If you own a boat, you know how great it is to hang out on it with your friends in the evenings and on weekends. Enjoying great conversation, good food and awesome music is the perfect recipe for fun and relaxation. When it comes to designing and installing a marine audio system on a boat, there are some specific product requirements that will help ensure it lasts for years and always sounds great. Let’s take a look at a few.

Water Damage

Imagine the cockpit of a bow-rider or wakeboard boat. If you were to install a conventional car audio CD player in the dash and get it wet, it would stop working. Maybe not right away, but all the exposed internal components that are not protected against corrosion will fail eventually. The same goes for speakers. Car audio speakers can handle a few drops of water now and then, but being rained on or splashed a lot will do them in.

Water-resistant source units are built with control panels that seal themselves when closed. They include rubber gaskets to ensure water won’t get into the back of the radio, and the buttons and controls can withstand whatever Mother Nature throws their way. Look for an Ingress Protection (IP) rating of IP66 or higher. The first number in the rating describes the dust protection capabilities, and the second describes moisture protection. An IP rating of 66 means it is fully protected against dust and against water being sprayed by high-power jets. Specifically, level 6 jets spray 100 liters (26.4 gallons) of water per minute at a pressure of 100 kPA (14.5 psi), at a distance of 3 meters (9.85 feet) for a total of 3 minutes. No water can get into the device during the test.

While direct exposure to water is a problem, so is exposure to dampness and humidity. Thankfully, companies that design source units designed for a marine application coat their circuit boards with a non-conductive water resistant coating. This is referred to as conformal coating. It prevents moisture from corroding component connections inside the radio.

A genuine marine speaker is designed in the same way. These speakers include a rubber gasket on the mounting surface to seal them to the boat. For a coaxial speaker, there must be a secondary gasket at the base of the woofer cone to prevent water from getting into the speaker’s motor assembly. Without this seal, the top plate and T-yoke of the speaker will corrode. Good-quality marine speakers often include drainage channels to let water out from the behind the grille and include provisions for allowing wiring to be secured to the speaker. This prevents speaker wires from being pulled off when objects like life jackets or fishing rods are being pulled out of storage lockers.

UV Exposure

The second challenge is the sun. Almost every boat sits outside in the hot sun all summer. The sun will dry out plastics and fiberglass resins that are not designed specifically to handle harsh UV rays. The materials can fade, turn yellow, crack, turn chalky or simply dissolve. The UV rays cause the microscopic carbon bonds within the plastics to fail at an atomic level, causing free radicals. Once these free radicals (which are highly reactive molecules) are exposed to oxygen in the air, the material starts to fail. Quality marine audio products are made from plastics like Centrex 814 and similar materials that are designed to withstand UV exposure.

Marine manufacturers often specific industry-standard testing procedures such as ASTM D4329. This test puts products in intense UV exposure situations to verify material stability.

Ignition Protection

The American Boat and Yacht Council (ABYC) has a set of guidelines for the installation of electrical and electronic equipment on boats. While the ABYC guidelines are written for boat manufacturers, they are good practice for anyone who works on boats. Of interest to the installation of marine audio products is the requirement to use of ignition-protected equipment.

Ignition protection-rated devices were designed for use in environments where there are fuel vapors, such as the engine compartment of your boat. In these applications, the devices cannot produce any spark or another form of ignition of flammable substances during normal operation. Manufacturers of compliant products have their products tested in a chamber filled with a flammable air/fuel mixture. The device is operated and cycled through its functions repeatedly to ensure that it is safe. The best part of the test is the conclusion: To confirm the validity of the test, a spark is created inside the test chamber to ignite the fuel. Yes, they blow up the product under test. I know – cool, eh? Devices such as remote controls and circuit overload protection devices (fuses, circuit breakers, etc.) should be ignition protected. Why risk the alternative?

