Product Spotlight: iDatalink Maestro AR Multi-Amp Upgrades

Several years ago, iDatalink, the company known for its class-leading remote car starter interfaces, launched an amplifier integration solution called the Maestro AR. The AR (which is short for amplifier replacement) was designed to interpret the CAN bus commands intended for a factory amplifier into something a third-party digital signal processor can understand. While DSP-equipped products from several companies work with the Maestro AR, iDatalink took advantage of a feature in the ARC Audio PRO Series line of processors to develop a unique solution. Multiple AR units can be installed in a single vehicle to control multiple digital signal processors or DSP-equipped amplifiers at the same time. Let’s examine how these upgrades work and why you’d want this solution in your vehicle.

How Does the Maestro AR Work?

In most vehicles with CAN bus-controlled factory-installed amplifiers, the radio’s audio output is a fixed-amplitude (volume) stereo signal. To be clear, the analog audio signal from the source unit, be it the FM radio, Bluetooth streaming or playback of a digital audio file, does not change level with the volume control on the radio. This limitation means that if your installer connects an amp to this signal, it will always be at full volume, no matter where the volume on the radio is set. In some vehicles, there is also a digital audio signal connection between the source unit and the amplifier. The Maestro AR will convert these to an analog signal.

Along with the audio signal coming from the radio are commands that travel along the CAN bus. These commands include volume adjustments, signal routing changes for Bluetooth hands-free calling, warning chimes and tone controls and adjustments to features like bass, midrange and treble tone controls, surround sound modes or speed-compensated volume adjustment. In many vehicles, a second analog signal from the radio caries navigation prompts and hands-free Bluetooth call audio.

The digital signal processor in the factory-installed amplifier routes the stereo audio signal to the various speakers in the vehicle after applying whatever filtering, equalization or up-mixing the manufacturer requested. The Maestro AR interprets commands on the CAN bus network and feeds them to the third-party DSP to ensure that warning prompts and Bluetooth signals are mixed into the system and routed as needed. Finally, and most importantly, the digital messages on the CAN bus control the output level of the third-party DSP in the amplifier to act as the master volume control.

In the above diagram, you can see three connections from the source unit to the amplifier. Those are the fixed-level audio, the analog Bluetooth/prompt signal and the CAN network connection.

In a vehicle that uses the Maestro AR, those control commands go to a third-party DSP from companies like ARC Audio, Audison or Rockford Fosgate. These processors can then replicate the majority of the functions of the DSP in the factory amplifier to give you complete control over your audio system.

In a typical upgrade, your installer would program the Maestro AR interface for your vehicle’s year, make, model and trim level, then connect it to the wiring in the car with a T-harness that’s also available from iDatalink. All third-party partner DSP companies require the technician working on your vehicle to install a brand-specific adapter harness to work with the Maestro T-harness.

For this article, we’ll talk about an upgrade that uses ARC Audio DSP-equipped amplifiers. This ARC Audio DSP installation requires an input adapter harness called the IDATA-OEM, which would be available from your ARC Audio retailer. The IDATA-OEM harness connects to the iDatalink T-harness and the analog RCA inputs on any ARC Audio amplifier or DSP that uses the PS8-Pro platform (PS8 Pro, IPS8.8, PS8-50, Blackbird or PSM Pro). The T-harness includes speaker wires that your installer would connect to the output of the new amplifier to make it easy to feed audio signals to the speakers. Finally, your installer would configure the DSP’s output channel assignments (front left, front right, rear left, rear right, center and subwoofer), crossovers, equalization and, if applicable, delays for each speaker to make the new system sound great.

ARC Audio Multiple Amplifier Systems

Many years ago, ARC Audio added a feature to its PS8-Pro and newer digital signal processors that allows several processors to be connected simultaneously to a computer via unique and individualized electronic product IDs for every signal processor made. The installer can label each processor, and the technician setting up the system can select which processor (or DSP-equipped amplifier) they want to adjust from a pull-down menu. While the product development team at ARC Audio was working with iDatalink on Maestro compatibility, the two companies realized they could use this feature to allow multiple AR modules to work together simultaneously to control multiple stand-alone DSPs or DSP-equipped amplifiers.

