Elite Car Customs

Reading PA's expert for fun and functional upgrades for your ride!

1176 Park Rd Unit A10, Reading, PA 19605 484-671-2343

ARTICLES

Product Spotlight: Rockford Fosgate RFPEQU EQ and Line Driver

Rockford Fosgate RFPEQU

When it comes to the most stereotypical car audio upgrades, most enthusiasts think of subwoofer systems. Whether you have a small sub in the trunk or a wall of woofers in the back seat, hearing and feeling the beat in your music is a game-changer. Depending on your mood or the music you’re enjoying, having the ability to fine-tune your subs lets you switch from tight and tweaky to ground-pounding and violent in less than a second. If you want the ultimate control over the bass in your vehicle, the Rockford Fosgate RFPEQU universal parametric equalizer and line driver is a great choice. Let’s check it out!

Rockford Fosgate RFPEQU
The RFPEQU is an all-in-one line driver and adjustable PEQ, including speaker-level inputs and remote turn-on detection.

What Is the Rockford Fosgate RFPEQU Line Driver Feature?

The Rockford Fosgate RFPEQU is a stand-alone signal processor designed for installation between the radio and your car audio system’s amplifiers. The processor will accept stereo inputs up to 10 volts RMS and can provide up to 10 volts RMS to maximize the performance of any amplifier brand. The integrated level control allows your installer to configure the RFPEQU to act as a line driver by boosting the incoming audio signal to ensure that you can keep the gains on the amps all the way down.

Rockford Fosgate RFPEQU
The RFPEQU RCA outputs can provide up to 10 Vrms of clean signal to push any amplifier to its limits.

The RFPEQU can also work as an integration processor. Your installer can connect the balanced differential inputs to the speaker outputs of a factory-installed or aftermarket radio. Not only will the processor provide a clean signal, but it can also generate a remote turn-on output to activate any brand of amplifier. The auto turn-on feature is enabled automatically when using the high-level input. The RCA harness uses a Molex-style connector with white, white/black, gray and gray/black wires with RCA ends. If your installer is wiring the RFPEQU to a radio with RCA preamp outputs, they can use the RCA jacks. If your system only has speaker outputs, they can cut off the RCA ends, leaving left and right positive and negative wires to connect. It is a very intelligent design.

Rockford Fosgate RFPEQU
The RFPEQU includes a speaker-level input jack to accept signals from a radio up to 10 Vrms, making it an excellent integration processor.

Rockford Fosgate Punch EQ

The Punch Equalization curve, also called Punch EQ, has been around for more than 50 years. It was first invented to compensate for acoustical deficiencies of the automotive environment, but now is an excellent solution for bringing the factory speakers in your car or truck to life or adding some boom from a subwoofer system. Designed with the Equal-Loudness Contour (formerly the Fletcher-Munson curves) in mind, Punch EQ allows you to dial in up to 18 dB of boost at 45 hertz and 12 dB of boost at 12.5 kHz. The equalization gives you the kick you want without risking massive damage to subwoofers, typical of level control adjustments. You can think of Punch EQ as having a built-in infrasonic filter.

The high-frequency boost works like the loudness control on a factory stereo. When the volume is low, it’s hard to hear bass and treble frequencies. You can dial in more EQ boost, and the system will spring to life.

Rockford Fosgate RFPEQU
The Punch EQ curve features bass boost centered at 45 Hz and a treble boost at 12.5 kHz to bring your music to life.

Modular Remote Level Control

The Punch EQ level is adjustable using the included remote control. The remote has a single knob mounted in a compact plastic housing. Utilizing the provided metal bracket, your installer can mount it under your dash or in a storage compartment in the center console. If you want something more customized, your installer can disassemble the remote and surface-mount the front face for a more integrated look. Rockford Fosgate includes a silver label plate and mounting nut. Finally, Rockford Fosgate provides a short extension cable to relocate the LED off the circuit board. If your installer wants to put the knob in the side of the steering column and the LED on the top, it’s not a problem. Those Rockford Fosgate engineers are smart!

Rockford Fosgate RFPEQU
The remote Punch EQ Control can be surface-mounted, flush-mounted or disassembled for a custom application.

