When it comes to upgrading a car audio system with a digital signal processor, you’ll typically hear about a discussion of signal delay. Maybe people refer to this as time alignment or setting the delays. No matter what term is used, understanding the benefits and drawbacks of this technology is crucial to creating a car audio system that sounds amazing.

Let’s Talk About Stereo

Three crucial factors are required to recreate a coherent and accurate stereo imaging from a sound system. First, the frequency response of the left and right speakers needs to be the same. If there are differences, sounds that are louder in one channel will appear to move toward that corresponding speaker. Second, and this is an extension of the first, the volume level of both speakers needs to be the same. Finally, and most relevant to our discussion of delay, the sound from each speaker needs to arrive at the listening position simultaneously.

In a home audio system, we can move our chair or change seats on the couch to place ourselves in a position that’s equidistant from each speaker. If the speakers are similar distances to the rear and side walls, then their frequency response should be similar. The result is a listening experience where sounds appear to emanate from the space between those speakers. We call the plane from which the sounds come from the soundstage. The accuracy with which each performer and instrument are rendered on the soundstage is described as imaging. Better imaging means that each voice or instrument is rendered with more precision and detail, making the sounds seem more realistic. If a recording captured the reflections in the room, then an audio system with good staging and imaging can reproduce those sounds and provide a sense of space.

What Is Signal Delay?

If we are sitting between two speakers, then the distances to each speaker are equal. The problem is, we are talking about car audio systems. When we’re driving, we sit on the left side of the vehicle, which puts us much closer to the left-side speakers. This results in those speakers seeming louder than the right-side drivers and, crucial to this discussion, we hear sounds from the left speakers before those coming from the right.

In terms of our soundstage, when the perceived output level of the speakers is different, and we hear one speaker long before the other, the soundstage will be compressed into the very left side of the vehicle. This doesn’t sound very realistic.

Even modestly priced car audio DSPs and many premium radios have the ability to add delay to the output of one or more channels. Through various configuration and calibration methods, these adjustments add delay to the signals going to speakers in your audio system. Let’s say you have a simple three-way system with tweeters in the sail panels, woofers in the doors, and a subwoofer in the trunk. You will hear the left tweeter before any other speaker because it’s the one closest to you. Next, you’ll hear the left woofer. This is followed by the right tweeter, then the right woofer, and finally, the subwoofer. Uncalibrated, you end up with a blurry, unfocused mess. When the technician calibrating your processors adds delays to all the speakers, the sound from each arrives at the listening position simultaneously.

Speaker Delay Settings

Getting the delay settings correct is not only important to make it seem as though we are sitting exactly between the speakers, but it also affects the frequency response of the audio system. If there are effective pathlength differences between the left and right speakers, some sounds will add constructively, and some will add destructively. This frequency response issue is called comb filtering, and it’s nearly impossible to EQ out of a system.

Inexpensive to moderately priced processors usually have delay adjustments with a resolution of 0.02 milliseconds. That means each step is about 6.8 millimeters or about 0.27 of an inch. Newer processors that use higher sampling rates of 96 kHz can cut those numbers in half. Don’t get hung up on the resolution of the delay setting when purchasing a DSP – it’s more important to set them all properly than to have a little extra resolution.

Let’s Talk About Two-Seat Systems

As you can imagine, setting the delays to each speaker in our hypothetical three-way system will, when combined with proper speaker placement and equalization, result in an audio system that sounds amazing. That great sound, however, is only heard in one seat – the driver’s seat. Your passenger will hear almost all of the music coming from the right edge of the vehicle. We call this a one-seat tune.

Audio systems designed to deliver balanced sound from all positions in the vehicle require a different approach. Your installer will need to implement all-pass filters to tame the comb filtering. Ideally, the vehicle should use a processor with an upmixer that extracts mono information from the left and right channels and feeds it to a dedicated center speaker. To my knowledge, there’s only one DSP currently on the market with this type of upmixer.