Why would someone want multiple amplifiers in their car’s audio system? We’ll use the example of Fred Lynch’s Ford Flex. Fred works at ARC Audio, and one of his many duties is to oversee international sales. He recently drove his Flex from Modesto, California, to Toronto to be displayed and auditioned at the CMA Expo in March 2023. The audio system in the Ford Flex has three ARC Audio Blackbird 12-channel DSP amplifiers and an additional ARC 1000.2 amp that powers a trio of A-Series shallow-mount subwoofers. In addition, three Maestro AR processors in the vehicle individually control each of the system’s three DSPs.

Fred built the sound system in his Flex to demonstrate the capabilities of ARC Audio’s amplifiers, processors, speakers and subwoofers in an OEM application with all OEM controls and features retained. Most importantly to his family, no storage space was lost. As such, he optimized the system with as much power as possible. He’s also upgraded the vehicle with a three-way front stage with 8-inch woofers in the doors and RS-3.0 3-inch midrange speakers, and RS 1.0 tweeters in the A-pillars. He also bi-amped the rear ARC-Series, coaxial speakers in the mid doors and rear D-Pillar speakers! The center channel midrange and tweeter are also filtered actively. A pair of preamp DSP outputs on one of the Blackbird amplifiers provides the signal to the ARC 1000.2 subwoofer amplifier.

Bonus Features of Maestro Integration

We mentioned earlier that the AR interface sends more than just volume control commands from the factory radio to the amplifiers or signal processors. The ARC Audio DNA software allows your installer to set up a dedicated equalizer band that works with the midrange control and a high-shelf filter that responds to the treble tone controls on the radio. The bass EQ control on the radio can be configured to adjust a single-band EQ, a shelf filter or the remote level control for the subwoofer output.

Finally, the Surround Mode control on the factory radio allows for selecting from several DSP configuration presets. It’s worth noting that the number of presets is limited by the interface on each vehicle’s radio. In Fred’s Flex, he has a configuration with just the front-stage speakers only. The second preset adds the subwoofers. The third preset adds the side and rear speakers. This third preset configuration added space and size to the experience without degrading the tightly focused front stage. The fourth preset changes from a sound-quality-oriented configuration to something more popular with enthusiasts who like a lot of bass by raising several crossover points so the system can safely use the amplifiers’ prodigious power. Toggling the “speed-compensated volume” selection from off to Low to Medium or High switches the presets on all three amplifier DSPs simultaneously.

Another unique feature of the Maestro AR system when using the ARC Audio Pro-Series DSP-equipped product is that installers can reconfigure the volume structure and incremental step level on the factory volume knob. For example, many factory-installed audio systems have issues where the volume control’s first step results in sound that can be too loud to converse with the person in the seat next to you. Another common problem is that the system reaches its maximum output capabilities using half of the volume steps on the factory radio. With AR and an ARC Audio processor, your installer can redefine the volume steps so the volume control works like a factory system with the range and incremental steps you expect.

Why Use the Maestro AR?

Any audio system upgrade ideally aims to deliver improved sound quality, extended frequency response and output capability while maintaining the system’s ease of use. Upgrading the system with better speakers, subwoofers, high-power amplifiers and client-specific system calibration while retaining the intuitive control and appearance of the factory radio using the iDatalink Maestro AR ensures that the results are going to be predictable and reliable. Furthermore, this solution eliminates the need for the installer to attempt to recombine filtered, equalized and delayed signals; worry about Bluetooth hands-free calling echoes; or add an external volume control. In short, everything works intuitively and sounds excellent.

So if you have a Ford, Chrysler, Dodge, Jeep, Ram, Toyota, Lexus, Subaru, Volkswagen or Mitsubishi, or a Harley-Davidson motorcycle, visit a local authorized vehicle iDatalink Maestro Retailer and ask about an audio system upgrade that uses the iDatalink Maestro AR interface. As a bit of teaser, we have it on good authority that iDatalink is working on an interface solution for vehicles that use A2B communication, digital over the copper (as is found in many Hyundai and Kia vehicles), along with MOST 50- and MOST 125-equipped vehicles. With the Maestro AR solutions, owners of these vehicles will be able to upgrade the sound systems with premium signal processing, amplification and speakers, ensuring that music enthusiasts can continue to have audio systems that are enjoyable and easy to use.

