A while ago, we talked about why dashcam resolution is crucial to capturing details in the event of an accident or near-miss. The topic of dashcam image sensor resolution appears to have become a defining factor in the sales pitch from many brands. But is resolution the ultimate decision-maker when it comes to quality? Let’s take a look at some considerations.

Do You Need a 4K Dashcam?

Having a dashcam in your vehicle is important if you want to protect yourself from staged accidents, fraud or false accusations. Most basic cameras have image sensors that offer 1920×1080 resolution. That’s enough information to know whether a light was red or a car actually stopped at a stop sign. With solutions like these, you’re looking for general information about a situation.

What if there’s a hit-and-run accident, or you see someone driving dangerously and want to report it? In those cases, capturing identifying information about the vehicle and driver is paramount. Having a higher-resolution camera with a 2K 2560×1440-pixel or preferably a 4K 3840×2160-pixel image sensor dramatically increases your chance of being able to read a license plate and provide that information to the authorities.

Does a 4K Dashcam Guarantee You’ll Capture a License Plate?

We’ve seen several retailers and dashcam brands promoting 4K solutions as a guarantee that you’ll be able to see a license plate. Be wary of that type of statement. If a car passes perpendicular to you, the plate will likely only be visible for a few frames of video. The same applies if it’s coming toward you. Once the vehicle is close enough for the camera to make out the letters and numbers, it will pass by very quickly. Having a high-resolution camera increases your odds of seeing a tag, but nothing guarantees you’ll capture it.

What Other Features Affect Dashcam Image Quality?

If you’re shopping for the best camera solution, there are other considerations beyond camera resolution. For example, if you’re driving at night, then a camera with an image sensor that’s optimized for low-light levels will dramatically reduce noise in the image and help make objects clearer.

High Dynamic Range (HDR) processing is another feature that helps to brighten dark image areas and tone down parts that might be overexposed so that you can see details. In reality, this is contrast compression, but it makes a big difference when bright light sources like car headlights or the sun are in the image.

Camera Speed Matters!

If you want to increase your chances of capturing details, one essential feature to look for is a higher frame rate. If you look at how video is captured, it’s essentially a series of still images. When we play the pictures back in quick succession, we see the perception of moving objects. Most dash cameras record at a rate of 25 or 30 frames per second. This means there are 25 or 30 still images recorded for every second of the video. This framerate is very similar to what we see on broadcast television (29.97 frames per second).

If you want to capture those split-second moments when a license plate might be visible, look for a camera that offers 60 fps recording. These cameras take 60 images for every second of video they record, doubling your chances of seeing something crucial. Yes, it will use the storage on the memory card faster. However, storage space isn’t a concern unless you need to go back a check something from a few hours earlier. Plus, large-capacity micro-SD cards aren’t overly expensive.

Image Compression and Video Codecs

Another factor that affects image quality is the video compression settings. Most cameras store videos in MPEG format to make the files compatible with popular computers and smartphones. There are several different settings that the camera manufacturer can configure to determine how much information is stored and how much is discarded to reduce file size. Compared with uncompressed video files, the MPEG format can reduce file sizes by six to 26 times. Some cameras offer options to make global adjustments to compression settings. Again, we suggest using as little as possible to help capture details.

Another advancement in video compression came with the move from the H.264 compression standard to the newer, more efficient H.265 format. The H.265 format offers more video file compression while claiming the same image detail. People will argue the efficacy and fine details with any lossy compression format. Nevertheless, H.265 is worth looking for in your next camera purchase, though its ultimate performance depends on how the manufacturer configures the system.

Wi-Fi Connectivity

While it isn’t a feature specifically related to the image-capturing capabilities of the camera, Wi-Fi connectivity is also an important option. If your dashcam doesn’t have Wi-Fi, then you’ll need to remove the memory card and connect to a computer to view what it’s recorded. If you see something happen and want to share it with the police in short order, being able to connect your phone and download a file in a minute will let you show a video or send a screenshot right away.

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Pick the Right Dash Camera for Your Needs

Having any dashcam is better than none at all. With that said, the frustration of looking at a blurry or pixelated image when trying to extract information is frustrating. We’ve been there. Drop by your local specialty mobile enhancement retailer today to find out about the dashcams they have available with the options and performance features that will meet your expectations.

