. This double-DIN multimedia unit is based around a 6.95-inch capacitive touch display. In addition, it includes Apple CarPlay and Android Auto smartphone integration and support for playback of most of your digital media files. Best of all, the radio is easy to use and looks great in the dash of your car, truck or SUV.

Easy to Use and Looks Great!

Above everything else, the XAV-AX5600 radio features an intuitive interface and lightning-fast response to your input. Whether you want to access the tuner to listen to the news or your favorite radio station, stream audio from your smartphone using Bluetooth or play files from a USB memory stick, all the sources are quickly accessible from the main menu screen.

The XAV-AX5600 features two USB jacks on the rear of the chassis. USB1 is the primary connection to your smartphone for CarPlay and Android Auto integration. These technologies let you use simple voice commands to send text messages, make phone calls, get navigation directions or choose the entertainment options you want. The radio uses Bluetooth 3.0+EDR and includes A2DP with AVCRP, HFP and PBAP profiles to listen to music and place phone calls easily and intuitively. In addition, Sony includes an external microphone that your installer can mount in the center of your vehicle to deliver crystal-clear outgoing audio during Bluetooth calls and accurate responses to voice commands.

You can connect a USB memory stick to either port to play MP3, WMA and FLAC audio files. Playback of WAV and AAC audio along with MPEG-4, WMV, MKV and XviD video files is supported by USB1 exclusively. USB1 is rated for 1.5 amps and USB2 can provide 500 mA in terms of power to charge your phone. FLAC file compatibility is specified for tracks encoded with a bit depth of 24 and a sampling rate of 48 kHz.

Sony XAV-AX5600
Twin USB pigtails on the rear of the XAV-AX5600 allow you to connect your phone and a USB memory stick simultaneously.

From an audio feature standpoint, the XAV-AX5600 includes a 20-watt per channel, four-channel amplifier along with front, rear and subwoofer RCA outputs. Each preamp output is rated to provide up to 5 volts of signal so your installer can keep the gains on your amps down. High-pass crossovers adjustable to 50, 60, 80, 100 or 120 Hz are available from the deck power and front/rear preamp outputs. The subwoofer output has an adjustable low-pass crossover with the same frequency options and an output level control that is easily accessible from the equalizer menu. Speaking of equalization, the radio includes a 10-band equalizer as well as Sony’s Extra Bass and Digital Soundstage Organizer (DSO) processing to help make your audio system sound amazing. The EQ has adjustment bands at 32 Hz, 63 Hz, 125 Hz, 250 Hz, 500 Hz, 1 khz, 2 khz, 4 kHz, 8 kHz and 16 kHz to tame peaks and valleys in the response of the audio system.

Sony XAV-AX5600
Sony’s EQ10 10-band equalizer allows you to fine-tune the sound of your car audio system.

Expansion Options Add Entertainment and Safety

A new feature from Sony for 2021 is the inclusion of an HDMI input on the back of the screen under the chassis. That way, when your vehicle is parked, you can play movies or video from a laptop, camera or game system right into the radio. Your car audio retailer can also add an SXV300 SiriusXM satellite radio tuner to the system so you can enjoy genre-specific content almost anywhere in North America without interruption. Another connectivity option is Weblink. You can connect your smartphone and mirror compatible apps from your device right to the screen of the radio.

The radio includes a dedicated video input for an optional backup camera. The camera image will display automatically when the vehicle is put in reverse. Sony includes customizable guidelines to help you back into a spot safely. If you’re towing a trailer, you can bring up the camera video feed any time (assuming your camera is powered) to ensure that everything is safe and secure.

Sony XAV-AX5600
A dedicated rear-vision camera input allows the driver to park and maneuver safely.

Amazing Integration and Installer-Friendly Design

The radio’s chassis is designed for double-DIN mounting locations, but the body of the radio is only a single-DIN, shallow-mount unit. This unique design gives your installer extra room for interface modules and wiring. The radio includes a steering wheel control interface jack that works with optional modules from iDataLink, PAC, Axxess and Scosche. The radio includes inputs for illumination dimming, a reverse trigger input for the backup camera and a parking brake input for video lockout while driving. Sony includes a remote turn-on output for external amplifiers.

