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Welcome to the photo galleries of Fhrx Studios. For nearly twenty years now we've been photographically documenting every aspect of our work, from commencement to completion. Within these pages you'll find many photos of our demonstration cars and many photos of our work - both behind the scenes and the final product. There are also photos of cars from years gone by, photos of some of the shocking installation work we've diagnosed and repaired and last but not least; you'll find photos aplenty of Lamborghinis as Lamborghini Sydney is one of the many dealers whom we undertake various work for - everything from simple parking sensors to entire system builds. There are many images within these galleries so please be patient while they load. To hasten loading times we've thumbnailed each photo. When viewing the images from yesteryear and taking a trip down memory lane, please accept our apologies for the size and quality of some of them - there were no digital cameras back then. Many of these historical images have been scanned, some even from negative film.


Nissan 200SX

If you're a regular follower of the audio competition scene you'll know the season finishes in late November and commences around late March. During this time you'll find most competitors busily working on their rides in order to ready them for the upcoming year's competition. Marty Price and the team at Fhrx Studios are no different. One of the leading pro street / expert class competition cars is Marty's red 200SX and although he normally writes many an article here, I was called in this time around to listen too, look at and generally harp on about (no pun intended) the car in order to let you all know what is happening with the 200SX these days.

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I thought I'd start with a brief history. Many people around Australia will remember that at one stage a few years ago Marty's car had Rainbow Reference speakers installed so topping them was never going to be an easy task. However Marty felt the need to have something new. After taking into consideration the vast array of component speakers he'd tested for various publications, he eventually settled on the Focal Utopia Beryllium Kit 7 which were clear stand outs during testing. More about them later though.

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Let's start right at the front. If you're a habitual reader of the forums then you'll appreciate some of the arguments Marty has had with people who claim you cannot fit two batteries into the front end of a 200SX because of the intake and intercooler tubes. Guess what; you can! To supply power for the system the 200SX utilizes twin Stinger SPV44 gel-cells which supply well over a thousand cranking amps with plenty of reserve charge, meaning the car can be demonstrated for an eternity without running.

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Now while having the batteries physically in place is one thing, the process of actually getting them there wasn't quite as straightfoward. Both are held in place with custom aluminium 6061 alloy brackets with the drivers side unit dictating very careful placement of the intercooler tube. The passenger side unit requires relocation of the charcoal canister and air intake. Luckily because the car utilses an aftermarket computer it doesn't require the standard bulky air flow meter. 0AWG cables flow throughout the car and earthing is handled by a custom made eight point Fhrx Studios earthing kit. The main system fuse is seated adjacent to the battery on a custom beveled and flame polished 12mm Perspex plate. In order to keep in line with the competition rules this fuse can be disabled very quickly.

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Interior side; the system starts with a Pioneer DEX-P99RS source unit. A more recent upgrade, some have questioned why the old unit was replaced. Marty retorts: "The previous head unit was becoming quite dated and often struggled to communicate with many modern digital storage devices. The DEX-P99RS is the current benchmark when it comes to high-end source units and I was extremely impressed when I reviewed one recently. Not only does its onboard processing suite make most other decks look positively archaic, it also boasts some very cool technological advances such as sporting quad 24Bit digital-to-analogue converters; just to touch the tip of the iceberg. Overall; it's 'the' deck to use if you demand serious sonic performance."

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The entire car body has been layered with multiple layers of sound deadening and diffusers have also been installed in key areas to eradicate wave reflections. The deadening thickness varies from single layer under the dash to triple layers on the doors. This keeps the cars noise levels to a minimum; even with the heavily modified SR20 under the hood. Taking care of creature comfort and safety duties, the first of two fire extinguishers is located under the passenger seat whilst the other lives in the side of the boot in a special compartment.

