Working retail isn't for the faint of heart. At any given moment, the most challenging customers are sure to walk through the door. But no matter what, you must always be ready to be of great help.
Mobile Sound Competition Magazine Annual '96 Winners cover |
As I approached the father and son, I offered my help. The father jumped right in front of his clearly eager son to tell me that they wanted a box for a pair JL woofers they just purchased elsewhere. He then went on to specify the box's thickness and materials. Next, he told me the internal volume and the speaker orientation. I could hardly get a word out. When he finished prescribing every aspect of the enclosure, I asked them if they had a carpenter that they could trust in Carroll, their home town. He replied "yes, but why." I told him that it was clear they didn't trust us. I said I understood and that it was perfectly fine for them to feel that way. I then described that I would measure their vehicle, draft all the pieces that needed cut, including all angles and dimensions, and give it to them so they could take it to their favorite carpenter in town. To this, he asked "how much will it cost me?" "Nothing", I replied. I'll take me no time to get the measurements. "We are really good at what we do", I said. "In this way you will be most happy by giving the work to someone you trust."
Surprised, the father said "why don't you show me why we should trust you then." And just like that, a relationship was built.
Our Stereo West store in Omaha had a road that crisscrossed through the middle of it. Later one Mobile One in Louisiana and South Texas would copy the idea, but ours was special. Our road was better built and long enough to handle three cars. Surrounding the road where different specialized showrooms. Two for head units and co-axes, two for surround and video, and a huge one for woofers and separates. It was like being at the mall. Every winter, our top customers would bring their cars to be placed inside the store. This kept them protected from the snow while giving us an opportunity to showcase real vehicles.
Matt Billmeier's Super Stealth '95 Ram One of the best sound system's ever created. |
I explained our method. I said that they needed to come up with a budget, then they would bring in their vehicle, and I would spend one day designing the system, all at no cost to them. They would only decide whether they wanted to have us do the job or not after looking at specific plans for the car. So, besides being a risk-free offer, we'd also guarantee not to exceed their budget, no matter what. If for whatever reason we ended up doing more work than originally planned, we would pay for.
While I don't remember exactly how much the budget was, it is safe to say that it went above $35,000. Those were real dollars back then. That was also way more money than the truck was worth. Not bad for a high school graduation present.
While the son was ecstatic, I could just see a hint of deep pride on the dad's face. It was clear that this man loved his son more than anything and that he really enjoyed giving him such a great gift.
Of course that the son I have been so cryptic about is Matt Billmeier. He and his dad dropped the truck off the next day. It took me all day to design the system. Because I hated standard installations and because a full-size truck tends to be too wide for proper imaging, I knew I had to do something special to extend the path length of the sound. I had played extensively with the speakers on the floor in Eric Venta's car. My car also had a pair pf midbass drivers under the floor. As I've mentioned before, this was my friend Chris Owen's idea.
The engine compartment with upgraded battery, stiffening capacitor and battery isolator; all protected by super thick acrylic (standard in all my cars) |
It took me longer to deliver the truck than originally promised. Thankfully, I was forgiven for my miss calculation. I was nonetheless embarrassed. Good thing that the Stereo West team and I made it all happen within budget.
In the end, the truck went on to win and win. A big problem that we had to contend with was the fact that many small-show judges thought the truck had speakers in the factory location. After jumping into the truck and firing up the sound system, there was nothing that screamed world champion at them. And we all know that many judges evaluate with their eyes rather than their ears. As a result, the truck received average sound scores at some shows. Fortunately, install scores were massive enough to keep all competition far from becoming a risk. Inevitably, after the truck would do great in install, enough to get a best of show, sound judges would come back to ask to listen to the truck again; after they had realized there was magic in the sauce. After a couple of great shows, the word went out and we no longer had to worry about the problem.
Yet, the 1995 USAC finals at Houston was to bring up problems once again. You see, I had moved to the Lincoln store. Politics in Omaha caused by Greg Pauley were getting the best out of me. In the end, it was all for the better. I would have never gone to Europe and my professional career would have never gone into hyper speed if it weren't because Greg had made it impossible to do my job. Still, things got rough in the mean time.
Joe Cavanaugh wanted to make sure that the Omaha customers stayed with the Omaha store regardless of where I was. I must say that I agree with his take on the issue. Why make the business pay for our meager problems? So, the change meant that Chuck Barbosa came with me to Lincoln and Matt stayed in Omaha.
