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**96firebird311** · 05-23-2005, 09:44 PM

Crimping and soldering (nda0602v6)
I've put together some pictures along with descriptions of a couple different ways one could connect and splice wires together. I realize this information is extemely basic to most of the people in this forum; however, I think it would be useful for people who are just getting started in installing their own audio systems or alarms. Here's an example of some crimping tools:
This is typical wire stripper and wire crimper you'll find at most automotive stores or K-Mart/Walmart.

This is a more heavy duty crimper and wire cutter (not a wire stripper). These work great cause the long handles give you a lot of leverage to really get a strong crimp. I've seen a pair like this at Lowes and HomeDepot.

I wouldn't recommend using regular pliers to crimp. A crimping tool has special curved surfaces to pinch/compress (whatever it is you're crimping) pretty much all the way around the entire connector. Something like a pair of pliers or vise grips won't be able to harness the crimping force all the way around a connector since surfaces on them are flat.

I can't tell you how many times I've worked on friend's cars or gone to local car shows to see wires poorly and dangerously connected like this:

1. Probably the cheapest and quickest method of connecting two wires together would be with the use of a Butt Connector. When used with the correct crimping tool along with a generous amount of crimping force, butt connectors can provide a very good connection. An example of a butt connector used properly should look something similar to this:

2. Another way of joining two wires would be to Solder the connection and use Heat Shrink Tubing. This method is a little more time consuming; however, it provides a connection of superior strength compared to a typical butt connector. Heat Shrink Tubing forms very tight seal which helps keep moister and dirt out of the connection. This type of connection is highly recommended if you have a connection that's going to be exposed to the outside elements, such as the engine compartment or underneath the car. Here is a very brief step by step on how to solder a connection and protect it with Heat Shrink Tubing:

Strip off the insulation leaving about a 1/2" of wire exposed on both wires.

Be sure to slip on the piece of Heat Shrink Tubing before you twist the wires together.

Next, solder the wires together. (I'm using a portable butane soldering iron but any electric one will work) If you have never soldered before, it's very easy. I always just touch the wire directly with the tip of the iron to get it hot then touch the wire with solder till it starts to flow.

The soldered wires should look something similar to this.

There is an 8 pic per post limit. Must continue in next reply.

[ May 24, 2005, 01:30 AM: Message edited by: 96firebird311 ]

**96firebird311** · 05-23-2005, 10:23 PM

Lastly, slide over the piece of Heat Shrink Tubing and use either a heat gun or a cigarette lighter to "shrink" it tight. If you use a lighter, don't put the flame dirrectly into the tubing, just let the "heat" from the flame do the work.

This is just an example of how you could connect two wires into one using the heat shrink.

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Here is another connection you can make if you need to tap into a wire without cutting it; also known as a splice. This type of connection comes in handy if you are installing an alarm or keyless entry system. Strip off some insullation on the wire you want to splice into. Don't cut the actual wire.

Use something pointy to make a "hole" in the wire you will be splicing into. Next, insert the other wire through the hole and wrap it around tightly.

Use solder to provide a strong connection.

The spliced soldered connection should look similar to this.

Last, wrap the connection with black electrical tape along with a few Zip Ties. The Zip Ties keep the tape from ever coming undone.

There are many different ways of making wiring connections. These are just a few that I've used over the years with very good success. Stores like Auto Zone or Radio Shack should carry everything you need to do something like this.

[ May 24, 2005, 01:30 AM: Message edited by: 96firebird311 ]

**96firebird311** · 05-23-2005, 10:24 PM

Popular Amp Features and Terms (Camarowidbass)
Amplifier Features
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Power supply topology:
Output topology:
Signal input:
Power input:
Stereo/mixed mono capable:
Heat sink:
Chrome plated:
Display:
Speaker output:
Line output:
Phase control:
Tone control:
Remote control:
Class:
Crossover:
Channels:
Power per channel:
Total power:
Bridgeable:
Marine use:
Bass Boost:
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Power supply topology:

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Describes the type of device used in amplifiers power supply.
Bipolar - Transistor that contains two p or n junctions or diodes between two layers of opposite polarity material. Controlled by current rather than voltage.
MOSFET - Metal Oxide Semiconductor Field Effect Transistor. A form of transistor controlled by voltage rather than current. MOSFETs have significantly higher switching speed than bipolar transistors. They generate almost no loss (little heat generation), which lends the power supply fast response, excellent linearity, and high efficiency.
PWM - Pulse Width Modulation. A signal generation method used for making all of the signal pulses the same amplitude but of varying durations or widths. This helps increase the supply voltage.
Darlington configuration. A method of using two transistors to provide very high current gain.
Regulated power supply. Type of power supply that maintains supply voltage even as battery voltage fluctuates.