The Ultimate Car Audio Integration Solution

If you want to improve the sound of your car stereo system, the Rockford Fosgate RFPEQU and its remote Punch EQ feature is perfect. If you need a line driver, it’s got you covered. Want a remote bass boost control? Yeah, taken care of. Need a factory radio integration solution? Bingo, it nails that one, too! As mentioned, it works with any amplifier brand, so it’s a Swiss Army Knife for car audio upgrades.

Visit a local authorized retailer today and ask about the Rockford Fosgate RFPEQU. It’s an excellent solution for so many car audio upgrade needs. You can find a retailer near you using the Dealer Locator tool on their website. Oh, and be sure to follow Rockford Fosgate on Facebook, Instagram and YouTube to learn more about their amazing products and the events they attend.

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.

Product Spotlight: Rockford Fosgate T3S1-19 and T3S2-19 Superwoofers

Rockford Fosgate T3S1-19

When most people think of Rockford Fosgate, they remember that this brand has been delivering car audio products that enthusiasts have craved for over 50 years. Rockford Fosgate’s experience has made them a leader in the development of high-performance amplifiers, speakers and, of course, car audio subwoofers. Rockford has a truly incomparable solution for those who are truly fanatical about their bass. We’re talking about their flagship 19-inch Power Series T3S1-19 and T3S2-19 drivers. Let’s check them out.

Rockford Fosgate T3S1-19 and T3S2-19 Superwoofers

There are three series of subwoofers in the flagship Power Series. The T1 drivers are available in 10-, 12-, and 15-inch sizes. The T2 drivers start getting crazier with 13- and 16-inch diameters. At the top, we have the T3 19-inch drivers. To put that size into perspective, a typical 18-inch high-power subwoofer has an effective cone area of about 1,140 square centimeters. The T3 19-inch subwoofers have cones with a massive 1,472 square centimeter area. That’s an increase of 29%, which translates directly into an increase in efficiency and output.

Rockford Fosgate T3S1-19
The T3 19-inch superwoofers feature a cone made from two layers of glass fiber laminated on either side of an aramid fiber honeycomb core.

The T3 19-inch superwoofers are available in two models. The T3S1-19 has a single 1-ohm voice coil, while the T3S2-19 has a single 2-ohm coil. Speaking of voice coils, the aluminum voice coil former on these drivers has a diameter of 5 inches and includes a single edge-wound layer. Winding a flat wire around a cylinder on its edge isn’t easy to manufacture, but the single layer means no insulated air pockets of heat, as found on multi-layered coils. This means more thermal capacity, translating into more power handling and less thermal compression for improved overall efficiency.

The voice coil former is vented between the upper spider and the cone to release air pressure and heat at high excursion levels. Power ratings for the T3 19-inch drivers are 3,000 watts continuous with 6,000 watts as the peak. For daily duties, a single T2500-1bdCP is a great choice. Two T2500-1bdCP in PowerSync (strapped) mode will give you more than enough jam if you want to see who has the loudest system.

Keeping the massive 19-inch woofer cone under control is no easy feat, especially with linear excursion capabilities in the 2.7-inch range. As such, the chassis of the T3 woofers is very tall. The mounting depth is 15.62 inches. The chassis is a two-piece die-cast aluminum design with heat sink fins and extensive venting. The motor structure uses a dual-gap, multipole neodymium push/pull design with the voice coil having a dual winding design. A large neodymium magnet slug sits inside the voice coil and provides the electromotive force needed to move the cone. This geometry reduces inductance to numbers well below what some 10-inch woofers with 2-inch voice coils have. As such, the 19-inch woofers produce reasonable midbass – something many woofers today can’t claim at these power levels. As has been proven repeatedly, Rockford Fosgate doesn’t just do things big; it designs for sound quality and includes technologies that most other companies overlook to improve performance. Think of it like a Top Fuel Dragster combined with a Formula 1 car.

Rockford Fosgate T3S1-19
The T3S1-19 and T3S2-19 drivers stand almost 16 inches tall. This height allows for component placement that prevents cone rocking.

T3 Superwoofer Cone Assembly

The cones of the T3 superwoofers feature top and bottom layers of glass fiber that are laminated over a low-mass, high-strength aramid honeycomb core. This is the same construction used in aerospace applications. An aluminum dust cap ensures stability at high excursion levels.

