Contents

Features. Installation. Tools and materials needed. Amplifier installation kit. Routing Wires. Wiring Power and Outputs. Inputs and controls. Input level control.. Grand Bass,Crossovers. CA 31, CA 41, CA 51 Crossovers CA 22 and CA 23 speaker wiring: Front speakers. Subwoofer. CA 31 speaker wiring: Front speakers. Subwoofer. 6 7
How to install and operate the DLS CA22, CA23, CA31, CA41 and CA51 car audio amplifiers.

Welcome!

This owners manual is written in easy english and uses a lot of drawings to simply the installation and use of the above amplifiers. Your DLS amplifiers must be installed correctly in order to work well. This manual will show you how to install the amplifier like a pro. Please read the entire manual before beginning the installation. Install the amplifier yourself if you feel confident with our instructions and if you have the proper tools. However if you feel unsure, turn over the installation job to someone better suited to it.
CA 41 speaker wiring: Four speakers. 10 Two speakers + bridged subwoofer. 10 Two way front system with active crossovers. 11 CA 51 speaker wiring: Four speakers. Subwoofer.. Testing. Troubleshooting. Professional tips. Specifications.

Warranty Service

This amplifier is covered by warranty, depending on the conditions in the country where it is sold. If the amplifier is returned for service, please include the original dated receipt with the product.

Technical Assistance

For technical assistance ask the shop where the product was sold or the distributor in your very country. You can always phone the DLS Helpdesk in Sweden + 60 or send an e-mail to info@dls.se. Information can also be found on our WEB-site www.dls.se
CA22, 23, 31, 41 & 51

All models include

RCA inputs High Level input Continuos variable low pass and/or high pass crossover Bass boost feature (only on CA23 & CA41) Remote turn on / off Automatic remote turn on/ off on high level input without connecting any remote wire Electronic protection circuitry against short-circuit, DC offset and thermal overload. Bridgeable design to direct full power to one or two subwoofers etc.
CAx 60 Watt RMS / 2 x 100 Watt max in 2 ohm 1x 200 Watt RMS bridged CAx 135 Watt RMS / 2 x 200 Watt max in 2 ohm 1 x 400 Watt RMS bridged CAx 65 Watt RMS / 2 x 90 Watt max in 2 ohm 1 x 170 Watt RMS bridged 1 x 170 W RMS on sub channel CAx 70 Watt RMS / 4 x 125 Watt max in 2 ohm 2 x 200 Watt RMS bridged CAx 50 Watt RMS / 4 x 80 Watt max in 2 ohm 2 x 150 Watt RMS bridged 1 x 170 Watt RMS on sub channel All above RMS power ratings with 4 ohm load at 13,8 Volt DC.

Installation

Before you begin installation
Before you begin you need to read the manual, to have some tools, cables and other material available. There is one such list of material on the following page.

Disconnect Battery

Before starting the installation, always disconnect the negative terminal of the battery.

Amplifier location

Important Allow air circulation around the amplifier. The DLS Classic series of amplifiers have a compact design that allows great flexibility in mounting. You can mount it under a seat or in the trunk. When you select a location, do remember that the amplifier generates a lot of heat. Choose a location where air can circulate freely around the amplifier. Do not cover the amplifier with carpets or hide behind trim panels. Do not mount the amplifier in an inverted or upside down position. Check all locations and placements carefully before making any cuts, drilling any holes or making any connections. This is the best way to mount the amplifier to get the best cooling.
DLS logo on amplifier cooling flange
The DLS logo on top of the amplifier is attached with two hex. screws. The logo can be removed and twisted 90 or 180 degrees, and then screwed back in wanted position. The logo can be mounted in four different ways to match your installation.
Tools and material needed
Tools: Flat and Phillips screwdrivers Wire cutter Wire stripper Electric drill with drills Crimping tool Digital multimeter or test lamp Wire brush, scraper or a piece of an abrasive sheet to remove paint for a good ground connection Grease to protect the ground connection from oxidation Material: Speaker wire: minimum 12 AWG = 4 mm2 for subwoofers AWG = 1,5-2,5 mm2 for other speakers Sheet metal screws for mounting the amplifier to the amplifier board and the amplifier board to the car + some extra for fuse holder, amplifier ground etc. Electrical insulation tape inch thick plywood or particle board for the amplifier to be mounted upon. Amplifier installation kit: If available,buy an amplifier installation kit. It contains normally all you need. This is what you have to buy if you buy the items separately 20- 25 feet = 6- 7.5 meter power cable, minimum AWG 8 = 10 mm2 or heavier 1 pc of fuseholder to install close to the car battery + fuse 50 Ampere. 20 feet of AWG 15 = 1,5 mm2 wire for remote turn on / off cable from radio. RCA-cable for input from radio. - 20 feet or 5 meter for trunk installations -12 feet or meter for under seat installations Two ring crimp terminals one for connection to the battery plus and one for the amplifier ground connection. Two heavy fork crimp terminals to connect + and to amplifer but you do only need them if you use heavy cable or to make the installation look nicer. Four to ten fork crimp terminals to connect the speaker cables but you do only need them if you use heavy cables or want the installation to look nicer. One fork crimp terminal to connect the remote wire to the amplifier, but you need it only to make it look nicer. Four to eight splicers to connect speaker cables to high level input cable, if high level input is used. Wire ties Insulating grommet or insulating tube

Routing wires

Stereo head unit

Professional Tip:

If amplifier installation kits are available with different size of power cable, chose the most heavy power cable to improve sound quality and to allow more amplifiers to be installed now or later. If possible buy AWG 4 = PL 21 mm2 cable for best performance. These are the minimum sizes we recommend for the different models: CAmm2 (7AWG) CAmm2 (5AWG) CAmm2 (4AWG) CAmm2 (4AWG) CAmm2 (4AWG) This is for cable lengths up to 5 meters. The ground cable must have the same size. 3

Wiring

Power and Outputs

Power terminal ( +12V)

Connect the fuse holder as close to the vehicle battery + as possible, using AWG 8 = 10 mm2 or heavier cable. Use ring crimp terminal cable to connect to battery +. Apply silicon grease to the fuse to prevent corrosion. Power Use a 50 Amp fuse for all +12V REM GND amplifiers except for CA51 that requires 80 Amp fuse.

Remote terminal ( REM )

For RCA cable signal input: Connect the radio power antenna lead = remote turn on/off from the car stereo to the amplifier remote connection. This turns on the amplifier whenever the car stereo is turned on. You can either use the built in remote cable in the RCA cable itself or use a separate cable as seen on page 4. Sometimes a small disturbance may enter the amplifier coming from the remote voltage , through the built in remote wire and into the RCA cable. Thus we recommend to use a separate remote wire and run the RCA lead separate from remote wire, power cables and speaker cables. You can either use a crimp fork terminal or insert the cable directly into the amplifier terminal. If there is no remote voltage available from the stereo, you must connect to the ignition key through the radio or any accessories fuse. For High Level input: We recommend you to connect the remote wire as described above. The amplifier will produce soft on / soft off operation this way. You must set the Hi level/Low level switch to High level position in this case. In the case that there is no remote voltage available from the car stereo or you want to simplify the installation, the amplifier can be turned on/ turned off by the high level input voltage. This is done when the Hi level/Low level switch is set to Hi level position. There is a small disadvantage that this function gives soft turn on operation but some pop sound when switching off.

+12V Power REM GND

DLS FH1 fuse holder
Connect the battery cable by a crimp fork terminal ( spade ) to the +12 Volt on the amplifier. If you use a AWG 8 = 10 mm2 or thinner cable, you can do without the crimp terminal and put the cable right into the connector. Be sure to use a rubber grommet or a plastic insulating tube where the cable passes the firewall or other places when it can easily be jammed. Use ty-wraps to secure to existing cables in the engine compartment.

Ground Terminal ( GND )

Connect to a good chassis ground. The ground connection should be clean, unpainted metal to provide a good electrical connection. Use a wire brush, a scraper or a piece of an abrasive sheet to clean the metal. Use a lock washer or two to secure contact. Protect with silicon grease or by paint applied afterwards. Power

+12V REM GND

Use only one or two 30 ampere ATC blade type fuses. CA 51 uses three 30 ampere fuses. CA22 uses one 25 A fuse. 4
Power Light / Protect light
Power (Green) Protect (Red)
The power light (green ) comes on when the amplifier is turned on. The protect light ( red ) comes on when the amplifier shuts down from overheating, or a short circuit ( speaker failure)

Input and controls

Input Wiring
Inputs may be low level from the RCA output of the car stereo or high level from the car stereo speaker output. Low level = RCA is to prefer for the best sound quality. Important On CA22 & CA23 use either the low level or high level input, do not use both at same time. Low level input Use a pair of shielded stereo audio cables with RCA type jack. Most trunk-mount amplifiers need a 20 feet RCA cable ( appr meters). Most under the seat installations require 12 feet ( meters) RCA cables. Avoid placing the RCA cable close to speaker cables, power cables and remote control cable. Connect to input socket A/B. CA41 and CA51 are also equipped with separate inputs for channel C/D. CA31 & CA 51 has also a separate input for the mono sub channel. High Level Input Connect left and right speaker wires coming from the car stereo to the high level input as shown. You must connect both plus and minus as the inputs are balanced, connecting plus only gives lower level and bad sound quality. By changing the polarity of plus and minus, you can change the phase. CA 22, CA23 & CA31
High Input (C/D Ch) White: A ch.+ White/Black: A ch.Grey/Black: B ch.Grey: B ch.+
CA41 The CA41 four channel amplifier is connected likewise, however we have four channels. You can feed two channels from RCA and two channels using high level input from rear speaker cables.
High Input (A/B Ch) White: A ch.+ White/Black: A ch.Grey/Black: B ch.Grey: B ch.+
Hi level input plug on amp for CH A/B.