As we mentioned, the 6.95-inch display features a capacitive-touch interface that helps deliver excellent brightness and contrast. Sony has a bezel-less front fascia that makes the XAV-AX5600 look as if it came with your vehicle right from the assembly line. The control panel with the six hard buttons protrudes slightly from the face, and the white backlighting looks elegant in any vehicle. Adjustable illumination brightness allows you to match the intensity of other dash lighting, and has independent brightness settings for when the vehicle lights are on and off.

Sony XAV-AX5600
The single-DIN chassis of the XAV-AX5600 leaves room for wiring and modules once installed in the dash of your car or truck.

Upgrade Your Drive with the Sony XAV-AX5600

If the technology in your car or truck isn’t state of the art, drop by your local authorized Sony car audio retailer and ask for a demonstration of the new XAV-AX5600. With a suggested retail price of $499.99 US/$649.99 CDN and a complete set of smartphone integration and entertainment features, this radio is a value that’s hard to beat. You can learn more about Sony Car Audio products by visiting their website, their Facebook page and their Instagram feed.

This article is written and produced by the team at www.BestCarAudio.com. Reproduction or use of any kind is prohibited without the express written permission of 1sixty8 media.

Filed Under: ARTICLES, Car Audio, PRODUCTS, RESOURCE LIBRARY Tagged With: Sony

Product Spotlight: Audison Speaker Upgrades for BMWs and Minis

Audison BMW

BMW and Mini owners all over the globe have shown that there is a desire for a better sounding audio system in their vehicles. To meet the performance expectations of these discerning clients, Audison of Italy has developed six drop-in upgrades designed specifically for these vehicles. Best of all, the speaker and subwoofer upgrade solutions use factory wiring and mounting locations, so there are no modifications required. These are the perfect solution for leased vehicles!

Balancing Performance and Efficiency

Designing a loudspeaker requires that the engineer balance low-frequency and high-frequency extension with efficiency and output capability. For example, the upper midrange output may suffer if a driver is optimized to produce more bass. The engineers at Audison have optimized all these criteria for their Prima Series drivers to deliver amazing performance installations using small to moderately powerful amplifiers. As such, their BMW speakers are a perfect stand-alone upgrade with the factory radio or amplifier, or when used with a much more powerful solution like the 85-watts-per-channel AP F 8.9 bit DSP-equipped amplifier.

BMW Speaker Upgrade Solutions

The BMW speakers are broken into two categories: coaxial and component sets. So whether you have a new 2-series and want to upgrade the door speakers or are looking for the dash, front and rear speakers along with a subwoofer upgrade for a 2015 X5 with the Hi-Fi Sound system, there’s a solution from Audison.

The four speaker options are all based on the same basic platform. The 4-inch (100 mm) drivers feature high-quality rigid die-cast aluminum frames that include specific mounting provisions for the doors, the dash center channel or the rear parcel shelf of your BMW or Mini.

To deliver excellent efficiency, the drivers use neodymium magnets instead of conventional ceramic units. The woofer cones are constructed from pressed pulp paper to deliver an excellent balance of rigidity and damping characteristics. The cones are treated with a moisture-resistant finish to ensure their longevity in door installations. The woofers are driven by a large 1-inch (25 mm) fiberglass voice coil former. The large diameter of the coil contributes to the 40-watt continuous, 80-watt maximum power ratings for the drivers. Lastly, they all use a rubber surround instead of foam for an additional improvement in longevity.

The tweeters used in the coaxial and component set solutions once again feature neodymium magnets for excellent efficiency. The diaphragms are made of Audison’s Tetolon silk and cotton dome material to optimize rigidity and damping characteristics to prevent distortion. In the APBMW K4E and K4M component sets, the tweeters have a diameter of 29 mm. Most tweeters in this class, including these vehicles’ stock tweeters, are only 25 mm in size. The larger diameter allows for a nice, low resonant frequency and lower crossover points. The large diaphragm size also improves efficiency.

The component sets include the APBMW CXTM 1 passive filter networks for the tweeters. These filters include 0 and -3 dB output options, and OE-quality connectors are included for wiring. Angled mounting cups for the tweeters are included for rear parcel shelf installations. In the APBMW X4M and X4E coaxial speaker solutions, the tweeters use the same materials but have a diameter of 24 mm. Audison also offers the APBMW A4E accessory kit to allow for the unique installation applications of the F15 chassis X5, F16 chassis X6 and the G30 and G31 chassis 5-series sedans and wagons.

