Competition Rules

Proper fusing will be demonstrated in all locations.

• Low – Fuse values are incorrect for the application
• High – Fusing is correct for all locations

System operation shown to judges: what controls and source to use, where source music should be played, and how to properly turn the car and system on/off. The competitor may set up source material (USB, CD, etc.) without penalty.

• 1 – Did not inform judge how to operate any controls
• 2 – Some controls not described, or multiple options without guidance
• 3 – Very explicit in the functionality and controls for the judge to use

When presented (doors/trunk open, etc.), does it look “finished”? Panels covered, equipment properly mounted. Aesthetics are not judged — only that the install is not still in the fabrication stage.

• 1 – Just powered up; sawdust and fiberglass on the clothes stage
• 2 – Attempts made to complete areas, but some are not finished
• 3 – The vehicle is visually complete

Is the competitor aware of how the system was put together? Do they know the ins and outs of the installation?

• 1 – Knows how to turn it on and turn it up, that’s about it
• 2 – Knows where all equipment is and what it does; may have helped with the install but isn’t aware of power and signal wire routing
• 3 – Can describe every aspect of the install: wiring routing, signal path, all equipment locations, and why any special equipment was used (PAC units, LOCs, non-standard processing, etc.)

How easy is it to operate the system?

• 1 – Overly small controls; requires constantly looking at device to change tracks or adjust volume
• 2 – Non-integrated volume controls; 2 or more devices outside steering wheel
• 3 – OEM ergonomics: steering wheel controls, easily visible screen
• 4 – OEM-like but custom work; custom controller with easily viewable screen
• 5 – Beyond OEM-like; screens/controls in direct driving view (e.g. HUD, steering wheel beyond volume and track)

Is there any system or environmental noise?

• 1 – Widespread noise, buzzes, rattles, panel noise, system noise
• 2 – Some system noise (noise floor) and some buzzes or rattles in panels
• 3 – Either some system noise or minor buzzes and rattles from panels, likely due to sub
• 4 – No noise at all, completely quiet from start to finish

High frequencies: 2,500–20,000 Hz. Listen for strong sibilance, non-existent highs, or an overly bright presentation.

Mid frequencies: 250–2,500 Hz. Listen for shrill vocals or harshness.

Low frequencies: 80–250 Hz. Listen for a bloated or null (missing) response.

Sub frequencies: 0–80 Hz. Listen for a non-existent lower end or an overpowering, bloated sub.

Not an average of the other four sections. Start at 3. For each adjacent frequency region that is not balanced with the next, deduct 1 point. Example: if sub and mids are balanced but the highs are too loud, lose 1 point; if mids are too low and highs too loud relative to sub and low, lose 2 points.

Are the left and right imaging tracks at the same amplitude?

• 1 – Massive difference in output between left and right
• 2 – 1–3 dB difference between left and right
• 3 – Slight imbalance
• 4 – No discernible difference between sides

Placement of the left-center image. Score 1 if barely discernible from the left edge; score 2 if halfway to its correct position; higher scores reflect increasing placement accuracy.

Placement of the center image. A score of 1 means the center is located where LC or RC should be; higher scores reflect increasing placement accuracy.

Placement of the right-center image. Score 1 if barely discernible from the right edge; score 2 if halfway to its correct position; higher scores reflect increasing placement accuracy.

How far front and in-cabin is the bass perceived?

• 1 – Hard pull to the rear; no up-front bass at all
• 2 – Slight pull to rear; mostly up front or encompassing
• 3 – No real pull to rear but not completely out front; may give a sense of “fullness” in the cabin
• 4 – Completely out-front bass; no “fullness” of the cabin, no pulling

Focus of the left image in the low frequency range. Scores 1 if this range bleeds toward Left Center; higher scores reflect tighter focus.

Focus of the left image in the mid frequency range. Scores 1 if this range bleeds toward Left Center; higher scores reflect tighter focus.

Focus of the left image in the high frequency range. Scores 1 if this range bleeds toward Left Center; higher scores reflect tighter focus.

Focus of the left-center image in the low frequency range. Scored 1–5; scores 1 if this range bleeds to adjacent positions.

Focus of the left-center image in the mid frequency range. Scored 1–5; scores 1 if this range bleeds to adjacent positions.

Focus of the left-center image in the high frequency range. Scored 1–5; scores 1 if this range bleeds to adjacent positions.