High Input (C/D Ch)

Violet: C ch.+ Violet/Black: C ch.Green/Black: D ch.Green: D ch.+
Hi level input plug on amp for CH C/D.
CA51 The CA51 five channel amplifier is connected likewise, however only Channels A, B, C and D can be fed with high input. The signal is then connected internally to channel E.
Parallel input on CA 31, CA41 & CA51

Parallel Input CA41

On CA41 the PCD position internally connects the A/B and C/ D inputs.

Parallel Input CA31

Hi level input plug on amp.
CA31 On CA31 the high level signal is fed internally to channel C when using high level input. Automatic turn on when using high level input. With the Hi/Low input swich set to Hi, the amplifier turns on automatically on high input. You dont need to connect a separate remote wire from your head unit.
On CA31 & CA51 the PC (PE) position internally connects the A/ Off PC B (C/D) input with the input for Parallel Input CA51 channel C (E). In OFF-position you must use dual Off PE signal cables or Y-splits.

RCA Output

Input Output
Use RCA Outputs to connect additional amplifiers (not available on CA31 & CA51).
CA22, 23, 31, 41 & 51 Hi / Low level input switch
To ensure best possible performance from the amplifiers a switch is installed to select between Hi and Low input. When using High Level input: Push in the button to position Hi level Hi Level Low level When using Low level input: Push out the button to position Low Level If the switch is set to wrong position, the amplifier still works, but the risk for disturbances or distortion increases.

Crossovers

All DLS Classic amplifiers include high pass filter ( HPF ) and low pass filters ( LPF). On CA23 the high pass filter is used as a subsonic filter. All filters are continously variable and all filters can be switched on and off. CA31 & CA51 also includes a subsonic filter.
Subsonic filter CA31 & CA51
The Subsonic filter blocks the very deepest frequencies from reaching the subwoofers. It has a fixed frequency of 25 Hz and can be switched On / Off. For sub channels C (CA31) and E (CA51) only.

Subsonic

Off On

Input Level control

The input level control, 5V 0,25 V, Level matches the output of your radio to the input of the amplifier. After installation is complete, make sure the input of the amplifier is turned down all 5V 0,25V the way ( counter-clockwise at 5V ). Play a tape or CD, make sure all bass or treble settings or equalizer are flat, and turn the volume of the radio up until you just start to hear distortion. Turn the volume control down just a bit. On the amplifier increase the input level control ( clockwise or to the right ) until you just start to hear distortion, then back the level control just a bit. Now your radio and amplifier levels are matched.

High Pass Filter / Subsonic filter

50Hz 220Hz

40Hz 100Hz

15Hz 500Hz

15Hz 150Hz
Grand bass on CA23 & CA41

Grand Bass 40Hz 60Hz

Grand Bass is used to increase the bass volume at an interval of bass frequencies. You can select the center frequency between 25Hz and 80 Hz and the amplification between 0 dB ( no amplification ) and 18 dB ( full amplification ). The slope of the filter is dB at maximum setting. This function is used to compensate for the bass box function and to adjust for your own taste of bass. Set level control at 0 dB if you want it to be inoperative.
The HPF ( high pass filter ) blocks very low frequencies from reaching the speakers. It is mostly used at say 60 Hz to protect small speakers ( like 6 inch and smaller ) from deep bass. It can also be used as subsonic filter to take away the very deepest frequencies from a bass box. The typical setting is then around Hz. In CA23 the high pass filter is designed as a subsonic filter variable from 15 Hz to 150 Hz. The slope of the High pass filter is 12 dB / octave. The filter can be switched off if you want to run the amplifier in full range mode.

Low Pass Filter

80Hz 200Hz 50Hz 500Hz

80Hz 200Hz

50Hz 500Hz

Off 24 dB 12dB

Phase control CA31 & CA51
The phase control on CA31 & CA51 can be set continuously from 0 - 180 degrees. This is very useful when you want to adjust the bass sound for best front stage image. Start on 0 and turn the control slowly clockwise until you experience that the bass sound is coming from the front. If you dont get the result you want, also try to PHASE phase reverse the subwoofer connections and make a new adjustment. 6
The LPF ( low pass filter ) mostly used for subwoofers. It will allow low frequencies only and blocks higher frequencies. A typical setting is Hz. The filter can be switched in and out. In the CA23 amplifier you can select between two different slopes, 12 dB/ octave or 24 dB/ octave. Choose the slope and the setting that sounds best in your car.
Crossovers of CA31, CA41 & CA51
The CA41 is a four channel amplifier. It is mostly used with a front system connected to channels C/ D and a subwoofer connected to channel A/B. You will find speaker wiring and filter setting example on page 10. Please observe the proper settings of the channel A/B LPF multiplier switch and of the channel C/D HPF multiplier switch. The CA41 can also be used to feed a 2way front system with active crossovers between midbasses and tweeters. This is described in a speaker wiring and filter setting example on page 11.

LPF Multiply

80/800Hz 200/2(k)Hz
The CA31 is a three channel amplifier. It has a variable high pass filter, 50-150 Hz, for channel A/ B. The C channel is for subwoofers and has a subsonic filter, a variable low pass filter, 50-120 Hz, and a phase control variable from 0 - 180 degrees. The subsonic filter can be switched IN-OUT and has a fixed frequency of 25 Hz.

Off On 50/500Hz

500/5(k)Hz

x1 x10 HPF Multiply

50/500Hz 220/2(k)Hz

15/150Hz 500/5(k)Hz

x1 x10
Channel A/B is equipped very much like the CA22 and CA23, however the LPF has a multiplier. Thus the frequency range of the LPF can be varied from 50 Hz 500 Hz in the x1 position or 500 Hz 5 kHz in the x10 position. This way we can use this amplifier to feed a 2-way system, where the midbasses are feed from 80 Hz 4 kHz. The tweeters connected to channel C/D , operate from 4 kHz upwards using the HPF in multiplier position x Hz 5 kHz.
The CA51 is a five channel amplifier. On channel A/B, C/D the filter configuration is exactly the same as for CA41. Channel E is a subwoofer mono channel with a lowpass filter adjustable from 60 to 120 Hz. Channel E has also a subsonic filter that can be switched INOUT. The subsonic filter has a fixed frequency of 25 Hz. The CA51 has also a phase control variable from 0 - 180 degrees.

CA22, 23

Speaker wiring CA 22 & CA23
Two fullrange speakers to CA22 or CA23 One subwoofer connected in bridge mode to CA22 or CA23

Filter settings

NOTE! 4 ohm minimum load when using bridge mode connection. Lower impedances may damage the amplifier. In bridge mode the amplifier sees a 4 ohm load as 2 ohm. Filter settings
With the HPF-filter in OFF position the amplifier allows the speakers to play fullrange. If you for some reason want to limit the low bass reproduction switch on the HPF-filter. The typical setting is then around Hz.
The HPF filter is here used as subsonic filter to take away the very deepest frequencies. The typical setting is around Hz.

LPF LPF

80Hz 200Hz 50Hz 500Hz 50Hz 500Hz 80Hz 200Hz
The LPF-filter should be OFF.
The LPF will allow low frequencies only and blocks higher frequencies. A typical setting is Hz. In the CA23 amplifier you can select between two different slopes, 12 dB/ octave or 24 dB/ octave. Choose the slope and the setting that sounds best in your car. 8

Speaker wiring CA 31

Two fullrange speakers to channel A/B One (or two) 4 ohm subwoofers to channel C + + C CH -

90Hz 120Hz

50Hz 150Hz
Filter settings channel C The subsonic filter takes away the very deepest frequencies. Turn on the subsonic filter if you want to remove these frequencis. The LPF will allow low frequencies only and blocks higher frequencies. A typical setting is Hz. The phase control can be set continuously from degrees. This is very useful when you want to adjust the bass sound for best front stage image. Start on 0 and turn the control slowly clockwise until you experience the bass sound coming from the front. If you dont get the result you want, also try to phase reverse the subwoofer connections and make a new adjustment.

