Custom Box Audio

Performance subwoofer to produce low bass sounds solid and also of course supported by a subwoofer enclosure or box. Subwoofer box in the car usually has a different size, this is adjusted to the recommendations of technical data from the subwoofer. However, each audio installer, have different styles in the design of the box.

If, during this, Custamers only know if his kind of box-that’s just it, it did not. Box consists of various types and models. Design, size (dimensions) and a subwoofer box models are usually clearly taken into account at the time of manufacture, design and even too often dilakoni carefully the Installer.

Clearly, each type of box has a value of strength and weakness, all models box if applied correctly, clearly gives a very maximum performance subwoofer.

Suppression Cabin Car

Dynamat damping material is cars that have the ability cabin soundproofing and vibration reduction is the most efficient. Dynamat Damper can be used on all interior made of metal and fiberglass on your car. In the aluminum material has a surface when a thin and lightweight so it can cause no

ise and vibration from outside can enter easily into the car cabin, using a Dynamat lapidan attached to the existing aluminum on the interior of your car can overcome the problems of noise and vibrations coming from outside.

Dynamat lapidan can be used on the car door, car cabin floor, roof parts in the car, hood, and on the inside of the trunk space, so that the whole can create an atmosphere of

noise-resistant and you can enjoy the ride while listening to music without being interrupted by the vibration or other sounds.

How to Select and Adjust Crossovers

In any system of quality audio, type and tuning crossovers can have a tremendous impact on how the system will sound. Crossovers are used mainly to separate sub-bass, midbass, midrange and frequency of accurate, submit the appropriate frequency range for each speaker in the system (click here for a basic understanding of the topic). As with other system design and tweaking parameters, good-quality crossovers, when adjusted properly, will not attract attention to themselves and, ideally, a crossover effect would only be considered as a listener to enjoy high quality audio experience. However, use a crossover one or set one good and can be clearly heard that something was not right as the system will only sound bad.

Passive crossovers
A passive crossover can be much larger because it works between the amplifier and speakers. So it must be able to withstand any level of power amp can produce. Most of the medium is available / tweeter speaker system includes a passive crossover. This crossover allows the use of a single amplifier to power the midrange and high frequency speakers. The net result could be very good, with the assumption that manufacturers design the crossover to work properly with the speakers, and speakers are placed and installed properly.

In general, connecting the speakers and passive crossovers as recommended will result in good performance. However, do not be afraid to try to reverse the polarity on individual speakers, especially if the mid and tweeter is not mounted very close together. Try different configurations and determind what sounds best.

Designing a passive network itself or modifying an existing task is far beyond what can be discussed here because many variables involved. Without a good computer program to model a crossover design, you can spend a lot of time and large sums of money to design and build different crossovers to achieve best performance.

Passive crossover usually not used in lower frequency region in car audio for several reasons. Low frequency passive network must use large, compoennts more expensive to make them perform better. Also, we usually incorporate a dedicated low-frequency and high frequency amplifier uses an active crossover between them. Likewise, a good quality amp often uses an internal active crossovers that makes this job much easier.

Active crossovers
Active crossover mismatch in the system right before the low-level signals are sent to the amplification stage in the system. So they can be much smaller than the passive crossover and also have the ability to make changes in the selection of frequencies and other parameters more easily than their passive counterparts.

Active crossover is the norm to separate sub-bass, midbass and midrange / high-frequency parts. These crossovers are often used to divide the middle and high frequencies with more precision and adjustments in the application of high-end systems.

Many high quality active crossovers available that allows users to make adjustments to the amount of variation. In addition, many have digital storage capabilities, allowing an instantaneous switch between different settings, so they can be compared easily.

Amp Much better quality crossover combine multiple technologies in power input section, sometimes eliminating the need for outboard crossover special.

Tools to Use
Several tools can be used to help set the crossover. The speaker owner’s manual is one that should provide the recommmended frequency range in which each speaker will perform best. An RTA or other acoustical analyzer can provide a good visual indicaiton of what’s going on; however, it isn’t a required tool. Your ears are, of course, the no. 1 tool and, for the final setting, are the tools of choice—regarless of the other tools you have available.

Other tools can also be helpful, but these are ones that are more often available in installation bays. We’ll cover more about how to use tools as we get into the article.

Crossover Tweaking and Tuning
Now, let’s take a look at setting the crossovers. Start by looking at the speaker manual (or the manufacturer’s website) and find the recoemmended useable frequency range for each driver. Write these down so you can reference them as we go.