Output Topology:

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Type of devices used in an amplifiers output section. There are three basic types of output devices found on car audio amplifiers - integrated circuits, bipolar transistors, and MOSFETs. Bipolar and MOSFET transistors are considered discrete output devices. Usually there are two per channel, but some amps feature as many as four per channel.
Bipolar - Transistor that contains two p or n junctions or diodes between two layers of opposite polarity material. Controlled by current rather than voltage. Found on the output stages of high-powered amplifiers. They are fast enough and can handle enough current to send wattage greater than 20 watts per channel to your speakers.
MOSFET - Metal Oxide Semiconductor-Field Effect Transistor. A form of transistor controlled by voltage rather than current. MOSFETs have significantly higher switching speed than bipolar transistors. They generate almost no loss (little heat generation). MOSFETs are found on the output stages of high-powered amplifiers. They are fast enough and can handle enough voltage to send wattage greater than 20 watts per channel to your speakers.
IC (integrated circuit) - An integrated circuit is found only on relatively low-wattage (20 watts RMS per channel or less) amplifiers called "bridged transformer-less" amps. An IC cannot pass enough current to work on a more powerful amp and is not considered a discrete output device

Signal input:

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Type of connectors used to provide input signal to amplifier. This feature lists specifications where available.
RCA - The coaxial connectors most commonly used to interlink components. Coaxial is the type of signal cable construction in which one insulated conductor is centered inside of an outer cylindrical conductor.
DIN - Acronym for Deutsche Industrie Normen or German Industry Standard. Round multi-pin connector that contains a series of wires.
Mini-DIN - Smaller version of DIN. Small round multi-pin connector.
XLR - [a balanced professional-type connector with three conductors: a high and low that are inverse of each other, and a ground - SP]
Barrier strip - Describes a series of metal plates with non-conductive [dividers between them - SP]
Fiber optic - A signal transmission medium in which digital audio signals are carried through a special cable as pulses of light. The primary benefit is the immunity to electrical noise.
Balanced - A circuit topology that maintains equal impedance between both conductors and ground. A balanced transmission must have three basic elements: 1) Balanced Transmitter, 2) Balanced Transmission Line, and 3) Balanced Receiver.
Low level - Low voltage. [typically RCA inputs - SP]
High level - High voltage. [typically fed from head unit speaker outputs - SP]
Multi-pin - Describes plug type plastic connector housing wiring. Plug with wiring mates with opposite gender plug.

Power input:

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Type of connectors used to provide power wire connection to amplifier. This feature lists specifications where available.
Block - Describes solid machined metal that has holes to accept wiring and screws to secure wire in hole.
Barrier strip - Describes a series of metal plates with non-conductive separators. Including screws to secure wiring to metal plate.
Multi-pin - Describes plug type plastic connector housing wiring. Plug with wiring mates with opposite gender plug.

Stereo/mixed mono capable:

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Two channel amplifiers ability to operate two speakers in stereo mode while deriving a third (mono) channel from the combined signals of the stereo channels. A pair of high pass crossovers for the stereo channels and a low pass crossover for the mono channel are required so that the amplifier "sees" the correct ohm load within the high and low frequencies.

Heat sink:

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Cast - To pour molten material into a mold and allow it to solidify.
Extruded - Made by forcing a semi-soft material or molten metal through a specially shaped mold or nozzle.
Fan cooled - Heat sink incorporating an electric fan to force air over or through the cooling fins of the heat sink.
Liquid cooled - Heat sink having a jacket or reservoir for liquid coolant, usually circulated by pump.

Chrome plated:

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Describes the heat sink or chassis of the amplifier being chrome plated. [Provides no technical advantage, but looks nice - SP]

Display:

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Describes visual display devices to indicate functions, diagnostics, and features.
LED - Light emitting diode. A solid-state diode that glows when current is passed through it.
LCD - Liquid Crystal Display. Created by applying electricity to cells made of liquid crystal, to make some of them look darker.
Digital display - Uses digital segments to display information. Segments could be LED or LCD.
Analog meter - Needle type of meter.

Speaker output:

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Describes type of connectors used to connect output of amplifier to speakers.
Block - Solid machined metal that has holes to accept wiring and screws to secure wire in hole.
Barrier strip - A series of metal plates with non-conductive separators. Including screws to secure wiring to metal plate.
Multi-pin - Multi-pin plug type connector with plastic housing. Plug mates with opposite gender plug.