Speaker wiring CA 41

Four fullrange speakers to CA41. One pair in front and one pair in rear. Two fullrange speakers and one subwoofer to CA41.
Rear speakers Filter settings A/B Channels

Front speakers

Rear subwoofer

Rear or front speakers

Filter settings A/B Channels

Multiply

x1 x10 Off On
With the HPF-filter in OFF position the amplifier allows the speakers to play fullrange. If you for some reason want to limit the low bass reproduction switch on the HPF-filter. The typical setting is then around Hz. The LPF-filter switch should be in OFF-position Filter settings C/D Channels

HPF Multiply

The subwoofer should be connected to channel A/ B in bridge mode.The Grand Bass mode can now be used for the subwoofer. Set the HPF-filter switch to ON-position. Adjust the filter setting to 25-40 Hz. Set the LPF-filter switch to ON-position and the Multiply swich to x1. Adjust the frequency setting to 70-90 Hz. Filter settings C/D Channels
One 2-way speaker system to CA41 using active crossover between tweeter and midrange

Midrange

Tweeters
We want a crossover point of 4 kHz between tweeter and midrange. If you for some reason want to limit the low bass reproduction switch on the HPF-filter. The typical setting is then around Hz. Switch the LPF-filter switch to ON and the Multiply switch to x10 position. Now you can adjust the filter setting from 500 Hz to 5 kHz. Adjust the setting to 4 kHz. Filter settings C/D Channels
Channel C/D are used for tweeters and must be set to play from 4 kHz and up. The HPF-filter switch must be ON and the multiply swich in x 10 position. Now you can adjust the filter setting from 150Hz to 5 kHz. Adjust the setting to 4 kHz.

Speaker wiring CA 51

Four fullrange speakers to CA51. One pair in front and one pair in rear. Subwoofer to CA51 The CA51 is a five channel amplifier. On channels A/B, C/D the filter configuration is exactly the same as for CA41. For speaker connections on these channels you can use the examples for CA41. Channel E is a subwoofer mono channel with a lowpass filter adjustable from 50 to 500 Hz. Channel E has also a subsonic filter that can be switched IN-OUT. The subsonic filter has a fixed frequency of 25 Hz. You can connect one 4 ohm subwoofer to channel E.

Filter settings E Channel The subsonic filter takes away the very deepest frequencies. Turn on the subsonic filter if you want to remove these frequencis. The LPF will allow low frequencies only and blocks higher frequencies. A typical setting is Hz. The phase control can be set continuously from degrees. This is very useful when you want to adjust the bass sound for best front stage image. Start on 0 and turn the control slowly clockwise until you experience the bass sound coming from the front. If you dont get the result you want, also try to phase reverse the subwoofer connections and make a new adjustment.

HPF Multiply LPF

With the HPF-filter in OFF position the amplifier allows the speakers to play fullrange. If you for some reason want to limit the low bass reproduction switch on the HPF-filter. The typical setting is then around Hz. The LPF-filter switch should be in OFF-position

Testing

Before you finish the installation, you should do the following tests to make sure the wiring is correct and everything is operating properly.

Troubleshooting

If problems occour during the installation, or later, this guide might help you to find out whatss wrong. THE AMPLIFIER IS DEAD: 1. Check power lead, ground and remote connections at the amplifier using a multi meter. 2. Check the battery terminal connections. 3. Check the power lead fuse or circuit breaker. If fuse damage continues, inspect the power lead for short circuits. 4. Check the amplifier protection fuses. Are these broken change to new ones with the same value. If short circuiting continues, contact your local DLS dealer. A fault may exist in the amplifier. 5. To start the amplifier requires a remote voltage of 9-15 volt. Check the voltage with a multi meter. AMPLIFIER PROTECTION FUSE BLOWS AT LOW VOLUME : 1. One or more speaker cables are shorted. Make an insulation test with a multi meter. The cables must not have a connection to earth. THE AMPLIFIER TURNS OFF AFTER 10 - 30 MINUTES. The amplifier is overheating due to inadequate ventilation. Check mounting position is free from obstruction. Do this: 1. Move the amplifier to a place with better ventilation. 2. Install one or two fans to cool down the heatsink. 3. Overheating can also be caused by an impedance load below the level permitted. NO OUTPUT FROM ONE OR MORE SPEAKERS: Check the following: 1. Balance control position. 2. Fader control position. 3. Speaker cable connections to both amplifier and drivers. 4. Signal lead plugs and cables. 5. Change left and right signal lead plugs in the amplifier to see if the problem moves to a different speaker, the lead has a fault. If the problem remains, the speaker or amplifier are at fault.

Reconnect Battery

When wiring is complete, reconnect the battery negative terminal.

Test power wiring

1. Turn on the head unit but do not turn up the volume. The amplifier power light should come on. If not, check the remote and +12 volt wires. Also check the ground connection. Turn up the head units volume slightly. All speakers should operate. if not, check wiring connections at amplifier and speakers.

Test speaker connections

Make sure the speakers are connected right. Use the balance control on the head unit to make sure right channel is on right speaker etc. If speakers dont play at all, one or both speaker wires may be disconnected.
Professional Tip: NOISE PROBLEMS
WHINING NOISE VARYING WITH ENGINE REVOLUTIONS: Do this: 1. Rewire the power supply (12 V) to source unit direct from battery. 2. Rewire ground wire from source unit to clean position on chassis. 3. Check all power connections to ensure that they are clean and tight. 4. Check quality of system ground connection. 5. Install a Power Cap capacitor. This can be helpful against most noise problems. CONSTANT WHINING NOISE: Do this: 1. Ensure that all equipment has a common ground point. 2. Check quality of earth strap connection from battery negative terminal to chassis. 3. Disconnect signal cables from amplifier to see if noise disappears. If so the leads are picking up noise. Test this by laying a new cable over the seats and reconnecting to the amplifier. If the noise does not return, reroute original cable away from source of interference. If noise remains regardless of cable position, try to use so called Quasi-balanced signal cables. DLS PRO-cables are Quasibalanced.
Professional Tip: SPEAKER POLARITY CHECK.
All speakers in a car audio system should be connected in phase (the same polarity). All speaker cones must move in the same direction. Out of phase speakers will cause a lack of bass, and a poor stereo soundstage. Checking polarity: Hold the - connection of the speaker wire to the terminal of a 1,5 Volt flashlight battery. Tap the + wire on to the + terminal of the battery, and observe the movement of the cone. The cone should move outwards when the wire touches the battery, and inwards when the battery is removed. If it is the other way around, the speaker has been connected backwards and it must be removed and connected correctly. If your system also has a subwoofer connected through a passive 6 or 12 dB crossover, try to connect this with various polarity and judge what sounds best. The phase shift in passive crossovers sometimes makes it necessary to change polarity.

Battery 1,5 Volt

NOTE! Tweeters can not be tested this way, double check the connections instead.
Installing in trunk When installing the amplifier in the trunk, run the power wires along the same path as the other vehicle wiring. Many cars have insulated channels for wiring. you will have to remove the door sill trim and the carpet.

Securing wires Use wire ties to bundle together when possible. (But never bundle speaker wires or signal cables together with power wires.
Crimp connections Purchase crimp connectors and crimping tool. Connectors are color coded. 1. Strip 1/4 inch (6 mm) of insulation from the wire. 2. Insert into connector 3. Crimp tightly 14
Speaker and power wires Do not run speaker and power wires next to each other. Power wires can generate a siren sound in the speakers. Run speaker and power wires on opposite sides of the car.

Specifications

DLS CLASSIC
Number of channels RMS power out, 4 ohm (0,1% THD) RMS power out, 2 ohm (0,2% THD) RMS power out, 4 ohm bridged Signal to noise ratio, A-weighted Damping factor Frequency response Input impedance, low level Input impedance, high level High level input with auto start Low output (RCA output) Input sensitivity Grand bass adjustable frequency Grand bass adjustable gain Filter highpass /subsonic Filter lowpass * can be switched in/out Power consumption, idle Fuse Dimensions HxWxD(mm) Dimensions (inch) Weight
x 60 W 2 x 100 W 1 x 200 W >100 dB >Hz - 35 kHz >10 kohm 100 ohm Yes Yes 0,25 - 5V 0 - 18 dB 15-500 Hz* 50-500 Hz* 0,5 A 1 x 25 A 67x212x250 2,63x8,35x9,84 2,5 kg
x 135 W 2 x 200 W 1 x 400 W >100 dB >Hz - 35 kHz >10 kohm 100 ohm Yes Yes 0,25 - 5V 25 Hz - 80 Hz 0 - 18 dB 15-150 Hz* 50-500 Hz* 0,7 A 2 x 30 A 67x295x250 2,63x11,6x9,84 3,6 kg
x 70 W All above output power 4 x 125 W ratings at 13,8 VDC 2 x 200 W >100 dB >Hz - 35 kHz >10 kohm 100 ohm Yes Yes 0,25 - 5V 25 Hz - 80 Hz 0 - 18 dB see spec. below see spec. below 1,0 A 2 x 30 A 67x354x250 2,63x13,93x9,84 4,2 kg
Number of channels RMS power out, 4 ohm (0,1% THD) RMS power out, 2 ohm (0,2% THD) RMS power out, 4 ohm bridged Power out mono sub ch. 4 ohml Power out mono sub ch. 2 ohm Signal to noise ratio, A-weighted Damping factor Frequency response Input impedance, low level Input impedance, high level High level input with auto start Low output (RCA output) Input sensitivity Variable phase shift control Filter highpass CH A & B Filter lowpass CH C / E Subsonic filter CH C / E * can be switched in/out Power consumption, idle Fuse Dimensions HxWxD(mm) Dimensions (inch) Weight
x 65 W 2 x 90 W 1 x 170 W 1 x 170 W 1 x 280 W >100 dB >Hz - 35 kHz >10 kohm 100 ohm Yes No 0,25 - 5V 0-180 degrees 50-150 Hz* 50-120 Hz* Fixed 25 Hz* 1,0 A 2 x 30 A 67x340x250 2,63x13,38x9,84 4,2 kg
x 50 W 4 x 80 W 2 x 150 W 1 x 150 W 1 x 225 W >100 dB >Hz - 35 kHz >10kohm 100 ohm Yes No 0,25 - 5V 0-180 degrees see spec. see spec. Fixed 25 Hz* 1,0A 3 x 30 A 67x419x250 2,63x16,5x9,84 5,3 kg