For tweeter and other sensitive drivers, like dome midranges or compression drivers, make sure that your crossover settings never go below that driver’s lowest recommended useable frequency.

After writing down the useable ranges for each speaker, determine the useable overlap range between the drivers. For example, the subwoofer may have a good response up to 250Hz, and the midbass or midrange driver may have a lower frequency cutoff of 55Hz. This means, you could choose your crossover frequency anywhere between 55hz and 250Hz. Determine the exact crossover frequency that will provide the best sound performance.

As far as crossover slopes go, often a steeper slope works better than a shallow slope, so it’s a good idea to start steep, if this is an option with the particular components you’re using. You may end up with the same high and lowpass slopes or one steeper than the other. Set them according to what makes the system sound the best.

It’s a good idea to begin by adjusting only one channel at a time. Start with the left channel and adjust the crossover settings to achieve a relatively smooth repsonse. Then adjust the right channel, center channel and each of the rear channels if they’re used.

If you have an analyzer like an RTA, use it for these initial adjustments. With the pink noise playing on only the left or right channel at a time, move the microphone around in an area about the size of your head above the driver’s seat. This lets the RTA display an average response for a larger space than just the pea-sized space at the tip of a stationary microphone. Watch closely for what each change you make shows on the display. When you get the frequency response looking smooth on the display, put in some music and listen to the system. Switch between different settings that look good on the RTA and see what sounds best.

If you don’t have an RTA handy, don’t sweat it. It may take a little longer using only your ears, but in the end it can be just as accurate.

When tweaking by ear, simply listen closely to some well-recorded music that you are very familiar with while making adjustments. When the final crossover settings are done, the frequency response in the transition from one speaker to the other should be as smooth as possible, you shouldn’t be able to sense any annoying peaks, holes in the response or determine exactly when the sound transitions from one speaker to the other. Remember, “smooth” is the key.

For the subwoofer to midbass crossover, I recommend starting with a crossover frequency around 70Hz and work up and down from there. If possible, vary the subwoofer highpass and midbass lowpass slopes and each of the crossover channel’s relative output levels.

For tweeters and compression drivers, start with the steepest highpass filter slope possible and at as high a crossover frequency possible to blend with the midrange driver, and work down from there. Be careful if approaching the lowest recommended frequency for the smaller drivers so as not to burn them up.

For everything else, just work within the available overlap frequency range until it sounds the best. I know that my sound over-simplified, but it really is that simple.

Crossovers as Equalizers?
By setting the highpass and lowpass filters at different frequencies, the crossover can be used to control the overall system frequency and phase response (equalization) to some extent. In fact, I prefer to use the crossover settings to the maximum extent possible for frequency response contouring and use a dedicated equalizer as little as possible beyond that.

In order to do this, if you find a peak or dip in the response in the crossover region when tuning the system, the highpass and lowpass crossover frequencies and slopes can be varied to help correct the problem. For example, to correct a peak in the subwoofer/midbass crossover frequency range, turn the subwoofer lowpass frequency lower and/or turn the midbass highpass frequency higher. You can also change the slope of each and try reversing the polarity of one of the speakers. This can be very effective at smoothing the response.

If you’re using a passive crossover, check to see if it has some adjustment capability. Many have a tweeter level adjustment, and some more advanced ones have a midrange level or “presence” adjustment capability. Don’t assume that setting the midrange and tweeter as loud as they’ll go is where they should be set. Listen to the system and change the settings to see which one actually sounds the best. With a passive crossover system, theese features can be very effective for system tuning.

Final Points
Remember to listen to the changes you make to the system after each adjustment or short series of adjustments. If the changes aren’t improving the sound quality, don’t be afraid to back up and try something different. Don’t be afraid to experiment: Keep the speakers working within their recommended frequency ranges and try as many different crossover setting combinations as possible.

Make sure to write down the settings you have tried, as well as general impressions of each. Then when you have several settings that sound pretty good, you can switch between them and choose the best one. If you don’t document the settings, you will likely be trying the same ones over and over again, or may not be able to get back to one that you really liked after you change from it.

As your audio system develops and as you learn more, you’ll likely continue to make changes to the crossover settings. Adjusting crossovers really isn’t that difficult. With a little thought and a consistent technique, it can go quickly. Keep in mind that a crossover should help make the system sound good and when you get done tweaking it, you shouldn’t even know it’s there. It simply lets the music play without getting in the way.

