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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.


Peugeot 205

Some cars develop a cult following among enthusiasts simply because of their ease of modification. Some examples of this phenomenon include the myriad of Mitsubishis, Nissans, Toyotas and the like you'll see on Australia's roads. Then of course there are the breeds that attract fans because of their strong on and off road racing heritage and while Subarus seem the most common of the rally cars, there are various other makes and models that boast similar off-road pedigree but just aren't as common. These are often European and include such names as Lancia, Renault, Citroen and of course; Peugeot. However believe me when I state that there are no more fastidious owners than those of the mighty Peugeot 205. What they do to their 205's must be seen to be believed. This is where Antonio and his gun metal grey example enter the picture.

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When the trendy little French hatch first arrived at Fhrx Studios all the equipment had already been purchased and the install was looking pretty straight forward. Then someone made the mistake of mentioning that the classic old French design would make a brilliant Audison Thesis demo car. We could marry up the latest and greatest audio equipment with one of the worlds most famous rally cars. The rest as they say; is history. It wasn't too long before the existing equipment was swapped for even higher quality goodies. Sure it might have been multiple times the value of the car itself but hey; such is the nature of the audiophile beast.

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From concept through design to implementation and reality, every aspect of the install was changed in somewhat dramatic fashion. The front end went from a two-way passive component set within the factory doors to a three-way active set in completely fresh scratch built door trims (which is not quite as easy as it sounds because you my notice those factory door surfaces are not flat). The single amplifier ideology was ditched in favour of a new triple amplifier layout offering far more grunt and the single existing subwoofer would never do so that got the punt in favour of much higher quality dual subsonic units.

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Starting at the front, the system's source is a Pioneer DEX-P99RS. This state of the art deck is arguably the best sound quality deck on the market today and is widely considered to be the successor to the Clarion HX-D2 and Eclipse CD7200MkII so far as uber quality source units go. Besides having the ability to run fully active via its eight individual high voltage pre-outs, the DEX-P99RS also possesses incredible processing power including complex crossovers, time alignment and full thirty band parametric equalisation.

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From here the sound stream is shunted down shielded high-end RCA cords onto the triplet of amplifiers. The tweeters and midranges run from a Pioneer Stage 4 PRS-A900 which is an audiophile grade class-A amplifier and provides a warm and controlled sound as it feeds fifty watts continuous into each of the four higher frequency components. The PRS-A900 lives seated in the middle of its two larger partners in crime; twin ARC Audio SE2300 powerhouses. These class-AB amplifiers run the midbass drivers and subwoofers, feeding no less than 300 watts into each midbass driver and 1200 watts continuous into the subwoofers - how's that for headroom!? All three amplifiers live in a custom built rack which is surrounded by a gunmetal grey two-pac trim ring and finished with a lighter grey Mercedes macro-sueded top trim plate. Beneath this plate the area surrounding the amplifiers was left open to allow maximum air to flow around the power generating components - especially that class-A unit.

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Once the power is generated it's then fed to the front doors actively via six runs of Audison Connection Sonus silver and copper twisted-pair speaker wire. Comprising the front stage are Audison's award winning Thesis components with TH1.5 Violino tweeters handling the higher frequencies, TH3.0 Voce midranges handling the middle portion of the sound whilst a pair of TH6.5 Sax handle the gut kicking duties of the front stage. These are all housed in beautifully finished individual gunmetal grey fibreglass pods while the remainder of the door is trimmed in the similar macro-suede to the rear. We've been asked numerous times why we didn't run with the traditional a-pillar mounted components and the reason behind the door design is that with all the speakers located on the same plane and firing from the same origin point, there is no phase issues to speak of meaning the image is as near to perfection as you'll get in an automobile.