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Moving to the front stage; the 200SX employs the Focal Utopia Beryllium Kit 7 which is a three way system. The 6Be midbass drivers live in the fully prepared doors complete with reinforced and sealed baffles and enclosed front face. Boy can they kick! Handling the middle and higher frequencies are the 3Be midranges and Tbe Beryllium tweeters respectively. Marty explains his choice: "After reviewing many component sets, none came close to matching the superb detail of the Kit 7, especially that Beryllium tweeter. Coming from an engineering background I know just how difficult materials such as Beryllium are to machine, so I must tip my hat to Focal on this monumental effort. The Beryllium combines superior rigidity with low moving mass and the inverted dome profile is also very impressive. Together they give the tweeter extreme resistance to deformation while at the same time dispossessing the edginess often associated with harder domes. To the point where the Be tweeter is perhaps the smoothest you'll hear in a car today."

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The midranges and tweeters once lived in the custom made fiberglass kick panels but now reside in custom made fibreglass A-pillars which are actually small aperiodic enclosures; the latter being employed to keep internal resonance and reflection issues to a minimum. The reason for the initial kick panel design was that Marty wanted to keep all three drivers close together to avoid separation and phasing issues. However he had to move the midranges and tweeters up to the A-pillars to achieve the best sound stage height for competition. He explains further: "When choosing a location to mount tweeters and midranges in order to achieve the best sound stage you're always faced with various issues. To get a decent result you need adequate width, height and depth. Put the tweeters up high and forward and you'll get good depth and height but the stage can sometimes suffer from being narrow. If you mount them high on the kick panels you tend to get good width and depth but a low stage, especially around that midrange driver. This is because the pinna (outer ear) are most sensitive between 2000-5000Hz so while the tweeters tend to be above that and will happily provide a car full of sound, the 3" midrange tends to localise these frequencies, dragging them towards it. Therefore you need to be careful where you place this main information driver. Once you have location chosen you'll want to pay considerable attention to the crossover summations; because if you don't choose the right roll-off logarithm you can end up with some very nasty results."

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Even the angles are important to the stage and sound. Marty continues: After much experimentation I settled on these angles for a few reasons. First off, the speakers fire across the dash but slightly angled towards you. This puts the driver and passenger well within the speakers' dispersion azimuth without being right on axis, which tends to lend itself to a very shallow stage. They're also as close to the front of the car as possible and angled slightly upwards to offer a deeper and higher stage. Finally, they are angled away from the windscreen to avoid reflecting certain frequencies. So far as speaker cable goes; the old stuff was relaced with the latest and greatest for this evolution of the install.

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Despite the head unit being capable of extreme levels of processing, Marty instead opted to keep it outputting plain music; all processing is taken care of via an ARC Audio PS-8 located under the passenger seat. The PS-8 is universally accepted as being the worlds best incar processor and is programmed using a PC via the USB port. It boasts eight fully assignable channels and using it in open architecture mode (a.k.a. professional) you have complete control over every facet of your system, from configurations, crossovers and line driving through to time alignment, equalization and phasing. I won't go too far into PS-8 abilities because you can read about it via Marty's review recently (email him for a copy). Moving to the rear of the car and you'll find the bulk of the system living there. The heart of the Focal Utopia Kit 7 and indeed why the components work together so seamlessly is the beautiful crossover. A lot of external testing was done on the crossover with a few things changed in order to offer the best in-car response with the least amount of inconsistencies and idiosyncrasies. The gang at Fhrx Studios remain quite tight lipped about the actual settings that Marty uses on the processor and crossover; such is the nature of serious competition.

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The power is provided by a triplet of heavily modified Focal Dual Direct amplifiers and when I say power; I'm talking many thousands of watts! Yet despite this massive ability, the amplifiers are set with their gains on one from a possible forty. There is method to this madness though as Marty explains: Just because an amplifier is 'stable' doesn't mean it's necessarily happy. Your engine is 'stable' to 8000rpm; however you don't do it all day do you? Amplifiers likewise; a gargantuan amplifier turned right down tends to have very little comparative workload. This equates to a happy amplifier, and happy amplifiers stay cool, run more efficiently, don't dehydrate components and most of all possesses a titanic amount of head room which equates to zero hiss, zero noise and bugger all artefacts finding their way into the sound stream.