Line output:

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Describes amplifiers ability to pass the input signal (un-amplified) out, to supply signal to other amplifiers. Specifications included where available.

Phase control:

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Describes the amplifiers ability to control the output phase to the speakers. This feature lists specifications where available.
Phase - In a periodic wave, the fraction of a period that has elapsed. Describes the time relationship between two AC (alternating current) signals.

Tone control:

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Describes tone control functions to effect tone quality of amplified signal.
Bass - Low frequency control function. Bass, the part of the frequency range made up of the low frequencies. Bass is generally agreed to be those frequencies between 20hz and 400hz.
Treble - High frequency control function. Treble is the part of the frequency range made up of high frequencies. Treble is generally agreed to be those frequencies between 4000hz and 20,000hz.
Midrange - Midrange frequency control function. Midrange is the part of the frequency range made up of the middle frequencies. Midrange is generally agreed to be those frequencies between 400hz and 4,000hz.
Equalizer (EQ) - Equalization - The process of affecting a particular frequency response. Includes multiple adjustments of bass, midrange, and/or treble adjustments.
Parametric EQ - A type of equalizer that permits the control of the width (Q), center frequency, and the amplitude of each band.
Quasi-parametric EQ. A type of equalizer that permits the control of the center frequency and amplitude of each band.
DSP - Digital Signal Processor. A general label for components that manipulate audio signals in the digital domain. Common DSP tasks include ambience synthesis, time alignment, filtering, and equalization.

Remote control:

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Describes ability to control certain functions of the amplifier from a remote location such as the dash.
Wireless - Remote that operates without wiring connected to amplifier.
Wired - Remote that connects to amplifier with wiring.
Remote gain - Remote adjustment of amplifiers input sensitivity.
Remote bass control - Remote adjustment of amplifiers bass control function.
Optional - Remote control functions require optional accessories.

Class:

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Describes the different classifications of amplifiers, depending on how the biasing of the amplifier circuitry is done.
Class A - Class A operation is where both devices conduct continuously for the entire cycle of signal swing, or the bias current flows in the output devices at all times. The key ingredient of class A operation is that both devices are always on. There is no condition where one or the other is turned off. Because of this, class A amplifiers are single-ended designs with only one type polarity output devices. Class A is the most inefficient of all power amplifier designs, averaging only around 20%. Because of this, class A amplifiers are large, heavy and run very hot. All this is due to the amplifier constantly operating at full power. The positive effects of all this is that class A designs are inherently the most linear, with the least amount of distortion. Devices operate during each cycle of signal swing. Also defined in terms of output bias current, (the amount of current flowing in the output devices with no signal).
Class B operation is the opposite of class A. Both output devices are never allowed to be on at the same time, or the bias is set so that current flow in a specific output device is zero when not stimulated with an input signal, i.e., the current in a specific output flows for one half cycle. Thus each output device is on for exactly one half of a complete sinusoidal signal cycle. Due to this operation, class B designs show high efficiency but poor linearity around the crossover region. This is due to the time it takes to turn one device off and the other device on, which translates into extreme crossover distortion.
Class AB operation allows both devices to be on at the same time (like in class A), but just barely. The output bias is set so that current flows in a specific output device appreciably more than a half cycle but less than the entire cycle. That is, only a small amount of current is allowed to flow through both devices, unlike the complete load current of class A designs, but enough to keep each device operating so they respond instantly to input voltage demands. Thus the inherent non-linearity of class B designs is eliminated, without the gross inefficiencies of the class A design. It is this combination of good efficiency (around 50%) with excellent linearity that makes class AB the most popular audio amplifier design.
Class AB plus B design involves two pairs of output devices: one pair operates class AB while the other (slave) pair operates class B.
Class D operation is switching, hence the term switching power amplifier. Here the output devices are rapidly switched on and off at least twice for each cycle. Since the output devices are either completely on or completely off they do not theoretically dissipate any power. Consequently class D operation is theoretically 100% efficient, but this requires zero on-impedance switches with infinitely fast switching times -- a product we're still waiting for; meanwhile designs do exist with true efficiencies approaching 90%.
Class G operation involves changing the power supply voltage from a lower level to a higher level when larger output swings are required. There have been several ways to do this. The simplest involves a single class AB output stage that is connected to two power supply rails by a diode, or a transistor switch. The design is such that for most musical program material, the output stage is connected to the lower supply voltage, and automatically switches to the higher rails for large signal peaks. Another approach uses two class AB output stages, each connected to a different power supply voltage, with the magnitude of the input signal determining the signal path.
Class H operation takes the class G design one step further and actually modulates the higher power supply voltage by the input signal. This allows the power supply to track the audio input and provide just enough voltage for optimum operation of the output devices. The efficiency of class H is comparable to class G designs.
Class T is actually not an amplifier class, but rather a class D amplifier with the Tripath Technologies ® chip.
Tube - Electron tube evacuated to such a degree that its electrical characteristics are essentially unaffected by the presence of residual gas or vapor. Amplifier using tube type electrical devices.
In most cases, you are probably not going to want to own a Class A amplifier anymore, and especially a Tube-typed. Tubes are much higher in distortion, and squelch the top & bottom frequencies from your music. Class As are very, very clean, but to the human ear, an AB or Class T is clean enough and much more efficient. Efficiencies? All amps are very efficient when driven to 100% THD (fully clipped). However, what is important is how efficient they are at normal RMS ratings. Class Ds & Ts are generally 70% efficient, ABs 50%, and A & Tube 33%. Basically, you'd probably want Class D or T on subwoofers--even though you can use Class Ts for full range.
Class D vs Class T?
Which ever one most affordable and reliable. Right now, there are only a couple of manufactures making the Class T—which is basically a Class D, with the Tripath Technologies ® chip.
Can you hear the difference between Class A, A/B & Class D on subwoofers? No.
How Much to Spend on amplifiers?
Rule of Thumb: A Buck A Watt