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With the upper octaves of the sound sorted out we couldn't just leave the bottom end to some droning excuse for a subwoofer. It would take a serious quality subwoofer to keep up with the Thesis front end so you guessed it; the Thesis TH10.0 Basso subwoofer was chosen as the weapon of choice in the battle for superbly defined subbass. These subwoofers are arguably the best sounding subsonic transducers in the world however SPL is not quite their forte. "That's no drama - we'll just install two" says Antonio who is not afraid to turn it up every now and then. So to that end; there is a subwoofer installed on either side of the boot in completely custom built fibreglass and marine ply enclosures that are designed with a perfect Qtc for the little 205. Both enclosures are trimmed in macro-suede and to add a nice little cosmetic touch; painted decorative plates have been added just forward of each subwoofer face.

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The entire car is completely sound deadened using Dynamat and StP deadening products and the enclosures are painted internally with Fhrx Studios deadening paint. The power supply has also been beefed up thanks to a Stinger SPV44 gel-cel and cables utilised throughout the install are Stinger and Audison Connection. Other smaller features include the moving of the power window switches to a custom made roof console and Viper alarm keeping the entire car and system in the owner's possession. Naturally the sound is absolutely superb so now Antonio has turned his attention to the appearance of the car both externally and internally. Word on the street is that a completely new dash and full custom carbon fibre interior is not off the cards in the near future so watch this space.


Subaru STI

The main conceptual idea for this stunning Subaru WRX was clean matching lines with a little artisitic license in the back to highlight various components. The owner quite often carries equipment around so the car was to remain clean and functionable while looking pleasant on the eye.

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Under the bonnet an Optima D34M was installed with custom made and painted fuse holder to make sure the system has plenty of power reserve to draw upon. The double DIN factory unit was removed and system source unit is now an Alpine CDA-9831 cd / receiver. This unit has been mounted carefully into the dash using custom made aluminum brackets. This is done in order to set the deck back about 5mm which keeps the overall dash facsia flat.

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The front stage is courtesy of Focal Utopia 165W components and the tweeters live in the kick panels for best stage and image definition. Anyone that knows anything about WRX's will be the first to tell you how much room there isn't in the doors and to this end installer George had to create carefully designed five piece speaker baffle to get the large midrange drivers in. The window mechanism has also had various parts machined or replaced all together to help the window clear the driver.

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While George concentrated on the front end of the car, Marty (Fhrx) got stuck into the boot which was to house two amplifiers and the subwoofer. The Soundstream Rubicon subwoofer amplifier was mounted in a custom fibreglass tray that fits snuggly into the spare tire itself while the Zapco Reference 750.2 amplifier for the front stage lives in a custom built amp rack that is mounted in the front on the boot floor. The amp rack has a special cooling slot along the front to allow the fans to draw air in and the rear of the amp rack is left open to allow the air to exit. This was all trimmed in matching carpet to keep the clean look.

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Moving along to the sub, this is where everything started to go down hill real estate wise. One would have thought there wasn't much room for the Utopia's in the front. Imaging trying to fit the massive Image Dyanmics IDMAX10" into the boot on one side - and make it look like it should be there! The IDMAX10D2V.3 subwoofer is nearly eight inchs deep and it was no small task for Marty to get the unit in and looking at home. The fibreglass enclosure is reinforced with kevlar and measures just under a cubit foot in volume. This gives the subwoofer a Qtc of 0.69 which allows it to boom a little more whilst still holding high quality and possessing a repectable bottom end extension before notable roll off occurs. Around the subwoofer is a two-pac baffle and the entire surround has been made from scratch and trimmed in matching carpet. The baffle face and trim surround actually took numerous attempts to get around the complex boot mechanism.


HSV E-2

Return customers are always desirable but not for the reason you might think. Sure with each new vehicle they purchase they do tend to upgrade their equipment meaning each system gets better, but also they tend to become more creative with the install itself each time. This is why we enjoy return customers as it gives us a higher bar to reach each time they return.

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The owner of this Stunning white E-2 has had many of his vehicles done here previously and I say vehicles as opposed to 'cars' because we've done his watercraft too. His first car was a standard run-of-the-mill commodore which received a simple Focal Polyglass upgrade. From there the bug bit so when he moved onto a new black HSV it received the far superior Focal K2 Power components. Naturally; the car nor the system kept him happy for long so when he made the ultimate step to a brand new flagship E-2 the audio choice was becoming pretty obvious - it just had to be a Focal Utopia system.