Audison BMW
The Audison APBMW K4E is a 4-inch midrange and 29 mm tweeter set designed specifically to bolt into your BMW or Mini with no modifications.
Audison BMW
The Prima-Series APBMW X4E is a 4-inch coaxial driver with a neodymium magnet on the 4-inch midrange and a 24 mm Tetolon tweeter.

Prima Subwoofer for BMW and Mini Cars and SUVs

The APBMW S8-2 and APBMW S8-4 are 8-inch (200 mm) subwoofer solutions that are a direct drop-in replacement for the under-seat subwoofers found in BMW and Mini vehicles. These subwoofers feature graphite fiber-reinforced baskets with top-mounted neodymium motor structures. A pair of 5-millimeter polyurethane mounting gaskets are included to ensure a perfect seal with the factory enclosure. A 38 mm (1.5-inch) voice coil provides reliable performance at the speaker’s 150-watt power handling rating. The woofers’ cones are made from pressed pulp, and they use a rubber surround for longevity. A fabric cover over the face of the woofer cone prevents coins and rogue french fries from entering the speaker and causing buzzes or rattles. The woofers feature an Xmax specification of 7 mm in each direction for impressive output from the limited space and shallow mounting requirements.

The Audison engineers put some careful planning into the 2- and 4-ohm models. The 4-ohm S8-4 is slightly less sensitive than the 2-ohm model but offers a 40 Hz resonant frequency instead of 45, so it plays deeper. When the 4-ohm woofer is bridged onto a pair of channels from a Prima amplifier, the additional power allows it to play as loudly as the 2-ohm driver. If you plan a system that will use a larger subwoofer (10- or 12-inch) in the trunk or cargo area, the under-seat woofers function well as midbass drivers.

Audison BMW
With an Xmax specification of 7 mm, the APBMW S8-4 subwoofer delivers great bass output that bolts right into your BMW or Mini.

Visit Your Local Authorized Audison Dealer To Upgrade Your BMW Audio System

If your BMW or Mini sound system doesn’t give you goosebumps when you listen to it, drop by your local authorized Audison Retailer and ask about upgrading the speakers. The Product Specialist can design a solution that works with the existing source unit and amplifier or put together a Sound Pack solution with a dedicated DSP-equipped amplifier like the AP 8.9 bit. They can even create a bespoke solution for cars and SUVs that are equipped with fiber-optic MOST amplifiers. For more information about the Audison speaker upgrades available for your BMW or Mini, visit their website. Be sure to keep up with the latest news and product releases by following their Facebook page, Instagram feed and their YouTube channel.

This article is written and produced by the team at www.BestCarAudio.com. Reproduction or use of any kind is prohibited without the express written permission of 1sixty8 media.

Filed Under: ARTICLES, Car Audio, PRODUCTS, RESOURCE LIBRARY Tagged With: Audison

Modern Navigation Systems for Today’s Vehicles

NavigationPaper maps used to be the only way of planning route navigation. Before you, or perhaps your parents, set out on vacation, you would pick up maps for each state or province you planned to drive through, lay them out on the kitchen or dining room table, and highlight the route to take.

The problem with maps is that someone has to read them, and trying to read a map while driving is quite dangerous. Automakers realized that maybe technology could be used to make driving safer. This concept was the birth of the navigation system.

Through the 1980s, Toyota and Mazda worked on several different navigation systems for their cars. Some of these early navigation systems used digitized paper maps. In the 1990s, Mazda introduced the first GPS-based navigation system. Nowadays, most vehicles sold in North America have the option of navigation.

Navigation System Hardware

NavigationModern navigation systems have four key components. The first is a computer. This computer runs the navigation software that plans the route you have requested, tells you when to turn and advises you when you arrive. The second key component is the maps used with the navigation software. Two companies offer these maps, which are licensed to the end-user. The third component is the GPS receiver module and antenna. The GPS receiver lets the navigation system know where you are, and where you are headed. Finally, there is an interface. The interface is usually a touchscreen of some kind. The interface displays the maps and accepts the input of information to plan the route. Information can be typed on a touchscreen or spoken to the software and converted to text.

What is GPS?

