Kicker Technical Tips
Page 31
Greg cont.:
I usually start in the driver’s seat with the balance set to the passenger side at low volume. The first point of
attack for me is the 125Hz- 400Hz region. This is a real trouble spot for most cars. Use program material
with an acoustic bass, a Piano, and possibly a Cello. The announcer’s voice on the setup disc is also very
useful here. I will usually sweep each slider on the EQ as I work my way up. The 500Hz-3kHz range in most
of the top cars I tune is usually pretty flat, requiring minor tweaks. A recording with a big horn section is
very useful, as is a female vocal.
When you work your way up to the top end, use piano, cymbals, and strings. Pay close attention to simb-
lence on a female vocal. I usually finish up by returning to the extreme low end, a pipe organ is King here.
When you have the lowest octaves tweaked to perfection, re-visit the mid-bass area to ensure that you
have a smooth transition from the sub-bass.
Here are a couple of hints if you are just getting into tuning: When you make spectral changes, go back
and check the imaging tracks on CD102, or just take a second and listen to the movement of the seven
drum beats to make sure you have not gone backwards! The snare is electronic and has a wide bandwidth
with artifacts out to 8kHz. It is a good idea to constantly go back to it as you work your way through the
tonal spectrum as a quick check. One other hint to help you get a better”feel” for tuning is to use a RTA set
on medium to help you identify a particular trouble spot (like a sax burst). This is not foolproof, but it can
help you to get started. Finally, with a partner (with ears you can trust!) in the car you can go back and do
some fine-tuning with the tracks on CD102 and track 96 on the setup disc. When you think you are fin-
ished, go back and check for linearity and noise.
Dr. K thinks to himself: (This interview has run way too long and I am going to miss the final episode of the
Osbournes, Ozzy finally learns how to use the remote control.)
Dr. K: Sorry Greg, you were saying.
Greg: As I was saying, I used the IASCA and Autosound 2000 discs as a reference here because they are the
tools of my trade. The aforementioned labels provide top quality material that I rely on, but for the novice
tuner, I would recommend that you limit your palette of choices to start.
Greg: Dr. K, you are a legend, I know you can enlighten me on a few subjects, too. But, here are some
parting shots.
Always take into account the noise floor of the contest, if it is too loud then you will certainly want to turn
up the sub-bass.
Adjust the seat angles relative to the height of the listener. Small differences can skew the stage dramatical-
ly.
Try and document your tune! Many competitors use templates to keep track of them at different shows.
Take the time to ensure that your RTA settings are always done with the same mic position. Likewise, know
the resonance frequency of your system to maximize your SPL score. Finally, if you have the privilege of
having one of the top judges from finals judge your car, take time to talk to them about your progress
after the show, and thank them for the work they do.
Dr. K: Thank you Greg for taking time to talk to us about how to properly tune a car audio system.
Greg: No sweat dude, anytime.
Join us next time when Greg will sit down with Billee Ray, just off tour with AC/DC, to discuss the comeback
of the Mullet!
For Autosound 2000 Discs and Technical Papers go to www.Autosound2000.com
Vol. 1
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