That’s pretty much it for basic crossover setting. At some point in the future, we will get into more advanced system tuning using different techniques with the crossovers. But we’ve got a lot of other system tweak and tune techniques to cover before then.

8 Essential Tools for Car Stereo Installation

So, you want to install your own car audio system. Great. And I mean that sincerely (even as someone who worked on the retail side). After all, that almost all of us can start in this industry, working on our own vehicles and our friends’. Apart from reading the article about the CAE or attend school or training seminars, the next best thing you can do to accelerate your development as an installer weekend is to get the right tools to install. Nothing will enhance your time spent working on a project such as using the wrong implement. Do yourself a favor and spend a little time and money to find and purchase items that will greatly improve the results.

1. It’s easy to overlook something like this, but you need proper panel poppers (get the plastic and/or metal variety). You can find a pry set at Mobile Solutions. Don’t use a screwdriver or makeshift tool. Use dedicated tools and you won’t be as likely to ruin parts of your interior.

2 & 3. Now for something more obvious. You have to have a crimper and a wire stripper. You can buy them separately or get a combo product. Look at these from Snap On and IDEAL.

4. You’re nowhere unless you have a multimeter. How are you going to know which wires are what? Fluke makes the gold standard, if you will. The FLU115 allows you to check continuity, frequency, capacitance and diode test.

5. For difficult to reach places you need a skewdriver, an offset ratcheting screwdriver. I’ve seen installers, or rather, automotive people, waste an hour trying to undo screws under say a the rear deck on a Ford, a Shelby, for instance, all because they tried to use a conventional screwdriver. Believe me, something like the Scosche PRST Spec Tools WPK2603 Skewdriver Pro 26 pcs Kit is well worth the investment.

6. Sometimes there’s nothing more tedious than trying to run wire. Don’t make it worse by skipping on this essential tool, a wire puller. Matco Tools has one.

7. For troubleshooting you’ll want a tone generator. This one offers an output range of 0-8 volts at a variable 10 kHz to 13Hz tone for setting system levels, checking speaker crossover points, verifying connections and general trouble shooting.

8. Here’s another good troubleshooting tool, a mini audio amplifier. If you need to check to see a product, like a source unit is working, you can connect this for a quick listen. Use as a test amplifier or signal tracer. Radio Shack makes this handy tool.

Car Audio Stooring

Audio installation bother arguably easy. So here goes klo buy head unit or buy electronic devices for cars already equipped with installation instructions. Armed with little knowledge of electronics when the first secondary school until high school I think you all can do it, that distinguishes his work is probably only just the level of neatness.

Storing the audio is one of the most unpredictable, sometimes results in the cable installation is neat, all the connections at each point using a solder, and a good insulator, but tau-tau spark plug wires and causing trouble storing, like guns that would spark plug wires leak had to be replaced so as not to cause interference to the audio system.

Storing can be caused by some of the following:
1. Cable connection between too much and do not tidy.
In cabling, try not to connect the cable too much!, It is important to detect the level of damage in the future. Use solder to strengthen the cable connection and use insulation (isolation) of quality.

2. Ground cable, each unit on an audio device requires a good ground, make sure the groud position is not reached by the hot spot, and its surface does not rust.

3. Leakages in the spark plug wires, it rarely happens so it is still less attention, is to replace the road satu2nya spark plug wires.

4. There are some Electronic Control Module that emits signals that can lead to stooring, usually the signal is called the RF signal

How an Amp works

There was no “basis” of how amplifiers work. This article is for car audio enthusiasts who might be wondering how the amp is not what he was doing. We will not get into the flow of electrons, the history of the transistor or the inner workings of a transformer, but we’ll see what amp with no signal received from a unit source in general and (hopefully) easy to understand way.

car audio enthusiasts who have an interest in the field but have not studied this topic at the school know that the amp to improve or enlarge small signals coming into it. This is true to a certain extent, but in fact create a new signal amplifier which is a COPY of the original signal. Let’s look at an analogy.