Connectivity

Marine source unit manufacturers put a great deal of effort into their source unit accessories, from simple wired remote controls to units with color LCD displays and wireless units. There are hand-held Infrared and Radio Frequency Remotes, remotes with extra features and outputs to control other functions on your boat (hatch covers, lights, etc.), and even remotes that will let you use your iPod or iPhone to control your radio and see what is playing. These features are not typically found on common “car audio” units.

Salt Exposure

If your boat is going to be operated near saltwater, fear not. Marine entertainment product manufacturers test for reliability under extremely salty conditions as well. In fact, most manufacturers of marine audio products do extensive salt spray and thermal testing, along with the UV and water ingress tests. Look for ASTM B117 Salt Fog Exposure testing on the products you are interested in using.

It’s no secret that marine audio products cost a little more than similar car audio products. You are making an investment in their reliability. The last thing you want is to sail out on the first day of a long weekend and have your system not work. With quality marine audio products on board and a professional installation, you will always be entertained.

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.

If you have purchased a set of premium car audio speakers from a respected mobile electronics retailer in the past few years, then you should be familiar with the concept of sound deadening. If you aren’t familiar with this, or want to know more, then read on! We think you will find sound deadening is an often-overlooked upgrade that has more benefits than most people are aware of.

What Is Sound Deadening?

Automobile manufacturers apply small sheets of dense asphalt or butyl-based material to the floor, firewall or door panels of their vehicles. This damping material adds mass to the panel, making it more difficult for sound and vibration to move the panel and transfer sound into the interior of the vehicle. Automakers walk a fine line between adding weight to a vehicle to reduce noise versus losing fuel economy and handling characteristics due to this added mass. For this reason, most don’t go overboard with sound deadening. They are missing out on a great opportunity.

In spite of what they say in their marketing materials, manufacturers don’t really put that much emphasis on their audio systems. Even when vehicles include multichannel systems with well-recognised namebrands like Bose, Lexicon or JBL, little effort is put into maximizing the performance of the speakers. Proper application of sound deadening can have a dramatic effect on the performance of an audio system.

Aftermarket Deadening Materials

One of the first companies to actively promote sound deadening was Dynamat. Dozens have since followed suit with different approaches to controlling noise inside the vehicle. All of them work on the same principle of absorbing sound energy in one fashion or another and preventing it from being transferred to the interior of the vehicle. Sound deadening has two main benefits when it comes to car audio – exterior noise blocking and audio system performance improvement by preventing backwave cancellation.

When you look at the inside metal skin of a car or truck door, you can see that there are openings to allow access to power window motors, door handles and other components in the door cavity. These openings are typically covered with a thin sheet of plastic. The purpose of the plastic is to keep water away from the interior door panel. That’s important, of course, but these openings work against your efforts to get good sound from your new speakers. There is just as much sound energy being produced from the rear of the speaker as there is from the front. If this rearward-facing sound is allowed to mix with the sound coming from the front, they cancel each other. The result is poor bass and midbass response. Sealing up these openings with a layer of sound deadening means the energy being produced by the rear of the speaker cannot mix with the frontal energy.

Just how dramatic can this cancellation affect be? We have seen instrumented measurements of a factory 6×9” speaker where the difference between having sound deadening or not produced an increase in output of up to 8 dB at several frequencies between 100 and 500 Hz. If you think about how much additional amplifier power it would take to produce the same increase in output, that’s more than six times are much. To be clearer, if you put 10 watts of power into the speaker and measured the response, you would need 63 watts of power into the same speaker to get the same output without the sound deadening. As you can see, that’s a significant difference, and the benefit is not just in efficiency, but in improved low frequency output. The speaker doesn’t have to work as hard, and that alone will improve the overall sound of your system.

It is well worth noting that an upgrade in speaker quality will not produce the same improvement in performance. With a properly sealed and damped door, an inexpensive speaker can easily outperform speakers costing five to 10 times as much money. Sound deadening is critical to the performance of an audio system.