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.

Bench Battle: Headunit Features vs. Performance

Awhile ago, a client asked us what you get when you buy a “better” headunit. The usual answer is that you get more features and improved functionality. Those of us with a drive for the ultimate in sound quality and realism from our mobile electronics systems choose products in hopes of them receiving improved sound quality. Beyond frequency response and noise, what else makes one radio sound better than another?

We invited two head unit specimens to the Best Car Audio test bench for a little head-to-head battle. The first subject is a modern multimedia station that is equipped with navigation, smartphone integration and the general Bluetooth goodness. The challenger is a veteran, but premium, CD receiver. It has never heard of MP3 files, doesn’t understand the concept of satellite radio and thinks Bluetooth is the result of eating blueberry pie. However, in its day, it was one of the best. We do not need to mention names here, but we will call this the bench battle of features versus performance.

The Equalizer – Premium Test Equipment

Measuring the frequency response of a car audio product is relatively easy if you can feed a known signal into the device. When it comes to measuring a signal source, that is responsible for generating the signal, so all we can do is measure the output. We have a high-end digital interface on our bench. It offers a flat frequency response from 5 Hz to 92 kHz with a tolerance of 1 dB. The signal to noise ratio is an amazing 116 dBA and distortion is specified at less than 0.00032%. These specifications exceed those of both source units we are going to test.

Frequency Response Measurement

Testing the frequency response of a source unit requires some trickery. We have developed a reliable method that has proven itself time after time. The image below shows the frequency response of the reference signal. It has a slight incline in the high-frequency region, but everything is within a tolerance of about 1 dB. We converted this 192 kHz, 24-bit test track down to the CD standard of 44.1 kHz and 16 bit. Response to 22.05 kHz remains ruler-flat.

Headunit Features — Reference White Noise Signal

Frequency Response Results

Before we get into the results, we want to explain how to use the measurement graphs. The test track uses random noise as part of the test procedure. We process that after the test is complete. What you want to observe is the trend of the charts. A small peak or valley is not an anomaly in this scenario. Average the curve in your mind to see the overall trend.

The CD receiver: We played our test track from a standard CD audio file to make sure both source units were given the same information. The frequency response of the unit showed a typical response. The high-frequency filter kicks in around 17 kHz, which is normal for consumer products.

The DVD receiver: We played the same CD in the DVD receiver to see how it responded. The manufacturer of the DVD receiver has included a 2 dB boost on the top end that starts at 7 kHz and peaks at just over 2 dB at 15 kHz. The high-frequency filter response is similar to that of the CD player.

The high-frequency boost is not a big deal in terms of how a system sounds. Most of us have some high-frequency attenuation in our hearing, so this helps put some of the sizzle and air back into our music. It would be worth checking whether the source unit output clips when a 0 dB 15 kHz tone is played. This article is not a product review, so we will save that for someone else to tackle.

Bring the Noise

Our next challenge for the new versus old shootout is a little more technical: We wanted to see how each unit performed regarding background noise. This test is often reserved for lab environments, but can quantify the effort put into the component selection and system design.

For this test, we used a 1 kHz test tone recorded at -90 dB relative to full scale. Because the two source units have different pre-amp capabilities, we adjusted them so the output of the 1 kHz tone was equal in amplitude. This would best depict the noise imposed on the signal.

The CD receiver: We can see that the background noise relative to the signal is very quiet. There is a little bump at 60 Hz that was created by the power supply on our test bench. Otherwise, the test was impressive.

The DVD receiver: The background noise relative to the 1 kHz is 10 to 15 dB louder than that of the CD receiver at higher frequencies. There are also some spurious harmonic distortions in the output signal, mostly above 1 kHz. The large bump in noise in the low-frequency region could be caused by our 60 Hz 120 volt power supply causing some harmonics. The bandwidth is really wide, so it is hard to determine for sure.

A Distorted Perspective

We decided to repeat the test with a full-amplitude 1 kHz sine wave to see what harmonic content would be created at higher internal levels. The limits of the FFT analysis in our software starts to show up here. The flat horizontal line on the left of the chart and the angled line on the right are due to the analysis software and don’t represent noise.

