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Autosound 2000 CD Set

5 Test CDs

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Our take on the Autosound 2000 CD Set

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 One contains 99 tracks, many of which focus on bass. You get 20-20,000 Hz sweeps, low frequency bursts, sine waves, and other useful tracks.

Disc Two includes 32 tracks that help you evaluate and improve your system's stereo imaging.

Disc Three covers a broader range of musical styles. Non-music tracks include human voices at various spots on a typical soundstage as well as various levels of distortion. The liner notes tell you how to use each selection.

Disc Four is billed as the Ultimate Amplifier Level Setting Disc. The name says it all.

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

You save about $10 when you buy the five-disc set.

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Hands-on research from the Crutchfield Labs (what are the Labs?)

Product Research
What's in the box?

  • The Autosound 2000 Test CD package includes 5 individually packaged CDs:
  • CD 1: Low Frequency Tests
  • CD 2: Imaging/Placement Tests
  • CD 3: System/Environment Tests
  • CD 4: Setting Amplifier Levels
  • CD 5: "My Disc"
  • Each disc is packaged inside a standard jewel case with how-to-use instructions

Our Product Research Team

At Crutchfield, you'll get detailed, accurate information that's hard to find elsewhere. That's because we have our own in-house Product Research team — they open the box, verify contents, check the owner's manual, and record dimensions, features and specs. We stay on top of new products and technologies to help people make informed choices.

Disc 1: Low Frequency Tests
Disc 2: Imaging/Placement Tests
Disc 3: System/Environment Tests
Disc 4: Setting Amplifier Levels
Disc 5: My Disc

Overview: The Autosound 2000 Test CDs are designed for testing specific parameters of your vehicle's audio system. The disc and track information is as follows:

Disc 1: Low Frequency Tests

  • Track 1: 1 kHz tone at -20 DB (2:06)
    Helps you measure the reference loudness of a component.
  • Track 2: 1 kHz tone at -20 dB, fades to black (3:55)
    Tests the reproduction quality of a sound system when driven with extremely low level signals.
  • Track 3: Polarity Pulses (3 positive - 1 negative) (2:00)
    To measure relative and absolute polarity.
  • Track 4: 20-20,000 Hz slow sweep (1:10)
    To take response measurements and to check for resonant frequencies.
  • Track 5: 20-20,000 Hz fast sweep (:19)
  • Track 6: Sequential tones 20-20,000 Hz, twice (1:36)
    For use with test instruments that measure sequential tones.
  • Track 7: Composite tones (2:04)
    Used for measurements with swept spectrum analyzers and to determine the overload threshold of a system.
  • Track 8: 50 Hz square wave with sweep to 20 Hz (2:00)
    Used for setting up low-frequency servo systems.
  • Track 9: Low-frequency bursts (1:27)
    Used to evaluate the transient behavior of a subwoofer system.
  • Tracks 10-98: Sine waves corresponding to track numbers (:30 each)
    The numerical track indicator of the CD player matches with the frequency of the sine wave that is recorded on that track, eg., track 10 = 10Hz.
  • Track 99: 1 kHz at digital zero (2:36)
    Used to test the output headroom of a CD player.

Disc 2: Imaging/Placement Tests

  • Track 1: Eyes of Love, Michael Ruff, stereo 3:30
  • Track 2: Eyes of Love, Michael Ruff, mono 2:00
  • Track 3: Eyes of Love (L,C,R) constant power 2:00
  • Track 4: Eyes of Love (L,C,R) constant voltage 2:00
  • Track 5: Three snare drum beats (L,C,R) 0:17
  • Track 6: Seven snare drum beats across the sound stage 0:24
  • Track 7: pink noise, band-limited, 2.5 kHz to 20 kHz 1:00
  • Track 8: pink noise, band-limited, as in Track 7, but (L,C,R) 0:36
  • Track 9: pink noise, band-limited, 400 Hz to 2.5 kHz 1:00
  • Track 10: pink noise, band-limited, as in Track 9, but (L,C,R) 0:36
  • Track 11: pink noise, band-limited, 100 Hz to 400 Hz 1:00
  • Track 12: Same as above
  • Track 13: pink noise passed through a 100 Hz low-pass filter 1:00
  • Track 14: Same pink noise as in Track 13, but C is (-6db) 0:36
  • Track 15: pink noise (20 Hz to 20 kHz), left channel only 1:00
  • Track 16: pink noise (20 Hz to 20 kHz), right channel only 1:00
  • Track 17: Correlated pink noise (20 Hz to 20 kHz) 1:00
  • Track 18: Un-Correlated pink noise (20 Hz to 20 kHz) 2:00
  • Track 19: 1/3-octave bands of  noise from 100 Hz to 20 kHz 2:00
  • Track 20: 1/3-octave band noise from 400 Hz to 20 kHz and (L,C,R) 4:30
  • Track 21: Demonstration of comb filtering 0:45
  • Track 22: Out-of-phase correlated pink noise (l-R) 1:00
  • Track 23: Correlated pink noise that slowly fades to black 1:53
  • Track 24: Stereo drum recording for accurate placement 0:54
  • Track 25: 50 Hz tone, clipped 14-18 seconds, then all high bits 1:00
  • Track 26: 400 Hz tone, clipped 14-16 seconds, then all high bits 1:00
  • Track 27: 1 kHz tone, clipped 12-15 seconds, then all high bits 1:00
  • Track 28: 4 kHz tone, clipped 15-20 seconds, then all hIgh bIts 1:00
  • Track 29: 8 kHz tone, clipped 13-19 seconds, then all high bits 1:00
  • Track 30: Asynchronously generated low frequency tones 1:00
  • Track 31: "Trial of Seconds" musical composite track for SPL 2:30
  • Track 32: Digital black recording of all low bits 5:00