Signal To Noise

The second benefit of sound deadening is in keeping the interior of the vehicle quiet. When you make the interior quieter, the benefit is two-fold. Driving is more comfortable, since you hear less road, wind and tire noise. This reduction in noise also makes it easier to hear your audio system. You don’t have to turn it up quite as loud to drown out the remaining noise. You can hear the quiet parts of your music more easily. Your Bluetooth hands-free system will also sound better. In the same way that controlling backwave cancellation reduces the need for a speaker to work hard, having a quieter interior does the same.

Kinds Of Deadening

There are many different kinds of sound deadening. The most popular are butyl sheets bonded to a thin aluminum layer. The combination works well to span large openings, but is thin and flexible enough to adhere to complex shapes. Other materials are made of vinyl and asphalt-based.

There are three key considerations when looking at different sound deadening products: How flexible is it? How thick is it? How well does it stay adhered once installed? On the engineering and development side, testing the damping characteristics at different temperatures can show quite varied results. Some materials don’t work as well in high or low temperatures. We have seen many people attempt to use materials not specifically designed for automotive applications. When the material melts and ends up as a gooey, black mess at the bottom of your door or leaks onto your carpet, the cost to repair the damage can be significant.

There are also several products on the market that add a layer of foam to the top of the aluminum layer. This foam is great when used between the inside door skin and the metal door because it eliminates buzzes and rattles.

See Your Specialist Car Audio Retailer To Learn More

The next time you are driving by a specialist car audio retailer, drop in and ask about sound deadening. Many people have chosen to apply sound deadening to otherwise stock vehicles. We guarantee the difference in performance from the audio system, combined with the increased comfort while driving, will be well worth the investment.

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.

If you were able to grasp the concepts outlined in the first article about audio distortion, then this one will be a piece of cake. If not, head back and have another read. It can be a bit complicated the first time around.

Undistorted Audio Analysis

When looking at the specifications for an audio component like an amplifier or processor, you should see a specification called THD+N. THD+N stands for Total Harmonic Distortion plus Noise. Based on this description, it is reasonable to think that distortion changes of the shape of the waveform that is being passed through the device.

The two graphs below show a relatively pure 1kHz tone in the frequency and time domains:

A Look At Harmonic Distortion

If we record a pure 1 kHz sine wave as an audio track and look at it from the frequency domain, we should see a single spike at the fundamental frequency of 1 kHz. What happens when a process distorts this signal? Does it become 1.2 or 1.4 kHz? No. Conventional distortions won’t eliminate or move the fundamental frequency. But, it will add additional frequencies. We may have a little bit of 2 kHz or 3 kHz, a tiny but of 5 kHz and a smidge of 7 kHz. The more harmonics there are, the more “harmonic distortion” there is.

You can see that there are some small changes to the waveform after being played back and recorded through some relatively low-quality equipment. Both low- and high-frequency oscillations are added to the fundamental 1 kHz tone.

Signal Clipping

In our last article, we mentioned that the frequency content of a square wave included infinite odd-ordered harmonics. Why is it important to understand the frequency content of a square wave when we talk about audio? The answer lies in an understanding of signal clipping.

When we reach the AC voltage limit of our audio equipment, bad things happen. The waveform may attempt to increase, but we get a flat spot on the top and bottom of the waveform. If we think back to how a square wave is produced, it takes infinite harmonics of the fundamental frequency to combine to create the flat top and bottom of the square wave. This time-domain graph shows a signal with severe clipping.

When you clip an audio signal, you introduce square-wave-like behaviour to the audio signal. You are adding more and more high-frequency content to fill in the gaps above the fundamental frequency. Clipping can occur on a recording, inside a source unit, on the outputs of the source unit, on the inputs of a processor, inside a processor, on the outputs of a processor, on the inputs of an amplifier or on the outputs of an amplifier. The chances of getting settings wrong are real, which is one of the many reasons why we recommend having your audio system installed and tuned by a professional.