Crossover:

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Describes a filter that passes a specific range of frequencies, while blocking others.
HP (high pass) - A filter that passes signals above a certain frequency (called cutoff frequency). A high-pass crossover allows only frequencies above the crossover point to be amplified. Useful for keeping low bass away from small speakers, so they can play more efficiently.
LP (low pass) - A filter that passes signals below a certain frequency (called cutoff frequency). Often used to keep high frequencies from reaching a subwoofer, a low-pass crossover allows only frequencies below the crossover point to be amplified.
BP (band pass) - A filter that passes a certain portion, or band of frequencies. Consisting of a HP and LP cutoff.
AP (all pass) - Passes all frequencies.

Channels:

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Describes the number of separate outputs of an amplifier.
One (1) channel - Amplifier having only one mono output.
Two (2) channel - Amplifier having two separate outputs. One left and one right.
Three (3) channel - Amplifier having three separate outputs. One left, one right, and one mono.
Four (4) channel - Amplifier having four separate outputs. Two left, and two right channels. Usually considered front and rear.
Five (5) channel - Amplifier having five separate outputs. Two left, two right, and one mono.
Six (6) channel - Amplifier having six separate outputs. Three left, and three right.
Seven (7) channel - Amplifier having seven separate outputs. Three left, three right and one mono.
Eight ( channel - Amplifier having eight separate outputs. Four left and four right.

Power per channel:

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Describes the output power in watts into a resistive (ohm) load.
Power- Measure of a power amplifier's ability (in watts) to deliver electrical voltage and current to a speaker.

Total power:

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Describes the total output power of all channels added together into a resistive (ohm) load.
RMS - Root Mean Square. The amount of continuous power (measured in watts) that an amplifier produces is called RMS power. The higher the RMS figure, the louder and cleaner your music sounds. When choosing an amplifier, the RMS rating is the power rating you should pay most attention to. Also, keep in mind that some manufacturers calculate the RMS power ratings of their amplifiers at different input voltages. For example, an amplifier rated at 100 watts RMS at 12 volts can produce considerably more power than an amp rated at 100 watts RMS at the more typical 14.4 volts.
Peak - Stereo manufacturers often display peak power ratings on the face of their products. The peak power rating tells you the maximum wattage an amplifier can deliver as a brief burst during a musical peak, like a dramatic drum accent. The RMS figure is more significant.
RMS Power at 2 ohms - This specification tells you how much more power your amp delivers when presented with a 2-ohm stereo load. You can achieve a 2-ohm load by using parallel wiring or by using 2-ohm speakers. Theoretically, amplifier output should exactly double as the impedance drops from the usual 4 ohms to 2 ohms. However, amp makers use different degrees of regulation on power supplies, which can restrict the actual increase in output. Less regulated power supplies come closer to doubling their output into 2-ohm loads. An amp with little regulation can achieve higher wattage into lower impedances. An amplifier with stiffer regulation maintains rated output as other electrical accessories demand voltage from the battery

Bridgeable:

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This is the capability to combine the left and right channels of a stereo amplifier to create a single, much more powerful amplifier channel. The input signal is split, and then the phase of one of the signals is inverted. The non-inverted signal is sent to the left amplifier and the inverted signal is sent to the right amplifier (L+R-). The load is connected between the two outputs so it receives twice the voltage at a given input level. In a multi-channel amplifier, bridging is the connection of two channels to drive a single load.