Disc 3: System/Environment Tests

  • Track 1: "Stranger in My Bed" - Up Front - The Power of Seven
  • Track 2: "Dish Rag" - I've Got the Music In Me - Thelma Houston & Pressure Cooker
  • Track 3: "Dance of the Knights", from Prokofiev's Romeo & Juliet
  • Track 4: "Dirty Blue" - The Name is Makowicz - Adam Makowicz w/Phil Woods
  • Track 5: "Wishing Well" - Speaking in Melodies - Michael Ruff
  • Track 6: "Dock of the Bay" - Lincoln Mayorga & Distinguished Colleagues
  • Track 7: A 1 kHz sine wave at -20 dBfs
  • Track 8: A 1 kHz sine wave at 0 dBfs

Tracks 9-18 check for acoustic response:

  • Track 9: 20Hz
  • Track 10: 62 Hz
  • Track 11: 125 Hz
  • Track 12: 250 Hz
  • Track 13: 500Hz
  • Track 14: 2.5 kHz
  • Track 15: 5 kHz
  • Track 16: 10kHz
  • Track 17: 15 kHz
  • Track 18: 19 kHz
  • Track 19: Recording of someone counting from 1-25
  • Track 20: An identification track for the right channel
  • Track 21: An identification track for the left channel
  • Track 22: Check for relative polarity between left/right channels
  • Track 23: Polarity pulses
  • Track 24: 1 kHz sine wave w/bottom half clipped
  • Track 25: 3 people describing their location w/in the soundstage
  • Track 26: Same as 25, but all 3 people talking simultaneously

Tracks 27-32 contain a specially processed music selection for evaluating accuracy and focus of the lateral sound stage

  • Track 28: The music is switched to mono (L+R)
  • Track 29: The mono signal is fed to the left channel only
  • Track 30: The image shifts back to the center
  • Track 31: The mono signal shifts to the right channel only
  • Track 32: The signal is switched back to stereo
  • Track 33: 45-second sample of music recorded at a normal transfer level
  • Track 34: Music sample recorded with transfer level -10db
  • Track 35: Music sample recorded with transfer level -20 db
  • Track 36: Music sample recorded with transfer level -30 db
  • Track 37: Music sample recorded with transfer level -40 db
  • Track 38: Music sample recorded with transfer level -50db
  • Track 39: Music sample recorded with transfer level -60db
  • Track 40: Music sample recorded with transfer level -70 db

Tracks 47-56 - These tracks contain pink noise that has been filtered into successive 1/3-octave bands:

Track Frequencies
47 25 Hz, 31.5 Hz, 40Hz
48 50 Hz, 63 Hz, 80 Hz
49 100 Hz, 125 Hz, 160 Hz
50 200 Hz, 250 Hz, 315 Hz
51 400 Hz, 500 Hz, 630 Hz
52 800 Hz, 1 kHz, 1.2 kHz
53 1.6 kHz, 2 kHz, 2.5 kHz
54 3.15 kHz, 4kHz, 5 kHz
55 6.3 khz, 8 kHz, 10 kHz
56 12.5 khz, 16 kHz, 20 kHz
  • Track 57: 20 Hz to 20kHz continuous warble
  • Track 58: warble from 100 Hz to 20 Hz
  • Track 59: individual frequencies from 10Hz to 99Hz
  • Tracks 60-62: These tracks collectively contain a very flat, low distortion 20-20kHz sweep
  • Track 63: Musical note A (440 Hz)
  • Track 64: 100 Hz tone burst
  • Track 65: 1 kHz tone burst
  • Track 66: 10 kHz tone burst
  • Track 67: 100 Hz square wave
  • Track 68: 1 kHz square wave
  • Track 69: This track contains the full dynamics of the original recording and is intended as a reference track for track 70
  • Track 70: Recorded with the same peak levels as the preceding track but compressed dynamically
  • Track 71: This track tests the radiated distortion characteristics of your system
  • Track 72: Same as track 71, but with 0.1 percent distortion
  • Track 73: Same as track 71, but with 0.3 percent distortion
  • Track 74: Same as track 71, but with 1 percent distortion
  • Track 75: Same as track 71, except with 3% distortion
  • Track 76: Same as track 71, but with 10 percent distortion
  • Track 77: Same distortion test as before, but the test signal is music
  • Track 78: Same as track 77, but with .1 percent distortion
  • Track 79: Same as track 77, but with .3 percent distortion
  • Track 80: Same as track 77, but with 1 percent distortion
  • Track 81: Same as track 77, but with 3 percent distortion
  • Track 82: Same as track 77, but with 10 percent distortion
  • Track 83: Music selection with no added delay used as a reference for the following track
  • Track 84: Music selection demonstrating group delay
  • Track 85: Demonstration of process known as "In the Ear(ITE) recording recordings were made on Pit Row during 1994 time trials at Indianapolis Motor Speedway, in this track you are standing between Roger Penske's pits and the main straightaway
  • Track 86: This track was recorded in the same manner as 85, and starts with a short walk down pit row, with race cars passing you as a car comes into the pits

Disc 4: Setting Amplifier Levels

  • Track 1: Sample from Sheffield lab's "Sonic Detour" by Freeway Philharmonic, serves as an audio reference

Tracks 2-6 demonstrate the subjective increase in loudness that can be obtained by providing a specified amount of "gain overlap" at the power amp of an audio system. Although gain overlap can increase the usable loudness of a system, it is a compromise. For every dB of increased loudness, there is an equal decrease in the signal-to-noise ratio at lower listening levels. There is also an increase in peak distortion at high listening levels. Good system performance is a result of optimizing the trade-offs:

  • Track 2: Demonstrates 0 dB of gain overlap
  • Track 3: Demonstrates 5 dB of gain overlap
  • Track 4: Demonstrates 10 dB of gain overlap
  • Track 5: Demonstrates 15 dB of gain overlap
  • Track 6: Demonstrates 20 dB of gain overlap

Tracks 7-12 are used for setting the max level (clipping threshold) of electronic components:

  • Track 7: 40 Hz @ 0dBFS useful for adjusting subwoofer crossover)
  • Track 8: 100Hz @ 0dBFS useful for setting midbass of an electronic crossover
  • Track 9: 400Hz @ 0dBFS useful for x-over setting at this frequency
  • Track 10: 1kHz @ 0dBFS used to set x-over midrange output
  • Track 11: 4kHz @ 0dBFS useful to set tweeter output of an electronic crossover
  • Track 12: 8kHz @ 0dBFS useful to set tweeter output of an electronic crossover

Tracks 13-18 are used to obtain 5 dB of gain overlap:

  • Track 13: 40 Hz @ -5 dBFS
  • Track 14: 100 Hz @ -5 dBFS
  • Track 15: 400 Hz @ -5 dBFS
  • Track 16: 1 kHz @ -5 dBFS
  • Track 17: 4 kHz @ -5 dBFS
  • Track 18: 8 kHz @ -5 dBFS

Tracks 19-24 are used to obtain 10 dB of gain overlap:

  • Track 19: 40 Hz @ -10 dBFS
  • Track 20: 100 Hz @ -10 dBFS
  • Track 21: 400 Hz @ -10 dBFS
  • Track 22: 1 kHz @ -10 dBFS
  • Track 23: 4 kHz @ -10 dBFS
  • Track 24: 8 kHz @ -10 dBFS

Tracks 25-30 are used to obtain 15 dB of gain overlap:

  • Track 25: 40 Hz @ -15 dBFS
  • Track 26: 100 Hz @ -15 dBFS
  • Track 27: 400 Hz @ -15 dBFS
  • Track 28: 1 kHz @ -15 dBFS
  • Track 29: 4 kHz @ -15 dBFS
  • Track 30: 8 kHz @ -15 dBFS

Tracks 31-35 are the same as tracks 2-6. However, the levels of these tracks have been adjusted to compensate for the loudness increase:

  • Track 31: Reference track with 0 dB gain overlap
  • Track 32: 5 dB of gain overlap w/recording level lowered 4.9dB
  • Track 33: 10 dB of gain overlap w/recording level lowered 9.4 dB
  • Track 34: 15 dB of gain overlap w/recording level lowered 13.3 dB
  • Track 35: 20 dB of gain overlap w/recording level lowered 16.2 dB

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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