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 there’s a single marketing statement that makes my eye twitch, it’s one that claims a specific subwoofer will “work” in a small enclosure. Contrary to many marketing claims, enclosure volume is directly proportional to low-frequency extension and sound quality. Let’s look at the math and how these tiny enclosures ruin the performance of your subwoofer.

The Backstory on Enclosure Volumes and Subwoofer Size

Many years ago, I flew to Edmonton, Alberta, for a distributor trade show. A friend graciously picked a few of us up in his pickup truck at the airport. As we drove toward the venue, I asked if he’d blown the subwoofer in the system. It didn’t produce any deep bass and sounded sloppy. He said that it was brand-new. I asked what subwoofer it was and what enclosure it was in. He told me it was a very popular name-brand sub (yes, I’m concealing the brand) and that it was in a 0.25-cubic-foot sealed enclosure. I thanked him again for picking us up.

The Relationship between Subwoofer Size and Enclosure Volume

For this article’s purposes, we will focus this discussion on acoustic suspension (sealed) enclosures. From 2-inch midrange drivers to 19-inch monster SPL subwoofers, the relationship between the cone area, suspension compliance (softness) and the volume of air in an enclosure is critical in determining how low the speaker will play. The correlation is so constant that many companies have tweeters that behave differently based on the air volume behind the diaphragm.

As a generalization, we can say that a larger enclosure will produce more low-frequency output. Since the goal of adding a subwoofer is to improve low-frequency extension, limiting this characteristic by putting a large subwoofer in a small enclosure is counterproductive.

Considering how it will sound is an even more important factor in designing a high-performance subwoofer system. We can analyze the calculated Qtc value of a subwoofer system (driver and enclosure) to see how well the cone motion is damped. Many car audio enthusiasts fail to consider this part of an enclosure simulation. This oversight results in subwoofer systems that sound terrible and perform poorly – like the one in my friend’s pickup truck.

We get the following qualifications if we look at the description of different speaker Qtc values from Vance Dickason’s Loudspeaker Design Cookbook.

Do you want the subwoofer to stop immediately after the drive signal is removed (Qtc = 0.5), or would you like a bit more upper bass output at the expense of slightly degraded transient performance ( Qtc = 0.707)? Perhaps you want a great deal of output at higher frequencies while sacrificing low-frequency output and cone control (Qtc > 1.0)? While there are simple algebraic formulae to calculate these values based on a chosen subwoofer’s Thiele/Small parameters and the volume of the enclosure, we’ll use our tried and tested BassBox Pro software to generate the volume, F3 or Qtc for our sample subwoofer.

Let’s Model Some Subwoofer Enclosures

We’ll start with a typical high-performance 10-inch subwoofer. This driver has a free-air resonant frequency (Fs) of 29 hertz, an equivalent suspension compliance (Vas) of 35.4 liters and a Qts value of 0.501.

While I like extremely well-damped bass, most car audio enthusiasts want a bit of boom and warmth, so let’s start with a target Qtc of 0.707 for our subwoofer system.

For the above enclosure simulation, the software tells us the subwoofer needs to have a net air volume of 0.833 cubic feet. The resulting F3 frequency will be 45.95 Hz. This is typical of a reasonably sized sealed enclosure for a 10-inch car audio subwoofer.

The manufacturer recommends an enclosure with a net internal volume of 0.53 cubic foot. Let’s see what modeling the driver in this enclosure tells us.

The 0.53-cubic-foot enclosure results in a system Qtc of 0.806 and an F3 frequency of 48.86. To put the latter value into perspective, the system output at 30 Hz has been reduced by 1.7 dB. Quite simply, the smaller enclosure isn’t as efficient at low frequencies. This is still a very reasonable enclosure design and will provide good output and reasonable physical power handling for the driver.

Let’s switch to looking at specific enclosure volumes. What happens if we cram this sub into a 0.4-cubic-foot enclosure, as is common with many pickup truck under-seat solutions?