The surround is made from injection-molded foam and uses Rockford Fosgate’s Vertical Attach Surround Technique (VAST) geometry to maximize the driver’s surface area. An aluminum clamping ring keeps the outer edge of the surround affixed to the chassis.

The Power Series T3 subwoofers use a pair of progressive Nomex spiders that are spaced several inches apart. This geometry is crucial to maintaining linear excursion at high power levels. Any rocking and the voice coil could make contact with the top plate. The tinsel leads from the voice coil are sewn to the upper spider to prevent noise and damage. Electrical connections to your amplifier(s) are made via a pair of massive spring-loaded terminals that can accept 4 AWG wiring. Just for some math fun, 6,000 watts into a 1-ohm load requires 77.4 amps of current continuously with peaks of over 92 amps. Yep, 4 AWG sounds about right.

Rockford Fosgate T3S1-19
A pair of Nomex spiders keeps the massive cone and voice coil assembly centered in the tight magnetic gap for improved efficiency.

Subwoofer Enclosure Simulations

By now, you should know that the Box Advisor tool on the Rockford Fosgate website is a valuable resource. We looked up the suggested enclosure for a T3S1-19 and were presented with a vented design with an internal volume of 8.0 cubic feet and a 69-square-inch vent that tunes the system to a ground-shaking 24 hertz. This would make a stunning subwoofer solution for a large home theater. In a van or SUV, it would be capable of scaring most audio enthusiasts. If you want maximum output for competitions, 6 cubic feet tuned to around 40 hertz will produce a nice peak where most vehicles are efficient. Based on the simulations, neither design has any power handling issues that are affected by excursion limitations above 20 Hz.

Rockford Fosgate doesn’t recommend a sealed enclosure for the T3S1-19 or T3S2-19, but it will work if you have 3.5 cubic feet of airspace. You’re probably better off with a 13-inch T2 in a vented enclosure. Unless, well, shock factor!

Rockford Fosgate T3S1-19
Predicted free-field frequency response and output of the Rockford Fosgate T3S1-19 in an 8-cubic-foot enclosure tuned to 24 hertz and driven with 3,000 watts.

Amazing Bass from the Rockford Fosgate T3S1-19 Superwoofers

If you have to have the biggest, baddest subwoofer on the streets, drop by a local authorized Rockford Fosgate retailer and ask about the mighty T3S1-19 and T3S2-19 superwoofers. You’ll need a well-constructed enclosure and lots of power to get the most out of one of these beasts, but the performance will be well worth the investment. For more information on the Power T3 superwoofers or any of the amazing car audio products from Rockford Fosgate, visit their website and follow them on Facebook, Instagram and YouTube.

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.

Product Spotlight: Rockford Fosgate P3D2-10 and P3D4-10 Subwoofers

Rockford Fosgate P3D2-10

I can’t think of many name-brand car audio manufacturers offering more subwoofers than Rockford Fosgate. They have everything from affordable entry-level drivers with the Prime R2 series to competition-ready monsters in the Power series T3 Superwoofer. Near the middle of the pack are the impressive Punch P3 drivers that serve as the flagship of that series. Let’s take a close look at the P3D2-10 and P3D4-10 10-inch subwoofers.

Rockford Fosgate P3D2-10 and P3D4-10 Subwoofers

The P3-level 10-inch subwoofers in the Punch line are available in two voice coil configurations. The P3D2-10 has dual 2-ohm voice coils, which your installer can wire to be a 1- or 4-ohm load. The P3D4-10 has dual 4-ohm voice coils to be a 2- or 8-ohm driver. Many will wonder which is better. There is no better. The options exist to allow your installer to pick the right combination of voice coil impedance and driver quantity to optimize the power production capabilities of whatever amp you choose. Other than some minor variances because of the different mass of the voice coils, the two driver options are otherwise identical.

Rockford Fosgate P3D2-10
The Punch P3 subwoofers include an aluminum trim ring to conceal the mounting hardware.

Punch P3 Subwoofer Moving Parts

Let’s start by looking at the moving parts in the Rockford Fosgate P3D2-10 and P3D4-10 subwoofers. The drivers feature an anodized aluminum cone and dust cap. The cones are low in mass and rigid, and the aluminum helps extract heat from the voice coils wrapped around the anodized 2.5-inch aluminum voice coil former. A spun-laced Nomex reinforcement collar supports the joint between the former and the cone. Many overheated woofers fail at this joint, so this is a worthwhile upgrade in terms of longevity.

