Car Buyers Want Brand Name Audio Equipment

August 20th, 2007 by admin

A recent study by J.D. Power & Associates suggests that automakers shouldn’t ignore the trademark on the audio entertainment they put in new cars and trucks, especially if that equipment is premium.

The firm’s new “U.S. Automotive Emerging Technologies Study,” based on responses from more than 17,000 consumers in July, says branding gives a boost to the amount of money consumers are willing to pay for audio systems. But it also says certain in-vehicle technologies drop off the charts when consumers hear how much they cost.

Among consumers who indicate they are highly interested in having a premium surround-sound system in their next vehicle, more than 80% are willing to pay twice the average market price if the system wears a brand.

The study, which the firm says measures familiarity, interest and purchase intent for emerging automotive technologies, rates those parameters both before and after consumers are given a ballpark cost of the product.

Mike Marshall, director of automotive emerging technologies at the consultancy, says the firm organized the survey so that customers first got a brief description (and graphic) of a feature, and then were asked how interested they would be in the product. The next screen offered up prices, and they were asked again if they would purchase at the price given.

The study finds that the majority of consumers who are highly interested in premium surround-sound systems are willing to pay an average of $1,000 for a branded system–twice the suggested market price of $500.

Marshall says consumers were shown 24 brands of premium surround-sound brands with their brand trademarks. “I didn’t expect over 80% of consumers to opt to pay more,” says Marshall. “[By] doubling that price, you’d only lose one in five buyers [if the system was branded]. It was surprising because other than putting a brand on it, we didn’t put any verbiage on it–didn’t say it would be a better system.”

The study suggests that 60% of consumers want audio devices capable of playing multiple formats. Half are winning to pay $100 for a USB connection, and 43% said they’d shell out $150 for an iPod jack.

Consumers’ ages, perhaps not surprisingly, made a big difference in interest levels before price was revealed. “Younger consumers are more geared to entertainment and communications features, older consumers more to safety,” Marshall says–adding that among younger consumers, slightly more males than females are interested in audio communications and entertainment systems.

This suggests that things have become less gender-defined since the 1970s, when in-car communications and machismo collided with the CB-radio fad and one-hit wonders like “Convoy.”

On the consultancy’s list of in-car tech products, run-flat tires, which cost about $600, garnered 77% interest, followed by two-stage smart airbags, a navigation system, premium surround-sound audio and active cornering headlight systems.

Bandpass Box Primer

March 20th, 2007 by admin

There are many variations on the bandpass design, and the actual design possibilities are virtually endless. We’ll focus on the two more popular designs without going too deep into the isobaric setups.

The 4th order bandpass is basically a driver placed in a sealed box with an identically tuned port on the other side of the sealed section. The resulting system usually provides a lower cutoff frequency, the tradeoff being a larger enclosure. The enclosure can be reduced in size by using two drivers in an isobaric configuration.

4th order bandpass systems usually demonstrate better power handling characteristics than the other main systems considered here. Its transient response is second only to the sealed enclosure systems, making it a good choice for subwoofer applications.
As all of the output of the 4th order bandpass system is via the port, the largest port diameter possible for the enclosure should be used in order to minimize port noises. The ports should be flared whenever possible, for the same reasons.

The 4th order bandpass system rarely exhibits a perfect bandpass response – there is usually some out-of-band noise present in its output. A simple notch filter can be used to reduce this noise if it is audible. Alternatively, a low-pass filter can be used in series with the driver, but the in-band response of the system may also be affected if this approach is taken.

The 6th order bandpass system is similar to the 4th order bandpass system , except in this case both the front and the rear volumes are tuned via ports. The power handling of the 6th order bandpass system ranges from excellent within its passband to poor for frequencies lower than its passband.

The transient performance of 6th order bandpass systems is usually worse than the sealed, ported and 4th order bandpass systems, making it more suitable for sound reinforcement, multimedia and other less critical applications, rather than high-end audio. Like ported systems, the driver becomes unloaded at frequencies lower than the passband.

As with the 4th order system, the 6th order bandpass system rarely exhibits a perfect bandpass response – there is usually some out-of-band noise present in its output. As mentioned before, a simple notch filter can be used to reduce this noise if it is audible. Alternatively, a low-pass filter may be used, but the in-band performance may be affected.

