Up to this point, we’ve explained the difference in performance between entry level, poorly designed and premium car audio amplifiers. We hope you’ve found this informative, and now it’s time we took a close look at car audio speakers. No car audio component is more crucial than speakers for reproducing music with accuracy and clarity.

This series of articles will analyze the impedance, frequency response, output capability and distortion characteristics of different car audio speakers. The goal is to give those of you who want to upgrade the clarity and performance of your audio system a clear correlation between design features, specifications and, ultimately, performance.

Factory-Installed Honda Civic Speaker

I have a set of door speakers from a Honda Civic for our first subject. This is a woofer (no tweeter) with an effective cone diameter of 125.5 millimeters measured from the middle of the surround on one side of the driver to the center on the other side. The cone is made from a woven yellow fiber which could be of glass or aramid composition. The dust cap is formed from soft textile but is much less rigid. The speaker has a rubber surround, which lasts longer than foam.

Mechanically, the speaker has a relatively small-diameter flat linear spider bonded to a 1-inch voice coil former. There’s no cooling vent on the rear of the magnet or venting under the spider mounting ledge. The basket is formed from injection-molded, glass fiber-reinforced polycarbonate and has six deeply reinforced spokes. As is typical for an OEM speaker, the mounting flange includes a built-in spacer with an integrated gasket that will bring the speaker out near the grille in the interior door trim panel. Overall, aside from a small voice coil and lack of cooling technologies, the design offers nothing of significance to complain about.

Measuring Thiele/Small Parameters

Every speaker of every size can have its low-frequency characteristics modeled by a set of measurements and values summarized as Thiele/Small parameters. These measurements can be used with enclosure simulation software to predict how the driver will behave in an enclosure.

The Thiele/Small parameters quantify the driver’s suspension compliance, resonant frequency, mechanical Q, electrical Q and motor force. The information does not describe any nonlinearities in the suspension or magnetic fields or the excursion limits of the design. Far too many amateur audio enthusiasts think you can quantify the low-frequency sound quality of a speaker using enclosure simulation with Thiele/Small parameters. You can’t.

I’ll use my Clio Pocket with the added mass process to measure this information for the Honda speaker.

Is there anything we can discern in terms of performance from the measured Thiele/Small parameters? The first thing we see is that the driver has a relatively high total Q (Qts) of 0.69. This will add a little resonant bump in output in the lower midbass region. It’s likely a good design trade-off for a speaker designed to be used without a subwoofer, as it will add a touch of warmth to the sound. However, in absolute terms, this will be a bit of unwanted distortion. Lastly, the predicted efficiency is relatively high at 89.04 dB SPL when driven with 1 watt of power and measured at 1 meter. This is also normal for an OEM speaker as they trade low-frequency output for increased output at higher frequencies. The ~10-gram moving mass supports this theory.

Let’s look at what the BassBox Pro enclosure simulation software predicts this driver will do in our 3-cubic-foot test enclosures. I chose this volume as it’s typically large enough to have minimal effect on the driver’s performance and should simulate how the speaker will behave in a door or rear parcel shelf.

As you can see from the graph above, this is more of a midrange driver than a woofer. I guessed at the 30-watt power handling based on the diminutive size of the voice coil and lack of cooling features. In terms of predictions, the driver has a -3 dB frequency of 98 hertz and would greatly benefit from being used with a subwoofer.

Measuring Driver Impedance

Part of measuring Thiele/Small parameters is to make a series of impedance sweeps. Impedance is the opposition to the flow of alternating current (AC) signals. As you can see from the graph below, the driver has a fairly tall, narrow peak around its resonant frequency of 74.7 hertz. You can also see the increase in inductance at higher frequencies as the upward trend to the right.

We can see something else in this graph. Something has caused a noticeable resonant peak at about 700 to 800 Hz, and there are additional wiggles in the response at 2.4, 3.7 and 5.2 kHz. These are likely caused by the cone, dust cap or surround resonating. We’ll see if any of these translate into quantifiable distortion in the acoustic measurements.

Speaker Acoustic Measurements

With the driver loaded into my 3-cubic-foot test enclosure, I placed it on the floor of my lab. The microphone from the Clio Pocket is 1 yard above the top edge of the cone, where it meets the surround. We’ll use this position for all speakers going forward. We’ll begin the testing by taking frequency response measurements at increasing drive levels. While there is no specific standard, we’ll clone what Vance Dickason uses in his transducer tests in Voice Coil magazine with 0.3, 1, 3, 6, 10 and 15 volts. It’s doubtful that the driver will remain linear in output at the 10- and 15-volt levels as those values equate to 25 and 56 watts of power into a 4-ohm load. I will add a 2-volt measurement that equates to 1 watt into a 4-ohm load.