Frequency Content

Let’s start to analyze the frequency content of a clipped 1 kHz waveform. We will look at a gentle clip from the frequency and time domains, and a hard clip from the same perspective. For this example, we will provde the digital interface that we use for OEM audio system frequency response testing.

Here are the frequency and time domain graphs of our original 1 kHz audio signal once again. The single tone shows up as the expected single spike on the frequency graph, and the waveform is smooth in the time domain graph:

Low Distortion Analysis

The graphs below show distortion in the audio signal due to clipping in the input stage of our digital interface. In the time domain, you can see some small flat spots at the top of the waveform. In the frequency domain, you can see the additional content at 2, 3, 4, 5, 6 kHz and beyond. This level of clipping or distortion would easily exceed the standard that the CEA-2006A specification allows for power amplifier measurement. You can hear the change in the 1 kHz tone when additional harmonics are added because of the clipping. The sound changes from a pure tone to one that is sour. It’s a great experiment to perform.

High Distortion Analysis

The graphs below show the upper limit of how hard we can clip the input to our test device. You can see that 1 kHz sine wave then looks much more like a square wave. There is no smooth, rolling waveform, just a voltage that jumps from one extreme to the other at the same frequency as our fundamental signal – 1 kHz. From a frequency domain perspective, there are significant harmonics now present in the audio signal. It won’t sound very good and, depending on where this occurs in the audio signal, can lead to equipment damage. Keep an eye on that little spike at 2 kHz, 4 kHz and so on. We will explain those momentarily.

Equipment Damage From Audio Distortion

Now, here is where all this physics and electrical theory start to pay off. If we are listening to music, we know that the audio signal is composed of a nearly infinite number of different frequencies. Different instruments have different harmonic frequency content and, of course, each can play many different notes, sometimes many at a time. When we analyze it, we see just how much is going on.

What happens when we start to clip our music signal? We get harmonics of all the audio signals that are distorted. Imagine that you are clipping 1.0 kHz, 1.1, 1.2, 1.3, 1.4 and 1.5 kHz sine waves, all at the same time, in different amounts. Each one adds harmonic content to the signal. We very quickly add a lot more high-frequency energy to the signal than was in the original recording.

If we think about our speakers, we typically divided their duties into two or three frequency ranges – bass, midrange and highs. For the sake of this example, let’s assume we are using a coaxial speaker with our high-pass crossover set at 100 Hz. The tweeters – the most fragile of our audio system speakers – are reproducing a given amount of audio content above 4 kHz, based on the value of the passive crossover network. The amount of power the tweeters get is proportional to the music and the power we are sending to the midrange speaker.

If we start to distort the audio signal at any point, we start to add harmonics, which means more work for the tweeters. Suddenly, we have this harsh, shrill, distorted sound and a lot more energy being sent to the tweeters. If we exceed their thermal power handling limits, they will fail. In fact, blown tweeters seem as though they are a fact of life in the mobile electronics industry. But they shouldn’t be.

More Distortion

Below is frequency domain graph of three sine waves being played at the same time. The sine waves are at 750 Hz, 1000 Hz and 1250 Hz. This is the original playback file that we created for this test:

After we played the three sine wave track through our computer and recorded it again via our digital interface, here is what we saw. Let’s be clear: This signal was not clipping:

You can see that it’s quite a mess. What you are seeing is called intermodulation distortion. Two things are happening. We are getting harmonics of the original three frequencies. These are represented by the spikes at 1500, 2000 and 2500 Hz. We are also getting noise based on the difference between the frequencies. In this case, we see 250 Hz multiples – so 250 Hz, 500 Hz, 1500 Hz and so on. Ever wonder why some pieces of audio equipment sound better than others? Bingo!