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The amplifiers and crossover are all presented using a beautiful blend of three red LED backlit Perspex shelves. These shelves have been CNC machined and flame polished to reflect a red ring of light around all the components when viewed in the dark. The entire amplifier rack is made of billet alloy and is welded up to handle a fair bit of punishment (remember this car still get track raced). All cables used throughout the rack are high quality and remain neatly underneath out of sight of the viewer. Right dead centre of the rack is an engraved plaque in what Marty affectionaltely refers to as "nailing ones colours to the mast spiritually".

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Moving along to the final component in the system, choosing the subwoofer was a but of a challange. Marty originally had previously used Image Dynamics IDMAX's, Morel Ultimo's, Diamond Hex's and even the Focal Utopia subwoofer. This is one serious list of contenders offering some choice-grade subsonic tunes however he eventually settled on a DynAudio E1200. He explained why "when talking high end subwoofers these days its all about how hard they hit, even how sharply if you're an SQ head. However we need to remember that we should also be listening to the thing too. That's why I chose the E1200; put simply it's the first sub is years that I've tested where I could actually hear things such as horse hair bows running across the strings of a double bass, or the timbre from a bassoon. We're so hell bent on hammering ourselves into submission these days that we've forgotten how to listen to bass. The other reason is that the front speakers in the doors already extended way down so I required something that was suited to the 15-40Hz region. This is because the less a speaker cone moves, the less it distorts. Therefore I needed to find a subwoofer with a very low FS and the newly released E1200 fitted the bill perfectly.

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Back to Marty's particular subwoofer; it was sent away to have its parameters measured before the enclosure was built into the boot floor using a combination of fiberglass and marine ply. The exact volume, plate angle (it's not completely horizontal) and how much fiberfill etc is contained will remain secret for now but it does allow for a constant group delay throughout its entire frequency range in addition to offering an extremely low roll-off. Marty is more than happy to play pipe organ tracks to demonstrate this design (the bottom pipe of the pipe organ is tuned to the point of you feeling it rather than hearing it). The top of the enclosure is painted in five layers of Nissan red and five layers of clear to give it a really deep look while the surrounding grey panels are trimmed in vinyl and dyed to match the factory Nissan trim. The subwoofer is supported and reinforced by a custom machined alloy trim ring. One of four sway bar bolts through the floor and keeps the rear end of the car nice and tight without affecting the subwoofer.

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So that'll do for now. For those interested in having a look or more importantly, a listen; please ring Marty at Fhrx Studios to organize an audition sometime. For further information on the equipment in the car see the following websites: Focal, Pioneer, ARC Audio, Stinger and Audison Connection.


Proton Satria

Creating effective and visually stunning systems on a tight budget is not something that goes hand in hand. When approached to undertake a high quality install in this Proton, head installer Marty Price had to rack his brain a little to create something cheap but up there with the best so far as SQ was concerned.

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A double DIN Kenwood deck was chosen to control the show and sits quite firmly mounted firmy up front (the mounting is some sort of inside joke between head installer Marty Price and co-installer Garry Edwards which they flatly refuse to discuss with the outside world). From here the tunes are sent south to an Audison SRx3 amplifier. The amplifer is rated at a healthy 75 x 2 and 250 x 1. The front end signal is transferred to Kicker Resolution splits mounted in the fully sound deadened doors and kick panels.

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The bass and subsonic duties are taken care of by a hybrid JLW6 subwoofer. This lives in a small 0.7 cubic foot chamber and sports an additional side alcove for a Sony PlayStation 2 to sit in. The enclosure is carefully designed with the owners musical tastes in mind, hence the relatively small volume.

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The boot proved to be an interesting task. It utilises a careful blend of stainless steel mesh, perspex and neon to set off the installed gear without setting off the bank account. Custom made trim panels are faultlessly mounted into the boot and actually had to be bent to get them in the car, folding out and popping into their final position.

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The GTI logo is embossed in the top plate and with the rear hatch down, nothing is visible from the outside of the vehicle. The neons provide a ghostly blue hue for when the boot is opened at night though.