Compare an audio amp and a photocopier. You’re probably wondering how we can compare these two dissimilar pieces of technology. Both make a copy of something and, as anyone who has used a copier knows, you can set the copier to enlarge. If you put a piece of paper in the copier with a 1″ by 1″ image on it, you can tell the copier to spit out an enlarged copy of that image on another piece of paper. So now you have an image that is larger, say 3″ by 3″. The new image is a larger copy of the old image, but it’s on a different piece of paper, so it’s not he SAME image. Now let’s take this crazy comparison to an amplifier. It takes an original signal and produces a larger signal at the other end. The signal coming out of the amp is a larger version of the signal entering the amp. However, like the copier, the signal leaving the amp is not the SAME signal that came into the amp. Having said that, nothing’s perfect. The signal leaving the amplifier is bigger than the original in height only and not in length. If the wavelength were longer, the frequency would have to change—let’s leave that for another article! For now, this analogy should give you a general idea of what an amplifier does to an input signal.

So in general, what a car audio amplifier does is take a very small signal from a “source unit” such as a CD player or what have you and increases its stregnth to a level that can drive a speaker. Although they aren’t the same signals, the only difference between the input signal and the output signal is the strength of the signal.

Signals
The first step to understanding how an amp works is to understand what a signal is. A signal is used to convey data from one place to another. There are two types of signals, analog and digital. Our example uses an analog signal sent down an RCA cable, which is a voltage level representing an air pressure waveform of the sound. Although this may sound confusing, it really just means that the source unit sends an electrical signal representing sound (music) down its RCA cables to the amplifier.

To see what the amp does with the signal, let’s investigate the three stages in most amps.

•The Input Stage
•The Power Supply
•The Output Stage

Input Stage
Source units differ in the voltage they send down the cables. For example Source Unit A might send a 1-volt signal down its RCA while B might send a 3-volt signal, as illustrated below.

Amps need to be able to receive input signals at different voltages. Some amps are manufacturerd to receive only limited inputs (say RCA only), but most allow at least two levels of inputs, high-level (speaker wires from a source unit) and low-level (RCA from source unit). In this article we will concentrate on the low-level input.

The sensitivity of the amp’s input must be matched to the source unit’s output. This is the function of the Gain control in an amplifier. Don’t mistake the adjustment for a volume control. The gain control is only used to match signal levels between the various components in the audio system. In other words, if turning the source unit’s volume control to maximum results in max output from the amp (without distortion), you have set the gain control properly.

The Power Supply
The power supply is responsible for converting the supply voltage (vehicle’s battery voltage) to a higher voltage. A typical car battery can supply 13.8 volts of DC power. This small voltage isn’t enough to drive speakers to volume levels typically required by users.

All car audio speakers have a certain amount of built-in resistance. This resistance is measured in ohms. The majority of car speakers have a resistance of 4 ohms.

If we were to base our amp’s output voltage on the battery’s voltage of 13.8 volts and a typical speaker’s resistance of 4 ohms, then the maximum power we could expect the amp or source unit to output would be 49 watts. This is due to what is called Watt’s Law. This law states that Power (P) equals Voltage squared (V2) divided by Resistance (R). Our car battery represents the Voltage (V) of 13.8 volts DC. By squaring this voltage (13.8), we get 190. Our speakers represent the Resistance (4 ohms) in this equation. By dividing 190 (V2) by 4 (R), the maximum Power we can expect from our amplifier 47.5 watts, assuming the amp is 100 percent efficient.

If the output stage of an amplifier could handle a lower impedance (ohm) load, say 2 ohms, then figuring out the potential of our amp would require the (R) value in our equation to change to 2. Squaring the voltage (13.8) remains the same at 190, but dividing by 2 now gives us a maximum power rating of 95 watts. Still not near enough for our big 15″ subs!

So how can we get more power? The answer is to raise the voltage. Obviously we cannot raise the vehicle’s voltage, so the amp will have to perform that task. In fact, raising and controlling the voltage is the majority of the amplifier’s work.

Raising or “stepping up” the voltage is performed by the amp’s power supply. A bigger and more robust power supply means the output stage can do its work better and produce higher power levels to the speaker. To “step up” the voltage, the amp’s power supply uses a transformer to boost the supply (vehicle) voltage.

A transformer is a device that takes electricity of one voltage and changes it to another voltage. Most transformers are step-up or step-down transformers, meaning they take a smaller voltage and make it higher or take a higher voltage and make it lower. A typical step-down transformer is found on top of utility poles. These transformers reduce the voltage from the utlity’s sub-station to a much lower voltage that can be used in your home. The type of transformer found in a car audio amp is a step-up transformer (see the figure at the bottom). This transformer takes the available voltage from the vehicle’s batery and steps it up to a higher voltage, which can power our speakers.