As we increase the recording level, we start to clip the input circuitry to our digital interface and create even more high-frequency harmonics. You can see the results of that here:

Now, to show what happens when you clip a complex audio signal, and why people keep blowing up tweeters, here is the same three-sine wave signal, clipped as hard as we can into our digital interface:

You can see extensive high-frequency content above 5 kHz. Don’t forget – we never had any information above 1250 Hz in the original recording. Imagine a modern compressed music track with nearly full-spectrum audio, played back with clipping. The high-frequency content would be crazy. It’s truly no wonder so many amazing little tweeters have given their lives due to improperly configured systems.

A Few Last Thoughts about Audio Distortion

There has been a myth that clipping an audio signal produces DC voltage, and that this DC voltage was heating up speaker voice coils and causing them to fail. Given what we have examined in the frequency domain graphs of this article, you can now see that it is quite far from a DC signal. In fact, it’s simply just a great deal of high-frequency audio content.

Intermodulation distortion is a sensitive subject. Very few manufacturers even test their equipment for high levels of intermodulation distortion. If a component like a speaker or an amplifier that you are using produces intermodulation distortion, there is no way to get rid of it. Your only choice is to replace it with a higher-quality, better-designed product. Every product has some amount of distortion. How much you can live with is up to you.

Distortion caused by clipping an audio signal is very easily avoided. Once your installer has completed the final tuning of your system, he or she can look at the signal between each component in your system on an oscilloscope with the system at its maximum playback level. Knowing what the upper limits are for voltage (be it into the following device in the audio chain or into a speaker regarding its maximum thermal power handling capabilities), your installer can adjust the system gain structure to eliminate the chances of clipping the signal or overheating the speaker. The result is a system that sounds great and will last for years and years, and won’t sacrifice tweeters to the car audio gods.

This was Part 2 of a 2 part article. To read  Everything You’ve Wanted to Know About Audio Distortion – Part 1, Click Here.

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 we talk about any signal, be it audio, video or data, there is an accompanied reality for alterations and errors made to that signal as it passes through different electronic components, conductors or magnetic fields. While we get concerned when we hear that a component introduces distortion or when we read distortion specifications, distortion is part of nature and is simply unavoidable. Until any distortion reaches a significant level in an analog signal, it can’t be heard or seen.

Starting With A Foundation in Audio Distortion

With that in mind, let’s create a foundation for observing and understanding the properties of an audio signal in the electrical and frequency domains. This information will serve as the foundation for understanding distortion in part two of this article.

Any signal, be it Direct Current (DC) or Alternating Current (AC), can be analyzed in two ways – in its time domain or frequency domain. Understanding the difference between these two observation domains will dramatically simplify the life of anyone involved in the mobile electronics industry.

When we observe a signal in the time domain, we are looking at the amplitude of the signal relative to time. Normally, we would use a voltmeter or oscilloscope to look at signals in the time domain. When we consider a signal in the frequency domain, we are comparing the amplitude (or strength) of individual frequencies, or groups of frequencies within the signal. We use an RTA (real time analyzer) on a computer or handheld/benchtop devices to look at the frequency domain.

Direct Current

When analyzing the amplitude of an electrical signal, we compare the signal to a reference; in 99% of applications, the reference is known as ground. For a DC signal, the voltage level remains constant with respect to the ground reference and to time. Even if there are fluctuations, it is still a DC signal.

If you were to chart the frequency content of a DC signal, you would see it is all at 0 hertz (Hz). The amplitude does not change relative to time.

Let’s consider the DC battery voltage of your car or truck. It is a relatively constant value. Regarding amplitude versus time, it sits around a 12.7-12.9 volts on a fully charged battery with the vehicle off. When the vehicle is running and the alternator is charging, this voltage increases to around 13.5 to 14.3 volts. This increase is caused because the alternator is feeding current back into the battery to charge it. If the voltage produced by the alternator was not higher than the resting voltage of the battery, current would not flow and the battery would not be recharged.