There is no set measurement or equation to calculate these boxes to perfection. A lot of the box design software available online will have bandpass options, but from the research I have done on this, I have found that it is still in the area of being experimental.
For the 6th order bandpass configuration, Bose claims to have a working set equation for configuring the two different ported areas, they even have patents on these. I believe this, personally, after hearing a 3” speaker pump out extremely clean bass frequencies from a Bose system. However I seriously doubt this will be released to the public anytime in the near future.

I would highly recommend using software designed to calculate volume and port size if you are attempting to build your own bandpass box. I have added 2 links below for easy reference. I have built 2 myself using the highest recommended airspace for the driver on the sealed side, and tuning the ported side by ear (trial and error). There is only one set balance for designing a 4th order bandpass box: The larger the sealed area, the lower the bandpass frequency that can be obtained.

Tips for building bandpass boxes:
-Flare all ports to reduce port noise.
-Use largest applicable port size for the same reason.
-Allow ALL adhesives to dry completely and air out before mounting speakers or plexiglass (fumes may damage or cloud some materials).
-Use 3/8” or thicker plexiglass or Lexan on windows to prevent flexing. ¼” doesn’t work, I tried.
-Always test your box and fine tune it before covering or upholstering.

Clipping – How Distortion Affects Sound Systems

March 20th, 2007 by admin

Clipping is when an amplifier has reached its maximum output capacity yet tries to keep up with the input signal gain ratio between the signal source “HU” and Amp. The amplifyer hits an imaginary wall whereby the output signal is no longer a symetrical replication of the input signal. The wave form in, does not match the wave form out in shape or amplitude. (you can see this easily if you had a A/B channel oscilloscope; channel A connected to the amp input, channel B to amp output) The only difference you should see between channel A & B are signal amplitude values. If the signal shape varies considerably in channel B, you have a problem with clipping.

So.. what’s wrong with this picture? The amp tries to put out the appropriate power, but runs out of voltage from the supply rails and we get a flat spot at the upper and lower peaks of the wave form. In an extreme case, “severe clipping”, there is so much additional energy buildup (heat) into the voice coil(s), but the cone does not move (motivate) enough to cool the voice coil and former adequately. Hense, the voice coil over heats and either seizes in the gap or burns the voice coil windings.The result: an open circuit and a blown speaker.

So what happens to the speakers when they are underpowered? Under normal listening conditions… nothing! There is adequate signal voltage from the amplifier to motivate the speaker. This moves the speaker cone and draws/expells air to cool the voice coil adequately. No problems here… just modest output from the speaker. This happens all the time when we ride with the tunes playing low enough to hear our buddy in the co-pilot seat chattering on his/her cell phone.

So, can we use low power safely on speakers? Yes… When we use a small amp to drive a high powered speaker, the speaker can take all the “clean power” the amp can deliver and more. But it’s when we push the amplifer into high distortion (“clipping”) mode, the speaker cannot move (motivate) in and out adequately to cool the voice coil. Eventually, this will even fry a very expensive speaker in this manner.

So, what then causing clipping you ask? The amp will try to meet the power demand placed upon it, but it cannot exceed its design capabilities. This in turn, produces the deadly “square wave” output to the speaker. The speaker sees this severely clipped signal as something similar to DC current. Speakers cannot deal well with DC inputs. The cone goes in or out and stays there. No motivation to cool the voilce coil and sooner or later, the speaker will fail.

Alright, we know what clipping is, how it affects amps and speakers. What do we do to keep this problem from destroying our expensive drivers? Easy deal:

1. Use amps that closely match or modestly exceed the power rating of the speaker. A 100 watt speaker will love getting 125 watts of “clean power” vs a 100 watt speaker getting 25 watts of badly clipped (distorted) power.

2. Know what distortion sounds like and prevent it by proper amp setup procedures. (HU/amp gain matching, limited bass boost usage)

3. If you are not sure your system is clipping, best thing to do is get out
of the vehicle, open the doors and step to the rear of the vehicle about 10 feet and listen…

A. Are the highs and mids clear and natural sounding or harsh, shrill and very poor SQ? You are clipping the amp if you hear the latter!

B. Does the bass sound full, tight, have a definite thump and smooth transitions from one note to another? If not, good chance the sub amp is clipping or your enclosure design is not optimal for the subs.

Welcome to Car Audio Extreme!

March 12th, 2007 by admin

We’d like to thank you for visiting Car Audio Extreme, you’re source for information and news about the car stereo industry. We’ll aim to provide informative, opinionated reviews of the gear you’re looking at – as well as the best places to guy them. Stay tuned for more info.