I don't remember why but Matt and Chuck ended up competing against each other at USAC finals that year. What I do know is that things got very nasty. Greg kept trying to make sure that Chuck went through the lanes before Matt. In his little mind, he probably thought that it was his best way to make Chuck and I lose. Everyone wondered why people from the same store were fighting with each other.
In the end, both cars placed; with Chuck edging Matt. In all fairness, Matt's car was simply not as mature as Chuck's. Car sound systems are like wine. They get better over time.
Besides, there is something to be said about the fact that I didn't tune Matt's truck for finals. Moreover, I didn't do any more work to Matt's truck to help him do better at finals either. While my team at the Omaha store was definitely of the highest caliber, there is no doubt that they simply lacked the degree of ultimate sophistication I brought to the table. History serves as the best witness here.
If given the choice, I wouldn't have made Matt compete with Chuck. Both had a chance at being concurrent champions. But politics got in the way of a good thing. Lesson learned! I never again allowed idiots like Greg to negatively affect the work of great employees through such nasty and cannibalistic tactics. As a result, corporate performance everywhere I went after I left Omaga skyrocketed during my tenure to historically highest levels. Unfortunately, I learned my lesson too late. I was not able to do more for Matt.
Nonetheless, Matt's truck was remarkable. Two magazine articles covered it right after. I hope you enjoy the first of these two articles below:
As you can see, the standard cab was used to its fullest potential |
Annual '96 Winners
Street Beat
In his first year of competition, Matt Billmeier has already done what many aspire to do even in their veteran years: win three regional events in a row in the USAC realm and for other regular-event firsts -not bad. Perhaps it's the enthusiasm generated at the young age of 19, or maybe the fact that he's a mobile DJ to begin with. Or maybe Matt just likes to compete and win. Whatever the force that drives him, motivation or skill, it sure gets results.
Matt competes in USAC. and IASCA with 300-watts, placing him in IASCA NOV 151-300 and USAC NOV 251-500 classes. His plans earlier on this year were to simply qualify for both Finals and compete in them, just to see what happened -no lofty expectations. But now Matt has qualified, and he has the gleam of future glory in his eye.
Phoenix Gold equipment is displayed behind removable Plexiglass panels with JL Audio woofers massaged in there as well |
Matt will be making the rounds again this year, so be sure to check out his ride. Chances are that it'll be up on the stage.
Article's full page |
Product Profiles
Installer: Stereo West
Source Unit: Alpine
Signal Processor: Phoenix Gold
Amplification: Phoenix Gold
Front Stage: Image Dynamics, MB Quart
Sub-bass: JL Audio
Security System: Alpine
Special: All equipment in cab with fully functional seats.
In a future article, I will transcribe Car Audio and Electronic's latter coverage of Matt's truck. While it is unfortunate that credit for my work was stolen during the writing of the article by uber-insecure and utterly-useless Greg Pauley (after I left the country for my next professional challenge in London), the fact remains that Matt is a fantastic guy and that his truck was awesome. So kudos to him and his dad for giving me the opportunity to work for them.
SO THAT SAID, DO YOU THINK IT'S POSSIBLE TO GET HORNS TO WORK IN A REGULAR CAR IF FIRED STRAIGHT AHEAD AT THE FIREWALL?
ReplyDeletenot yelling, just inspired.
Steven,
DeletePhysics are constant for both a truck and car. Understandably, the only thing that changes is the ease with which a speaker could be placed underneath a factory seat. Trucks have seats that are placed further above the floor than those from cars. This extra clearance makes it easier to insert the waveguide and it's motor under a truck's seat. For tighter applications a waveguide such as those sold by Illusion, which place the motor at the back of the guide rather than above or below it, may be a better choice. But again, the issue is mainly the space.
Over time, Matt Billmeier's truck would have benefited from completely re-fabricating the structure under the seats. Making this change would have allowed the guides to be placed further to the outside of the vehicle. While requiring a much more advanced set of installation skills, this would increase stage width by a substantial amount.
The same could be done in a car but it would require the help of someone who can make very precise steal brackets. Let's remember that s car seat is exposed to tremendous forces during even normal driving conditions.
