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Autosound 2000 Disc Five

System Demonstration — Test CD

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  • Autosound 2000 Disc Five

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Our take on the Autosound 2000 Disc Five

Autosound 2000 has created this series of test CDs for the professional and the serious hobbyist. Each disc is designed to test a specific performance parameter of your vehicle's audio system.

Disc Five was created to demonstrate different characteristics and specifications of an audio system.

Please call a Sales Advisor for a complete track listing. You save about $10 when you buy the 5-disc set.

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  • CD 5: "My Disc"
  • How-to-use information booklet

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Disc 5: My Disc

Overview: This disc was produced for the audio retailer as a sales training and technical tutorial. It is intended to make it easier to demonstrate some of the more difficult to explain characteristics and specifications of an audio system. The musical selections on this disc were chosen to cover a wide variety of tastes and are presented in their unaltered state in the first four tracks. The first 4 tracks are recorded and mastered to reference standards. The remaining 49 tracks have been created to demonstrate individual characteristics of an audio system.

Reference Tracks:

  • Track 1: "Head Honcho", Clarity Recording

  • Track 2: "Infernal Dance", Sheffield Lab

  • Track 3: "Hummin' to Myself", Clarity Recording

  • Track 4: "Foggy Mountain Breakdown", Sheffield Lab

Car Noise Demonstrations: Wind, engine, road and tires noise pose the largest challenge in achieving good sound quality in a car while it is in motion. The following tracks contain actual recordings of a car, traveling at approximately 65 MPH on a smooth stretch of an interstate highway with the windows rolled up and very light traffic.

  • Track 5: This track is a level setting reference for tracks six through eleven.
  • Track 6: This track is an actual recording of the background noise of a Lexus 400.
  • Track 7: This track is identical to track 6 except that the test vehicle is a Ford Explorer.
  • Track 8: This track is a musical track that plays without interruption for the first 10 seconds. After that, the noise that was recorded on Track 6 in the Lexus 400 is mixed in with the music. This demonstrates the effect on sound quality that is perceived by the listener under real world driving conditions. Notice that the musical detail and clarity is adversely affected and that the portion of the music spectrum that suffers the most is the low frequency response. This may help to explain why a 200 watt stereo system may sound good in a home, whereas in a vehicle under these types of adverse conditions and subjected to this level of noise, that same 200 watt stereo may perform only marginally.
  • Track 9: This track is identical to track 8 except that the test vehicle is the Ford Explorer and its background noise is mixed in.
  • Track 10: This track is identical to track 8 (with the Lexus 400) except for the type of music. Classical music, by its very nature, is more difficult to reproduce accurately than most other types of music, particularly in an automotive environment. Because of its wider range, it requires greater power to overcome the problem of background noise and still maintain musical quality and accuracy. Again, the music is played without interruption for the first 10 seconds. After that, the noise that was recorded on Track 6 in the Lexus 400 is mixed in with the music.
  • Track 11: This track is identical to track 10 except that the test vehicle is the Ford Explorer.

Spectral Balance Demonstration: An essential requirement of a quality audio system is to accurately reproduce all aspects of the musical spectrum. This demonstration shows different parts of the musical spectrum when they are too loud or not loud enough. All the even tracks in this section contain a well-balanced recording, while the odd numbered tracks should exhibit an unnatural balance.

  • Track 12: This track is a normal, well-balanced recording.
  • Track 13: This track should sound bass heavy and overly boomy.
  • Track 14: This track is a normal, well-balanced recording.
  • Track 15: This track should sound like it needs more bass.
  • Track 16: This track is a normal, well-balanced recording.
  • Track 17: This track should sound artificial and lack fullness.
  • Track 18: This track is a normal, well-balanced recording.
  • Track 19: This track should sound dull and lifeless.
  • Track 20: This track is a normal, well-balanced recording.
  • Track 21: This track should sound bright and tinny.
  • Track 22: This track is a normal, well-balanced recording.
  • Track 23: This track should sound dull and muffled.