Before we get into the analysis of the speaker, we need to understand a few things about the measurements. First, the information below 30 Hz can be ignored. There is no output of 100 dB SPL at 10 Hz. Second, the dip at 130 Hz is a reflection in the room. It can be ignored as well. We know this is an acoustic cancellation because there is no dip or peak in the impedance or distortion curves. Sorry, I don’t happen to have an anechoic chamber at my disposal. In the meantime, I’ll continue to purchase lottery tickets!

Well, here’s our first look at the Honda speaker. From 160 Hz through to 1.5 kHz, the response is adequately flat given the non-anechoic characteristics of my lab. From 1.5 through to 5.5 kHz, there is a bump in the output of about 6 dB.

The black trace lower in the graph is the total harmonic distortion (THD) measured by the Clio. Let’s look at a few frequencies and make some percentage distortion calculations. From 200 through to 400 Hz, the harmonic distortion is -49 dB, equating to 0.35% THD. At 80 Hz, distortion is at 1.5%, and the significant bump in distortion around 1.3 kHz represents approximately 0.89% distortion.

Let’s sweep it again with a little more voltage – this time, the signal generator is set to 1 volt RMS.

The first thing to observe at this higher drive level is that the output increases linearly. All frequencies are roughly 10 dB louder. This is good because neither the suspension compliance nor the motor force has become a limiting factor. Something is happening up at 4.5 kHz that’s caused a bump in the distortion curve. Overall, though, it’s not too bad for this roughly 0.25-watt playback level.

Let’s bump things up to 3 volts.

In terms of frequency response, things remain nice and linear. All frequencies are once again about 10 dB louder. What isn’t so good is the harmonic distortion characteristics. A bump appears between 700 and 900 Hz at almost 2% distortion. This would be audible if not buried with other audio information. Distortion in the bass frequencies, 70 Hz, is over 3%. This 3-volt drive level equates to roughly 2.25 watts of power for a nominal 4-ohm speaker.

OK, how about 6 volts from the function generator for the next sweep?

A drive level of 6 volts is roughly 9 watts of power into a 4-ohm load. The graph above shows that distortion at all frequencies has increased by more than the increase in fundamental output. For example, when driven with 3 volts at 900 Hz, the THD was around 2%. Now, with 6 volts, the distortion has increased to 3%. Remember that bump we saw in the impedance graph around 800 Hz? Well, now it’s back as a peak in the distortion graph. You’d be surprised what you can learn from impedance graphs.

Last but not least, let’s feed this driver with a 10-volt sweep that equates to about 25 watts of power.

Though we only picked up about 3 dB more output, the distortion has increased significantly. We have 7% distortion at 800 Hz and over 3.5% at 200 Hz. If we look down in the bass region, 80 Hz is at about 10% total harmonic distortion. In short, this speaker would sound pretty bad when driven with much more than 10 to 15 watts of power and would be screaming at 25 watts.

Better Speakers Offer Better Performance

In terms of establishing a foundation for our measurements and speaker comparisons, we’ll stop here. This article will serve as a benchmark for what looked like a reasonable quality OEM speaker. We’ll test some speakers that might be better and some that might be worse over the next few months. This information should allow us to develop a correlation between design features and performance. In the meantime, if you’re shopping for new car audio speakers, drop by your local specialty mobile enhancement retailer to audition some 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.

Subwoofers. Yay for subwoofers! No upgrade to a car audio system will deliver a more noticeable improvement in performance and realism. Adding a properly designed subwoofer system to your car stereo is often one of the first upgrades we recommend. The challenge is finding a solution that will look and sound great while you make sense of myriad specifications that might not be helpful.

Subwoofers and High-Frequency Performance

The motivation for this article was a story a friend shared about a client who had downgraded their selection of subwoofers based on the published frequency response of two solutions. Subwoofer A claimed to offer output up to 600 hertz. Subwoofer B, which is the model the client switched to, claimed output to 2 kHz. The client theorized that he could use the sub to fill in midrange frequencies if needed, and as such it was, therefore, a better solution.

On paper, the logic isn’t wrong. But, in practice, that’s not how subwoofers work.

Why Subwoofers Have Low Crossover Frequencies

We typically run subwoofers with a low-pass filter set between 60 and 80 hertz in car audio systems. If the car has smaller door or dash speakers, the crossover might need to be set as high as 100 hertz. With the typical crossover slope of -24 dB/octave, the sub’s output would be attenuated by more than 50 dB by 400 hertz. The ability to play to 1 kHz isn’t essential.

Why do we cross subs over so low? Well, we don’t want to hear vocals coming out of them. Most subwoofers aren’t designed to handle midrange frequency reproduction well. Most of us want the vocals to come from the front speakers in our cars or trucks. Since male voices extend to around 100 hertz, it makes sense for this information to be played by the door- or dash-mounted woofers in the system, not the subwoofer.