We now have a system Qtc value of 0.881 and an F3 frequency of 51.64 hertz. Bass output at 30 hertz is now down 3.2 dB from our original 0.833-cubic-foot enclosure. In real-world terms, we need twice as much for the sub to play as loudly as the same driver in a larger enclosure. More power means that your amplifier has to draw more current from the vehicle’s electrical system.

If you’re pondering the benefit of multiple subwoofers in a small enclosure vs. a single driver in an ideal enclosure, you’re starting to get the picture.

Let’s finish this by looking at what happens when our 10-inch sub is crammed into a 0.25-cubic-foot enclosure.

It isn’t hard to see that the sub doesn’t produce anywhere as much bass as it would from a properly sized enclosure. Specifically, the system Qtc is now at a very undesirable 1.034, and the F3 frequency is at 53.38 hertz. Output at 30 hertz is down by a whopping 6.2 dB compared to the original design. Our original 0.833-cubic-foot design only requires 70.4 watts to reach the same output level as this enclosure. Which do you think the amplifier and electrical system will prefer delivering?

What Does “Works in a Small Enclosure” Mean?

As we decrease the size of the enclosure, the air inside acts as a tighter spring and limits how much the woofer cone can move for a given amount of power. From a sound quality perspective, this tighter spring rings and resonates increasingly as enclosure volume decreases. Look at the increase in output around 90 to 100 Hz. This is caused by the woofer cone continuing to move (ring or resonate) once the input signal has been removed. This unwanted motion wasn’t part of the original audio signal and would be considered distortion. The subwoofer system will sound sloppy and is often described as a “one-note wonder.” In short, it should be avoided.

Let me put this into perspective for you in a different way. The graph below shows the output of a 6.5-inch midrange/midbass speaker mounted in the door of a car or truck. With no high-pass filter applied, it produces more bass (with the same power) at 40 hertz than the 10-inch subwoofer crammed into the small 0.25-cubic-foot enclosure. While a 6.5-inch speaker can’t handle 300 watts of power at 40 hertz, there are typically two in the vehicle. One hundred fifty watts is still a stretch, but I think you get the point. A subwoofer in a very small enclosure isn’t acting like a subwoofer – it’s more of a midbass speaker.

It’s not much of a stretch to say that stuffing subwoofers into microscopic enclosures is counterproductive. From a perspective of not failing, yes, they work. Do they sound good? No. Do they produce extended low-frequency output? No. Are these enclosures efficient? No. As such, do they make sense? No.

If you’re shopping for a subwoofer system for your vehicle, drop by a local specialty mobile enhancement retailer and work with them to choose a subwoofer system that will be efficient and offer excellent low-frequency extension. They should be able to show you computer simulations of how different drivers perform in an enclosure that works with the space you have available. If you want to hear those 35-hertz bass lines in your favorite music, proper subwoofer enclosure size and construction matter.

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.

Not too long ago, we took a look at how speaker-level line output converters worked. We discussed the difference between passive and active devices and explained what features to look for. If you have a vehicle with a premium factory-installed sound system, those interfaces might not be adequate to provide your amplifier with a signal that will sound good with new speakers. So let’s look at some of the intelligent car audio speaker-level interfaces available and why they’re the best choice to upgrade your stereo.

Factory-Installed Audio Systems are Complex

While modern factory-installed sound systems might not use the best speakers and are often limited in power delivery, the signal processing included in them can be pretty complex. Companies like Bose, Panasonic and Harman (the brand behind JBL, Infinity, Lexicon, Mark Levinson, Bang & Olufsen and Harman Kardon) know a LOT about optimizing their products to sound the best they can. So while an aftermarket system might sound better with larger subwoofers, better speakers and more powerful amplifiers, these companies and their technicians are masters when it comes to system configuration and calibration.

A prime example of the capabilities of these companies is the Mark Levinson system in the Lexus LS. There are 23 speakers, including four in the ceiling. The system has a state-of-the-art upmixer that takes a stereo audio track and creates left, center, right, left side, right side, left rear, right rear, front overhead and rear overhead channels. The signals going to each channel are unique, so the system reproduces audio as though you were in a live venue with the stage in front of the listening position. In addition, the system has 2,400 watts of power, so it gets good and loud.