Because music is an AC (alternating current) signal, we’ll need both positive and negative voltage to motivate our speakers. To do this, the transformer’s output is rectified and filtered to two DC “voltage rails.” The voltage rails are inverse of each other. In other words, one rail handles the positive swing of the signal while the other handles the negative. When combined, this swing effect results in AC signal.

If we have a power supply that can output +25 volts, it must also output -25 volts. These are the positive and negative voltage rails. The difference between the two voltage rails in this example is 50 volts. Following Watt’s Law, this amplifier would deliver 625 watts (50 volts squared divided by 4 ohms). To put it another way, this amplifer would have a peak-to-peak power limit of 625 watts.

The higher the “rail voltage” the more power the amplifier can deliver to the speakers. A common term in the industry refers to an amplifier with more rail voltage as having more “headroom” than a comparable amplifier with lower rail voltage.

Output Stage
The output stage is what drives our speakers. The main components of the output stage are the power transistors. The most popular type of transistor used today is the MOSFET. Transistors act as electronic “gateways” for delivering the higher rail voltage to the amp’s outputs. To do this, they pass the voltage produced by the power supply in a controlled manner.

Remember the term “signal” from earlier in this article? Well, it’s this signal that controls the “opening and closing” of these output transistors. So, in fact, the original signal controls the doorway for the higher voltage signal to go through. It also controls the switching on and off of the transistors in a way that they reproduce the original, but more powerful signal, to the output terminals of the amplifier and onto the speaker wires and speakers.

Car Audio System

Setting the car audio system for all types of cars

Basically there are types of Car Audio System is the first two kinds of Car Multimedia System and the second is the Sound Quality.

For the first type of Car Multimedia System or which often referred to by Car Theater more tends to use a headunit that has the ability DTS (Dolby Digital System 5.1) or Dolby Digital to create a sound that are designed specifically for surround sound theater.

While the second type is the Sound Quality tends to focus more on the purity of sound (natural) generated from the headunit and other audio devices, so as if we’re dealing with the original singer.

Excess Sound Quality setting does not damage the system interrupt our conversation in the car (it is often the case we can not chat with our friends in the car) And we’re supposed to be able to hear his music while chatting.

Properly Install Door Speakers

The doors are far the most common place to mount your aftermarket parts brand new speakers, since the manufacturer might give you a place to put them. If you want to get the most from your investment, but you can not just swap out your factory cheapies and call it day. There are tricks you can do for your door to make a big difference in sound quality of your system.

In my Tundra, I want to midbass big impact in advance, so I decided to install a dual-6 ½ “drivers on the factory door locations with plenty of power to drive them. The techniques shown here can be used to greatly improve the sound from each speaker upgrade , even a simple swap from the factory to coaxials aftermarket speakers. The key is to prevent air leakage and vibrate at the door, making the door acting like a cage. You’ll be surprised how much better overall sound quality you will after this process is complete.

Here is the stock Toyota Tundra door panel. This particular truck has a factory JBL speaker systems, with the midbass and midrange in the door with the tweeters in the upper corner

Door panel removed, revealing the speaker and vapor barrier underneath. Panel doors are easy to remove simply by taking the three screws and comments from the clips.

Here’s the factory speaker arrangement, with the 7” midbass and 3” midrange. I decided to go for maximum midbass impact up front, so I went with dual 6 ½” Alpine Type X drivers in each door. To fit these, it was necessary to cut some metal out of the door, so the area was marked with a Sharpie. The metal was cut using an air saw with a metal blade. Be careful to check behind the area you are cutting, since window gears and motors are very close to this area.

The area around the speaker hole is now ready to be pasted into the application of fiberglass. Use a good tape 3M Super 233 + great for fiberglass applications.

Aluminum foil is now spray glued over the tape to provide a barrier layer for the fiberglass. Use Super 77 spray glue by 3M, as it works well without providing an overly strong hold. The mounting rings that come with the Alpine Type X speakers can be used to make a custom mount for the door. Here, we’ve taken two of them and attached them with super glue. The edges are also ground down to promote good fiberglass adhesion. Now the dual mounting ring is attached to the foil on the door. Super glue works great for this; use small wood or plastic sticks to hold the rings in the desired location.

Fiberglass mat can now be applied to the edges between the rings and the door panel, creating a form-fitting piece. Four layers of thin ½ ounce mat is plenty for this application.