Filter configuration CA51
Channel A/B: Highpass: 15 - 500 Hz* Lowpass: 50(500) - 500(5k) Hz* (x 10 switch) Channel C/D: Highpass: 15(150)Hz - 500(5k)Hz* (x 10 switch) Channel E: Lowpass 60 Hz - 120 Hz Subsonic fixed 25 Hz* * can be switched in/out
Filter configuration CA41
Channel A/B: Highpass: 15 - 500 Hz* Lowpass: 50(500) - 500(5k) Hz* (x 10 switch) We follow a policy of continuous advancement in development. For this reason all or part of specifications & designs may be changed without prior notice. Channel C/D: Highpass: 15(150)Hz - 500(5k)Hz* (x 10 switch) * can be switched in/out 15
DLS Svenska AB P.O. Box 13029 SE-40251 Gteborg, Sweden Tel: +840060 Fax: +844021 E-mail: info@dls.se www.dls.se

SOUND HANDBOOK

Hints and advices for car sound builders using DLS amplifiers and speakers

CONTENTS:

Page 1 2-3 4-5 6-10 - - 32 Introduction Formulas and facts Amplifier facts Passive crossover filters Cabling Installation Building speaker boxes Enclosure examples Some useful tables
DLS Svenska AB P.O. Box 13029, SE-Gteborg, Sweden Tel. +60 Fax +21 E-mail: info@dls.se www.dls.se
DLS SOUND HANDBOOK - INTRODUCTION

INTRODUCTION

We have made this handbook as a small help for thoose who want to do a first class car sound installation. This book advices the reader in matters concerning amplifier and speaker installation and wiring, passive crossovers, cable choice and different bass box constructions. Information about DLS products can also be found on our Internet WEB-site www.dls.se

AMPLIFIER CLASSES

Depending upon the construction, amplifiers are divided into different classes, there are class A, AB, B or C. The characteristic mark for a class A amplifier is the lack of switching noise distortion, which the other types have. The class A amplifier also has a higher idle current, but instead it creates a much better resoulution and dynamics. For home use the class A amplifiers are not very common, many people think they are only for sound connoisseurs and Hi-Fi entusiasts.Powers from 2x15 up to 2x50 Watts are common on these types, no high power, but instead real good AC/DC-converters with reliable power resources. The most common amplifier type is class AB. Now you can also find class "D" amplifiers. Class D amplifiers process the signal in a digital way and this gives the amplifier a high efficiency. A normal class AB amplifier has an efficiency of around 50%. This means that a 500 watt amplifier will take up to a 1000 watts from the battery and 50% of it will be transformed to heat. The power transistors must work very hard and will get very hot. A class D amplifier has an efficiency of 80-90%. and the heat dissipation is much lower. The power consumption is also much lower. The disadvantage of a class D amplifier is the higher distorsion and it is also difficult to make it work over the entire audiable frequency range. Class D amplifiers are normally used only as subwoofer amplifiers with limited frequency range. DLS AMPLIFIERS 2007: DLS amplifiers in ULTIMATE series work in class AB. In order to minimize the transient distorsion the final stage uses accurately matched transistor These are the ULTIMATE-series models: A2 - The Mid Stereo A3 - The Twin Mono A4 - The Big Four A5 - The Big Five A6 - The Mono Amp A7 - The Big Five TA2 - Tube amplifier The Reference amplifiers are also working in class AB. These are the Reference-series models: RA10, RA20, RA25, RA30, RA40 & RA50. These are the Performance-series models: CA12, CA22, CA23, CA31, CA41, CA51, CAD11 & CAD15. CAT31-24 is a CA31 for 24 Volt use.

DLS SOUND PHILOSOPHY

DLS sound philosophy is based upon providing equipment that will accurately and faithfully reproduce all kinds of music without distortion and colouration. The sound reproduction must be natural, the soundstage well imaged and stable even when the tweeters are mounted apart from the bass/midrange elements. If you close your eyes the sound should be as close as possible to the real. You should be able to experience the sound as it is in the concert hall or on a rock concert. Every instrument and singer should be on its correct place on the stage. To achieve this you need a good front stage image and to do such an installation is not easy. DLS amplifiers and speaker systems will help you to achive a sound as good as possible, but you also have to do a correct installation if you want a perfect result. This book will give you hints about doing a good installation. DLS lay a great job in developing and refining the different products in order to give the market the best Car-Hi-Fi products possible to the worlds most demanding listeners.

DLS AMPLIFIER PHILOSOPHY

A wellknown french sound philosopher, Jean Hiraga, said regarding home Hi-Fi: A good sound starts in the mains plug and then through the AC/DC-converter, which must be oversized. The same is valid for Car Hi-Fi, the amplifier must at all occasions have enough power to make a good job. Remember to use well oversized cables from the battery to the amplifier. It is also essential that the DC/DC-converter is well oversized to make it distribute enough power to the amplifiers final stage when its needed, otherwise both the dynamics and the good sound will be lost. The amplifier will sound "tired" and the sound will be strained. The bass will lack the real "bass-kick" and the treble becomes sharp instead of soft and airy. The built-in amplifers in most CD:s and stereo casette players cant stand up to these demands. To achieve a good sound its necessary to install an external high quality amplifier.

DLS SOUND HANDBOOK - AMPLIFIER FACTS

DLS ULTIMATE AMPLIFIERS

2 2x85 W 2x145 W 2x220 W 1x290 W 1x450 W >100 dB >200 >10 k 0,2-7V 20-200 Hz 50-125 Hz*
2 2x150 W 2x270 W 2x425 W 1x550 W 1x870 W 1x1200 W >100 dB >200 >10 k 0,2-7V 20-200 Hz 50-125 Hz*

HP: 20-200 Hz

4 4x85 W 4x145 W 2x220 W 2x250 W 2x400 W >100 dB >200 >10 k 0,2-7V
FRONT: LP: 50-125 Hz HP: 20-200 / 60-600 Hz REAR:LP: 45-200 / 90-400 Hz

3 2x85 W 2x100 W -

1 1x500 W 1x870 W 1x1200 W -

5 4x60 W 4x100W -

4 4x40W 4x80 W 2x165W 2x220W >100 dB >200 >10 k 0,5-5V OFF/70/90 Hz 50-125 Hz
Number of channels 2 Power output in 4 ohm 2x45 W Power output in 2 ohm 2x80 W Power output in 1 ohm 2x120 W Mono bridge mode 4 ohm 1x160 W Mono bridge mode 2 ohm 1x240 W Mono bridge mode 1 ohm Mono sub channel, nom. power 4 ohm Mono sub channel, nom. power 2 ohm Mono sub channel, nom. power 1 ohm S / N ratio, A-weighted >100 dB Damping factor >200 Input impedance >10 k Input sensitivity 0,2-7V Filter highpass 20-200 Hz Filter lowpass

*can be switched in/out

1x300 W 1x500 W 1x780 W >100 dB >200 >10 k 0,2-7V 50-150 Hz 40-90 Hz
>100 dB >200 >10 k 0,2-7V 50-125 Hz

SUB CH: 50-125 Hz

1x300 W 1x440 W 1x600 W >100 dB >200 >10 k 0,3-7V
FRONT: 80-400Hz / 1,6-8 kHz REAR: 80-400 Hz REAR: 0,3-4 kHz / 3-40 kHz SUBSONIC: 25 Hz

OFF/70/90 Hz

Subsonic filter 25 Hz/18 dB Dual DC-inputs Phase shift button 0 / 180 Phase shift control continuous Fan output terminal Remote sub level control POWER CONSUMPTION Idle Maximum Dimensions (mm) Dimensions (inch) Weight

yes yes yes -

yes yes -
yes 0-180 degrees yes yes
yes yes 0-180 degrees yes yes

no 0-180 degrees yes yes

0,5 A 32 A 205x240x73 8,07x9,45x2,87 2,8 kg (6,17 lb)
0,6 A 1,1 A 60 A 140 A 265x240x73 410x240x73 10,43x9,45x2,87 16,15x9,45x2,87 3,7 kg (8,16 lb) 6,2 kg (13,67 lb)
1,5 A 95 A 465x940x73 18,30x9,45x2,87 6,6 kg (14,55 lb)
0,5 A 0,6 A 90 A 140 A 410x240x73 410x240x73 16,15x9,45x2,87 16,15x9,45x2,87 5,9 kg (13 lb) 6,2 kg (13,67 lb)
1,1 A 120 A 605x240x73 23,82x9,45x2,87 8,1 kg (17,86 lb)
0,7 A 50 A 350x240x73 13,78x9,45x2,87 4,8 kg (10,6 lb)