NavigationGPS stands for Global Positioning System. The U.S. Department of Defense created the technology in 1975 and it was fully functional by 1995. The purpose of the system was to provide accurate location, speed and altitude data anywhere on the planet. The GPS system comprises about 30 satellites that orbit the Earth. Each one transmits a uniquely coded signal with a very accurate time stamp. The GPS receiver can, once it has acquired signals from several satellites, triangulate its location by comparing the difference in arrival time of each signal. The GPS system most of us are used to is called Navstar, and it is operated and maintained by the U.S. Air Force Space Command.

Many consumers refer to a Portable Navigation System (PNS) or in-dash navigation system as a GPS. While this term has become accepted, GPS is just one key component of a navigation system.

Not surprisingly, there is more than one GPS system in use globally. Russia operates a system called GLONASS, India has IRNSS, the Chinese have BeiDou-2 and the Europeans have Galileo. Some GPS receivers can capture information from multiple systems to improve accuracy. An example would be a radio-controlled camera drone – these use GLONASS and Navstar to provide more resolution regarding their position.

The signal sent to the navigation computer by the navigation receiver includes the longitude, latitude, heading (the direction you are traveling), altitude, velocity and the current time.

What are Navigation Maps?

Knowing where you are on the planet is great. The real key to a navigation system is its maps. Maps are available from one of two companies: TomTom, which purchased TeleAtlas in 2007, and Nokia, which purchased Navteq in 2008.

NavigationMaps are databases of roads stored as vectors. A vector is a line between two points. In the case of navigation road maps, the end points of the lines (or roads) are GPS coordinates. Most navigation map information contains additional information such as house numbers. If you have every wondered why some house or building addresses are off by a little bit, the reason is based on how addresses are stored. At one end of a street, or section of road, the map data contains the beginning house number. The other end of the street has the ending house number. Navigation systems spread out the difference between the two house numbers evenly along the length of the street. This predicted location does not always match reality because of geography – or pure randomness, based on the whim of the local municipal building department.

Navigation systems are useless without maps. They couldn’t plan routes or give directions. You are, quite literally, at the mercy of the quality and accuracy of the maps you own.

Working in conjunction with the map database is a Points of Interest (also known as POI) database. A POI database contains information about businesses and landmarks, and often includes a phone number. Depending on your navigation system, you may have as few as 1.5 million points of interest or as many as 11 million. The manufacturer decides how much they are willing to spend on this information. If your navigation system can search for gas stations, hotels, restaurants or hospitals, then the map data includes a POI database.

Some of the very first navigation systems used analog tape to store map and POI data. Yes – analog, magnetic tape! From that point, we moved to CD-ROM, DVD-ROM, hard disk drives and flash memory. The latest systems are based on smartphones and don’t have the map data permanently stored onboard – it’s all downloaded over the air, using a cellular connection in real time.

Modern Navigation System Features

NavigationModern navigation systems are amazing tools to help you travel safely and efficiently. These systems use extremely complex and proprietary algorithms to decide the best route between the starting and ending points of your route. The most basic of navigation software takes into consideration the size of the road (number of lanes and, if available, speed limit) and the direction of the turns you may have to make to complete the route. Navigation software companies are very protective of their route creation algorithms.

Modern navigation systems can accept real-time information to make route planning more accurate and efficient. The first upgrade was including traffic flow information. Many systems used FM antennae to capture traffic flow information that was broadcast in major urban areas. This technology is called RDS-TMC traffic, since the information was coded into the same frequency space as FM radio RDS information. Newer systems capture this traffic flow and accident information through the SiriusXM receiver. You do need a subscription to SiriusXM Traffic and, of course, supporting hardware in your vehicle to makes this work.

Apple CarPlay and Android Auto

If you have a vehicle with Apple CarPlay or Android Auto, your smartphone becomes an integral part of your navigation solution. Apple or Google stores map information and downloads it in real time through your smartphone’s data plan. The beauty of this solution is that you never, ever have to pay for map updates – the information is always being updated.

NavigationApple Maps and Google Maps both offer turn-by-turn navigation solutions that use each brand’s advanced voice recognition software. All you have to do is press a button and ask the system to take you to an address.

CarPlay and Android Auto navigation has the benefit of being able to acquire Point of Interest information directly from the Internet. If a new company opens and registers itself with Apple and Google, you can search for it right away.