Upgrade your Car Audio System with a Digital Signal Processor

Without a DSP, your technician can use an equalizer or level controls to try to balance the perceived output of the speakers in your vehicle. While this helps create a center image, the focus will be mediocre, and the sounds that are left and right of center will be compressed, stretched and likely blurry. When you add a DSP with a stereo equalizer and signal delay capabilities, then have the system calibrated by a trained professional, your music will sound like you are sitting in your living with natural balance and fantastic realism. Drop by your local specialty mobile enhancement retailer today to audition a digital signal processor and have them upgrade your car audio system.

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.

As we roll forward with our look at the importance of digital signal processors in car audio systems, we’ll talk about the need for proper equalization. Even if you’ve purchased the best speakers available and invested in having them integrated into your vehicle with the utmost precision – compensating for the acoustic characteristics of the vehicle is necessary to achieve great sound quality. Let’s look at how the equalizer in a digital signal processor works, explain its importance, and offer some purchasing tips.

What Is an Equalizer?

An equalizer, often called an EQ as an abbreviation, is an electronic device that changes the frequency response of an audio signal. The simplest and most common equalizer would be the bass and treble tone controls built into a standard radio.

In the digital domain, there are four types of equalizers that we’ll discuss: graphic, parametric, semi-parametric and shelving.

Graphic Equalizer Basics

A graphic equalizer comprises a number of adjustments (called bands) that are set at specific frequencies. The range of frequencies each band affects is determined by the total number of frequencies in the equalizer. A 31-band EQ is often referred to as a 1/3-octave equalizer because there are three adjustments available per octave. For a 31-band equalizer covering the entire audio range from 20 Hz to 20 kHz, each adjustment has a Q of roughly 4.32. If you have a 20-band EQ, then that would be a half-octave EQ, and each adjustment would have a fixed Q-factor of 2.87.

Each band of the equalizer can add to the signal (called boosting) or remove information around a specific frequency (called cutting). There are myths around the maximum amount of boost you can add to a signal that was based on analog processing and noise issues. Properly designed 32-bit processors have enough digital headroom that significant boosts don’t cause distortion. It should be noted that if there is a need for a significant amount of boost, there’s possibly a cancellation issue in the vehicle that can’t, or shouldn’t, be resolved with tuning.

Parametric Equalizer Basics

A parametric equalizer is more flexible than a graphic EQ in that you have control over the center frequency and the bandwidth of each equalization band. As such, each band has three values associated with it in the configuration screen. This flexibility allows the technician who is calibrating the system to hone in on specific issues. Since the concept often isn’t understood, we’ll provide a couple of examples to demonstrate how adjusting the Q-factor changes the range of frequencies that each band alters.

Semi-Parametric Equalizer Functionality

Though rare in the car audio industry, a semi-parametric equalizer (sometimes called a paragraphic EQ) allows you to pick a center frequency for each band, but you can’t adjust the Q-factor. For example, most 1/3-octave EQs have bands centered at 800, 1,000 and 1,250 Hz. A semi-parametric EQ will let you pick any frequency. In the example below, we have a 1/3-octave EQ with a fixed Q-factor of 4.31. The center frequency of the band is set to 1080 Hz and the boost remains at 10 dB.

Shelving Equalizer Applications

Very few digital signal processors include shelving equalizers. With that said, they can be handy in terms of shaping the acoustic response of a mobile audio system to suit the listening preferences of the vehicle owner. A shelf EQ boosts or cuts frequencies above or below an adjustable frequency. If the technician needs to tame a set of efficient tweeters in a passive system, shelving equalization is a great way to make that adjustment and maintain a smooth transition to adjacent frequency bands.

All-Pass Filters in Two-Seat Systems

If you are having an audio system designed and installed such that it will be configured to provide a stable relatively center image from both the driver and passenger seat, then you will need a signal processor that includes the capability of adding an all-pass filter. An AP filter doesn’t affect the frequency response of the signal, but it improves the way the left and right channels interact with each other.

Why Does Your Car Audio System Need a DSP Equalizer?

As we mentioned at the beginning of this article, equalizing the output of your speakers to compensate for changes in frequency response because of reflections and resonances is crucial to obtaining great sound in your car or truck. As the sound produced by your speakers reflects off of different surfaces in your vehicle, it will be reflected toward the listening position. The variances in arrival time wreak havoc with the perceived frequency response of the system.