DLS REFERENCE

x 70 W 2 x 110 W 1 x 220 W >100 dB >Hz - 50 kHz >10 kohms 330 ohms yes 0,2 - 7 V 20 - 150 Hz* -
x 70 W + 1 x 265 W 2 x 100 W + 1 x 365 W >100 dB >Hz - 50 kHz >10 kohms 330 ohms yes 0,2 - 7 V 0 - +18 dB yes yes, on sub ch. 45 - 125 Hz* / 25 Hz* 40 - 125 Hz

x 75 W 4 x 110 W 2 x 220 W >100 dB >Hz - 50 kHz >10 kohms 330 ohms yes 0,2 - 7 V 0 - +18 dB yes 20 - 150 Hz on all ch. 40 - 125 Hz*
x 70 W + 1 x 265 W 4 x 110 W + 1 x 365 W 2 x 220 W >100 dB >Hz - 50 kHz >10 kohm 330 ohm yes 0,5 - 8 V 0 - +18 dB yes yes, on sub ch. see spec. see spec.
R.M.S. Power output at 13,8 Volts, 20 Hz - 20 kHz, max 0,1% THD, all channels driven: Number of channels 2 Power output in 4 ohm 2 x 130 W Power output in 2 ohm 2 x 220 W Power output 4 ohm bridged 1 x 440 W Signal to noise ratio, A-weighted >100 dB Damping factor >200 Frequency response +/- 0,5 dB 10 Hz - 50 kHz Input impedance, low level >10 kohms Input impedance, high level 330 ohms High level input with auto start yes Input sensitivity 0,2 - 7 V Bass boost adjustable gain @ 40 Hz 0 - +18 dB Phase shift 0 - 180 degrees continuously yes Remote bass level and phase shift Filter highpass / fixed subsonic filter 20 - 150 Hz* Filter lowpass 40 - 125 Hz* *can be switched in/out
FILTER CONFIGURATION RA50 Ch. 1 & 2
High-pass 50 - 140 Hz* Low-pass 250 - 700 Hz* (x 1 switch) or 2,5 kHz - 7 kHz* (x 10 switch)

Ch. 3 & 4

High-pass 50 Hz - 140 Hz (x 1 switch) or 250 Hz - 700 Hz (x 5 switch) or 2,5 kHz - 7 kHz (x 50 switch)
POWER CONSUMPTION Idle Maximum Fuses Dimensions (mm) Dimensions (inch) Weight 0,6 A 50 A 2 x 25 A 59 x 359 x 245 2,33 x 14,1 x 9,65 3,8 kg / 8,4 lb 0,6 A 25A 1 x 25 A 59 x 247 x 245 2,33 x 9,72 x 9,65 2,6 kg / 5,7 lb 0,9 A 70 A 2 x 35 A 59 x 385 x 245 2,33 x 15,15 x 9,65 4,4 kg /9,3 lb 0,9 A 50 A 2 x 25 A 59 x 359 x 245 2,33 x 14,1 x 9,kg / 8,8 lb 1,2A 90 A 3 x 30A 59 x 479 x 245 mm 2,33 x 18,85 x 9,65 5,5 kg / 12,1 lb Low-pass 40 Hz - 125 Hz Subsonic fixed 25 Hz*
Number of channels Amplifier class Power output in 4 ohm (0,1% THD) Power output in 2 ohm (0,1% THD) Power output in 1 ohm (0,1% THD) All power ratings at 13,8 Volt Signal to noise ratio, A-weighted Damping factor Frequency response Input impedance Input impedance, high level High level input with auto start Input sensitivity Phase control continuous Bass boost adjustable gain Filter subsonic, 18 dB slope Filter lowpass 12 dB slope *can be switched in/out Power consumption, idle Fuse Dimensions (mm) Dimensions (inch) Weight

1 AB 1 x 300 W 1 x 500 W 1 x 820 W >100 dB >Hz - 125 Hz >10 kohms 330 ohms Yes 0,5 - 8 V 0 - 180 degrees 0 - +18 dB 25 Hz fixed 40 - 125 Hz 1,5 A 3 x 40 A 59 x 359 x 245 2,33 x 14,1 x 9,65 5,4 kg / 11,9 lb

DLS Performance

Number of channels Power output in 4 ohm (0,1% THD) Power output in 2 ohm (0,2% THD) Power output in 1 ohm (0,5% THD) Power output 4 ohm bridged Signal to noise ratio, A-weighted Damping factor Frequency response Input impedance, low level Input impedance, high level High level input with auto start Low output Input sensitivity Gramd bass adjustable frequency Grand bass adjustable gain Phase control continous Filter highpass / subsonic Filter lowpass *can be switched in/out POWER CONSUMPTION Idle / max fuses Dimensions (mm) Dimensions (inch) Weight 0,5 A / 25 A 1 x 25 A 70 x 230 x 268 2,92 x 9,06 x 10,55 2,7 kg / 6,2 lb 0,7 A / 60 A 2 x 30 A 70 x 312 x 268 2,92 x 12,28 x 10,55 3,6 kg / 7,9 lb 1,0 A / 60 A 2 x 30 A 70 x 357 x 268 2,92 x 14,06 x 10,kg /9,2 lb 0,7 A / 40 A 2 x 20 A 70 x 357 x 268 2,92 x 14,06 x 10,kg / 9,2 lb 0,7 A / 60 A 2 x 30 A 70 x 372 x 268 2,92 x 14,65 x 10,55 4,2 kg / 9,3 lb 1,0 / 90 A 3 x 30 A 70 x 437 x 268 2,92 x 17,2 x 10,kg / 11 lb
x 60 W 2 x 100 W 1 x 200 W >100 dB >Hz - 35 kHz >10 kohms 100 ohms yes yes 0,25 - 5 V no 15 - 500 Hz* 50 - 500 Hz*
x 135 W 2 x 200 W 1 x 400 W >100 dB >Hz - 35 kHz >10 kohms 100 ohms yes yes 0,25 - 5 V 25 Hz - 80 Hz 0 - 18 dB no 15 - 150 Hz* 50 - 500 Hz*

CAT 31

x 70 W 4 x 125 W 2 x 200 W >100 dB >Hz - 35 kHz >10 kohms 100 ohms yes yes 0,25 - 5 V 25 Hz - 80 Hz 0 - 18 dB no see spec. see spec.
x 50 W + 1 x 170 W 4 x 80 W + 1 x 225 W 2 x 150 W >100dB >Hz - 35 kHz >10 kohms 100 ohms yes No 0,25 - 5 V no no 0-180 degrees see spec. see spec.
R.M.S. Power output at 13,8 Volts, 20 Hz - 20 kHz, all channels driven: 2 x 65 W + 1 x 170 W 2 x 75 W + 1 x 170 W 2 x 90 W + 1 x 280 W 2 x 145 W + 1 x 280 W 2 x 210 W + N/A 1 x 170 W 1 x 280 W >100 dB >90 dB >100 >Hz - 35 kHz >10 kohms 10 Hz - 35 kHz 100 ohms 100 ohms yes yes no no 0,25 - 5 V 0,25 - 5 V no no no no 0-180 degrees 0-180 degrees 15 - 150 Hz* / Yes, 25 Hz*50 - 150 Hz* / Yes, 25 Hz* 50 - 120 Hz 50- 120 Hz, 24 dB slope NOTE! For 24 volt use

CAD 11

1 D (digital) 1 x 550 W 1 x 900 W 1 x 1600 W >100 dB >Hz - 160 Hz 10 kohms 100 ohms Yes 0,15 - 5 V 0 - 180 degrees Yes 0 - +18 dB 15-50 Hz variable 15 - 150 Hz variable Yes Yes 2 A / 160 A 4 x 40 A 70 x 473 x 268 2,92 x 18,6 x 10,55 6,4 kg / 14,33 lb
1 AB 1 x 220 W 1 x 400 W 1 x 500 W >100 dB >Hz - 35 kHz 10 kohms 100 ohms Yes 0,25 - 5 V 0 - 180 degrees No 15 - 150 Hz variable 50 - 500 Hz variable No Yes 0,8 A / 60 A 2 x 30 A 70 x 312 x 268 2,92 x 12,28 x 10,55 3,8 kg / 8,4 lb