The tinsel leads from the voice coils are sewn to the oversized spider to ensure silent operation. At the top of the cone is a custom-tooled Santoprene rubber surround. The surround is bonded to the cone and then attached to the basket using Rockford Fosgate’s Vertical Attach Surround Technique, which optimizes the cone surface area. As a result, the P3 10-inch subwoofers have an effective radiating area (SD) of 360 square centimeters. Drivers rated similarly from competing brands are down at 345 or 327 square centimeters. When efficiency matters, so does cone area.

Rockford Fosgate P3D2-10
The VAST surround design increases the effective cone area to improve efficiency.

Basket and Magnet Assembly

The Punch P3 woofers have a unique deep-draw StampCast basket design. This basket design is stamped but looks like a cast basket, with to its geometry and crinkle-paint finish. The deep recesses on the sides of the four spokes add significant strength and rigidity to the design. Venting under the spider mounting plateau has also been included in the basket to improve power handling and make the driver more linear at high excursion levels.

The top edge of the basket features the FlexFit mounting slot design that allows for perfect alignment of the pad-printed artwork on the cone. The upper surface of the mounting lip is rubberized for a tidy appearance. A foam gasket is installed on the mounting surface to ensure an airtight seal to the enclosure. Finally, a machined aluminum trim ring gives the driver a tidy appearance and serves as the mount for the optional P2P3G-10 stamped mesh grille.

At the base of the basket is a massive magnet protected by a custom-tooled rubber boot. The pole piece includes a sizeable radiused vent in the center to relieve pressure under the dust cap and allow the inside of the voice coil to cool. Eight holes are drilled into the bottom plate to provide additional cooling under the voice coil.

Electrical connections are made by heavy-duty binding posts mounted at right angles to the basket. The wires enter the terminals from the bottom, keeping them out of the way when your installer is trying to load the driver into its enclosure.

Rockford Fosgate P3D2-10
The StampCast basket features a deep-draw design that provides excellent rigidity and strength.

Rockford Fosgate Punch P3D2-10 and P3D4-10 Specifications and Applications

In terms of specifications, Rockford Fosgate rates the P3 10-inch subwoofers as being capable of handling 500 watts continuously with peaks of 1,000 watts.

The drivers have a low-Q design, with the Qts being at 0.49 for the dual-two driver and 0.56 for the dual 4-ohm. The resonant frequency (Fs) is also low at 26.6 and 28 hertz, respectively. Finally, the equivalent compliance is relatively soft at 27 liters for either model. The Xmax specification is 15.2 millimeters for the D2 and 15.9 for the D4.

The Box Advisor tool on the Rockford Fosgate website suggests an acoustic suspension (sealed) enclosure volume of 0.59 cubic feet (net). This application results in a Qtc of 0.815 for the P3D2-10 driver with an F3 frequency that’s nice and low at 39.13 hertz. The suggested bass reflex (ported) enclosure has a net volume of 1.4 cubic feet with a vent tuned to 40 hertz. This enclosure, shown in red below, has an F3 frequency of 30 hertz and a nice bump centered around 45 Hz to give you a serious kick in the back. If you prefer a little rumble instead of boom, have your installer tune the enclosure to 32 hertz, and you’ll pick up about 6 dB of output at 25 hertz. None of the above enclosures have any power handling issues through the mid-band, though the vented enclosures would appreciate an infrasonic filter, as usual.

Rockford Fosgate P3D2-10
Predicted enclosure response: yellow, acoustic suspension; red, bass reflex.

Upgrade Your Car Stereo with Rockford Fosgate Punch Subwoofers

As two reviews on the Rockford Fosgate website note, these drivers are indeed little monsters. They have an impressive feature set that ensures reliability and linear performance. The electro-mechanical characteristics are optimized for impressive output, even from a small sealed enclosure. Finally, your installer can recommend any combination of Rockford Fosgate P3D2-10 or P3D4-10 subwoofers to optimize the output capabilities of almost any amplifier on the market.