Mazda 3

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Ford Territory

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Honda CRX

Fhrx Studios undertake many small two seater car system installs and fitting everything in can cause one all matter of issues if not carefully thought through. This CRX was brough in with a request for quality sound without the rattles that the CRX's are famous for. Easy to ask and about as easy as striking a match on a cake of soap in reality to perform.

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The system source starts with an Pioneer DEH-P8450MP and travels via Stinger interconnects to an Audison SRx3 amplifier flush mounted into the passenger side of the woofer enclosure. The front stage is costructed from Boston Rally RC620's and the doors are deadened with G-Spot Serenity Max.

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The rear piece of the car which holds both the subwoofer and amplifier took a long time to build and is constructed totally from fibreglass. The orignial CRX rear binnacles were removed and the new cabinet was made to fit snuggly into the rear of the car retaining somewhat of a factory appearence. It boast removable grilles to reveal black painted surrounds for that showy look when the need arises.

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The subwoofer itself is a JL Audio 10W3V2-D2 and sits in a 0.6 cubic foot enclosure located on the bottom of the rack and more than once the flippant remark was heard about it resembling and incar pottie. The biggest issue with the CRX was the rattles and the enitre back end of the car has been fully sound deadened using G-Spot Serenity Max and foam. Even the rear window was taken out and rebuilt with new bushes to stop it rattling.


Porsche Boxster

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Mitsubishi Lancer

Squeezing a three way set of mids, namely a Focal 165W3 set into a kick panel and door trim isn't an easy task which is why it was left to the professionals. The aim was for a stock look, and to enhance the staging, the results "speak" for themselves.

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Each door is deadened with 2 sqaure metres of G-Spot Serenity Max with another 15 square metres throughout the cabin ensures this car is ultra quiet! The system starts with an Alpine 9815 and from here the signal runs to a JL Audio 300/4 (bridged) driving the Focal splits. All cables and interconnects are Audison and Stinger. This system was purpose built to win SQ comps and infact, already has!

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Just incase you thought this install was looking rather factory in appearance, here's the proof in the original trims for comparision!

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Another unusual item in this system is the small HX200 8" subwoofer. The sub is housed in a custom ported fibreglass enclosure and is feed copious amounts of power from an Audison amplifier. Bass is all about power rather than sheer cone area so this baby pumps out titanic amounts of bass for such a small woofer! The entire enclosure is covered to hide from thieving eyes.

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So once everything in secured in place you can choose to either run it in show mode or stealth mode. It's your call!

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Audi S3

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Volkswagon Golf GTi

When Fhrx Studio's was approached to install a system in a Golf GTi on a limited labour budget, creatively was to be the key to the install rather than a truck load of cash and two-pac'd fibreglass. The result speak for themselves.

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With the use of well fitting flat panels even the most modest boot can look a treat. With helpful input from the owner, installer Marty Price was able to reach a clean looking boot that can still be used once the bottom cover is in place. The system starts with a Clarion DXZ-835MP CD head unit which feeds signals to two Boston Acoustics amplifiers via Stinger interconnects. All cable and accessories are from Stinger including the large 1 farad digital power cap.

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The pair of amplifiers are a GT-24 and a GT-28. The GT-24 pumps a healty 175 watts continuous into each of the front speakers and the GT-28 pumps a titanic 1250 watts continuous into the subwoofer. The rears speakers are run from the deck and just provide rear fill.

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Handling the front stage duties is a set of Boston Pro6.5's splits surrounded by G-Spot Serenity Max sound deadening. The rear doors are home to a set of Boston NX67 co-axials. The rear doors also benefit from G-Spot Serenity Max sound deadening. The crossovers for the Boston Pro's live in the boot under neon lit perspex.

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The subwoofer is one of Kicker's famous L7 Solo-Baric 12's and lives quite happily in a sealed 0.88 cubic foot enclosure firing backwards. Even the spare tire is accessible. Using a step by step procedure the panels can be moved and the entire amp rack swings up on hinges into a raised position so the tire can be acessed. The entire boot is lit with blue neons for a little extra effect and perspex highlights all equipment.


Volkswagon Golf

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