Why can’t subwoofers play higher frequencies? There are two reasons. The first limiting factor is cone mass. A typical 10-inch subwoofer cone assembly weighs between 125 and 175 grams. That’s a lot of mass to move back and forth 1,000 times a second. In fact, it just doesn’t work. The cone can’t switch directions fast enough to track the input signal at that frequency, so the output is attenuated significantly.

The second issue is inductance. The voice coil assembly on a subwoofer also acts as an inductor. As frequency rises, so does impedance. The result is less high-frequency output. You can learn more about inductors in this article (Link to BCA inductor article once published).

“Needs More Midbass”

While midrange performance isn’t important for a subwoofer, midbass performance is crucial. Many subs on the market have cones heavy enough to limit their output at frequencies just above 100 hertz. This mechanical high-frequency filtering can make it very hard to get the phase response between the sub and the door speaker right. If the sub has some built-in mechanical attenuation and the technician working on your audio system adds some electrical filtering, the net acoustic result might not be ideal.

A subwoofer that can play an octave or two above the crossover frequency is important. Without that extension, the bass might sound disconnected from the rest of the system. Properly configured car audio systems deliver a smooth transition between the subwoofers and the woofers, which is crucial to reproducing music accurately.

Vague Frequency Response Specs Are Useless

We’ll state in no uncertain terms that any frequency response specifications published without tolerance values are as helpful as trying to make a painting with a brush but no canvas or paint. For example, a manufacturer could state that a speaker will play from 20 Hz to 20 kHz. Most would think that’s ideal, right? What if the output was down 40 dB at those frequencies relative to 1 kHz? Without a response tolerance, the information is useless. If you want to look at frequency response specs, a tolerance of 1 or 3 dB combined with low and high-frequency limits is required.

What Matters When Choosing a Subwoofer?

When choosing a subwoofer, the predicted frequency response is important. As we’ve explained repeatedly, a giant subwoofer in a small enclosure might not produce as much low-frequency output as a smaller subwoofer in the same space. Thankfully, we can use computer simulation software to predict the subwoofer’s performance. Let’s take a look at two subwoofers similar to what this client was considering.

Based purely on the Thiele/Small parameters of Subwoofer B, here’s the subwoofer’s response in a 1-cubic-foot sealed enclosure.

As you can see, the voice coil’s inductance attenuates the high-frequency response of the driver. By 1000 Hz, it’s down 17 decibels from its peak output at around 85 hertz. So stating that this driver plays up to 1.5 or 2 kilohertz is misleading and defies the laws of physics. What should matter is how much low-frequency information this subwoofer can produce. On the bottom end, it’s down 3 dB at 50 Hz and 10 dB at 29 hertz.

OK, let’s look at the original driver with the narrower published frequency response specifications.

The first thing our intrepid amateur car audio system designer should notice is that this subwoofer has a much flatter response through the midbass region. Why? This driver has an aluminum shorting ring built into the motor. The shorting ring helps to reduce inductance dramatically. The shorting ring also reduces cone-position-based changes in inductance that all speakers experience. Ultimately, the shorting ring dramatically reduces distortion. Both drivers deliver very similar output in this enclosure regarding low-frequency output. Does this mean they sound the same? Absolutely not.

How Loudly Does It Play?

A key component in designing a proper subwoofer system is ensuring adequate power handling based on cone excursion. To get a better understanding of the topic, you might want to read the BestCarAudio.com article on cone excursion vs. distortion.

If we look at the cone excursion vs. frequency graph for Subwoofer B, we see that it exceeds its rated Xmax specifications at all frequencies below 30 hertz when driven with 400 watts. The suspension components (spider and surround) are typically selected based on the voice coil geometry Xmax specification, so distortion is likely to become significant if pushed hard with a 400-watt amplifier. A power level of 275 would be safe at all frequencies in this enclosure, and keeping things under 200 watts is likely a good suggestion.

On the other hand, Subwoofer A has a much more significant Xmax specification. It’s good at all frequencies at 400 watts and can handle 775 watts without the voice coil leaving the gap. This increased excursion capability allows Subwoofer A to produce significantly more output. It also means that Subwoofer A likely sounds clearer and more accurate when driven with 400 watts than Subwoofer B.

What Do We Need To Know About Subwoofer Frequency Response Specifications?

When buying subwoofers, frequency response specifications like 20-200 Hz or 25 Hz to 1.5 kHz are useless unless there is an amplitude tolerance specification. An applicable specification would be 25 to 300 kHz (±1.5dB). As mentioned in other articles (https://www.bestcaraudio.com/when-it-comes-to-subwoofer-specifications-some-numbers-dont-matter/), efficiency specifications like 85dB@1W/1M are also irrelevant, as they don’t take into account how the enclosure affects low-frequency performance.