If it’s time to add high-quality bass to your vehicle, drop by a local authorized Rockford Fosgate retailer and ask about the Punch P3 subwoofers. You can find a retailer using the locator tool on their website. Be sure to follow Rockford Fosgate on Facebook, Instagram and YouTube to learn about their new products and the amazing events they attend each year.

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.

What Is An MP3 File?

MP3

You cannot have talked about audio and computers any time in the last 15 years and not have heard of an MP3 file. MP3 audio files and websites, like the original Napster, started a shift in where, how and when people acquired music. If you are on the older end of the spectrum, like many of us in the mobile electronics industry, then you bought your CDs, cassettes and maybe even your vinyl at a record store. Computers and the Internet changed that. You could go online after dinner and download an illegal copy of a song in a few minutes. It was wrong, but people acquired tens of millions of songs this way.

In the 1990s and early 2000s, accessing the Internet was slow. We started connecting to the Internet using phone lines and modems. Each byte of information took time to transfer to your computer, so anything that would speed up the process was a treat. Downloading (stealing) music using the Internet is where the popularity of the MP3 audio file met its calling.

A Primer on Digital Audio

MP3We could write 10 articles about digital audio – and we just might. For now, we are going to look at the basics and use the compact disc (CD) as our reference. CDs store digital audio sampled at 44.1 kHz with a resolution of 16 bits. These numbers mean each sample can have an amplitude that is a single value within a range of 65,536 different levels (2 to the power of 16). The information is sampled 44,100 times a second. Sampling at what is known as 44.1/16 allows capturing the audible range of audio (considered 20 Hz to 20 kHz) with good detail and accuracy.

To store 1 second of audio at this resolution, we need to store 1,411,200 bits of information. Anyone who has played with audio transcoding software may recognize 1,411 kbps as a standard data rate. This number is calculated by multiplying the number bits per sample (16) times the number of samples per second (44,100) times 2. The times-2 factor is because we record in stereo – which is two channels. So, a 3-minute long song is 254,016,000 bits or 31,752,000 bytes.

Let’s round it off to 31 megabytes of information. Can you imagine how long it takes to download that with a dial-up modem running at 14,400 baud? The answer is at least 3.5 minutes – without error checking, line noise and other factors that slow the real download time to about 5.5 minutes.

Data Compression

What if someone found a way to shrink the size of the audio file to speed up download time and reduce bandwidth usage? The caveat is that the audio still sounds essentially the same on most basic audio systems, such as a TV, computer speakers or a 1990s factory car radio. In 1991, a group of companies, including the Fraunhofer Institute, France Telecom, Philips, TDF and IRT, started working on a way to reduce file size while maintaining relevant information. That is the key to how file size is reduced using MP3 compression.

The MP3 file format is a “lossy compression” algorithm. Lossy compression means that information is thrown away to reduce file size. The development team worked on a compression method called perceptual encoding to decide what information to remove. Perceptual encoding is based on how we hear sounds relative to other information, and the limits of our hearing.

What MP3 Files Throw Out

We are going to analyze the information that MP3 files remove to reduce file size. One of the easiest ways to cut back on information storage is to reduce the highest frequency that will be reproduced. If we analyze a 128 kbps MP3 file, we see that the highest reproduced frequency is just below 16 kHz. If that were the only information that was removed, our new bitrate with 16-bit samples in stereo would be about 1,004,800 kbps instead of 1,411,200 kbps for 20.05 kHz.

MP3The next part of the compression process analyzes content that is common to both channels. It is common for some parts of a recording to be virtually in mono. The encoding process removes duplicated information from the file and adds code to copy the opposite channel. If the audio track were purely mono, the file size would be divided in two. Few tracks are completely mono, but we can see more space saving from this process.

Subsequent processing looks at low-level information during high-amplitude passages. Let’s use the example of a song with a lot of bass in it and some very quiet harmonic midrange information. Perceptual encoding processes like MP3 will remove this low-level information from the audio track. This process is called audio masking. There is enough audio information at other frequencies to distract you from hearing what is removed.

Can You Hear the Difference?

Dozens – nay, hundreds – of tests have compared MP3 files to full CD-quality audio tracks. Are there differences? There most certainly are. One thing became apparent during our research: How an MP3 file is created is crucial to its subjective sound quality. Different encoders work in different ways with different results.