The CD receiver: We noted two small harmonics at 14,750 and 165,000 Hz, with a slight harmonic at 12,000 Hz. Otherwise, the signal was very pure.

The DVD receiver: Harmonic distortion was clearly present at 1 kHz intervals starting at 2 kHz. It is worth noting that the first resonance is 45 dB quieter than the reference signal. If you were just playing the test tone, you might be able to hear it, but only just barely.

The Grand Finale – Intermodulation Distortion

Testing for intermodulation distortion is, well, mean. Out intermodulation distortion test is comprised of a CD test tone with 19 and 20 kHz sine waves played simultaneously. The spectral response of the test track can be seen below.

The CD receiver: When you are looking at an intermodulation comparison test, you are looking for frequency content that wasn’t in the original file. In the case of the CD receiver, we can see a very small bump at 1 kHz. This is significant because it is the difference between 19 kHz and 20 kHz. This would be considered an excellent result. A few other spikes show up at 3,500, 4,500 and 9,500 Hz, but they are still quite low – peaking at -93 dB relative to the test signal level of –15 dB.

The DVD receiver: We cannot really explain what happened here. There is 1 kHz content only 20 dB down from the 19k Hz and 20 kHz tones. Then harmonics upon harmonics of this up to 21 kHz. This test shows why some source units sound accurate and pure, while others do not.

Are Headunit Features Worth the Trade-off?

A few months ago, we published an article about harmonic distortion. That served to establish the basic understanding of how distortion creates content that wasn’t present in an original audio file. Our intent in this comparison is not to put down the modern DVD receiver, but to show what happens when manufacturers forego the bells and whistles and simply focus on all-out performance.

The same tests that apply to these source units are also common in amplifiers and speakers. We will subject an amplifier to the same mean and nasty tests in the coming months.

Don’t ever let price, perception or age dictate how you think a product sounds. Work with your mobile electronics specialist retailer to listen and compare for yourself. You will be amazed at what you hear.

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.

Custom Vented Enclosures-More Bang for Your Buck

We all know that the performance of different makes and models of speakers and subwoofers has a dramatic difference in how they sound. When it comes to the installation of subwoofers, the choice of enclosure plays a huge role in the sound of the subwoofer system. In this article, we look at some of the benefits of custom vented enclosures and solutions available.

The Factors that Determine Performance.

Three criteria have the most effect on performance: air volume, tuning frequency (for bass reflex enclosures) and construction. Every subwoofer has its electro-mechanical characteristics. Subsequently, each subwoofer needs its very own enclosure design. With that said, some relatively standard designs offer good performance across a wide variety of speakers.

The difference between having an enclosure that “works” and one that sounds amazing is all in the design. Have your mobile electronics retailer confirm that the air volume and tuning frequency match your application before you purchase. (We will explain that happens when the air volume or tuning frequencies are “off” in another article.)

Wait, Why Vented Enclosures?

While there are benefits and drawbacks to each type of enclosure, a vented (bass reflex) enclosure will offer excellent efficiency and low-frequency extension for most people. These enclosure characteristics reduce the amount of power we need to send to the woofer, and therefore reduce the chances of overpowering and damaging the woofer.

Off-the-shelf Enclosures

Many car audio retailers offer subwoofer enclosures that have been mass-produced. These enclosures vary dramatically in construction quality and design. Some companies tune their enclosures relatively high to increase efficiency at higher frequencies while sacrificing low-frequency output and power handling. The materials used to build these enclosures also vary in quality.

Almost all of these off-the-shelf enclosures are made of MDF. That said, the density of the material varies a great deal. Some MDF is very soft in the middle, offering less resistance to panel deformation. Enclosures made of this soft-center MDF are also prone to having the mounting hardware strip when your installer goes to mount the subwoofer.

These days, efficient use of space is increasingly important for auto sound enthusiasts. An off-the-shelf enclosure may not maximize the available space in the storage area of your vehicle. Enclosure manufacturers try to balance the dimensions of the enclosure against the airspace requirements of the intended driver and the space available in the average vehicle.