Marine use:

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Describes components manufactured for use specifically in boats. Precautions have bean taken to protect the electronics from elements such as water and heat.

Bass Boost:

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Bass boost is like having a 30 band eq with everything set flat on the center, then turning up just the one knob centered at a certain freq, usually around 35-45 Hz. This can be good or bad, depending on the particular situation and how much it's used.

If your box or vehicle response drops off above the boost freq, i.e. at 50 Hz, you can use the boost to compensate for the drop and get more low end extension and better overall response... this is good.

If your vehicle and/or box response peaks near the boost freq and you're going for spl the boost can help... again, good. But... if your vehicle and/or box peaks near the boost freq and you're going for sq and a flat response the boost will only make the peak worse... this is bad.

Unfortunately, most people see the term "bass boost" and crank it all the way up figuring it will give them more power and more bass overall... this is wrong. Talnlnky had it right when he said "you don't need [the boost] to reach the full output of the amp, infact if you do use it you are much more likely to send the amp into clipping" because it's usually turned up too much... and clipping isn't good for the speakers or the sound quality.

Real life example... My amp has up to 18dB of bass boost, centered at 40 Hz and is capable of hitting max excursion on my speakers without it. My car's peak response is somewhere around 45-55 Hz. My ported box is tuned at 40 Hz to give me the flattest response possible. My speakers have an Fs of 44Hz.

I shouldn't use the bass boost because it's centered at the same freq as my box, which means it boosts some freqs above AND SOME BELOW the port freq. Below the port freq, a ported box offers little resistance and the speaker's excursion goes way up. Since my amp can already drive the speakers to their limits, if I were to boost anything below the port freq I risk blowing my speakers. While I *might* be able to get away with 1 or 2 dB of boost because it's below the speaker's Fs, if I cranked in 6-12dB (heavens forbid the full 18!) I'd probably trash my speakers in no time.

I want high sound quality with the flattest response possible. Since my car peaks around 45-55Hz, relatively close to my port freq, I actually have to cut the bass on my hu to get a balanced sound and keep my car from sounding boomy. Using the bass boost on my amp would counteract my bass cut at the hu and make my car boom too much for the sound I want.

The term "bass boost" is a marketing gimmick but the function it serves can be good or bad, depending on how and why it's used.

[ May 24, 2005, 01:31 AM: Message edited by: 96firebird311 ]