Once the fiberglass is dry, the panel can be removed from the door. Notice how the foil comes off with the fiberglass piece—this is why it’s important not to use an overly strong glue to hold the foil in place.

Next the panel is cut to shape with an air saw, and the edges are ground flush using an angle die grinder.

The piece is now test-fitted on the door. Notice how the piece fits perfectly to the door skin, making a tight seal that will ensure great midbass response.The panel is painted black, bolted in place, and the speakers are screwed in. Make sure to seal the panel to the door with gasket foam, and do the same thing with the speakers.

Cascade Audio damping material is applied to the back of the outer door skin behind the speakers to prevent ringing and rattling. More damping material is applied to the inner door skin. We’ve removed the factory plastic vapor barrier, replacing it with this one made of damping material.

A heat gun is used to warm up the damping material. Adding heat makes the material flexible, allowing it to conform to the door panel. In addition, the heat makes the stuff stick much better to the door skin.

Here’s the completed damping material on the door. Notice that all the holes and seams have been filled to make the door as airtight as possible. This will make the door act like an enclosure, providing much tighter midbass impact.The tweeter replacement is the easy part, as Toyota was kind enough to provide a metal bracket to mount the tweeter.The factory tweeter was unbolted, and the Alpine tweeter cup was bolted in its place.

Next, the Alpine tweeter was twist-locked into the cup, and the metal bracket was bolted back on the door. One nice little easy touch is to replace the JBL logo on the door grill with the Alpine one out of the Type X component set.

A custom project that looks the same at the end as it did at the beginning! That’s the beauty of this install—trick but stealthy. You won’t know it’s not stock until you crank up the volume control.

RECARO Child Safety Seats

RECARO’s ProSERIES is the newest addition to the popular line of car seat manufacturers based on the child seat RECARO’s proven race track sits mobile technology.

ProSERIES new lines including ProRIDE, which ProSPORT and ProBOOSTER every seat specially designed to provide comfort and safety of your child grows. Every seat is now available through national retailers.

“New RECARO’s ProSERIES chair is designed to not only provide maximum protection, but is most comfortable for the entire time the child is required to be in car seats,” said Jonathan Sieber, Director of Sales & Marketing for RECARO North America. “We have received a large amount of positive feedback from parents who appreciate not only the safety design ProSERIES ‘, but it looks great and overall ease of use. RECARO also able to achieve the capacity of utilizing 90 pounds of body weight in ProSPORT which is the highest available in its class.”

Combined, ProSERIES line can accommodate children from as low as 5 pounds all the way up to 120 pounds. ProRIDE new convertible seats allow parents to use the chair when their children must face the rear and then turn to the front as one of their little faces growing. This chair is designed for children 50-70 pounds and 50 inches tall or less. The ProSPORT RECARO is utilizing a combination booster car seat suitable for children weighing between 20 and “Best in Class” 90 pounds when used in utilizing mode and 30 120 pounds when used in booster mode. A child also must be less than 59 inches tall to use these ProSPORT. The ProBOOSTER RECARO for children 30-120 pounds and 37-61 inches high. This innovative seat 11 has a head restraint.

Assembled in the United States, ProSERIES is a high quality child restraint system that provides parents and children luxury and security they need for any trip. Parents will appreciate that every seat in ProSERIES includes innovative RECARO’s Side Impact Protection system specifically designed to protect any vulnerable areas of a child five in side impact collisions – head, neck, face, chest and pelvis.

RECARO developed and optimized side impact protection for seat racing cars in 1990 and then adapted their technology for child car seats set a new standard for child safety seats premiums. EPS energy absorbing foam and a proprietary design of structural RECARO’s joined to provide a safety seat, style and comfort once reserved only for cars and chairs the world’s most prestigious race.

Each seat cover features an extreme ProSERIES absorb crash energy technologies and hold a soft padding. The chair is evaluated in the company’s competency centers seating both in the United States and Europe and through independent bodies, including ADAC globally respected. RECARO recently celebrated the 100th anniversary and included as one of the “Brand of the Century” in 2009.