At the end of the day, floor carpeting and seat cushions provide a few extra inches of space that is never immediately available when looking at an install. At least this is my experience. I was always able to squeeze things into spaces that seemed too small for the application. It was all bout extracting millimeters of extra space everywhere possible.
If you try placing the guides under your car's seat, consider matching them with a very fast midbass driver positioned in the floor as well. A solid enclosure would be essential to prevent the type of enclosure resonances that call attention to the floor. Recently, I guided a competitor with his speaker placement and his installer built a supposedly rigid enclosure. Well, maybe it was rigid for car guys but certainly not for home specs. The box had to be remade three times. Each time it came out better. Still, rigidity didn't happen until real fiberglass and braces were applied. For car guys, a brace is a piece of wood. For me, braces are a set membranes that follow a randomized pattern designed to redistribute energy according to pressure and speed.
Finally, MDF may be ok for some uses, but for very good results, it must be covered front and back with real fiberglass. It seems that car installers think that fiberglass results when using resin over fleece. They seem to somehow miss that there is no "glass" in that stuff. No, use real fiberglass or carbon fiber instead and apply it to the front and the back of the MDF. In this way a constraint-layer composite will be created of extreme rigidity and tremendous ability to opposed resonances. Maybe this could be a good subject for a future article.
Thanks for your inquiry. I too get excited about this stuff.
as soon as i read this i went out to my car and tested the posistioning and saw some amazing results. got me thinking up a few interesting ideas
ReplyDeleteSteven,
ReplyDeleteMany who try speakers in the floor or waveguides underneath the seat will have to contend with setting the right crossover and/or time alignment between these speakers and those from the rest of the system. Understand that the path length under the seat is very long. Much longer than that from any other place in the car. While this is ideal, it also means that that matching to other speakers which have much shorter path lengths is paramount.
Here are the steps to a trick I used many times with absolute success:
- Focus only on the sound quality at the crossover frequency between the two speakers that are being matched.
- Listen to the height at that frequency. The height should be at anyone of three places:
(a) above the dash,
(b) right in the middle of the dash (air vents, radio, etc)
(c) or near the floor.
- If the sound is (a) above the dash, you have chosen the right crossover and the right frequency. From (a), changing the crossover slope by 6dB's is not advisable. From (a), changing the crossover slope by 12dB's could be accomplished if you flip the polarity of one of either the low pass or the high pass speaker but not both. From (a), changing the crossover slope by 18dB's is not advisable. From (a), changing the crossover slope by 24dB's could be accomplished if you retain the polarity of both speakers.
- If the sound is (b) right in the middle of the dash, your setting is wrong. It must be changed. From (b), testing the crossover slope by changing it by 6dB's is highly suggested. From (b), testing the crossover slope by changing it by 12dB's is not advisable. From (b), testing the crossover slope by changing it by 18dB's is highly suggested. From (b), testing the crossover slope by changing it by 24dB's is not advisable. The goal from all these tests is to get to (a) above the dash.
- If the sound is (c) near the floor, you are in luck. Simply flip the polarity of one of either the low pass or the high pass speaker but not both. This should get you to (a) above the dash.
If successful on getting the sound to be above the dash, then go back to (a) and try fine-tuning. If not successful, keep experimenting with the frequency and or crossover slope.
By the way, I am including what to expect when changing slopes so that you may find one or two settings that work OK. In this way you will be able to select the best of them. It's all about playing.
Changing by 6dB's means that if you're starting from a 12dB/Oct slope, you would go up to 18dB/Oct (12+6=18) or down to 6dB/Oct (12-6=6).
This method can be used between any pair of speakers but is essential when using speakers of very different path lengths.
When done right, the resulting sound will be big and transparent. On the other hand, when crossovers are poorly done, expect musicians to seem like midgets. While IASCA judges seem to like the little-instrument type of distortion, diminutive images are a character that is completely missing in the real world. Just stay quiet for a minute and listen to your family around the house. They will certainly not sound vertically constrained. Why, then, should your hi-fi be small sounding?
Enjoy playing with your system and feel free to share images. If you chose to share, just send me your email on a comment that I will not make it public. Instead I will just use it so that I may send you mine. You will then be able to send images directly to me. I will be more than glad to add any text you may want to share as well. My goal would be to share seemingly crazy ideas.