**96firebird311** · 05-23-2005, 10:58 PM

How to install an amp wiring kit(Camarowidbass, 96firebird311)
What size wiring kit do you need? Add together all the fuses sizes(or max current draw) of the amps in your system. Use this chart to figure what gauge wire you will need. Smaller the number, the larger to wire. Figure out where you're going to put the amp. Measure the distance that your wire will have to run from the amp's location to your battery and then add a couple feet. It's very maddening when you carefully run your wire through all the holes under the dash, take up your carpet and door trims, then find out you're a foot short, so plan ahead and add extra. You will also need roughly 4 feet of the same gauge wire for your ground. Also note the distance from your headunit to the amp when buying your RCAs. (if not included in the kit) You will also need a way to connect your power wire to your battery. These work great.
1)Disconnect your battery power and ground connections. A must anytime you're working on the stereo.
2)Take your short ground wire and attach a ring terminal to one end. Screw that end onto the battery fitting linked above. (Do not attach to the battery yet. Wanna leave everything disconnected)
3)Find a spot close by to connect the other end to. There is a bolt directly behind the battery with 4 or 5 wires already grounding to it. That would be great. Cut the appropriate length of wire you'll need to reach there and crimp a ring connector onto that end. Unscrew the bolt and sand away all paint in that area. Put your new ground wire on the bottom of the stack of grounds and tighten the nut.
4)Take your long power wire and attach a ring terminal to one end. Screw that end onto the battery fitting linked above. (Do not attach to the battery yet)
5)Look for a place as close as possible to mount your fuse holder. Under 18" is a must. Run the power wire you just connected, to the fuse holder. Depending on style, you shouldn't need any connectors. Cut the length, strip and screw down. Your main fuse rating should be the sum of all amp's fuses (or max current draw) in your system. Do not install the fuse just yet.
6)Attach the remaining power wire to the other end of the fuse holder.
7)Locate the PCM up against the firewall on the passenger side. Remove two 10mm bolts and slide the PCM out of the way. No need to disconnect it. Just move it aside. Look down there and you will see a large rubber grommet with wires already running through it. You will need to remove the passenger side interior kick panel (4 phillips screws) and also the "hush" panel under the glove box (2 push pins) to gain access to the other side of that grommet. Squeeze your power wire through that. It may be tough, but 0awg will fit through there with some work.
8) Run the power wire under the carpet and trim panels to the rear of the car. When you get the wire to where the amp is going to be, cut it to length and install the appropriate connector to fit your amp. If your amp doesn't have a fuse built-in, add one shortly before the amp's power connection to protect the amp in case of an overload.
9) Find a nearby place, within about two feet of the amp, to attach a ground wire the same size as your power wire to a solid piece of metal on the car's body or frame. The seat belt assembly for the rear seat works well. Crimp or solder a connector to the wire that will fit your amp. Cut the wire long enough to reach your chosen grounding point and attach a ring or fork connector to make the connection with. Sand the connection point until you have about a nickel-sized patch of shiny bare metal. Bolt the ground wire securely to the shiny spot with either the existing bolt or a self-tapping sheet metal screw. Spread some grease or silicone sealer over the connection to help prevent rust.
10)Run a high gauge wire (12-20awg) from your headunit's remote turn on wire to the amp's remote turn on connection. If using the stock headunit, tap into the pink wire for Firebird's. Any close +12 ign wire for Camaro's. If you are running more then two amps or other accessories off this wire, use a relay inline close to the headunit.
11)Attach RCA plugs to your headunit's output and run them to the amp on the OPPOSITE side of the vehicle you ran the large main power wire. If using the stock headunit, you will need a line output converter to switch your speaker lead outputs into RCA style connections. (See FAQ link in first post for LOC info)
12) Run speaker wire from installed speakers to the amp. (Wire subwoofers together using help from FAQ link in first post)
15) Lastly, BEFORE you reinstall all the interior paneling as such, double-check all your connections: power and ground at the battery, both sides of the fuse holder, power, ground, and remote turn-on at the amp, ground wire from the amp to the body, ground wire from the battery to the body, and remote wire at the head unit. If everything is safe and secure, NOW you may install the fuse under the hood and re-attach your battery power and ground connections.
16)Test out your new system. If everything is working correctly, reinstall all interior paneling and such.
---Wherever any wire goes near any piece of metal (i.e. the firewall), it should be surrounded by a rubber boot or grommet to keep the sharp metal edges from wearing through the insulation. Tie the wire out of the way as needed to keep it away from hot, sharp, or moving parts or wherever it might get pinched or stepped on. Use wires ties where needed and remember to keep it clean! Bonus points for creativity. If you get frustrated, back off for a bit. Have a beer and come back in awhile.:)

VATS Key Number Chart
If you're looking to replace or copy your car's ignition key, you'll need to know what VATS chip you have in your current key. Grab any meter that measures resistance. Touch a probe to each of the metal leads going across the VATS chip in your key. Use the chart below:
GM Key Number----Value (Ohms)
1------------------392
2------------------523
3------------------681
4------------------887
5------------------1130
6------------------1470
7------------------1870
8------------------2370
9------------------3010
10-----------------3740
11-----------------4750
12-----------------6040
13-----------------7500
14-----------------9530
15-----------------11800

Stock system door codes (nda0602v6)
In addition to the codes found in our other FAQ section, here is some other info.
Monsoon System:
Indash CD-Player or Cassette Deck, 10-speakers (6-3/4" mid and separate tweeter located in each door, 6-3/4" dual voice coil subwoofer located on the sides where the rear passengers sit, 4" mids along with tweeters located wayy back in the hatch area.) and a factory Amp which is located next to where the spare tire is (the amp mounts on a plastic plate and tucks inside the rear fender area, you have to remove the spare tire to see it).