Perhaps the best way to describe the difference between a CD-quality recording and an MP3 file is to look at the difference between the two. I wish we could share some samples here for you to listen to, but that would break copyright laws. What we can do is visually show you the difference.

We took a 3-second sample from Daft Punk’s “Give Life Back to Music.” We chose this track because of Daft Punk’s clear and conscious effort to make a high-resolution version of the album commercially available. We want to thank them for that! The sample is from 31.5 seconds to 34.5 seconds into the song.

This Spectrogram shows the frequency content of the sample. The horizontal scale is time. The vertical scale is frequency. Finally, the color intensity shows the amplitude.

MP3
This is the original sample.

You can see that there is frequency content up to 30 kHz, clearly demonstrating the high-resolution nature of this track. Each vertical color band represents a drum machine beat – more or less.

128 kbs MP3 File Analyzation

MP3
This is the sample converted to a 128 kbps MP3 file.

It is clear that audio information above 16 kHz has been removed. Infrasonic frequency content is clearly different as well. There is more information in the MP3 file below 30 Hz compared to the original. This increase in information will, however, present itself as less-dynamic range.

MP3 Vs Original File

MP3
This is the difference between the Original sample and the MP3 Sample.

We inverted the MP3 file and added it to the original sample to make the image you see here. The net result is the difference between the two tracks. You can see the high-frequency content that was removed above 16 kHz. In fact, information was removed at all frequencies, and that information follows the intensity pattern of the audio file.

The original file has a peak amplitude of -0.1 dB for both channels and an average amplitude of about -14.2 dB. The removed information has a peak level of -10.9 dB and an average amplitude of -37.01. The removed information is buried deep below the peak amplitude information.

MP3What does the removed audio sound like? We would describe the clip as the sound of a distant marching band. The audio is mostly high-frequency information. The track has a decidedly warbled texture to it as well: The drum machine beats are clear and present, but they sound like distorted cymbal hits.

Even with a high-end headphone preamp and studio grade headphones, the difference is hard to perceive when switching between the original track and the MP3 file. In a listening environment with a larger soundstage, it may be more apparent.

Conclusions about MP3 Files

Purists will tell you that you should have the highest-quality recordings available. There is no fault to this logic. Why skimp when you can have it all? High bitrate MP3 files, like those at 320 kbps, for example, are excellent in quality. Repeated testing has shown that when created with quality compression algorithms, the sound difference between a CD-quality recording and a 320 kbps MP3 file is almost impossible to detect. Lower bitrate MP3 files start to dispose of more information, and the differences become bigger.

The latest source units on the market are capable of playing WAV and FLAC audio files of great resolution and bit depth. Shortly, we will see units that will play MQA files over digital connections. Almost every source will handle MP3 and WMA files.

Drop into your local mobile electronics specialist retailer today, and bring along some music to enjoy. We think you will be impressed – no matter what format you choose.

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.

Product Spotlight: Sony XS-162GS and XS-160GS 6.5-inch Speakers

Sony 6.5-inch

You’d think that the Sony product development team would deserve a break after releasing no less than nine new Mobile ES speakers and subwoofers over the past few years. While they might deserve it, they kept up the momentum by redesigning their popular GS-Series speakers. This Product Spotlight will examine Sony’s new XS-162GS component and XS-160GS coaxial 6.5-inch (16-cm) speakers.

Sony XS-162GS 6.5-inch Component Speakers

The XS-162GS is a 6.5-inch (16-cm) component speaker set that includes a pair of 6.5-inch (16-cm) woofers, two 13/16-inch (21-mm) soft dome tweeters, an inline passive crossover for the tweeter for discreet installation, and mounting hardware for the tweeters. The woofers in the set feature a high-quality stamped-steel chassis with a four-spoke design. The rigidity of the design is improved over typical stamped baskets by adding a reinforcing rib down the center of each spoke.

Sony 6.5-inch
The four spokes of the XS-162GS speaker basket feature a reinforcing rib for added strength.

The basket design includes two sets of mounting tabs, making it suitable for both three- and four-position mounting hardware when replacing a factory-installed speaker. The woofers have a total mounting depth of 1 7/8 inches and sit above the mounting surface by 7/16 inch. Your installer will need to leave extra room in front of the driver to ensure that the cone and surround don’t run into the speaker grille or a trim panel in your vehicle.