PASSIVE 12 dB HIGH-PASS

The difference between the passive 12 dB high-pass x-over filter and the low-pass filter is that the coil and capacitor change place. For a certain x-over frequency the component values are the same for both high- and low-pass filters. A high-pass filter let high frequencies pass, and stops the lower. 2:nd order 12 dB high-pass filter:
CALCULATION FORMULA: L (mH) = 225 x Z Fc C (F) = 112500 Fc x Z
Z = speaker impedance in Fc = x-over frequency in Hz L = coil inductance in mH C = capacitor capacitance in F When connecting coils in series the values are added. Use this formula when connecting in parallel: + 1 + 1 = L L L L
Z = speaker impedance in Fc = x-over frequency in Hz L = coil inductance in mH C = capacitor capacitance in F When connecting capacitors in parallel the values are added. Use this formula when connecting in series. + 1 + 1 = C C C C
COMPONENT VALUES FOR 12 dB PASSIVE CROSSOVERS
X-over freq. in Hz 62,C (F) 11 L (mH) 7,3,2 2,35 1,2 0,87 0,56 0,12 0,C (F) 5,6 L (mH) 14,6,4 4,7 2,4 1,75 1,12 0,25 0,C (F) 2,8 L (mH) 28,12,8 9,5 4,8 3,5 2,25 0,5 0,36
The same component values are used for both highand low-pass filters, but they change place. Use coils with low resistance, air coils are the best. Coils with iron core must be able to handle high current or the iron core magnetic saturation becomes to high causing distortion. Capacitors must be of bipolar type, 50 - 100 Volt.
IMPORTANT WHEN CONNECTING FILTERS! When connecting a 12 dB low-pass x-over to a subwoofer its suitable to solder the capacitor directly on the sub terminals between + and -. If the sub is disconnected without disconnecting the capacitor at the same time the amplifier can be damaged. A 12 dB filter connected without a speaker will overload the amplier (if its turned on) and damage the output circuits.

654321 654321

DLS SOUND HANDBOOK - THE CABLES
THE CABLES - AN IMPORTANT LINK
No chain is stronger than its weakest link ! Its not unusual that people buy expensive amplifiers and speakers but forget the wiring. DLS have high quality cables for both amateurs and professional users. Cables made of oxygen free copper (OFC). Cables made of oxygen free copper will not oxidize as normal copper do. The oxidation increases the DC-resistance and as a result of this the voltage drop in the cable. All DLS cables use oxygen free copper. DLS POWER CABLES. As we have said before the DC-feed to the amplifier is of great importance. The amplifier must in all occasions have enough current, otherwise both the dynamics and good sound will be lost. DLS power cables of oxygen free copper are made of a lot of small cores to make it soft and flexible with lowest DC-resistance. Use the table below to choose the correct DC-feed. Cable length: <1,5 m 1,5 - 5 m > 5 m CA22/ CA23/CAmmmmmm2 CA31/CA41/CAmmmmmm2 CAD11, CAD mmmmmm2 RA20/RA30/RAmmmmmm2 A1 / A2 /A8/RAmmmmmm2 A3 /A4 / A5 / Ammmmmm2 A6/RA10/RAmmmmmm2 In many installations the current capacity is improved with extra batteries (OPTIMA) with low inner resistance or large 1 Farad capacitors, DLS Power Caps. If you dont want to spend money on extra batteries at least you shouldnt save money on the DC-feed. DLS SPEAKER CABLES. Also the speaker feed must be of high quality. Use cables with an area of at least 1,5 mm2.DLS speaker cables are soft and flexible with a construction that minimizes the loss over the whole frequency range. DLS SC 4x1 and SC 4x1,5 are special speaker cables with four leads. They are twisted and has a powerful insulation protecting them from mechanical agitation. The four leads are connected in pairs as they have different strand sizes using the skin effect to minimize the resistance on all frequencies. The capacitance, inductance and EMF are reduced by the twisted cores in the cable. Two of the four leads have a strand size of 0,1 mm2, and the two others have 0,2 mm2. DLS SCP, SCK and SCKS are other types of cables that offersthese advantages. The SCKS uses silver plated aluminium strands and offers the best sound quality for all purposes. DLS SC 2x1,5, SC 2x2,5 and SC 2x4 are the standard two-lead speaker cables made of oxygen free copper. They have twisted strands and are soft and flexible for easy installations.

DLS SOUND HANBOOK - INSTALLATION

SPEAKER INSTALLATION

An important part of the installation is of course the speakers. How they are installed varies from car to car and depends upon the possibilities in each type. The factory pre-made installation holes are not always ideal for other types of speakers than original. We will give you some hints of what to think of when installing speakers. ORIGINAL INSTALLATION The easiest way to install a speaker in a car is to use the factory pre-made holes. If you use car specific speakers, the installation job becomes very easy. But the problem is that these type of speakers are usually not of the highest quality and will not satisfy a demanding listener. The high quality speakers often have large magnets making it necessary to first measure the space and sometimes make changes in the door or dash-board to make them fit. Especially the depth is important to check so that the side windows goes clear from the magnet. Some car models requires special adaptors or distances to make the speaker fit when you use other speakers than the original. If possible use some kind of baffle on the back of the door panel. Make sure the baffle is fastened properly and fasten the speaker in the baffle. This is easy to make and will normally result in a better sound than without baffle. A speaker installation high up on the door-side is to recommend, but if the pre-made hole is at the bottom part of the door its difficult to change. A 2/3-way system should be installed with the elements close to each other to achieve the best sound image. An alternative is to install the bass element in the door and the tweeter on the dashboard. A door or dashboard installation is actually an "openair" installation since there is no limiting box. ORIGINAL MOUNTING: ADVANTAGES: - Fast, easy and simple DISADVANTAGES: - The speakers have no baffle = rattle. - Bad power handling capacity. - Bad sound image.
Exemple of a door installation with new baffles. NEW DOOR BAFFLES If you want to improve your door installation you should build a new door-side. This must be adapted to the door side and is normally made of MDF or particle board. The baffle is covered with cloth or vinyl matching the car interior. Some car sound builders changes the whole door-side to a new one. The speaker element is directed to obtain the best sound image. They are also fastened properly to avoid rattle. They are normally mounted with a sealed speaker box behind the elements. The volumes needed for a 4" or 5,25" element are only a few liters. BAFFLE MOUNTING: ADVANTAGES: - The speakers are mounted in real baffles. - A box construction that improves the sound quality with less rattling. - Higher power handling capacity. - Better sound image (front stage). DISADVANTAGES: - More work and more expensive mounting. - The cars original door sides are affected. - The installation requires a lot of knowledge to make the installation to look professional.

DLS SOUND HANDBOOK - INSTALLATION KICK-PANELS Another installation alternative giving a good sound image is the kick-panel. Its placed down on the floor in front of the door on both sides. It can contain the whole system with bass, midrange and tweeter or a bass and midrange with the tweeter installed on the dashboard. The best places for the speakers must be tested out in the respective car. Kick-panels are normally made of MDF or particle board and are build as sealed boxes or as membrane boxes where the element is allowed to breath through a membrane of foam rubber or similar. Kick-panels are very popular in competition cars. MOUNTING IN KICK-PANELS: ADVANTAGES: - Stable mounting without rattling. - Superb sound image. - Higher power handling capacity. - Less affection on the cars interior. DISADVANTAGES: - More mounting work. - Possibilites to damage the speaker if kicking on them with the feets. HIGH MOUNTED KICK-PANELS: In some cars the kick-panel can be mounted invisible up under the dashboard. Can create a good sound image despite the strange mounting. DASHBOARD MOUNTING A mounting of the midrange and tweeter up on the dashboard will result in an improved sound image. It will be moved up on the dashboard. Some cars that have suitable original dashboard mounting holes can be used. The tweeters should be mounted on the dashboard or on the door poles. The woofer elements should be mounted in a door-side or in a kick-panel. Suitable for DLS C36, UR35i/UR36i, UP-35/UP-36 or Iridium 6.3 / 8.3. REAR FILL A well mounted front system is the most important in a sound system. In some cases we also use rear mounted speakers used as "rear fill". Rear fill speakers will improve the front stage image by adding a weak sound from the rear filling up the sound stage and giving it a deep. As Rear fill speakers we can use midrange elements in combination with a passive or active bandpass filter, mounted in the rear. A suitable frequency response can be from 500 - 6000 Hz. The level must be dampened easiest made with a series resistor of 10 - 20 ohms in series with the + lead. The rear fill speaker can also be connected in multimode. In this case you use only one element working as a center channel speaker. CENTRE CHANNEL SPEAKER A centre channel speaker can be used to improve the sound image in installations where the speaker mounting makes it difficult to achieve a correct sound image. On a DLS amplifier the centre speaker is connected in bridge mode between Left and Right channel. The speaker is now fed with the sum signal from left and right channel. This will fill in what you can call the gap in the soundstage of the earlier installation. Your side system will hopefully be good 6,5 inch coaxes or two-way systems or even better. A small centre channel speaker of smaller size will have to be feed at a lower level of volume. In this example the signal is dampened with a 20 ohm resistor. The level can then be adjusted with the variable resistor. The component values can need to be changed sometimes. The frequency response in this example is between 550 - 6000 Hz. The component values can be changed if you want another frequency response. In amplifiers with built-in highpass and lowpass filters, you can use these instead of the passive bandpass filter. A 5-channel amplifier like the CA51 is suitable in this case. Here is a description of a passive bandpass filter for a 4 ohm speaker.