Focus of the center image in the low frequency range. Scored 1–5; scores 1 if this range bleeds toward LC or RC.

Focus of the center image in the mid frequency range. Scored 1–5; scores 1 if this range bleeds toward LC or RC.

Focus of the center image in the high frequency range. Scored 1–5; scores 1 if this range bleeds toward LC or RC.

Focus of the right-center image in the low frequency range. Scored 1–5; scores 1 if this range bleeds to adjacent positions.

Focus of the right-center image in the mid frequency range. Scored 1–5; scores 1 if this range bleeds to adjacent positions.

Focus of the right-center image in the high frequency range. Scored 1–5; scores 1 if this range bleeds to adjacent positions.

Focus of the right image in the low frequency range. Scores 1 if this range bleeds toward Right Center; higher scores reflect tighter focus.

Focus of the right image in the mid frequency range. Scores 1 if this range bleeds toward Right Center; higher scores reflect tighter focus.

Focus of the right image in the high frequency range. Scores 1 if this range bleeds toward Right Center; higher scores reflect tighter focus.

Width referenced from cabin width (side glass to side glass = average, score 3). The stage’s edges don’t need to exactly match the cabin sides — a stage slightly shifted but still spanning cabin width scores 3.

• 1 – Pillar width or less
• 2 – Pillar to side glass width
• 3 – Side glass to side glass
• 4 – Greater than glass to glass

Width of the ambient (diffuse) field, referenced from cabin width.

• 1 – Less than pillar width
• 2 – Pillar to pillar
• 3 – Side glass
• 4 – Side to 6” each side (12” wider than vehicle overall)
• 5 – Greater than 6” each side

The top of the stage should be at the horizon when sitting in a normal driving position. Seat recline and judge height do not affect the horizon. Ambience may extend above the horizon.

• 1 – Above the horizon, or below the horizon by more than the top of the dash
• 2 – Slightly below the horizon; at top of dash but not below
• 3 – At horizon

Measure of stage size from bottom to top. Average car (score 3) goes from dash top to horizon. Dash top = bottom of the windshield.

• 1 – Essentially a thin line across the horizon; no discernible height
• 2 – Height less than horizon to dash top
• 3 – From horizon to dash top
• 4 – From middle of dash to horizon
• 5 – From horizon to more than the dash

Does the stage maintain consistent height from left to right?

• 1 – Rainbows heavily (kick panel to kick panel); center may be above dash while edges drop drastically
• 2 – Rainbows slightly on both sides, but doesn’t extend to the kick area
• 3 – Rainbows slightly on only one side; other side is stable
• 4 – Perfectly stable across the whole stage

Distance from the front to the rear of the stage. Baseline assumes stage front at the base of the windshield; adjust scoring if the front of stage is inboard or outboard of that location.

• 1 – Very shallow; 3–4” of depth
• 2 – Not beyond ¹⁄₄ of the hood
• 3 – ¹⁄₄ to ¹⁄₂ of the hood
• 4 – Out to the midpoint of the hood
• 5 – Beyond midway of the hood

Relationship between imaging and the soundstage. Are images properly placed within the stage? Does the ambience from the recording come through?

• 1 – No ambience; images are not clearly defined within the soundstage
• 2 – Ambience from the environment, but images are not well defined
• 3 – Images somewhat placed but not clearly distinct in the soundstage
• 4 – Images well placed; ambience is present but doesn’t make you feel like you are in the room
• 5 – Every image properly placed and the recording’s ambience comes through; you feel like you are there

Perceived shape of the stage. Is it even and square to the vehicle, or does it horseshoe or appear trapezoidal?

• 1 – Not square to the vehicle; may horseshoe or have one side more inboard than the other
• 2 – Square to the vehicle; no horseshoe

Perceived physical location of the front of the stage relative to the windshield and the closest distinct image (not ambience). If a sub pull is present, determine the front without that, then deduct a point.

• 1 – More than 6” inboard of windshield
• 2 – Up to 6” inboard of windshield
• 3 – At windshield (base of windshield)
• 4 – Up to 6” beyond windshield
• 5 – Beyond 12” from windshield

Image sizing is relative to the size of the stage — the bigger the stage, the larger the images should be proportionally.

• 1 – Imaging so bad you can’t tell what size they are; no focus at all
• 2 – Images are the wrong size (too small or enormous)
• 3 – Images appear to change size or fluctuate within a track
• 4 – Slightly larger or smaller, or not all images are proportional
• 5 – Images are proportional to the stage

The snap of a drum. The instant hit of a cymbal. Does that trumpet make you jump?