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When it came to actually designing the system Marty had an interesting time. Seeing as the Utopia components were on the table for discussion he suggested that the owner first listen to his car seeing as it is Fhrx Studios own Focal Utopia demonstration vehicle. The owner did just this and his comment was simple enough - he loved the sound of Marty's car but his had to be twice as loud. So Marty set to designing a system that basically contained double of what was in the red S15.

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The system in the E-2 starts out with a factory head unit. This was left in place for a couple of reasons, the main one being that it looks at home in the dash and it interfaces with all the cars systems such as blue-tooth, navigation and the steering wheels controls. From here the signal runs into an Audison BitOne processor which not only handles all equalisation and tuning functionality, but also all the time alignment and crossover duties too. From the processor the sound stream runs into three separate Focal Dual Direct amplifiers. These two channel amplifiers are capable of outputting two hundred and fifty watts into each channel or twelve hundred into one channel when bridged, all with a total harmonic distortion measuring in thousandths of a percent - now that's clean power.

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The amplifiers are setup in an configuration which may surprise some people as many guess one runs the component set at the front leaving one amplifier for each subwoofer. Not so. The first amplifier runs the two Tbe tweeters and two 3W2Be midranges of the three-way Focal Utopia component set in the front. These are setup in a semi active arrangement and this leaves the second amplifier to run the 6Be3 midbass drivers on its own. The third amplifier actually runs both the 33WX2 subwoofers.

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The front end is setup for maximum stage and image presence and naturally this means custom a-pillars had to be fabricated from fibreglass to hold the 1" tweeter and 3" midrange. Both these drivers sit on the same axis and are tilted slightly away from the dash and the windscreen. The identical starting point eliminates phase issues while the angle keeps the sound away from direct reflections and absorption from the windscreen and dash respectively. The midbass drivers are actually closer to 7" despite their part number and are housed within fully sound deadened and diffused doors. These drivers are sealed into a marine ply baffles which have been deadened and treated with acoustic paint and the baffle itself is sealed to the inner metal door skin. Between the three separate components and the way they're setup and time aligned, the E-2 front stage is very well pronounced and dead central on top of the dash.

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Turning to the subsonics; the two 13" subwoofers provide more than enough punch to keep everyone within the vehicle happy (and deaf) but the enclosure is also designed to bring out their sonic best as well with its QTC being around 0.73 - this is keep very close to the optimum but provides a little boom in order to get through the seats. Because the Utopia subwoofers have such lightweight motors constructed from exotic materials, they only require four hundred watts each. This means the remaining Dual Direct amplifier easily controls both of them and still has plenty of head room left over.

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So far as the actual install itself goes, getting everything in was helped immensely by the fact the E-2 is quite a large vehicle to start with. The three amplifiers are seated in a rack which is built into the floor but can be lifted to provide access to the spare tire. A floor was manufactured to surround the amplifiers and has been trimmed in matching carpet with a two-pac white trim ring. For extra protection a floor mat was also made with the number plate embroided into it. This protects everything when the owner wants to pack the boot full of luggage.

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The enclosure also came in for some aesthetic attention too. The rear face that holds the subwoofers is finished in a neat blend of two-pac white and Perspex, with the Focal logo engraved proudly in the centre and is edge lit with LED's. On the front side of the enclosure, viewable when the seat is folded down, the BitOne processor is also surrounded by a two-pac white surround. Overall the E-2 sounds phenomenal and the owner is very happy with it. It outputs crystal clear sound all day every day and when those times come up for a coast run; believe you me it can literally rip your head off if the need so arises.


Volkswagon Golf GTI

Here at Fhrx Studios we often create systems that can be removed with 'relative' ease for those times when owners feel the need to get stuck into the loud pedal at the race track. This Golf was no different. The challange was however to showcase the new Boston G5 series subwoofer but still have the install simple enough to be removable fior track days.