Suppose you want to know how a particular subwoofer will perform in your vehicle. In that case, the specialty mobile enhancement retailer you’re working with should model the driver in the enclosure they will be using with BassBox Pro, Term-Pro, LEAP, WinISD or something similar. You can then look at the driver options to see how the predicted response and effective efficiency will change. Sadly, in the case of Subwoofer A vs. Subwoofer B, the client chose incorrectly. He missed out on a great subwoofer because he was misled by irrelevant information.

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.

Few people in the car audio industry seem to grasp that speakers are typically the weakest link in audio systems, in terms of adding distortion to what we hear. Whether it’s a poor design with improper voice coil centering in the magnetic gap or poor magnetic or compliance linearity, speakers add significant amounts of unwanted information to what we hear. This article will take a deep dive into explaining how increased cone excursion affects distortion.

Understanding Car Audio Speaker Cone Excursion

Speaker cones move back and forth to excite air molecules and produce sound. They function in the same way that hitting the skin of a drum, blowing through a horn or vibrating the string of a guitar creates pressure waves in the air. If we apply more voltage to a speaker, the cone moves more. Reproducing low-frequency information requires that air molecules be displaced further, requiring more cone excursion (and more voltage) to produce bass frequencies. Larger instruments like an upright bass, concert grand piano and timpani also produce more low-frequency information than a banjo, spinet piano or bongo drum.

Unfortunately for speakers, the more their cones move forward and rearward, the more chances there are for the cone to not track the electrical signal perfectly. When this happens, unwanted harmonic information is added to the audio signal. We call this distortion. If the cone, dust cap or surround resonates, this also adds unwanted distortion. It’s not uncommon for speakers playing at moderate output levels to reach well over 1% distortion. This means that more than 1% of the sound they produce doesn’t follow the input signal accurately.

Measuring and Understanding Speaker Distortion

To help explain this concept, I took a popular 6.5-inch PA-style speaker that’s used in car audio systems and mounted it in my test enclosure. I set up my Clio Pocket with the microphone a few millimeters from the cone and performed a series of frequency response sweeps at different power levels. The Clio system can analyze the measurement and display second- and third-order harmonic information. Let’s look at the first measurement in detail.

The graph you see above shows three pieces of information. First, the red trace is the frequency response of the speaker. This trace tells us how much energy the speaker produces at different frequencies when fed with a chirp signal. The chirp signal is a sine wave sweep that starts at 20 Hz and ends at 40 kHz. I adjusted the output of the amplifier for this test such that it produced right at 1 volt of output, which is 0.25 watt into a 4-ohm load.

The perfect speaker (which doesn’t exist) would produce a perfectly flat frequency response from the lowest bass frequencies to the highest of high frequencies. This speaker was within about 5 dB of flat from 200 Hz to 3000 Hz. Remember, this measurement is with the microphone right at the cone, so the sound pressure level numbers on the left don’t directly correlate to what you’d hear in a car or truck unless you installed the speaker in your headrest. Uh, please don’t do that.

The blue trace is the second-order harmonic distortion trace. To explain what this information means, let’s look at a specific frequency, 200 Hz. The speaker is producing about 88 dB SPL of output at 200 Hz. This is called the fundamental frequency. The blue trace tells us that it’s also producing a second harmonic (which would be 400 Hz) at a level of 38 dB SPL. Again, the absolute numbers don’t matter, but we need to know that the distortion is 50 dB below the fundamental. That works out to 0.316% for the second-order harmonic.

The green trace is the level of the third-order harmonic, which for a 200 Hz signal is 600 Hz. We have an output of about 29 dB SPL, 59 dB below the fundamental and representing a distortion level of 0.112%.

I’ll reiterate and rephrase this to be precise: If you feed this speaker a 200 hertz signal at a level of 0.25 watt, it will also produce output at 400 hertz and 600 hertz (and many more multiples). This is how speaker distortion works, and it’s common to every speaker of every design, at every price point and from every manufacturer. Finally, better speakers add less distortion – that’s a key part of what makes them better. I deliberately chose this PA-style speaker because it has an extremely short voice coil, so it will be easy to push it into high levels of distortion at low frequencies with minimal power. The purpose is to quantify how distortion increases with cone excursion, not to “test” this speaker.

More Power Means More Distortion

For the next test, I increased the output of the amplifier to 2.83 volts, which works out to 2 watts of power. This added power should correlate to a 9 dB increase in output.