MULTIMODE OPERATION

This is an example of a typical multimode connetion with a front system and a subwoofer. 12 dB passive high- and low-pass filters are used in combination with the original filters used for the front system. All speakers have an impedance of 4 ohms.
The 10 mH coils can be spared. Change to 200 F capacitors instead of 300 F.
FRONT SYSTEM, LEFT CHANNEL

STEREO DLS AMPLIFIER

L+ LR- R+ 300 F

LP-filter

Tweeters with filter

SUBWOOFER

This connection can be used together with all DLS amplifiers.
FRONT SYSTEM RIGHT CHANNEL
DLS SOUND HANDBOOK - SPEAKER BOXES
WHY DO WE NEED SPEAKER BOXES?
A Hi-Fi speaker for home use is always mounted in a box to reproduce the best possible sound. Traditional mounting in cars are in a door side or in the hat rack, this is a simple baffle mounting. You can of course achieve a better sound in your car by using suitable speaker boxes. In a correct adapted box the sound is improved and the power handling capacity increases. If you have a subwoofer in your trunk and a pair of "open air"- mounted speakers in the rear, the air pumping from the sub will effect the rear speakers and make the cones move a little, ruining the sound from them. This is one of many good reasons to use boxes in your car as well as at home. Normally we use boxes for the subwoofer but also the rest of the speakers sounds better mounted in a suitable box. We will now describe the different types of boxes normally used in a car.

VENTED BOXES

A speaker in a vented box has higher efficiency (3 dB) than in a sealed box. In a vented box the sound from the speaker and the port work together creating a higher sound level. The sound from the port must come out in the same phase as from the speaker, or the sound result is bad. The size of the box is set by the speaker data just as in the sealed box. Also the car type and music type have an influence on the box size. Often the size of the car decides the practical size of the box. A smaller box has a higher resonant frequency than the larger one. The size of the box should not be so large that the speaker plays below its own free air resonance (Fs), then the power handling capacity drops. The port in a vented box should be installeded on the same side of the box as the speaker. But sometimes this is impossible. The port opening inside the box must have a free area behind the port, to the wall behind, of at least the port diameter. If the port is very long you might have problems with the install. You can make a trick and "fool" the speaker. Cut the port approx. 2,5 cm (1") from the rear wall inside the box. Then the speaker is fooled to believe the port is longer than it actually is. This is not a perfect method but it often works good enough. There must also be a free area in front of the port. Dont cover the port opening with cloth. A large sub needs a larger port to avoid whistling sounds. Use ports with conical openings to avoid this. The port must also be fastened properly to avoid rattle. 3" or 4" PVC tubes are normally used for ports. In a correct tuned box you should be able to feel the air pumping out from the port. At high volumes the air can blow out a burning match, if not the box and port are mismatched. The port does not have to be fully inside the box as long as the area and length are correct. for example you can mount the port through a hat-rack. In a small box this can have an effect on the box tuning since the volume changes. Suitable port diameters for different speaker sizes: 8": 4 - 8 cm, 10": 6 - 10 cm 12": 8 - 15 cm, 15": 10 - 15 cm Sometimes you need two or more ports in a box. You can convert from one to two or more ports as long as the total port area is the same. Advantages: - Less cone movement and lower distorsion at port tuning. - Higher sound level at port tuning. - Improved "bass kick". Disadvantages - Less cone control below port tuning. - Higher frequencies can "leak" through the port. - The sound from the port can be out of phase compared with the sound from the speaker cone. Can give a trailing sub sound.

A sealed box is easy to build and calculate. It also has a high power handling capacity. On the other hand it has low efficiency and the box must be rather big to create a deep bass. With a rather small box and a 20-40 Hz subsonic filter you will get a box suitable for hard rock with a fast attack in the bass.

4:th order

Speaker mounted in a vented box, often called bass reflex box.
A vented box has a higher efficiency and a higher power handling capacity than the sealed box - but only if its correctly calculated with a suitable speaker element. Suitable for all kinds of music. The power handling capacity below the F-3db point is rather weak. It is important that the ports are correctly tuned, they must not be too small, then whistling sounds can occcour. With a wrong port the sound from the ports comes out phase reversed and causes a blurred sound.

5:th order

Speaker mounted in a sealed box, playing into a vented box.
This type of box can play one octave only, but it has a high power capacity and gives a 3-5 dB raise at its tuned frequency. Suitable for disco and hard-rock music. Difficult to build and calculate and you cant have speaker cloth in front of the ports.

6:th order

Speaker mounted in a vented box where both the speaker and the port is playing into another ported box.
This box is also difficult to calculate and build. Plays 2 octaves and gives a natural cut-off for higher frequencis with 12 dB/oct. which reduces the audible distortion. It has a high efficiency and power handling capacity. Low F-3dB and a top at the tuned frquencies. Small ports gives a whistling sound and you cant have speaker cloth in front of the port. Build as isobaric it creates a powerful and distinct deep bass.

7:th order bandpass box

Speaker mounted in a vented box playing into another vented box. All ports going out.
What is valid for 6:th order boxes is also valid for 7:th order boxes. The difference is that this box gives a 6 - 10 dB peak at the tuned frequencies.

8:th order bandpass box

Speaker mounted in a vented box playing into another vented box with all ports playing into a third vented box.

This type of box becomes rather large but the port openings can be covered with cloth. It has like the 6:th and 7:th order boxes high efficiency and power handling capacity. It also gives a 6 - 10 dB peak at the tuned frequencies.

3-chamber bandpass boxes

Both 5:th order boxes and 7:th order boxes can be built as 3-chamber boxes with two speakers playing into a ported chamber. The picture shows a 5:th order 3-chamber box. In a 7:th order 3chamber box all chambers have ports.

ISOBARIC BOXES

Two speakers mounted on the same axis and operating in the same phase and direction (push and pull).
All box types can be built isobaric giving the following advantages and disadvantages. Advantages: Reduced box volume with the same F-3 dB Higher efficiency Lower distortion

4:th order isobaric box

Disadvantages: Difficult to build and calculate The speaker specifications changes (Qts and Vas)

Isobaric-connection:

Isobaric speakers are connected with the inner sub in phase with the outer, but phase reversed as in the drawing below. If both are in boxes the one in the smallest box should be phase reversed.

+ + + +

Speakers in parallel
7:th order isobaric bandpass box
Speakers in series Use DLS BP-75 and BP-110 conical ports to avoid port noise.

SPEAKER LOADS

Most car audio speakers have a 4 ohm impedance. DLS CLASSIC and Reference amplifiers can handle loads down to 2 ohm on each stereo channel. DLS ULTIMATE amplifiers can handle loads down to 1 ohm. If you are using more than one driver they must be connected in a way so the impedance still is 4 ohm when connected to a CLASSIC amplifier in bridge mode. To an ULTIMATE amplifier you can connect speakers in bridge mode that has an impedance of only 2 ohms. When you run the amplifier in mono bridge mode it sees a 4 ohm load as 2 ohm, and a 2 ohm load as 1 ohm. Below you find different speaker wiring examples.

SPEAKER CONNECTION

Always use high quality speaker cables such as DLS SC 2x1,5, SC 2x2,5 or SC 2x4. Subwoofer connection requires 2 x 4 mm2 cable. Connect the speaker + (marked with + or a red dot) to the amplifier + terminal, and the speaker - to the amplifier -. When fitting the cables to the amplifier terminals, remove only 10 mm of the insulation. Twist the wire strand together and insert the wire after loosening the terminal screw. Do not over tighten as this can cut the cable strands. If you want an extra high class speaker cable choose any of the DLS SCP, SCK, SCKS, SC 4x1 or SC 4x1,5 cables.

SPEAKER POLARITY CHECK.

Two 4 ohm speakers in parallel + 2 ohm + + All speakers in a car audio system should be connected in phase (the same polarity). All speaker cones must move in the same direction. Out of phase speakers will cause a lack of bass, and a poor stereo soundstage. Checking polarity: Hold the - connection of the speaker wire to the - terminal of a 1,5 Volt flashlight battery. Tap the + wire on to the + terminal of the battery, and observe the movement of the cone. The cone should move outwards when the wire touches the battery, and inwards when the battery is removed. If it is the other way around, the speaker has been connected backwards and it must be removed and connected correctly. If your system also has a subwoofer connected through a passive 6 or 12 dB crossover, try to connect this with various polarity and judge what sounds best. The phase shift in passive crossovers sometimes makes it necessary to change polarity.

Two speakers in series. + 8 ohm +
We dont recommend this connection. Four speakers in series/parallel to 4 ohm. + + + Each speaker is 4 ohm

Batteri 1,5 Volt

NOTE! You can not test tweeters in this way.