Construction Methods

Many enclosure manufacturers claim to use a rabbet joint where two panels meet. Unlike a butt joint, a stepped rabbet joint will increase the surface area of the connection by about 50%. Enclosure assembly typically makes use of a generous amount of glue. Once glued, the panels are held together with brad nails to allow the glue to set up. The additional surface area provided by the rabbet connection results in a stronger joint and a reduced chance of air leaking.

Vent Considerations

If a vent (or port) is designed and constructed properly, a vented enclosure can produce less distortion than a sealed (acoustic suspension) enclosure. To reduce distortion and meet these goals, the vent must have adequate surface area and be designed in a way that the air entering and exiting the vent will couple well with the air in the listening environment. Several subwoofer manufacturers design and construct their enclosures. These stand out from the crowd as having excellent vent designs.

Enclosures with no radius or taper on the vent end are more prone to noise. This sharp edge on the vent can create chuffing or other noises as air rushes over its edges. For a 3-inch or larger vent, a simple 3/4”-inch radius on the vent edge is just barely enough to be beneficial. A much larger radius offers more benefit in allowing the air inside the vent to decelerate properly.

Your Enclosure May Need Bracing

If you are looking for the best possible performance from your subwoofer system, then every effort possible should be made to ensure that each panel of the enclosure is as rigid as possible. One way to add strength to an enclosure is for the manufacturer to install bracing. Bracing connects opposite panels to each other to reduce flexing. Panel vibrations can, in extreme cases, cause glue joints to fail.

Application-specific Subwoofer Enclosures

We have talked about some of the benefits and some of the drawbacks of an off-the-shelf subwoofer enclosure. The alternative is to have your mobile electronics retailer design and construct an enclosure to fit your vehicle. Maximizing usable storage space can be achieved by having your fabricator fit the enclosure snugly to the sides of the vehicle. Many vehicle-specific enclosures combine different construction techniques. Flat panels, fiberglass, stacked-panel fabrication and more can allow an installer to make amazing use of every cubic inch of your storage space.

Maximize Bass Custom Vented Enclosures

One of the first and most beneficial additions than can be made to a factory audio system is a subwoofer system. When it is time to take that first step, visit your local mobile electronics retailer. They will be happy to show you what is available for your vehicle, and what they can create. We know that no matter what you choose, you will be pleased with the dramatic results.

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.

Fuses: To Serve and Protect!

Let’s face it: Accidents happen. Minimizing the collateral damage from an accident is important. When you have a mobile electronics system that includes installing an amplifier in your vehicle, a discussion about fuses or circuit protection should take place before the installation begins. Choosing the right device to ensure your system works as intended and is safe in the event something goes wrong is very important. Let’s talk about fuses.

What is a Fuse?

A fuse is a device that will disconnect a circuit when too much current passes through it. Fuses typically incorporate a small piece of metal with a specific amount of resistance. As current passes through the fuse, the piece of metal heats up. Up to a certain temperature, the circuit remains functional. If the current level increases, the fuse heats up more and will eventually fail, which protects the power source and load.

My Wire Needs a Fuse?

Two common locations in our audio systems need protection. Any power connection to the battery needs a fuse. Any electronic device connected to the vehicle electrical system should also have a fuse.

The fuse at the battery is there to protect the vehicle in the event of a short circuit. If it is installed incorrectly, the power wire may rub against a sharp object and wear through the jacket. Once the conductor touches the chassis, a short circuit will occur. Left unprotected, the only limiting factors in how much current passes is the internal resistance of the battery, the resistance of the power wire and the resistance of the connection to the chassis. In most cases, hundreds of amps of current will flow – if we don’t have a fuse on the battery.

Imagine a car with a big stereo system. There may be an upgraded AGM battery under the hood and a few huge amplifiers in the trunk. What if the unthinkable happens – the car is involved in an accident, and the chassis shorts to the power wire? Without a fuse on the power wire connection to the battery, both the wire and the battery will heat up very quickly and could easily start a fire.

Fuses in Our Devices

Recently, we experienced an instance where a radio was blowing the 15 amp fuse in its power harness as soon as it was plugged in. Even with all the speakers disconnected, it kept blowing fuses. It turned out there was an improperly soldered terminal on the internal amplifier in the radio. This poorly soldered connection was shorting the power connection to the chassis of the radio and, subsequently, to the ground. The 15 amp fuse in the harness prevented the copper traces on the circuit board from being destroyed. Our technician was able to clean up the solder connection, and we put the radio back into service.