The first thing to notice is that the shape of the frequency response trace (red) didn’t change. Second, the speaker did increase its output by exactly 9 dB. You have to love the laws of physics! What matters in this measurement is that the harmonic distortion has increased significantly. The increase isn’t linear with the increase in output from the speaker. Looking at 200 Hz again, the first harmonic is now at a level of -44 dB relative to the fundamental, which is 0.631% THD. The third harmonic is at 50 dB below the fundamental, which is 0.316% THD.

Let’s double the power again to 4 watts and see what happens.

The fundamental has increased another 3 dB as expected. The first-order harmonic content at 200 Hz is at -42 dB relative to the fundamental, which is 0.794% THD. The third-order is 47 dB below the fundamental, which is 0.446%.

Let’s double the power again to 8 watts and repeat the measurements.

The fundamental is right at 103 dB SPL at 200 Hz, and the second harmonic is 40 dB lower at 63 dB SPL. This represents almost exactly 1% total harmonic distortion. The third harmonic is down 44 dB, which is 0.631% THD. We won’t get into the math here, but the total distortion caused by all harmonics wasn’t measured in this test, and you can’t add the numbers directly (e.g. 1.631%).

OK, let’s bump up the power again to 16 watts.

While we continue to focus on the 200 Hz calculations, look what’s happening to the third-order harmonic distortion down below 100 Hz – it’s getting louder very quickly and is actually catching up to the fundamental information. Nevertheless, at 200 Hz, the second-order harmonic output is at 37 dB below the fundamental, which is 1.412% distortion. The third-order distortion is at -40 dB relative to the fundamental, which is 1.0 % THD.

Hopefully, you’re starting to see a pattern. Let’s double the power again to 32 watts and see how the speaker behaves.

We picked up another 3 dB of output across the board. Our fundamental is at 108 dB at 200 Hz and the first harmonic is down only 34 dB, which is right at 1.995% THD. The third-order harmonic output is down 38 dB at 1.259% THD. If you’re getting the feeling the speaker would sound terrible attempting to reproduce audio information at 200 Hz at a drive level of 32 watts, you are right.

OK, one last time. Let’s double the power again to 64 watts and analyze the frequency response and harmonic content.

With the fundamental output at 111 dB at 200 Hz, we have 79 dB of output at the second harmonic of 400 Hz, which represents 2.511% THD. The third harmonic output at 600 Hz is at 76 dB, which is 35 dB below the fundamental, or 1.778% THD.

The chart above summarizes the increase in distortion relative to the increase in output. It’s easy to see how the second and third harmonics continue to get louder relative to the fundamental frequency.

Look at what’s happening down at 100 Hz and below. The third-order harmonic output is as loud or louder than the fundamental. When you feed this speaker 64 watts of power at 50 Hz, it produces 93 dB SPL of output (with the mic in this position) and 97 dB of output at 600 Hz. That’s audio information that wasn’t in the music. If you want to do the math, or, more accurately, if you’d like me to do the math, that’s 158% distortion.

What Have We Learned about Speaker Distortion?

There are two takeaways from this first look at car audio speaker distortion. First, the amount of distortion produced by a speaker increases as the cone excursion increases. We should already know from other articles that cone excursion increases at lower frequencies. Putting together these pieces of information tells us that we don’t want to push the smaller speakers in our vehicles to reproduce the bottom two or three octaves of the audible music range. Adding a subwoofer system with a dedicated amplifier and a speaker designed to reproduce low frequencies allows for more bass and can dramatically improve the clarity of the midrange speakers in your audio system.

Second, in general, 6.5-inch PA-style speakers aren’t good at reproducing audio below about 300 hertz. If you understand speaker enclosure design and have modeled this type of speaker using software like BassBox Pro, Leap or Term-Pro, you’ll know that most of these drivers have a -3 dB frequency in the 150 to 200 Hz range. So, pushing this type of speaker to produce audio information below 250 hertz is asking for trouble, or at the very least, lots of distortion.

Choose Your Car Audio Speakers Wisely

If you’re shopping for new speakers for your car or truck, drop by your local specialty mobile enhancement retailer and listen to the options they have available. Suppose you’re the type who likes to correlate features with performance. In that case, drivers that use aluminum or copper shorting rings, feature flat spiders or have a copper distortion-reducing cap on the pole piece are likely to add less distortion than models without.

Look for speakers with cone materials that balance mass with rigidity and damping characteristics – getting any of these wrong is a recipe for trouble. Finally, trust your ears. The speaker should sound smooth and natural with no emphasis anywhere in the frequency range, especially in the bass region. If they sound good on a display compared to the rest, they are a good choice for your car or truck.

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.