The graph above shows the frequency response of a four-way audio system. The green trace highlights just how bad this system would sound. There’s more than 12 dB of variation between 220 Hz and 700 Hz, and another dip of 11 dB at 2.8 kHz. There’s also no bass and too much high-frequency energy. The violet curve shows how some equalization can smooth the response of the system. After calibration, the system is flat within 4 dB from 200 Hz to over 15 kHz. The boost in the bass and the roll-off of the high-frequency information demonstrate that the system was calibrated to a commonly-used, quite enjoyable reference (or target) curve.

Shopping for the Right DSP Equalizer

When it comes time to buy a digital signal processor for your car audio system, you’ll want to ask your product specialist a few questions. If you’re investing in a processor, then you likely have an audio system designed to use active filtering. You will want to ask about how many EQ bands are available for each output. If it’s a graphic EQ and you have an active system, 15 bands per output, assuming they are at least semi-parametric, is adequate. If the system is going to use passive filters between a midrange and tweeter, you may want more bands – 30 would be ideal. These numbers drop dramatically if the system uses parametric filters – 10 is likely adequate for a properly designed system.

Global DSP equalization is important to maintaining correct phase through the crossover region. The DSP you choose should offer the ability to adjust multiple bands simultaneously.

Presets are another great feature. You may want to have one configuration that’s tuned close to a reference system response curve for critical listening and have another with a little more bass and midbass for those times when you want to rock out at high volume levels.

Experience How a Digital Signal Processor Can Improve Your Car Audio System

Even if you have a simple car audio system with a four-channel amplifier and new front and rear speakers, a digital signal processor can, once calibrated for your vehicle, transform the listening experience into something that’s truly remarkable. Drop by your local specialty mobile enhancement retailer today and ask for a demonstration. You’ll be blown away!
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.

As we continue our deep-dive into the functions of car audio digital signal processors, we’ve reached the topic of crossovers. Many people overlook the importance of configuring crossovers properly to achieve a smooth frequency response. Let’s take a look at what a crossover does and why your technician must set them correctly to protect your speakers.

What Is a Crossover?

All speakers, no matter their size, have limits in terms of their ability to reproduce low-frequency audio information at high levels. For small speakers like a tweeter or midrange driver, attempting to produce bass is a recipe for disaster. Crossovers are used to limit the audio information being sent to a speaker above or below a set frequency.

High-pass crossovers allow information higher than the set frequency to go to the speaker. Low-pass filters do the opposite – they pass audio information below the crossover frequency.

High-pass filters are used to prevent bass and midrange information from being sent to tweeters. Low-pass filters are used to prevent midrange and high-frequency information from being sent to a subwoofer. For midbass and midrange speakers, we combine a high- and low-pass filter to create what’s known as a bandpass filter. A bandpass filter has limited low- and high-frequency information.

Crossovers have three defining characteristics: the crossover frequency, the attenuation rate and the type of crossover response curve.

Crossover Frequency

Depending on the response curve chosen, the crossover frequency defines the -3 dB or -6 dB point for the filter. When setting crossovers between midbass woofers, midrange speakers and tweeters, we want the output to sum flat – as though there were no crossover, and we had a single speaker that would play through the entire audio range. To achieve this, we need the crossover frequencies for both speakers to be the same.

Crossover Slope

The slope describes how fast audio signals in the stop-band are attenuated. A crossover isn’t a brick wall or a switch. Say you set a high-pass crossover at 3 kHz for a tweeter. You still get output at 2.5 kHz and 2.0 kHz. The rate at which that output attenuates is the slope. The slope is described by how much the output is reduced per octave away from the crossover point. The most commonly used slopes are -12 and -24 dB/octave.

Crossover Response Options

Some companies describe the shape of the filter response using different terms – alignment, damping or simply crossover type. These options describe the behavior of the filter around the crossover point and how the output sums with an adjacent filter. This is a topic that could fill a textbook, but suffice it to say that some types work better in car audio applications than others. Your technician should know what to use to achieve the flattest response and best speaker radiation pattern around the crossover frequency.