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The system begins up front with a Clarion DXZ-835 cd / receiver. From here the signals travel along Stinger Hyper series RCA cables to te back where the Boston GT series amplifiers take command over the sound waves. The three amplifiers are a GT28 (1 x 1250 watts) to run the subwoofer, a GT24 (2 x 120watts) to run the front splits and a GT20 (2 x 45watts) to run the rear fill.

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The front doors are home to a set of Boston Pro series 6.5" splits with the crossovers mounted in the left hand floor of the boot. The rear doors house a set of Boston NX67 co-axials and all four doors are fully deadened with a combination of G-Spot flexi max sound deadening and G-Spot wave breaker diffuser panels.

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The boot floor and enclosure are constructed using a combination of MDF and fireglass to achieve a strong foundation for what is ultimately quite a heavy amp rack. The lower two amplifiers hang down into the spare tire and are cooled by slots behind the rear of the amplifiers. Even though the rear end of the subwoofer was left hanging out to show off the awesome motor structure of the Boston G5, peering through the window you'll see the cone and Boston logo reflected off no less than 50 small mirrors located within the enclosure.

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All cable, from the 1/0AWG power cable to the RCA and speaker cables are all from Stinger. A Stinger one farad power cap with digital volt / amp meter sits off to the right hand boot floor and the entire boot is showcased under perspex and blue LED's. One other small but neat addition was a gauge pod built into the front drivers A piller to let the driver know what the engine was doing boost wise.


Hyundai Excel

High end audio manufacurer Vibe Audio hail from the Untied Kingdom and have participated within the world scene for many a year now. When it came to expanding the range to down under, Vibe knew they would need more than just a few demo boards to display it's products. Customers these days desire realistic demostrations and want to hear components installed incar. The challange: A neat and clean quality install without demolishing the bank. The remedy: Fhrx Studio's.

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The system begins under the bonnet where the diminutive factory battery was turfed in order for an Optima D34M deep cycle battery to take up residence. The D34M provides plenty of clean power for those big hitting bass notes. From here the power travels via Stinger Pro series power cables thorough various Stinger components. A two-pac fuse plate holds the massive Stinger ANL fuse holder and keeps everything safe in the event of an accident. The cd / receiver deck is mounted up front on custom aluminium brackets in order to bring the unit forward ten millimetres in line with the face of the dash. Moving south a little, a small bass controller is mounted where the ash tray used to reside and underneath that is an Auto Meter voltage gauge to let the driver know how the battery is feeling. The volt meter mount is made from fibreglass and fills the glasses case in the center console. Behind the handbrake are the switches for the power windows.

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The doors needed quite some work behind the scenes to clear the power window motors. The entire door trim has been made from scratch and is actually 9mm thick pine trimmed with Mercedes gun metal grey marco-suede. The door pods themselves are two-pac fibreglass and neatly hold a pair of Vibe ST60 component 6.5" midrange drivers. Both doors have a layer of G-Spot Flexi Mat sound deadening on the inner and outer skin and diffusers have been installed behind the speakers to assist in preventing reveberation. The tweeters have been installed in the kick panels for optimum staging.

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The boot was the greatest challenge of the install as the Excel is not overly spacious and there were some big components to install. The amplifier rack / enclosure foundation sits underneath everything and can be raised to access the spare tyre. A Vibe Blackbox III amplifier for the front stage lives right underneath the enclosure and provides 200 watts continous a side to the components. Towards the rear of the car, the titanic Vibe MB4 2800 watt mono-block is seated in a two-pac'd bathtub and is backlit by red neon. Underneath the amplifier is a large port with a 4" fan feeding hot air out of the amp when its working hard.

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The twelve inch subwoofers are top-of-the-range Vibe Space12's and one is housed motor out to demonstrate both parts of the woofer. Vibe's Space series subwoofers actually have some extremely impressive technology injected into their development and design. From the cast and machined aluminium basket to the embossed aluminium come, everything is made to exceptional standards and the sound reflects this design. The front plate of the 1.8 cubic feet sealed enclosure is half inch thick fibreglass and is painted with two-pac silver to match the car. The fibreglass side panels of the boot are custom made from scratch and wrapped in vinyl. Continuing the trim theme from the doors the boot floor was trimmed in macro-suede and the mono-block amp window is lined with a vinyl trim ring. The Vibe logo is embossed under the vinyl lockdown plate on top of the enclosure.