• 1 – Is this system dead? I almost fell asleep.
• 2 – Yawn.
• 3 – Average. Nothing special, nothing to complain about.
• 4 – Is this live or is it…
• 5 – Felt like I was getting slapped around and want more of it.

Can you hear all the subtle details in the recording that would normally be missed?

• 1 – Details? There are details to be heard?
• 2 – Some details are coming through but large portions are not.
• 3 – I hear things I’m supposed to hear, but not every fine detail that is actually there.
• 4 – More subtle details are appearing, but I know there is more to be had.
• 5 – I can hear every micro-detail; I can tell the vocalist is smiling when she sings.

How real and believable does the system sound?

• 1 – Is this a stock system from the 60s?
• 2 – Needs a lot of work. Has potential though.
• 3 – Quite good. The average non-enthusiast would say wow.
• 4 – Getting there; some things are very believable, but other things aren’t quite right.
• 5 – The realism is so palpable it’s stunning.

Do the speakers just disappear? Does the car just disappear? That’s transparency.

• 1 – I can pinpoint every single driver in this system. Try again.
• 2 – Some drivers localize.
• 3 – Drivers don’t localize directly but you can still tell where things are.
• 4 – Almost there; drivers disappear but the boundaries are still tied to the vehicle.
• 5 – I can stare at that speaker and not tell the sound is coming from it. The vehicle is not constraining at all.

Dynamics does NOT mean loud. It means the system reproduces the softest portions of the recording equally as well as the loudest.

• 1 – Sounds so compressed it would make a modern pop CD jealous.
• 2 – You must like the loudness wars…
• 3 – Average. Nothing to complain about, nothing to write home about.
• 4 – Now we are getting there. I’m starting to jam with this bad boy.
• 5 – Soft brush on the cymbal… then BAM that horn blew out my ears.

Does the recording’s acoustic environment come through?

• 1 – The vehicle sounds dead.
• 2 – There is a hint of ambience but you really have to try to hear it.
• 3 – Average. The vehicle doesn’t excel here but is good.
• 4 – There is some ambience but it doesn’t bring you in.
• 5 – You can almost see the size of the venue. You feel like you are there.

Measures how the system performs as volume rises. Does it distort? Can it get loud cleanly? Judged with a meter — judging stops the moment distortion is detected.

• 1 – Lowest extension non-existent.
• 2 – Present but no pressure, or too much pressure.
• 3 – Present, pressurizes vehicle; lacks texture.
• 4 – Nice texture; might not get full extension or loses some control.
• 5 – Does it all: correct pressure, full extension with control.

How lively the system is. Not raw dynamics — how it reproduces recordings in a way that makes you bob your head and tap your feet. There should be energy and snap where it belongs in the recording, not an over-eq’d presentation.

• 1 – I started to nod off or needed to turn this down.
• 2 – Starting to enjoy the music but don’t feel the need to turn it up.
• 3 – It’s not bad; gave the volume knob a twist to the right.
• 4 – Really getting into the tracks; head is bobbing, feet are moving.
• 5 – Just wow!! Turned it up, started to feel the music and was dancing in the seat.

How engaged am I with the system? Does it invoke an emotional response? Am I being drawn into the experience?

• 1 – How quickly can we end this.
• 2 – I don’t want to leave now but I am not feeling anything.
• 3 – It’s better than factory but I’m not wanting to drive it home.
• 4 – Got some goosebumps starting to form; I’m thinking of making an offer.
• 5 – Full blown goosebumps down my back and up my arms. I want to steal the car from the show.

Measures the overall tonal performance of the system.

• 1 – Like driving a 1979 Honda Civic with a single 4x6 in the dash and an AM radio.
• 2 – Like driving a 1986 Cutlass Calais with 4 coaxials and AM/FM.
• 3 – Starting to feel like a balanced modern system with DSP, pleasing to the ears.
• 4 – Great tonal presentation; thoughtful tune and really stepped up the game.
• 5 – Engaging with lots of attack, resolution, and realism. Everything you want from 20 Hz to 20 kHz and beyond.

Up to 4 points at the judge’s discretion. Awarded for something special that has no other place on the scoresheet — a car you want to drive off with, goosebumps, an emotional response. Criteria should be very high; the vehicle must be extraordinary in some aspect. The judge should fully qualify why points were given, in writing.