Choosing the Right DSP

Most of the high-quality digital signal processors on the market have very flexible crossover frequency, slope and response options. Where you need to pay attention is in choosing a DSP that has enough channels for your system, and in ensuring that any channel can be configured with any type of crossover. In some cases, manufacturers link channels together. While usually acceptable for conventional systems, linking presents limits when you want to drive a center channel speaker.

Lastly, and most importantly, you want to choose a technician who has the tools (a calibrated RTA) and the training to ensure that the crossovers that he or she configures for your audio system protect speakers adequately. Of course, the system also needs to be designed using speakers that complement each other and deliver smooth sound distribution throughout the vehicle. Start with your local specialty mobile enhancement retailer. Ask to hear some of their demo vehicles. Ask what RTA they use, how long they take to configure a system, and how they ensure it’s adjusted to suit your listening preferences.

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.

As vehicle manufacturers work to reduce the number of wires that need to be run in a vehicle, more and more have switched to using the vehicle data bus to control amplifiers. Using data commands in concert with digital or fixed-level audio signals also helps to ensure that these audio systems deliver noise-free performance. Finally, with the volume control and signal processing built into the amplifier, manufacturers can use similar system designs across a variety of vehicles by loading different calibrations within the amplifier. Having your installation technician upgrade these systems with new amplifiers isn’t typically difficult, but it requires extra hardware.

Conventional Car Audio System Design

In classic analog audio systems, the volume control for the system is built into the source unit. When you turn the volume up, the voltage of the audio signal going to the amplifier increases. The drawbacks of these systems are that there is a relatively low voltage of that audio signal between the source unit and the amp, and that they are susceptible to picking up unwanted noise.

Data Bus Audio Systems

In most new mid- to high-level audio systems, the CAN bus is used to send digital commands from the source unit to the amplifier. These commands include changes to volume level, fader changes and instructions to load different presets depending on vehicle conditions. For example, Ford Mustang convertibles load a different configuration depending on whether the roof is up or down.

In terms of the audio signal from the source unit to the amp, these are passed as moderate voltage, fixed-level analog signals or as digital signals using copper wire or fiber-optic connections.

When you adjust the volume on the source unit, a command is relayed to the signal processor in the amplifier. The amplifier adjusts its output level to turn the music up or down.

Upgrading Audio Systems with Data Bus Communication

To upgrade these audio systems, you’ll want your installer to add new amplifiers, a digital signal processor, new speakers and a subwoofer system. The DSP is pretty much mandatory since the factory-installed systems are often carefully calibrated to deliver good imaging and neutral tonal balance. Forgoing equivalent calibration will result in a reduction in perceived quality, even if the system has more bass and plays louder.

The first thing you’ll need is an interface that can understand the commands from the radio. Companies like Nav-TV, iDatalink and PAC offer solutions for these applications. The Nav-TV ZEN Audio and PAC AmpPRO 4 modules provide RCA analog or Toslink digital outputs that can be fed into your processor and amplifiers.

The Maestro AR module adds the option of communicating directly with a signal processor from ARC Audio, Audio Control or Audison so that commands from the radio are executed in the digital domain inside the processor itself.

Because many of these interfaces are universal in terms of their hardware, they have to be combined with appropriate interface cables and flashed with vehicle-specific software by your installation technician before installation. As such, this isn’t a do-it-yourself kind of project.

Benefits of Audio Upgrades Using the Factory Radio

If you drive a late-model vehicle that includes an audio system that is integrated into the dash in a way that prevents the addition of an aftermarket radio, then you have no choice but to add a DSP and new amplifiers to power the speakers. Likewise, using the factory source unit helps to maintain the overall appearance of the vehicle, which reduces the potential for theft. Finally, all elements of the interface, including touchscreens, instrument cluster displays, heads-up displays, steering wheel controls and center console controls, will continue to function normally with the factory-installed radio as the source for your audio system. In some cases, you can even add smartphone connectivity solutions like Android Auto and Apple CarPlay to your factory infotainment system.

If you want more output, better bass performance, improved imaging or increased clarity from the stereo that came with your car or truck, then drop by your local specialty mobile enhancement retailer today and ask them about upgrading the audio system with new equipment and a bus interface.

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.