Upgrading these audio systems is complicated. It requires careful planning and accurate measurement of the audio signals that will be used for the upgrades and testing of signal routing for different frequencies and audio sources. This isn’t something you’d want to undertake in your driveway.

Intelligent Line Output Converters

In a more conventional factory-installed audio system, upgrading is less involved but still complicated. Crossovers, equalization, all-pass filters and signal delays are expected on systems with door and dash speakers in the vehicle’s front. Thankfully, a few companies have created line-output converters with built-in digital signal processors that can undo these features and provide a reasonably wide bandwidth signal that’s phase-coherent – like you’d get from an aftermarket source unit.

When the technician upgrading your audio system completes the wiring, these processors require a calibration step. Most include an audio track to be played through the system while the software analyzes the audio signals being produced. Once the measurement step is done, they analyze the information and configure the digital signal processor to undo equalization and signal delays, and combine signals from multiple channels. Once complete, your installer can move on to configuring your new system.

What Happens if You Don’t Undo Signal Processing?

Some upgrade methods work from what the OEM audio system offers. In those instances, you’ll need a digital signal processor with dedicated inputs for each channel from the factory amp. In addition, the system will need to use similar drivers and stock locations. For example, suppose you want your installer to build new A-pillar pods or use speakers that operate in the frequency range where a crossover existed in the factory stereo. In that case, intelligent line-output converters (or a DSP with these features) are necessary.

Let’s look at a simple example of combining two audio signals where one has been delayed from the other by a few milliseconds. This would be akin to using an active line-output converter to combine door and dash speaker signals.

The graph above shows the frequency response of our original signals in red. I applied a 0.6-millisecond delay to one signal, then combined the two to produce the orange trace. As you can see, the frequency response is a disaster. That curve is what’s known as a comb filter, as it looks sort of like a comb you’d use to straighten your hair before work or school. Signal delays are just one of the reasons why it’s crucial for the installer working on your vehicle to understand what’s happening in the time domain and the frequency domain for each channel of your sound system.

Choose Your Upgrades Wisely

If you’ve read this and think, “I have no clue what they are talking about,” that’s 100% OK. This is where you need to choose a professional mobile enhancement retailer to help you upgrade your car audio system. You’ll want to ask them what test equipment they have to measure the frequency and phase response of the factory-installed audio system before you let them work on 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.

A digital signal processor, or at the very least some type of equalizer, is pretty much a requirement when it comes to creating a car audio system that will have realistic tonal balance. There are dozens of methods to configure and tune these processors, and each has benefits and drawbacks. What seems to be an ongoing issue is the need to have someone with the proper training and tools execute the process. The so-called “Golden Ears” method doesn’t work. This article will look at some of the expertise required to complete this process, along with the equipment necessary to deliver accurate and reliable results.

Is It Tuning?

Describing the process of setting up a digital signal processor for a car has long been described as tuning. While technically correct, this term carries the implication that it’s an art form rather than a process. We think a better word to describe the process is calibration. The technician working on your car will take a measurement, perform an adjustment and repeat the process until the final goals are achieved. This process doesn’t require a unique skill set but does require proper tools and training.

The Engine Management System Analogy

If you’re into cars or trucks, then you’ve likely seen the thousands of options available to set up an electronic ignition and fuel injection system for a modern vehicle. At the most basic level, ignition timing and fuel delivery maps are required to let the engine know how much gas to squirt into the cylinders and when to fire the spark plugs. These three-dimensional tables aren’t much different from the signal delay, output level and equalization settings in a car audio DSP.

Start with the Basics

If you buy a stand-alone engine management computer for a project car, something like an AEM Infinity or Holley Terminator X, the starting point is to tell the system what it will be controlling. Your technician needs to set up the crank position sensor and confirm that it’s reading the true mechanical top-dead-center of your engine. Next, they’ll need to configure fuel injector information to let the computer know how much fuel they can flow. They will also need to set up any O2 sensors and a MAP sensor. If there are fuel and oil pressure, temperature, cam position and throttle position sensors, the list goes on and on. The tech will need to understand the calibration of each of these sensors and enter that into the software long before he or she tries to start the engine for the first time.