+ + 1,3 ohm

Three speakers in parallel

+ Each speaker is 4 ohm

DLS SOUND HANDBOOK - TROUBLE SHOOTING GUIDE Installing car sound can sometimes cause problems. If you are not satisfied with the sound you could have made something wrong. Some typical problems are described below with hints for solving them.
3. Problem: "Rumble" bass sound.
- The box tuning is too low, make the F-3dB higher with a smaller box. - Connect a subsonic high-pass filter, 30 - 50 Hz, in series with the amplifier input. - Use vented or sealed boxes. Avoid band-pass boxes, they are more difficult to build, and if theyare incorrectly designed they create a rumble bass sound.
1. Problem: Poor bass reproduction despite of a correctly designed bass box.
- Start with phase reversing the subwoofer to see if this helps. - If you are using more than one subwoofer make sure they are connected in the same phase (polarity), if not most bass sound disappears. (The speaker cones are moving but will not create bass sound). - If the bass reproduction is improved when opening the doors of your car the box is too large, The F-3dB point is too low. Make the box smaller. - Standing waves can "kill" some frequencies. Try to change place for the box. You can also try to make the bass port shorter, this will increase the box resonant frequency. In some cases the area under the dashboard can work as a wave trap killing some low frequencies. Try to fill this area and tighten it. - Also check the signal cable. If yuor subwoofer is connected in mono bridge mode and one of the leads are broken in a signal cable the sound becomes real bad. - You must also have enough power, especially if you have a small sealed enclosure the power output should be at least 200 Watts RMS.
4. Problem: Poor bass reproduction in a system without separate subwoofer.
- Is normally caused by incorrect speaker phasing. Make sure all woofer elements in the system are connected with the same polarity (phasing). Both front and rear speakers. This is easiest made with the use of a 1,5 Volt battery. Connect the battery + to the speaker + cable, and the - to the speaker - cable. All spea ker cones must move outwards when the battery is connected.

5. Problem: Interference sound from the alternator in systems with a separate amplifier.
- Is normally caused by incorrect grounding. Try to connect all units to the same ground point. It should be a place close to the amplifier where the paint is removed from the metal surface. - Poor shielding on the signal cables, or a defective cable. - The signal cable is placed close to the cars own cable wiring inducing interference into the signal cable. - The input level control on your amplifier is set to high, reduce the setting. - Any extra cable must not be laid in a ring, shorten the cable or lay it in zig-zag instead.
2. Problem: The real "kick" lacks in the bass sound.
- The box is not correctly build, or the box is not air tight. - The sub amplifier does not get enough power, the power cables are too small, the ground connection bad, or some other things that is causing voltage drop at high power outputs. A cheap amplifier with unsufficient capacity in the DC-converter can give the same result. A good car battery with low inner resistance (OPTIMA) or a Power Cap of 0,5 Farad or more connected to the power lead will also improve the bass reproduction.
BASS BOXES IN DIFFERENT TYPES OF CARS
1. SMALL CARS LIKE VW GOLF AND SIMILAR
In this car type the bass box should be mounted with both speaker and port directed backwards. Alternatively booth speaker and port can be directed upwards. This way of mounting is valid also for halfcombi car types. 2. SEDAN CARS
In this car type with the passanger compartment separated from the luggage compartment the bass box should be mounted with booth speaker and port directed towards the rear seat. In some cars there is an opening in the middle of the rear seat for loading skis etc. You can place the box behind this opening and direct speaker or port through this opening. There must be some free space in front of the port, (between the rear seat and the port opening) Dont put the port through the hat rack if the speaker is directed towards the rear seat, this will give a poor sound. Alternatively you can mount both speakers and port in the hat rack with a box under it, but this requires more changes of the car original interior. 3. LARGE CARS, STATION WAGONS.
In this type of cars the best sound is achieved with the bass box mounted behind the rear seat with booth speaker and port directed backwards. Alternatively you can put the bass box on one side of the luggage compartment.
DLS SOUND HANDBOOK - ENCLOSURES SOME ADVICES FROM DOCTOR "BACKE" When building a bass box the following are very important: The box must be very steady and completely airtight. Use 22 mm particle board or 19 mm MDFboard. The particle board has a self resonant frequency of 14 Hz while the MDF has a resonant frequency of approx. 400 Hz. Its important to stabilize the box inside with some braces, especially the boxes made of MDF could cause "PLONK"-sounds if its not sufficiently braced. If you are using a milling machine its better to use MDF-board since particle board wears the cutter edge. After cutting all pieces to the box you attach glue in all joints and screws every 10 cm. Use more screws if the edge cutting isnt perfect. The length of the screws should be a little more than double the board thickness. Tighten all joints with extra silicon sealing compound. If you build a bandpass box let one side be removable to make it easier to change speaker. Use sealing strips in the joint. The length of the screws should be 3 times the board thickness. Mount them 6 cm apart. Use conical bass ports for best result. (DLS BP-75 or BP-110). If the ports are too long for the box you can add a bend to it. Either cut the tube and glue it together in angle, or use factory made tube bends. Its easier to use the factory made ones. The total length must be the same as for a straight tube. Make the measure in the center of the tube. The port opening inside the box must not be closer to a box wall than the ports own diameter. Otherwise it will have negative effects on the airflow. Most boxes should be damped inside with syntetic (acoustic) wool (do not use any rockwool types). Attach the damping material on the wall opposite from the speaker and port. A sealed box should be filled up to 70-100% with acoustic wool. In a vented box the speaker and port should be mounted on the same side, otherwise a fade-out of some frequencies can occour. In most car-types, except for SEDAN cars, the speaker and port should be directed backwards for best result. If you plan not to cover your box with felth cloth or imitation leather you should also tighten behind the speaker element before mounting it in the box. It must be absolutely air-tigth. If you build an isobaric-box use through screws with nuts and washers to fasten the speakers. Also tighten the screw holes with sealing compound. Be sure to connect the isobaric speaker pair in the correct way. You cant use felt cloth or similar in front of the ports, especially in band-pass boxes. Good luck with your box project! BOX EXAMPLES On the following pages you will find examples on suitable boxes for DLS speakers and subwoofers. If you follow the advices in this handbook we are sure you achieve a good car sound.

ENCLOSURES FOR HOME USE

Very often we get questions from customers who wants to use our speakers in boxes for home use. In general a box for home use should be 50-100% larger in volume than a box for mobile use. Here are some suitable box volumes for some of our speakers when used for home use. Speaker 226/426 PS6/PS6A R6A MS6 UP6 UR6/UR6S Iridium 6 Iridium 8" Subwoofers OA10 OA12 W610/710 W612/712 MW10/110 MW12/112 UR10 UR12 Volume 25 liter 30 liter 28 liter 37 liter 21 liter 20 liter 18 liter 30 liter Port / port length 3", 1,5 cm long 3", 3,5 cm long 3", 13 cm long 3", 1,5 cm long 3", 5,5 cm long 3", 15 cm long 3", 18 cm long 3", 9 cm long
33 liter 52 liter 40 liter 60 liter 40 liter 62 liter 31 liter 41 liter
3", 21 cm long 4", 30 cm long 3", 22 cm long 4", 34 cm long 3", 23 cm long 4", 33 cm long 3", 32 cm long 3", 22 cm long
For volumes in cubic feet, divide the volume in liter with 28,32. For port lengths in inch, divide the port length in cm with 2,54
If you have any questions you are always welcome to contact us on DLS in Sweden. We will do our best to assist you. E-mail: info@dls.se
DLS SOUND HANDBOOK - ENCLOSURES
ENCLOSURES FOR OLDER DLS SUBWOOFERS
SPEAKER & TYPE OF BOX: DLS 5508: Music: Normal Vented box Port DLS 5508A: Music: Normal Vented box Port

CAR TYPE: SEDAN/SMALL

STATION WAGON
SPEAKER & TYPE OF BOX:
23 liters 3" x 22 cm
26 liters 3" x 21 cm
DLS W108 / W108C: Music: Normal Vented box 23 liters Port 3" x 20 cm DLS W110 / W110C: Music: Normal Vented box 32 liters Port 3" x 14 cm DLS W112 / W112C: Music: Normal Vented box 47 liters Port, vented box 4" x 23 cm DLS W110B: Music: Normal Vented box Port DLS W112B: Music: Normal Vented box Port DLS UW10: Music: Normal Vented box Port DLS W310: Music: Normal Vented box Port DLS W312: Music: Normal Vented box Port DLS W510C: Music: Normal Vented box Port DLS W512C: Music: Normal Vented box Port
26 liters 3" x 20 cm
20 liters 3" x 22 cm
23 liters 3" x 21 cm
37 liters 3" x 13 cm
DLS 5310 / 5510: Music: Normal Sealed box 35 liters Vented box 35 liters Port, vented box 3" x 14 cm DLS 5310A: Music: Normal Vented box Port DLS 5310B: Music: Normal Vented box Port DLS 5512A: Music: Normal Vented box Port DLS 5612: Music: Normal Vented box Port DLS 5615: Music: Normal Vented box Port
41 liters 39 liters 3" x 14 cm
53 liters 4" x 22 cm

37 liters 3" x 9 cm

43 liters 3" x 8 cm
35 liters 3" x 15 cm
40 liters 3" x 14 cm
39 liters 3" x 12 cm
45 liters 3" x 11 cm
51 liters 4" x 23 cm