One drawback of CarPlay and Android Auto is that the maps aren’t stored on the phone or in the vehicle. If you are traveling to another country, your cellular provider will charge roaming fees. (You can get roaming data plans to help minimize the cost, so that’s not a huge deal, but it has to be considered before you buy.) Another consideration is that these systems are constantly downloading map information. If you happen to have a cellular data plan with very limited bandwidth, this could eventually cost some money in data overage charges. These are not show-stoppers, just considerations.

Google Waze

Navigation-8.pngOne very popular navigation application used by people who live in high-traffic areas like Los Angeles, Toronto, San Francisco, Seattle, Honolulu, New Orleans or Chicago is called Waze. This application is available for iPhone and Android phones for free. The beauty of Waze is that other users provide traffic flow information, including detours, accidents and warnings for potholes, weather or even animals on the road. Waze offers crowd-sourced traffic information at its finest. Google purchased Waze in June of 2013 for $1.3 billion. If you run the risk of getting stuck in a traffic jam, try Waze; it’s quite impressive.

Using any navigation solution has its perils. If your co-pilot is reading directions from a paper map, or you are trying to drive while listening to voice prompts from a navigation system, there is always the risk of making an error while turning, merging or exiting. Always be careful when navigating and heed the rules of the road at all times.

If you are in the market for a navigation solution for your vehicle, visit your local mobile electronics specialist. They have many different solutions depending on the vehicle you drive. Some systems replace the factory radio, some work with it and some operate separately from it. They can show you the options for your vehicle.

This article is written and produced by the team at www.BestCarAudio.com. Reproduction or use of any kind is prohibited without the express written permission of 1sixty8 media.

Filed Under: ARTICLES, Car Audio, Navigation, RESOURCE LIBRARY

What Is A Soundstage And Where Can I Buy One?

SoundstageWhen it comes to listening to music, there seem to be two kinds of listeners in the context of “where the sound comes from.” Some people want to be enveloped by the music. They want to feel like they are in the very middle of the performance, with sound all around them. This style is sort of like listening to a set of headphones. The other listener wants their music to come from in front of them. This “forward-facing soundstage” style is more like listening to a home audio system or a movie theater.

There is no right or wrong – everyone has their preference. But high-end mobile audio systems are, for the most part, designed for the latter – people who want to feel as if they are sitting in the middle of the audience at an amazing concert.

There is also that guy in the Monte Carlo with the 6x9s in open-backed boxes in the rear window. He, thankfully, is gone now. If you happen to see him, cut off his mullet and drag him to a car stereo shop, please, and thanks!

Imagining a Soundstage

This article talks about an imaginary soundstage. But what in the world is a soundstage?

Soundstage
An overhead view of the described stage.

Imagine a band set up on a stage 20 feet in front of you. Let’s say there is a lead singer in the center of the stage, right at the forward edge. Behind him or her, someone is at a grand piano. To the right of the piano is a big drum kit with several cymbals all around the performer. In front of the drummer, to the right of the lead singer, is someone sitting on a stool with an upright bass. To the left of the singer is someone with a trombone. To the left of them is someone with a trumpet. Behind the trumpet player, to the left of the pianist, is a xylophone player. The xylophone player is also going to sing some backing vocals. So is the drummer.

Imagine those different positions for a second. They not only range laterally across the soundstage, but there is depth to their locations.

This unique and perhaps rare grouping of performers represents all the source aspects of your soundstage, but their locations don’t represent the limits of that stage. Let’s consider the venue in our analogy as well. A medium-size club of some sort. Wooden walls, a hard floor and a high ceiling. The room where we listen to our performance is a huge contributing factor to the sound of the performers. (If you ever have the chance to visit the Ryman Auditorium in Nashville, TN, do it! Even if you aren’t into country music, this venue is amazing.)

So, here we have our performers and our venue. We are going sit about 20 feet back from the center of the stage and let the show unfold for us. Our experience as the performers play defines the soundstage. We hear each instrument in its position on the soundstage. We also hear the sound of those instruments reflecting off the side walls of the club.

To reproduce the performance accurately, we need to reproduce those reflections as well. Capturing those reflections requires a specific recording style – so it may, or may not, happen. A recording of a live performance is much more likely to have that information than a studio recording.