On a DSP, your mobile enhancement technician needs to set up the signal inputs and configure how those will be routed to the channels of the processor. Next, they have to set crossovers for each channel based on the speakers in the vehicle. This requires an understanding of the speakers’ capabilities, where they are installed and what drivers are being used in adjacent frequencies. They also need to understand what type of crossovers to use to deliver the smoothest frequency response while protecting the speaker from damage. On the latter, how loudly the system will be played has a significant role in setting filter frequencies.

The technician can now move to set signal delays. Whether they use a tape measure or an acoustic technique using impulse tones, these settings need to be close to right before the frequency response calibration process starts.

System Calibration Ensures Accurate Performance

Once the engine is up and running, it’s time to start making measurements and adjusting the fuel and timing tables. The engine or vehicle will need to be installed on a dynamometer to provide the engine with different loads at different speeds. The technician will work through the fuel map while reading from one of several wide-band oxygen sensors to calibrate the amount of fuel the injectors feed into the engine. At the same time, the ignition timing needs to be adjusted for a similar table to tell the spark plugs when to fire in each revolution of the engine. Getting these settings right works in conjunction with fuel delivery, as firing the spark plug at the wrong time might result in not all the fuel being burned. Too much timing or too much ignition advance can damage the engine. The technician will monitor power production in each table cell (engine speed versus load) to optimize the system.

Back to our audio example, once the system is up and playing, the technician will use a calibrated audio analyzer to examine the frequency response of each channel in the audio system. Again, they are looking to ensure that reflections and resonances caused by the vehicle interior haven’t changed the sound at the listening position.

Since it always happens, they use graphic or parametric equalization to compensate for these changes. But, just as with the engine management system, too much adjustment can also lead to speaker damage. Likewise, the technician needs to examine and fine-tune the interaction between speakers running in adjacent frequency ranges or on the other side of the vehicle. Those with the tools and training to do so will also measure the phase response of the system to further fine-tune the calibration. Properly configured phase response is part of what helps to produce “up front bass” in an audio system with a subwoofer in the cargo area or behind a seat.

Calibration Equipment is Crucial

You’ll note investment in equipment is required to complete either calibration process. On the engine side, a wide-band oxygen sensor and a dynamometer are necessary to evaluate how each change to fuel delivery and timing affects the engine’s performance.

A calibrated real-time analyzer and appropriate test tones are the primary tools on the audio side. In addition, an audio analysis system that includes a time-referenced measurement is necessary for more advanced tuning with phase evaluation.

What if someone tries to calibrate either system without these tools? Is the infamous “butt dyno” going to be able to pick out a deficiency in a particular cell of a fuel or timing map? Would ¼-mile timeslips let them know if day-to-day drivability is smooth? Tools are a necessity to ensure proper optimization.

Is It Right or Wrong?

In an engine management system, lack of optimization might reduce the maximum power that the engine can produce and reduce fuel efficiency. If it’s too far out of what’s ideal, the engine can overheat, or in the other direction, pre-detonation or knock might occur that can damage a piston. Ideally, the engine should run smoothly and deliver excellent power and fuel economy at all load conditions

If things aren’t configured properly in a car audio system, there is a chance that a speaker or number of speakers could be damaged by overdriving them. In most cases, the audio system won’t sound right. For example, voices might not sound realistic. They might be too bright or have too much bass information. If the delay and level settings aren’t correct, vocals and instruments may sound as if they are coming from the incorrect location on the soundstage, the sounds might be blurred, or there may not be a soundstage at all.

Choose an Expert to Calibrate Your Car Audio System

Just as you wouldn’t let an amateur calibrate a high-performance race car engine, it’s paramount that you choose a technician with the experience and tools required to design, integrate, configure and calibrate your car audio system. If you choose the wrong shop and technician, you may not get the most from your investment, and the system might not sound impressive. In a worst-case scenario, the speakers could be damaged if you turn up the volume. So make sure you audition several systems the shop has created and make sure they can deliver those same results in your car or truck before you agree to hire them.

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.