Alternating Current

AC Signal – Time

If we look at an AC signal, such as a 1 kHz tone that we would use to set the sensitivity controls on an amplifier, we see something very different. In the case of a pure test tone like this, the waveform has a sinusoidal shape, called a sine wave. If we look at a sine wave on an oscilloscope, we see a smoothly rolling waveform that extends just as much above our reference voltage as it does below.

AC Signal – Frequency

It is now wise to look at this same signal from the perspective of the frequency domain. The frequency domain graph will, if there is no distortion, show a single frequency. In consideration of an audio signal, the amplitude (or height) of that frequency measurement depends on how loud that single frequency is relative to the limits of our recording technology or measurement device.

Audio

When we listen to someone speak or play a musical instrument, we hear many different frequencies at the same time. The human brain is capable of decoding the different frequencies and amplitudes. Based on our experiences, and the differences in frequency and time response between one ear and the other, we can determine what we are hearing, and the location of the sound relative to ourselves.

Analyzing the time domain content of an audio signal is relatively easy. We would use an oscilloscope to observe an audio waveform. The scope will show us the signal voltage versus time. This is a powerful tool in terms of understanding signal transmission between audio components.

A Piano Note

Middle C – Time

Let’s look at the amplitude and frequency content of a sound most of us know well. The following graph is the first 0.25 seconds of a recording of a piano’s middle C (C4) note in the time domain. This represents the initial hit of the hammer onto the string. If you look at the smaller graph above the larger one, you will see the note extends out much further than this initial .25 second segment.

Middle C – Frequency

We know that the fundamental frequency of this note is 261.6 Hz, but if you look at the frequency domain graphs, we can see that several additional and important frequencies are present. These frequencies are called harmonics. They are multiples of the fundamental frequency, and the amplitude of these harmonics is what makes a small upright piano sound different from a grand piano, and from a harp or a guitar. All of these instruments have the same fundamental middle C frequency of 261.6 Hz; their harmonic content makes them sound different. In the case of this piano note recording, we can see there is a large spike at 523 Hz, then increasingly smaller spikes at 790 Hz, 1055 Hz, 1320 Hz and so on.

Sine vs Square Waveforms

Every audio waveform is made up of a complex combination of fundamental and harmonic frequencies. The most basic, as we mentioned, is a pure sine wave. A sine wave has only a single frequency. At the other end of the spectrum is a square wave. A square wave is made up of a fundamental frequency, then an infinite combination of odd-ordered harmonics at exponentially decreasing levels. Keep this in mind, since it will become important later as we begin to discuss distortion.

Noise Signals

Noise is a term that describes a collection of random sounds or sine waves. However, we can group a large collection of these sine waves together and use them as a tool for testing audio systems. When we want to measure the frequency response of a component like a signal processor or an amplifier, we can feed a white noise signal through the device and observe the changes it makes to the amplitudes of different frequency ranges.

White Noise – Time

You may be asking, what exactly is white noise? It is a group of sine waves at different frequencies, arranged so the energy in each octave band is equal to the bands on either side. We can view white noise from a time domain as shown here.

White Noise – Frequency

We can also view it from the frequency domain, as displayed in this image.

Variations In Response

The slight undulations in the frequency graph are present because it takes a long time for all different frequencies to be played and produce a ruler-flat graph. On a 1/3-octave scope, the graph would be essentially flat.

Foundation For Time And Frequency Domains

There we have our basic foundation for understanding the observation of signals in the time domain and the frequency domain. We have also had our first glimpse into how harmonic content affects what we hear. Understanding these concepts is important for anyone who works with audio equipment, and even more important to the people who install and tune that equipment. Your local mobile electronics specialist should be very comfortable with these concepts, and can use them to maximize the performance of your mobile entertainment system.

If you’ve made it this far and want to learn even more about audio distortion, CLICK HERE for Part 2 of this article!

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.