Regular Stock System:
Indash CD-Player or Cassette Deck and 4 speakers. (Two 6-3/4" speakers up front, one in each door... and two 6-3/4" speakers in back where the rear passengers sit)

There's also anoter system called the "Entertainment System" which is exactly the same as the Monsoon (same layout, amp, speakers, etc.); however, it just doesn't say monsoon. Open your drivers door and look on the side of the door for the RPO codes (3-digit codes). See if you have any of these:

UL0 AM/FM Cassette ETR 200 Watt Monsoon Sound System w/cassette
UN0 AM/FM Cassette ETR 200 Watt Monsoon Sound System w/CD player
UN6 Radio, AM/FM stereo, Seek/Scan, Auto Reverse Music Search Cassette, Clock, ETR
UQ0 Speaker System 4, Dual Front Door Mounted, Standard Range Quarter/Shelf
UU8 Radio, AM/FM Stereo, Seek/Scan, Auto Reverse Music Search Cassette, HPS, Clock, ETR
U1A CD radio, 10 speaker
U1C Radio, AM/FM Stereo, Seek/scan, Compact Disc, Clock, ETR
U1S 12 Disc Compact Disc Changer
U1T Radio, AM/FM Stereo, Seek/Scan, Compact Disc, HPS, Clock, ETR
U18 Speedometer Instrument Kilometers
U19 Speedometer Instrument, Kilometers and Miles, Kilometer Odometer
U62 Speaker system 4, Dual Coax Front, Dual Coaxial Package shelf
U65 Speaker system 5, Dual Front Door Mtd, Dual Ext. Range Panel, Single Rear Compartment
U73 Antenna, Fixed
U75 Antenna, Power
UT6 AM/FM stereo, seek/scan, auto rev
UW2 speaker system, 10, quad front door mounted, dual rear sail panel
V73 vehicle statement, US/CANADA
VG8 Label, Vehicle, Notice to Buyer
VH5 Plate, Vehicle Information
VK3 License Plate, Front Mount Package
VM3 label information consumer, contains bumper impact standared
VP6 Noise Control
WS6 Performance Package - Formula/Trans Am
WS9 model conversion, FORMULA
WU8 SS Performance Package/Appearance Package - Camaro
W51 Entertainment system - Radio, AM/FM-stereo, seek/scan, cassette, 4 Speaker system · Standard Range
W52 Entertainment System - Radio, AM/FM stereo, Cassette, Equalizer, 4 Speaker system - Coaxial
W53 Entertainment System - Radio, AM/FM Stereo, Compact Disc, Equalizer 4 Speaker System - Coaxial
W54 Entertainment System - Radio, AM/FM Stereo, Cassette, Equalizer, 10 Speaker System, Amplifier
W55 Entertainment System - Radio, AM/FM Stereo, Compact Disc, Equalizer 10 Speaker System, Amplifier
W57 Entertainment system - Radio, AM/FM stereo, Cassette, Equalizer, 4 Speaker system - Coaxial
W58 Entertainment system - Radio, AM/FM Stereo, Compact Disc, Equalizer, 4 Speaker system - Coaxial
W59 Entertainment system - Radio, AM/FM Stereo, Cassette, Equalizer, 6 Speaker System, Dual Front Door Tweeters/Woofers, Extended Range Shelf
W66 Merchandised Package - Formula
W73 Entertainment system - Radio, AM/FM Stereo, Compact Disc, Equalizer, 6 Speaker system, Dual Front Door Tweeters/Woofers, Extended Range Shelf

**96firebird311** · 05-25-2005, 12:39 AM

How to tune your entire system without using an RTA (cmusic)
There are several different methods used to tune eqs. This is the one I use. An RTA is not needed if the steps are done correctly. This method uses crossovers and gain settings as the most important factor in tuning. I think the eq should be last in line when tuning. Remember after each step to write down your settings. If the sound gets worse, then you can go back to the previous step’s settings and start over.

1. Set all bands flat, as well as the head unit bass and treble.

2. Turn off the subs. Using music with a good bass line, run the highpass crossover up and down until the midbasses can play as low as possible without any distortion or excessive door panel vibrations.

3. Unhook the mids and tweeters, allowing only the midbasses to play. Listen to mono pink noise or a well-recorded song with a centered vocalist. Test CDs such as the IASCA test CD or Autosound 2000 Test CD 102 or 103 will work great. Listen to where the centered sounds are coming from. Then reverse the polarity of one midbass (Reverse the speaker wires coming from the passive crossover and going to the speaker, just flip the positive and negative wires. I usually flip the driver’s side speaker.) and re-listen to the test CD. If the sounds are more centered then keep it as is. If the centered sounds are more diffuse and un-locatable, then flip the polarity back to where it was originally.

4. Then unhook the midbasses and play the mids only and follow the same polarity and listening tests as before. Mark your best settings.

5. Do the same procedure for the tweeters.

6. When you have tested for the proper polarity from all three ranges of speakers, hook all of them back up with respect to each set of speaker’s best polarity. You can have any combination of polarity, such as all the midbass and tweeters straight and one midrange reversed.