There’s no denying that pickup trucks are some of the most popular options for subwoofer system upgrades. Despite the creature comforts and luxury afforded by Lariat, Platinum, Longhorn and Denali trim levels, a high-performance subwoofer system can transform any of these vehicles from nice to all-out amazing. The issue is, there isn’t much space for subwoofers in these vehicles, and this means the options are limited for those who want some rumble. In previous articles, we’ve discussed the benefits and drawbacks of sealed versus vented enclosures. Unfortunately, we haven’t hammered this message home adequately based on the continued popularity of sealed enclosures with multiple subwoofers under the rear seats of pickups.

A Brief Tutorial on Subwoofer Enclosures

Subwoofers need to be used with enclosures for two reasons. First, the sound coming from the back of the speaker can’t mix with the sound coming front the front. If they combine, they cancel each other out, and you don’t get any bass. Try hooking up a subwoofer and feeding it 5 or 10 watts of power while holding it in your hand. It might make some noise, but it won’t make much bass. Separating the sound from the front and back is handled by the enclosure.

Second, and most important to this article, subwoofers require an enclosure to control how the cone moves at different frequencies. Without an enclosure, many subs would bottom out with as little as 10 or 20 watts of power.

When a speaker (of any size) is installed in an enclosure, the compliance of the volume of air in the chamber adds to the suspension’s compliance to act as a spring that limits cone movement. If the enclosure is tiny, the speaker and the air in the enclosure act like a very tight spring. If the enclosure is large, then the spring is much looser.

As you can see in the cone excursion versus frequency graph above, the smaller enclosures (red and yellow) limit how much the cone moves more than the larger enclosure (green and cyan).

In car audio subwoofer systems, designing a subwoofer enclosure requires balancing the size and quantity of subwoofers with the available space in the vehicle and the desired low-frequency output of the system. If a customer wants massive amounts of deep bass in a pickup truck, they’re going to have to give up storage or passenger space to make it happen. Let’s see what we can come up with to optimize low-frequency output without giving up the back seat or cutting out the back wall of the vehicle.

Bass in Pickup Trucks – Limited Space

The problem with designing subwoofer systems in pickup trucks is almost always space. First, there is rarely room for deep subwoofers. Thankfully, many modern shallow-mount subs offer impressive cone excursion capabilities, so the differences with their full-depth brethren are smaller than ever. With that said, there often isn’t much room for an enclosure. To reproduce deep bass frequencies, enclosures need relatively large volumes.

Let’s use an example of an extended cab Ford F-150. Many under-seat enclosures are available for this vehicle. The largest offer an internal air volume of around 1.5 cubic feet. How about we do several simulations to predict what size and combination of subwoofers will produce the low-frequency bass? Let’s start with a pair of 10-inch subwoofers in a sealed enclosure, since that seems to be the most popular solution.

The 10-inch subs have a nearly ideal Qtc of 0.692 and an F3 frequency of 48.62 hertz. This would be a perfect solution for someone who wanted to add a reasonable amount of bass to their factory-installed sound system.

Our goal is to get the most low-frequency output as possible from the available space. Can two twelves move more air than two 10-inch subwoofers? Let’s see!

If you like rock ’n’ roll, this might be an option. A pair of twelves in this enclosure gives us another 2.5 or 3 decibels of output at 50 hertz and above. Down at 30 hertz, they are no louder. The system Qtc is still acceptable at 0.804, and the F3 is 50.48 hertz. Still not bad.

Since there’s almost 50 inches of width under the seat, what about four 10-inch subwoofers?

We’ve picked up another decibel of output up high, but the Qtc is up to 0.844, and the F3 is 52.21 hertz. So, again, for rock music where there isn’t much deep bass, this might still work acceptably. But unfortunately, it won’t produce the rumble that many associate with a genuine subwoofer system.

Blow Your Mind, Port Your Box

If you’re looking for good output at low frequencies, then a vented enclosure design might be better. Yes, vented enclosures need more airspace per driver, but the efficiency benefits are impressive. How about a single 10-inch subwoofer in a ported enclosure?

From about 50 hertz and below, a single 10-inch driver in a vented 1.5-cubic-foot enclosure produces more output than a pair of tens, a pair of twelves or four tens. Since most subwoofer systems are crossed over at 70 or 80 hertz to blend into the midbass or midrange drivers in the vehicle smoothly, this is a killer option to add some serious rumble to your vehicle.

The 10-inch subwoofer in this example has a cone area of 53.87 square inches. A pair of 8-inch subwoofers might do well with an effective total cone area of 66.82 square inches.

Meh, nothing special. With that said, this might be a good option for trucks where the depth under the seat is very limited. You may have to cut back to one driver if there isn’t enough volume in the enclosure.

Last, let’s look at some of the 6.5-inch subwoofers that are available. Some of these little drivers have reasonable excursion capabilities. Maybe four of them would work well in this enclosure?