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Vibe Australia now have a demo car to attend events, shows and stores with and while not over the top, the clean custom look is certainly proving to be a hit. The sound quality is fantastic as is the staging and if you're brave and feeling the need to play chicken with the subs, believe me your ears will give up long before the MB4 / Space12 combination does.


Honda NSX

This showy bright red NSX sees it's fair share of track time but also spends many a long day travelling around this great country to shows, events and demonstration days so the install had to be robust and strong enough to accomodate this lifestyle. Heading up the system is a Pioneer AVH-6650DVD touchscreen which is mounted on completely custom aluminum foundation (to achieve the correct angle when open). This is surrounded by a custom carbon fibre centre console that extends from the dash top all the way down to the handbrake. The console alone took the better part of a week to manufacture and is extremely light and strong.

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Power and music signals all travel down Stinger interconnects and cables and an Optima D34 deep cycle battery sits up front providing the twin amplifiers in the boot with plenty of clean power via carbon fibre mounted fuse holder and 4AWG power and earth cables. An earthing kit has also been added to assist all the cars electrical systems. Amplification comes courtesy of a Zapco Reference 350.2 running the front splits and a Zapco Reference 500.1 running the subwoofer.

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Both amplifiers currently reside out of view under the boot floor behind the motor. The front doors are home to Eton Discovery 6.5" midranges drivers while the kick panels house Eton Discovery tweeters. No less than two rolls of DFQ sound deadening were used on the front doors with a further roll being used on the floor, firewall and wheel arches to help lower the noise floor.

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The enclosure is somewhat of a work of art and took a few attempts to get just right. The factory NSX uses a small 5.25" subwoofer in a special ported enclosure and removing this in favour of fitting a 10" Digital Designs monster in the same space was never going to be easy. The front of the enclosure is 18mm MDF while the back end uses a mixture of MDF and firbeglass to achieve the perfect volume. Over all the entire sound is quite nice in the much quieter interior. The owner is very happy and so we are too.


Subaru WRX

When Boston Acoustics released the new G5 series of subwoofers there was nothing but praise from all over the world for Bostons mighty new baby. Naturally we just couldn't wait to get one into one of our cars and so we actually began building our G5 demo car long before the G5 ever arrived in Australia. This caused some issues which are explained later.

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This system begins with a Pioneer AVH-P7550DVD touch screen / commander which lives with an Apexi AVC-R controller display in a custom built carbon fibre console. From there the music heads down Stinger RCA cords to a pair of amplifers housed in the boot. The systems amplifiers are two Audison SRx2S's and they feed 180 watts into the front splits and 600 watts into the subwoofer. The amplifiers receive their power via an Optima D34 deep cycle battery up front.

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At first glance the boot looks somewhat simple because it is relatively flat with the exception of the edge rise. However, under that top plate the boot foundation and sub enclosure are entirely fibreglass and kevlar for strength. The boot actually had to be re-worked a little because when the G5 12" finally did arrive, the subwoofers depth was about an inch deeper than what we were led to believe.

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Seeing as the WRX was built to show off the mighty G5 12" subwoofer, it lives as the center piece while the amps flank. All three components are finished using a combination of painted blue trims, vinyl, carpet and perspex. The perspex surround plate that goes around all the components was meticulously cut out over a period of about three hours and flame polished. Blue LED's light the perspex delightfully at night.

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The front doors are home to a set of Boston Pro series 6.5" drivers and the entire inner and outer skin of the doors are deadened using DFQ sound deadening and DFQ diffsuer panels to help cancel internal resonation. The rear shelf is home to a pair of Hertz ECX165 co-axials for rear fill.

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These are covered in grille cloth even though they're under the shelf as this assists in keeping damaging sunlight away from the speaker surrounds.