Crossover Separation Demonstration: The range of sound that is audible to the human ear encompasses the frequency range of 20 cycles to more than 20,000 cycles. Since this frequency range (or musical spectrum) is difficult for one loudspeaker to reproduce accurately, audio systems are therefore normally divided into segments by a crossover network. In high fidelity car audio systems, this crossover design generally separates the musical spectrum into 3 or 4 segments. In a three way system these segments might be called lows, mids and highs or bass, midrange and treble. In a 4-way system, we usually describe these segments as bass, mid-bass, midrange and treble. The following demonstration shows what each of these segments sounds like in a typical four-way system.

  • Track 24: Bass- this is the range that encompasses very large instruments such as cello, tubas and bass drums.
  • Track 25: Mid-bass range - this is the range that generally contains male vocals, low guitars, and large wind instruments.
  • Track 26: Midrange - is the foundation that the other ranges (bass, midbass and treble) hinge or adheres to. It contains vocals and the majority of musical instruments.
  • Track 27: Treble - this is the range that contains flutes, triangles and smaller instruments as well as the harmonics of all the instruments that are necessary for natural, full sounding music.

Crossover Composition Demonstration: The following demonstration shows, beginning with the foundation (midrange) and building upon it, how the different segments of the musical spectrum are intended to be combined acoustically at the output of the crossover to form a well-balance, natural musical reproduction.

  • Track 28: This track begins with the midrange foundation and contains only the frequencies from 400 Hz to 5 kHz.
  • Track 29: This track takes track 28 and adds the midbass for a combined range of 80 Hz to 5 kHz.
  • Track 30: This track takes track 29 and adds the high frequencies for a combined range of 80 Hz to 20 kHz
  • Track 31: This track takes track 30 and adds the lowest bass frequencies for a total spectral range of 20 Hz to 20 kHz.

System Noise Demonstration: The following demonstration intentionally introduces noise into the music at progressively higher levels on each successive track. The first two seconds of each track contain the specified noise level so it can be heard without the music. On most good systems, the first few tracks should have inaudible noise levels. The last few tracks of this section you should be able to hear the noise in the background of the music. This demonstration should enable the you to understand the relative importance of noise specifications and their real world audibility.

  • Track 32: Noise @ -80dB below the level of the music.
  • Track 33: -70 dB
  • Track 34: -60 dB
  • Track 35: -50 dB
  • Track 36: -40 dB
  • Track 37: -30 dB
  • Track 38: -20 dB

Distortion Demonstration: TONE: Using track 39 as your tonal reference, the following 4 tracks (through track 43) demonstrate increases in distortion using a pure tone.

  • Track 39: This track is the reference tone (with successive tracks that demonstrates increases in distortion)
  • Track 40: This track is identical to track 39, except with 0.3% distortion.
  • Track 41: This track is identical to track 39, except with 1% distortion.
  • Track 42: This track is identical to track 39, except with 3% distortion.
  • Track 43: This track is identical to track 39, except with 10% distortion.

Distortion Demonstration: VOICE: Track 44 begins a demonstration that is identical to the previous one, except the test signal is a voice rather than a tone. The purpose for this demonstration is that the characteristics of a voice combined with distortion make the distortion slightly more difficult to detect.

  • Track 44: This track is the reference voice (with successive tracks that demonstrate increases in distortion)
  • Track 45: This track is identical to track 44, except with 1% distortion.
  • Track 46: This track is identical to track 44, except with 3% distortion.
  • Track 47: This track is identical to track 44, except with 10% distortion.
  • Track 48: This track is identical to track 44, except with 30% distortion.

Distortion Demonstration: MUSIC: Track 49 begins a demonstration that is identical to the previous two, except the test signal is music rather than a tone or a voice. The purpose for this demonstration is to show that the characteristics of music combined with distortion make it even more difficult to detect than distortion combined with a voice or tone.

  • Track 49: This track is the reference music (with successive tracks that demonstrate increases in distortion)
  • Track 50: This track is identical to track 49, except with 1% distortion.
  • Track 51: This track is identical to track 49, except with 3% distortion.
  • Track 52: This track is identical to track 49, except with 10% distortion.
    Track 53: This track is identical to track 49, except with 30% distortion.
 
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