Our Auditorium on the Road

SoundstageThere it is. The space in front of us, where the music is coming from, is our soundstage. If you get a chance to listen to your favorite recordings on a high-end home audio system, and you choose to sit equidistant from the speakers, then you probably have experienced a fairly accurate soundstage. The perceived location of where our music is coming from regarding height, width and depth is our soundstage.

Sadly, most mobile audio systems can’t or don’t recreate this very well. It’s a shame, because experiencing each performer in their correct location, including depth (one performer behind another) brings an amazing level of realism to your music. The good news: Recreating a soundstage in your car isn’t all that hard.

If you let the salesperson and installer at your local mobile electronics retailer know that you want a soundstage in your vehicle, they can design your system that way. Let’s assume we are building a whole new system from scratch, just to make this easier.

The first step will be to select a set of good-quality speakers for the front of your car. You mostly likely will want a component set unless you can fit a large (5-1/4” or larger) coaxial on the dash. Since most vehicles have the front speakers down low in the door, using a component set will let the shop you use install the tweeters up high and far forward. If the tweeters play low enough, say 2.5 kHz, then a skilled tuner can make the sound appear to come from the dash level, rather than the floor.

Soundstage
Tuning software such as this from Audison allows detailed control of the audio.

The next step to creating a soundstage is to have a way to tune those speakers. We aren’t talking about amplifier gain settings. We need control over equalization, output level and signal delay. Because the driver of the vehicle sits closer to the left speakers, those will appear to be louder, and we will hear the sound being reproduced by them sooner than the sound from the other side of the car. The simplest of systems with great soundstages will have either a source unit or external DSP unit with three-way crossovers, stereo equalizers and the ability to delay the signal going to each speaker.

With the above tools in place, your installer can set up the system so the sound coming from each speaker in the front of the car – from both midrange drivers and both tweeters – arrives at the listening position at the same time. Your installer will also tune the system so the left side of the car sounds the same as the right side. This tuning helps to eliminate frequency steering. Frequency steering causes the source location of a sound to move around the soundstage depending on frequency.

Next-level Performance

The above example offers a great two-way front stage. We would, of course, assume you are going to use a subwoofer in the system. A set of door speakers, even great ones, won’t be able to reproduce the bottom octave of the audio spectrum with any authority. With the sub in the system, it’s now called a three-way system. What if you want the system to sound even more realistic in terms of the placement of voices on the soundstage?

One way to improve your soundstage is to install a set of midrange drivers up high and far forward in the car. The A-pillars, dash speaker locations, and high and forward in the door are common midrange locations. If you can get a midrange that will play down to at least 300 Hz, the ability to solidify the dash as the source of the sound becomes much better. Rather than having deeper voices coming from lower in the door, now they will be focus better across the dash.

Another advantage of a three-way speaker set is that the woofer is often capable of producing slightly deeper midbass than an equivalent two-way speaker set.

Soundstage
4-way systems, such as the one in this purpose-built Civic can sound incredible.

The four-way system is going to cost more. You need two more speakers, two more amplifier channels, somewhere to mount those new speakers and probably another 30 to 60 minutes worth of system tuning. But yes, it’s totally worth it.

In these systems, the focus of performance is tailored to the driver’s seat alone. The passenger isn’t going to enjoy the same experience. That said, if you and your co-pilot both want to enjoy equally amazing audio, there are solutions in the works. By the spring or summer of 2017, everyone in the car will be able to enjoy an amazingly realistic soundstage across the dash.

This article provides an overview of the system design requirements for creating a system with a good soundstage. There are a lot of variables and hundreds, if not thousands, of options regarding how to execute to fine-tune the concept.

This is where your experienced mobile electronics retailer comes in. Use their knowledge, skill and experience to help bring your desire for musical realism to reality. If you’re out cruising around, drop into your local mobile electronics specialist retailer and ask if they have a demo vehicle that produces a great soundstage. If you have never experienced one, you will be blown away! Best Car Audio will not be held responsible for the ensuing audio addiction.

This article is written and produced by the team at www.BestCarAudio.com. Reproduction or use of any kind is prohibited without the express written permission of 1sixty8 media.

Filed Under: ARTICLES, Car Audio, RESOURCE LIBRARY

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