RECARO ProSERIES Features

o RECARO’s Side Impact Protection. Designed to protect each of the five regions of vulnerable children in side impact accidents including head, neck, face, chest and pelvis.
o Best in Class Heavy Harness. At 90 pounds ProSPORT has the highest weight capacity available for the five-point harness seat.
o (EPS) foam energy absorber. Expanded Polystyrene “EPS” energy absorbing foam collision forces through their respective seats for additional protection.
o QuickLift: Head of Control. Comfortable lift lever allows easy positioning restrictions ProSPORT head to properly fit your child.
o CoolMesh Air Ventilation. This unique material lets air pass through the key areas in every seat enhance ventilation and air flow.
o EasyAdjust: 5-Point Harness. RECARO’s use conform to the limitations of the head. No re-threading is needed to properly utilize the shoulder strap positions for children, suitable for everyday use.
QuickPull o: Adjusting Front Harness. Comfortably situated frontal harness adjuster to not take advantage of the complexity of the adjustment.
o EasyGuide: Belt Guide. Whether in the mode of each Booster Harness or belt guide is color coded so you can easily identify the correct belt path and position of both the LATCH strap or a vehicle seat belt.

CAR AUDIO

You will not be able to listen to a song if there is no Head of Unit, and of course it is very necessary. If you could hear the music iPod, or gadget mp3, atmosphere in the car would not survive if there is no such thing as a radio tape (head unit), for example, if you hear a song that again has a romantic approach, a song that is suitable for making an approach to a girl ,

. Head Unit

Tape,Radio,CD-DVD,TV,AUX (USB)2. CD CHANGER

Maybe it is almost outdated rada because most CD-Changer Head unit so that air can begin to equip the facility standard CD, and then going right where the black ribbon / tape ..? hehe, add more there that has made USB .. live copy a CD to insert an MP3 and then convert the flash, you can enter hundreds of songs to mp3 format 512MB flash, no CDs were scattered

2.POWER AMPLIFIER

Create a hooked / hobby, not satisfied the same device can be upgraded factory audi innate good let me add her voice, power amplifiers can be added according to your ear sensitivity, whose names are different people’s ears, you could say there good settings … settings .. but here is better all the edges must fit together you have ears .. “Why pay for expensive, if not better” hehe so easy about the drug trade slogans like mosquitoes. The following types of power amplifiers in the market, it could be there already a new type, but I think these have most up to date

• Monoblok
• 2 Channel
• 3 Channel
• 4 Channel
• 5 Channel
• 6 Channel

3.AUDIO CONTROL / PROCESSOR

When it comes to audio control / processor level’ve certainly not amateurs anymore .. not also one who has not satisfied the same ear hearing but solely for the purposes of innovation / audio contest. But still not haram in use for daily necessities so.

4.CROSS OVER

In accordance with his crossover, its function to filter / filter / bypass frequency2 who are not in want. The difference with POWER, if power was a tool to strengthen the force / power to the speakers themselves.

5.SPEAKER

Not going to run out if the speakers talking about issues, many are selling, many models, many types, just a lot of things, well now back again to the ear, where do you think you fit the same ear, quick buy before the miss.

• Coaxial Speker

Coaxial has the advantage of the tweeter and woofers that are mounted very close together coincide, hence the name coaxial (coinciding axes) that makes all the sounds coming from one spot.

• Speker Split ( Component )

A speaker is the speaker components that are suitable for optimal sound quality car audio. Usually a pair of tweeters and mid-bass drivers are matched with the crossover to limit the frequency range of each speaker must accurately reproduce. Component speaker drivers are physically separated so that the tweeter, which is very well directed, can be placed in an optimal position, usually on the dashboard facing the listener, while the mid-bass drivers greater can be placed where there is room, often at the bottom of the front door of the car. pairs of component speakers offered by all manufacturers of high-end audio.

6.Subwofer

Subwoofers consists of one or more woofers in a forest either strengthen or plastic loudspeaker enclosure, in one of various designs, including bass reflex (with port or a tube in the cage), unlimited baffle, horn loaded, and bandpass designs, each have their own strengths and deficiencies in efficiency, size, distortion, cost and power handling. Passive subwoofers have a subwoofer driver and enclosure and they are supported by an external amplifier. active subwoofer includes a built-in amplifier.

7.CAPACITOR BANK

Capacitor banks are widely used in the company-the company. Capacitor bank is used to improve the power factor. Normally around 0.85. under the load of electric power companies become larger. Why should it be installed capacitor bank? because of the excess cost of electricity charged to customers KVARH average cos if it is less than 0.85.

for the purposes of installing capacitor can also be avoided:

1. aka overload overload
2. voltage drop at the line ends
3. increase in flow / temperature on the cable thus reducing losses

8.CABLES / KABEL

9.FUSES / SEKRING