Types of Fuses in Car Audio

More and more new fuses are introduced to automobiles each year as manufacturers strive to reduce weight and packaging sizes. On the aftermarket side, we use three common fuse styles.

AGC and AGU Fuses

AGC and AGU fuses are constructed from four components: a fusible link, a pair of end caps and a glass tube. The manufacturer solders the fusible link to one end cap, then slides the glass tube over the link before soldering on the other end cap. Many radio harnesses and lower-power devices use AGC fuses. For years, the larger-diameter AGU fuses were very popular in amplifier installation kits.

The problem with these fuses is that the quality and reliability of the internal solder connections can affect their performance. We have seen brand-new fuses out of package not work because the solder connection on one cap was incomplete.

Another consideration for AGC and AGU glass fuses is how we connect them to our power wire. In most cases, a terminal is pressed against the end cap using a sprung metal connection. As this connection heats up, it can loosen. For low-current applications, AGC fuses are acceptable. For moderate- to high-current applications, there are better alternatives.

ATC, ATM and Maxi Fuses

This style of fuse is composed of two components: a plastic housing and a stamped metal piece that includes the electrical connection tabs and current-limiting link. These fuses are compact and easy to install. They eliminate the connection that plagues the glass fuses, but they still suffer from problems when it comes to connecting them to the power wire. In almost all applications, sprung metal tabs are responsible for pressing the tabs of the fuse against the wire terminals. These can fail over time.

A common point of failure is the loop-type under-hood fuse holder that are included with aftermarket lighting kits. These molded holders include two female terminals connected to the input and output wire. After time and many heat cycles, these terminals can loosen, and the resulting resistance will cause the holder to fail. It should be noted that the current required to heat up the connection to the failing point is often less than what is required to blow a fuse.

ANL and Mini-ANL Fuses

In the mobile electronics industry, ANL and Mini-ANL fuses are the preferred option when it comes to protecting devices from over-current conditions. These fuses are constructed in the same way as an ATC, ATM or maxi fuse, with a single metal plate that is stamped to provide the connection terminals and the fusible link. A plastic housing snaps over or rivets to the device to enclose the link.

Where these fuses differ from the other two styles is in how they are connected to the wiring. A set of large blocks connects to the wire. Most of these blocks use set screws. The fuse is then attached to these blocks with a large-diameter bolt. Your installer can (and should) tighten the bolt to ensure that the electrical connection is solid and secure.

Protect Your Vehicle and Equipment

Whenever you have your installer adds an electrical device to your vehicle, it must be fused. Even a small-diameter wire for an auxiliary USB charge port, a radar detector or LED lighting can cause an impressive amount of damage when overheated. It will not only melt through its jacket, but will melt the wiring around it. Proper circuit protection is cheap insurance against having to call the insurance company. Your local mobile electronics specialist retailer would be more than happy to discuss how and where they fuse the equipment they install.

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.

Product Spotlight: Sony XM-5ES Five-Channel Power Amplifier

Five-channel car audio amplifiers like the Sony XM-5ES are a great way to upgrade your car stereo system to deliver great sound. Sony has created an amp that produces up to 165 watts of power per channel to the front and rear speakers and 750 watts to the system’s subwoofers. They’ve also crammed this beauty with premium processing technology and integration features to ensure that your music sounds fantastic.

Features of the Sony XM-5ES Five Channel Amplifier

The four main channels of the XM-5ES are rated to produce 100 watts of power when driving 4-ohm loads. The subwoofer channel produces 450 watts into the same impedance. Those power numbers jump to a beefy 165 and 750 watts when driving 2-ohm loads. Your installer can also bridge the front or rear channel pairs so that each can drive a single 4-ohm load with up to 330 watts. This beast can crank out over 1,400 watts of power from a chassis that measures just a hair under 15 by 9 inches and stands just a little over 2.25 inches tall.