Opel Barina

Typically, many European cars are well built and have quiet interiors thanks to generous amounts of sound deadening straight from the factory floor. So what better base to start with when showcasing various Tru-Tech and Rainbow components? The car was also designed to compete in various sound offs so the system had to be cleanly installed in addition to sounding good.

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The system begins with a Nakamichi CD700 headunit source. Fitting the DC/DC convertor behind the dash was not the easiest task to undertake but it now happily sits just behind the glove box. From the deck the signals travel down Stinger RCA cables to a triplet of amplifiers located in the boot.

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The main front component amplifier is a Tru-Technology T4.65. This is running bridged and offers just over 200 watts continous into each three way component set. Underneath the T4.65 is the monster of the system, a Tru-Technology H-1 Hammer. This amplifier is dedicated to running the subwoofer and is capable of thumping out 2000 watts when angry! The third amplifier is a smaller Tru-Technology T2.100 and this takes care of the ambient tweeters up front in the sail area.

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The front stage speakers are from the Rainbow Profi Vanadium range with the 6.5" midbass driver in the door while the 4" midrange and 1" dome tweeter live in trimmed custom fibreglass kick panels. Smart rainbow grilles cover all three components. Up back is the 12" subwoofer and this is an Aluminium cone Rainbow SW300E Vanadium unit.

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All cable and interconnects are from Stinger including an SPV44 gell cell located in the factory location at the front with ANL fuse holder right beside. This provides plenty of raw power to the system and especially to the H-1 Hammer. Main cable is 1/0AWG while each amp receives 4AWG. Earths have also all been upgraded and sound deadening is a blend of G-Spot Serenity Max and Flexi-Max.

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The boot contains a fully removable (although it is heavy) amplifier and subwoofer rack and is finished in matching vinyl. The boot was designed to have all join lines match the cars original join lines. Black mesh grilles to match the front doors and kicks panels are installed as well and the entire install is high lighted with blue LED's.


Mitsubishi Lancer

Both spectators and competitors alike in the New South Wales car audio scene know that Paul Con's maroon Lancer wagon is regular sight and can be found at most of the years events. It's one of those cars that has been around the competition scene for so long now that some people actually walk right by it without realising how much the car is constantly evolving. So now that we've mentioned the car lets dive into what's actually installed within. Starting with a brief history; the car has actually undergone quite a few changes over the years. In past lives we've seen it using Soundstream amplifiers for power, Image Dynamics subwoofers for subsonic duties and the front splits? Well they have been changed more times than the oil in the engine (it is serviced regularly too; just in case you're wondering). The first incarnation saw Focal Utopia splits, then there was a brief stint with DLS components, then a few not worth mentioning before Paul finally settled on the mighty Hertz Mille components after a very long auditioning process.

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Moving along to present day and we'll start the run down as per the norm; under the bonnet. The Lancer uses an Optima D34M deep cycle battery in order to supply the better part of 1000 cranking amperes of current to the car. This is then sent via a Stinger ANL fuse holder down Stinger zero gauge cable to the distribution block in the rear. The distribution block in the rear keeps an eye on voltage and sounds an alarm if it drops below eleven. Moving to the interior, the deck now used is the Pioneer DEH-P9450MP (not shown in image). Along with the inbuilt multi band equaliser this deck offers all the useful tuning features without the useless bells and whistltes usually associated with decks at this level. The deck then sends signals to Zapco SymbiLink line convertors located behind the dash. Here the signal is balanced and boosted to eighteen volts. In theory this provides a noise free signal stream. The entire car body has been layered with multiple layers of Dynamat sound deadening, foam and diffuser panels. Thicknesses vary from single layers under the dash to double layers on the doors. This keeps the cars noise levels to a minimum and had improved the noise floor remarkably. Thermal safety is covered using a small fire extinguisher which is located in front of the passenger seat.