Sony 6.5-inch
Dimensions of the XS-162GS tweeters and woofers.

Each woofer is based around a composite polypropylene cone that delivers an excellent balance of bass and midrange frequencies. A foam rubber surround at the top edge of the cone features an air-filled matrix structure that’s low in mass while being durable. The result is a reliable and flexible connection that provides good damping characteristics.

The woofers in the XS-162GS set feature a phase plug design that’s a direct descendant of the Mobile ES XS-162ES speakers. The Dynamic Air Diffuser phase plug eliminates the need for a dust cap, which can add high-frequency distortion to the speaker. Further, the exposed ridges provide a significant amount of surface area to help extract heat from the voice coil and motor assembly. Sony uses a progressive-rate spider, another component brought over from the Mobile ES line, at the base of the cone to maximize physical power handling while providing precise compliance for accurate bass performance. A single ferrite magnet serves as the heart of each speaker.

Sony 6.5-inch
The Dynamic Air Diffuser phase plug improves power handling and reduces distortion for clearer sound.

The tweeters in the set feature a silk dome material with a diameter of 13/16 inch (21 millimeters). Each tweeter has a super-efficient neodymium magnet for excellent efficiency. The assembly is housed in a custom-tooled frame with a perforated mesh grille. Sony includes flush, angled and flat surface-mount accessories to optimize the installation. Filtering for the tweeter is handled by a passive crossover in line with the tweeter speaker wires.

Sony 6.5-inch
Sony includes flush, angled and flat surface-mounting hardware for the silk dome tweeters in the XS-162GS set.

The XS-162GS set has a continuous power rating of 45 watts that complies with the CTA-2031 measurement standard. Peak power is 250 watts. Efficiency is 89 dB at 1W/1M with a tolerance of 2 dB SPL. Finally, frequency response is specified as 45 Hz to 24 kHz using the IEC 60268-5 standard.

Sony XS-160GS 6.5-inch Coaxial Speakers

The sister speakers to the above are the XS-160GS 6.5-inch coaxial set. This speaker system includes a pair of two-way coaxial 6.5-inch (16-cm) speakers along with appropriate mounting fasteners. The basket design for the coaxial speakers is the same as those found on the component speaker woofers with seven mounting tabs. The woofer design is the same as the XS-162GS component speakers with a composite polypropylene woofer cone, foam rubber surround and progressive rate spider.

Sony 6.5-inch
The coaxial design of the XS-160GS is a direct descendant of the Mobile ES XS-160ES speakers.

Where the speakers differ is in the tweeters. The top of the Dynamic Air Diffuser post in the driver’s center is home to the 13/16-inch (21-mm) tweeter, with its integrated phase plug built into the mounting assembly. In both instances, the integrated phase plug, another trickle-down technology from the Mobile ES speakers, helps improve tweeter output around the crossover point. This improved midrange output allows Sony to lower the crossover point and reduce directivity issues typical in two-way systems that use a relatively large woofer. These tweeters share the same neodymium magnet design for excellent efficiency and compact dimensions.

All the specifications for the XS-160GS coaxial speakers mimic those of the component speakers with power handling rated at 45 watts continuous and 250 watts peak. Efficiency and frequency response numbers are also the same at 89 dB 1W/1M and 45 hertz to 24 kHz.

Sony 6.5-inch

Environmentally Friendly Packaging

Sony has committed to significantly reducing environmental impact by simplifying the packaging design for the GS speakers. Gone are the fancy full-color graphics, now replaced with single-color line art, reducing the amount of ink by about 90%. The internal packaging is now paper-based, further reducing environmental impact.

Great Sound with a Great Warranty

Sony backs the XS-162GS and XS-160GS speakers with a three-year warranty that covers defects in materials or workmanship during ordinary consumer use. As with all speakers, you’re on your own if you overpower them with a large amplifier or too much distortion and damage them.

We have each set on their way to our labs for a Test Drive Review, so we can share how they perform shortly. In the meantime, if you want a great set of speakers to connect to a factory-installed or aftermarket radio, drop by a local authorized Sony retailer and ask for a demonstration of the new 6.5-inch (16-cm) GS series speakers. You can find an authorized Sony car audio retailer using their dealer locator. For more information about Sony Car Audio products, follow them on Facebook.

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.