While power is fun, genuine car audio enthusiasts know that true sound quality comes from smooth frequency response and excellent distortion performance. Sony states that the main channels have a -3 dB bandwidth of 10 hertz to an impressive 40 kHz, making this amplifier hi-res audio compatible. The subwoofer channel also has great bandwidth with a rating of 10 to 500 hertz. Distortion is specified as less than 0.05%, and the signal-to-noise ratio is -77 dB using the ANSI/CTA-2006-C standard.

The Sony XM-5ES has the most complete controls of any amp we’ve seen.

The XM-5ES is based on a handsome cast-aluminum heatsink. A compact speed-controlled cooling fan concealed in the back left corner comes to life when the amp is pushed hard. Sony has provided terminal blocks with high-quality set screws for speaker and power wiring. The speaker connections will accept 8-AWG cables, and the power connection is suitable for 0-AWG wire. Given that the amp can produce 1,400 watts of power, you’ll want your installer to use full AWG-spec, all-copper wire to feed this beast.

The amplifier has four pairs of RCA jacks, a connection for the included remote level control, and a switch to select between high and low-voltage input ranges on the left side of the amp. Four 40-amp ATC fuses are on the chassis beside the monster power connections.

Signal Processing and Integration Features

Turning our attention to the top of the amp, we find a removable panel that conceals all the controls and switches your installer will need to complete the installation in almost any vehicle. While the panel is off, the trim piece in the center of the amp that bears the Mobile ES logo can be rotated to suit your installation.

The logo plate in the center of the XM-5ES can be rotated 180 degrees to align with your installation.

The signal routing and configuration options of the XM-5ES are nearly unmatched, aside from amplifiers that include a well-designed digital signal processor. Aside from being able to use anything from a single pair of RCA terminals to feed all five channels, the amp can be configured to sum the front and rear inputs and also feed that signal to the subwoofer section to add fading abilities. This can also be used to combine speaker-level signals from a factory-installed midrange and tweeter together to produce a full-range channel. The Sony team has done its homework while developing this amplifier.

The front and rear channel pairs include both high- and low-pass crossovers so that a bandpass crossover can be created for a midrange or midbass speaker. There’s a range switch to select between 50 to 500 Hz or 50 to 5 kHz filter ranges. The subwoofer channel has a selectable infrasonic filter that is adjustable from 5 to 50 hertz and a low-pass filter that can be set anywhere from 50 to 500 hertz. The main channel filters are -12 dB/octave, and the subwoofer low-pass filter has a -24 dB/octave slope.

Sony has included remote turn-on detection for use when the RCA jacks are connected to speaker wires from a factory radio. Those inputs will accept 200 millivolts to 8 volts in the low range and 3 to 16 volts in the high range. In most applications that use a factory-installed source unit, the installation won’t need a line output converter.

Upgrade Your Car Stereo with Sony Mobile ES

This is one of the most thoughtfully designed five-channels we’ve run across. The features and performance specifications make it a great solution for anyone who wants a premium upgrade solution for their car stereo. Drop by a local authorized Sony Mobile ES retailer today and ask for a demonstration. Follow the Sony Car Audio team on Facebook and check out their website to learn more about their premium car audio upgrade solutions.

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.

How Does the Maestro AR Work?

ARC Audio Multiple Amplifier Systems

Bonus Features of Maestro Integration

Why Use the Maestro AR?

The Equalizer – Premium Test Equipment

Frequency Response Measurement

Frequency Response Results

Bring the Noise

A Distorted Perspective

The Grand Finale – Intermodulation Distortion

Are Headunit Features Worth the Trade-off?

The Factors that Determine Performance.

Wait, Why Vented Enclosures?

Off-the-shelf Enclosures

Construction Methods

Vent Considerations

Your Enclosure May Need Bracing

Application-specific Subwoofer Enclosures

Maximize Bass Custom Vented Enclosures

What is a Fuse?

My Wire Needs a Fuse?

Fuses in Our Devices

Types of Fuses in Car Audio

AGC and AGU Fuses

ATC, ATM and Maxi Fuses

ANL and Mini-ANL Fuses

Protect Your Vehicle and Equipment

Features of the Sony XM-5ES Five Channel Amplifier

Signal Processing and Integration Features

Upgrade Your Car Stereo with Sony Mobile ES

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