Four 6.5-inch subs don’t seem to offer anything of significance in terms of low-frequency performance compared to a single ten or a pair of eights.

What’s the Best Subwoofer System for Your Pickup Truck?

If you can find a robust subwoofer with good excursion capabilities and power handling, a single 10-inch in a well-constructed vented enclosure offers impressive efficiency and output. Keep in mind this is a comparison at 500 watts of power. If you feed 2000 watts of power to four tens, it will be louder than a single 10-inch subwoofer at low frequencies, but you’ll need an equalization or preferably a digital signal processor to tame the upper bass information that will produce. With that said, providing power to a 1500- or 2000-watt amplifier is very challenging, as would be finding a home for an amplifier of that size.

If you’re shopping for a subwoofer system upgrade for your truck, drop by your local specialty mobile enhancement retailer and ask them to provide some options in terms of enclosure simulations for the subwoofers they carry.

Lead-In Image: Thanks to MTi Acoustics for this Stage 3 Perfect-Fit enclosure photo.

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.

When it comes to car audio subwoofer enclosures, the two most popular options are sealed or vented. As far as which design is best for your vehicle, let’s see if we can clear up some misconceptions and stereotypes. As often happens, some trade-offs accompany each decision. Consider this article the master reference for choosing the right subwoofer enclosure solution for your application.

Why Does a Subwoofer Need an Enclosure?

Let’s review a few key factors about subwoofers (and speakers in general). First and foremost, the primary purpose of a subwoofer enclosure is to prevent the sound that’s coming off the back of the speaker cone from mixing with the sound coming from the front. If these two mix, they cancel each other out almost perfectly. If you’ve ever held a subwoofer in your hand without an enclosure while it’s playing, you’ll know it doesn’t produce much sound.

Second, an enclosure acts as a mechanical high-pass filter that limits low-frequency output. Why do we need to limit bass from a subwoofer? As frequency decreases, cone excursion increases dramatically to produce an equivalent output. In fact, for every halving of frequency, cone excursion doubles.

The simulation above shows the predicted cone excursion (in millimeters) of an audiophile-grade 10-inch subwoofer without an enclosure. This is a great driver, and it has an Xmax specification of 19 mm. As such, at frequencies below 22 hertz, when driven with 500 watts of power, the distortion would skyrocket. If we increase the power to the subwoofer to 750 watts, that frequency increases to 28 hertz. At a drive level of 1,000 watts, the driver will reach its Xmax limit at 33 hertz.

Many subwoofers don’t have this much excursion capability, so we need to limit the distance the cone can move. We install the subwoofer in an enclosure so that the air in the enclosure combines with the suspension of the driver to limit cone motion. More specifically, we are adding the stiffness of the air spring in the enclosure to the stiffness of the subwoofer suspension (spider and surround) to make the net system stiffer. Here’s the predicted cone excursion of this driver in the manufacturer-recommend 0.6-cubic-foot enclosure.

This second graph shows that the driver’s excursion is limited to about 11.7 millimeters when driven with 500 watts. Excursion increases to only 16.5 millimeters at the lowest frequencies when fed 1,000 watts. In this enclosure, cone excursion is no longer an issue.

The trade-off for limited cone excursion is a decrease in output capability. The graph below shows the predicted frequency response of our subwoofer system in the infinite baffle simulation and the small sealed enclosure.

Below 47 hertz, the infinite baffle driver becomes more efficient. For example, at 25 Hz, it’s 3.6 dB louder in the infinite baffle.

Subwoofer Cone Excursion and Distortion

More output seems ideal, as long as we are below the Xmax limit, right? Well, yes and no. Every moving coil speaker produces more distortion as cone excursion increases. In addition, variations in suspension compliance (the inverse of stiffness) and magnetic field strength mean that the cone may not track the input signal accurately at high excursion levels. Given the above considerations, we want to limit cone excursion whenever possible. As such, more or larger diameter subwoofers in a system can improve sound quality, as long as each is in a correctly designed enclosure.

Let’s add the bass reflex (also known as ported or vented) enclosure to the mix. A vented enclosure is similar to our sealed enclosure, except it has a tube (or square, triangle or rectangle) with a specific length and area. The vent is a Helmholtz resonator. What’s that? Have you ever blown across the top of a bottle of pop (OK, soda) to hear it hum? That’s a Helmholtz resonator. The resonant frequency is lower if you drink some of the pop and blow again. This is because you’re exciting the air in the chamber, and it resonates at a specific frequency. Helmholtz resonators are used on the intact ducting and exhaust systems of cars to cancel out resonances in the system.