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Moving to the doors; at the moment the Lancer is using the Hertz Mille MLK2 two-way component set. However there is an upgraded MLK3 three-way component set in the pipeline which not only includes the famous Hertz ribbon midranges but also the upgraded hand built signature Mille tweeters. Currently the 6.5" midrange drivers live in the fully deadened and diffused doors and are happy to not only play midrange frequencies with an accuracy that must be heard to be believed, but will also kick you in the guts when big midbass is required. The tweeters live in the custom made fiberglass kick panels (which are filled with Dacron to avoid any frequency reflections internally) but may soon be moved to improve stage.

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At this stage the components are being kept together for now to avoid frequency separation issues but further experimenting may soon see them located elsewhere. Head installer Marty explains further: "As is with many of our competition cars, getting the perfect sound stage is a little like playing a game of aural cat and mouse. In my own car we're experimenting with moving the midranges and tweeters up to the 'A' pillar. With this car we may also install the ribbon and tweeter in the 'A' pillar but we need to perform some extensive testing before we decide on anything permanent. The sound stage at the moment is wide and deep but can appear a little low when listening to female alto singers. This is what we aim to sort out with the change to the three way system." Speaker cables run throughout the car are all Stinger 16 gauge with dual runs to the subwoofer. The beautifully finished Mille crossovers are located under each seat and have plenty of air circulating around them. This allows them to dissapate a lot heat when the internal components are warming up during periods of high demand. Upon closer inspection you'll notice that quite a few components within the crossover are lined with large heat sinks. The Mille crossovers are very well designed and constructed from quality materials and are the main reason why the components work together so linearly. As is standard proceedure here, a great deak of external testing was also done on the Mille crossovers to provide the best in car response with the least inconsistencies, peaks and dips. However, this car is a competition car so these changes are being kept secret.

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Moving to the rear of the car you'll find a trim curtain hiding everything. This is especially handy if the car needs to be left anywhere. Moving the curtain back reveals a plethora of high quality components. The two amplifiers of the system are the Zapco Reference 750.2 for the front end and the Zapco 1100.1 mono-block for the subwoofer. The 750.2 is a very powerful unit and is rated at 2 x 175 watts continuous @ 13.8 volts / 4ohm. The subwoofer amplifier is designed especially for low frequencies and is rated at 800 watts continuous @ 13.8 volt / 4ohm and 1100 watts continuous @ 13.8 volts / 2ohm. It is one of the most powerful amplifiers in the Zapco Reference range and boasts a bunch of features such as counter reaction circuits which results in an increased damping factor (damping factor is the amplifiers ability to control cone movement), subsonic filter, phase controller (for bringing the sub-bass image forward), parametric boost / cut and separate remote control. For more information on the 1100.1 and 750.2 check out the Zapco website. The amplifiers, distribution block and enclosure are all presented using a neat blend of two-pac maroon and grey vinyl. Red LED's backlight the three panels and the bright red voltage meter on the distribution block also adds to the effect. All rear panels have been routered down with a bevel bit and vaccuum formed to attain the best possible finish. All cables used throughout the racks are Stinger or Zapco.

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Whilst we're going over what is in the boot, it would be a sin not to mention the subwoofer. When auditioning various component systems Paul chose the Hertz Mille so when it came to subwoofers would the Mille subwoofer keep up with the component system so far as quality, accuracy and depth was concerned? The answer is a very impressive affirmative. The Hertz Mille ML2500 not only thumps like a jack hammer, it is one of the most accurate subwoofers on the market today. Easily capable of delivering thumping deep bass at speeds with complete control and finess.

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In order to get the triangular enclosure just right, some adjustments had to be made to the enclosure. The old Image Dynamics IDMAX10 was removed and sold. The Hertz ML2500 was then sent away to have its parameters measured before the enclosure could be modified for the new driver to replace the IDMAX. Further testing of the front angle of the enclosure face was also implimented in order to gain the best sound quality. Eventually the enclosure was ready to head back to the panel beaters to be painted again. Upon its return the boot was all bolted back together and fire up. The reults speak for themselves so if you can make it to an upcoming sound off, check out Paul's Lancer and see just how good these premium components can sound. For further information on the equipment in the car see the following websites: Hertzaudiovideo.com, Pioneer.com.au, Zapco.com and Stingerelectronics.com.


Subaru Impreza

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