In a vented subwoofer enclosure, the vibration from the subwoofer cone causes the column of air in the vent to resonate. At a specific frequency, called the tuning frequency, the resonance in the vent is maximized. As a result, the vent now acts as the primary sound source for the enclosure, and output from the subwoofer cone itself is minimal. Here’s the cone excursion graph of our audiophile-grade 10-inch subwoofer in a 1-cubic-foot vented enclosure that has a vent tuned to resonate at 33 hertz.

We can see that cone excursion is dramatically increased around the tuning frequency of 33 hertz. It increases slightly at 60 hertz, but in this design, that’s inconsequential. What does matter is that the vent acts like a hole in the enclosure at low frequencies, and cone excursion increased dramatically below 27 hertz. If we want to maximize the output of the system, the use of an electronic infrasonic filter will be necessary at 25 hertz.

What’s the benefit of our vented enclosure, then? Here’s the predicted output graph.

As you can see, we gained an impressive 6.5 dB of output at 40 hertz for the same input power. We’d need to drive the sealed subwoofer with 2,235 watts to produce the same output. For many reasons, including the risk of fire, that won’t work.

Sealed vs. Vented – Enclosure Size

In the case of this example, the sealed enclosure has a net internal air volume of 0.6 cubic foot. Our vented enclosure is 1 cubic foot. Translated into dimensions, the outside dimensions of the sealed enclosure, constructed of ¾-inch MDF, would be (as an example) 12 by 12 by 11.75 inches. The vented enclosure would need to be 12 by 12 by 18.2 inches. That’s an increase in length of more than 50%. If you need a small enclosure to fit in a specific space, sealed might be your only option.

Sealed vs. Vented – Efficiency

Comparing the two enclosures above clarifies that the vented design is significantly louder at all frequencies above 18.5 hertz. So, if you’re looking for the most output from a system with a small amplifier, then a vented enclosure is the best choice. The vented enclosure is the best choice if you’re after the loudest system.

Sealed vs. Vented – Sound Quality

When it comes to outright sound quality, choosing your enclosure is more complicated. We’ll need to start by looking at what happens when we put these enclosures into a vehicle. The graph below shows two traces for each enclosure. The lower trace of each color is the free-field predicted response, and the second trace includes an approximation of the response of the system in a car or SUV. This in-car response information is based on data that Boston Acoustics included with one of their drivers in the BassBox Pro simulation software I use. I’ve seen in-car graphs from other sources that are similar, so this is adequate for our purposes.

As you can see, at low frequencies, based on the provided information, a significant amount of boost is added. It’s on the order of more than 20 dB SPL below 30 hertz. What looked like a smooth, flat response from the vented enclosure now has a prominent peak from 30 to 45 hertz. What looked like somewhat limited output from the sealed enclosure appears reasonably flat.

Here’s the answer to choosing sealed or vented for sound quality. If the system doesn’t have an equalizer to flatten the response, then a sealed enclosure would be better. If the system does have an equalizer, then choose a vented enclosure. Why choose the vented design when there is an EQ? Well, you can flatten the response and dramatically reduce the power required from your amplifier to hit a target response curve. More importantly, cone excursion will be decreased dramatically with the vented enclosure so that less distortion will be added to the sound produced by the subwoofer.

One quick note: For the last statement to be true, the vent in the enclosure needs to be designed and executed correctly. That’s a topic for an entirely different article.

Sealed vs. Vented – Infrasonic Performance

Many people really like deep bass. I’m not talking about 25 or 30 hertz; I mean 10 to 15 hertz bass. The kind that you don’t hear but feel in your back and behind. If that’s your cup of tea, then a sealed enclosure might be the better option for your car audio system.

Sealed vs. Vented – Limited Xmax Subwoofers

If you want to have an enclosure constructed for a subwoofer with limited excursion capability, you might want to consider the vented design. This might be an entry-level subwoofer with a short magnetic field or a shallow-mount subwoofer.

Sealed vs. Vented – Enclosure Construction Cost

This one will be up to the specialty mobile enhancement retailer you’re working with. The cost of constructing a vented enclosure is likely higher than for a sealed design. With that said, the performance benefits may offset this cost. You might want to read our article about choosing subwoofer sizes as a single 12 in a vented enclosure might outperform two 10-inch subs in a sealed enclosure. The net cost should be much less. Talk to the product specialist you’re working with and have them do some simulations with the drivers you have in mind.

Pick Your Priorities, Then Pick Your Enclosure

There you go – a whole slew of reasons why you might pick a sealed enclosure or a vented one for your car audio subwoofer. Depending on your application and expectations, there isn’t a clear winner. Make a list of what you want from a subwoofer, then cross-reference those criteria with the answers above. If you reach a stalemate, prioritize your criteria and repeat the process. Your local specialty mobile enhancement retailer should have no problem delivering a solution that will sound great based on that list.

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