7. Now you should have the correct “acoustic” polarity set within each set of speakers. Next is to set the acoustic polarity between the sets of speakers.

8. Listen to some very familiar music with a good range of sounds. Then flip both midbass’ polarity and listen again. Before you only flipped one midbass, now you are doing both at the same time. For example if the left midbass was reversed and the right was not before, now the left will be not reversed and the right will be. Listen to the music again. If the midbass is more powerful and full then leave the wiring as is. If the midbass sounds weaker and wrong then restore the wiring as before.

9. Perform the same listening tests while flipping the mids and tweeters, and use the wiring configuration that sounds the best.

10. If you have went though all these steps adjusting the polarity of the speakers then the system should sound really good without any eq adjustments. You might want to play with the gain adjustments on the crossover and/or amp to better blend all the speakers together.

11. Now onto the eq! The first eq step is to adjust the tonality. While listening to familiar music, adjust each individual band up and down slowly. When the music sounds better then move to the next band. Adjust the left and right bands equally. (We’ll get to the separate left and right adjustments soon.) It really does not matter if the bands are boosted or cut, just that it makes the sound better. Not every band needs to be adjusted. In fact if you did steps 1 thru 10 correctly you should not have to adjust over half the bands. Having a 1/3 octave eq does not mean you have to adjust every band. It means you have the ability to adjust each band if needed. Watch out for big jumps from band to band, like one band set to +4 and the next band set to –6.

12. Continue through all the bands, take a break, and do the same procedure over again. But this time the adjustments will be smaller as you get the tonality dialed in. This step might take several days, weeks, or longer.

13. In tuning you will find some eq bands will raise, lower, move the sound closer, or farther away if adjusted in certain manners. For example, lowering 5 KHz will generally move the soundstage farther away and raising 2 KHz will make the soundstage rise. Each vehicle and system will have different settings that will be the best. The best way to achieve awesome sound is to constantly adjust.

14. When you are satisfied with the tonality of the system, it is time to start adjusting the left and right channels separately. These adjustments should not affect the tonality, but improve on the imaging and soundstaging. Using the Autosound 2000 Test CD 102 or 103 “My Disk” listen to the individual frequency pink noise tracks. (Test CD103 has the tracks arranged in an easier configuration.) Each frequency band should sound like it is coming from the center of the soundstage. If one band is off to one side, then use each band’s left and right eq controls as a balance control. This is very similar to the head unit’s balance control, only now you are balancing each frequency band by itself. For example if 200 Hz seems to be shifted to the left of center, lower the left 200 Hz band and raise the right 200 Hz band one dB at a time until the band is centered. If a frequency is shifted to the right, lower the band’s right channel and raise the left channel in small amounts.

15. When you have when through all the bands take a break. Then later go back through each band one by one and make any further needed adjustments until all the frequencies are lined up in the center of the soundstage.

Upgrading Manual to Power Locks(dz)
I have a 97 Camaro Base. For the power locks, I purchased the A1 Electric power locks kit.

This one: http://www.a1electric.com/mes.htm

Getting the door panel off isn't hard. There are 6 screws total:

2 on the black portion of the panel where the door handle is
3 on the door itself
1 for the mirror

Once you gets those screws out, lift the door up and it'll come off.

Next you have to take the weather / noise plastic thing off. It's just a sheet of plastic. Take it off carefully so that you can put it back on. Try and keep as much rubber as possible on the plastic piece.

Once that's off, I recommend taking the speaker off. There are 3 screws that attach the speaker to a plastic holder, which is connected to the door. Just take off the 3 screws from the holder, turn it counter-clockwise and the speaker will come out. Make sure you detach the cable that attaches to the speaker.

Once you have that out, do the same to the other side.

After the doors are done, remove the panels underneath the dash. On the drivers side, there are 2 panels. I believe there are 4 screws on the top panel, which is right underneath the steering wheel. The 2nd panel, which is above the pedals, I think only had 2 little rivets to pull out.

The passenger side had 2 rivets on the top of it underneath the glove compartment. Then there's a metal piece down near the persons feet.

Once all that's off, you're ready to wire everything up. The wire will stretch all the way from the end of the passenger door to the end of the drivers door. Put all the wires through the rubber thing that goes between the door and the body. It's a pain in the ***, but it's possible. Use a wire hanger to get through first, and then wrap the hanger around the cables and pull them through.

Once you get them through the door, then cut the wires and attach the metal connectors. Trust me, it's much easier to do this after the wires are through the door rather than before.

Now you have to find a place to mount the power lock motor. Here's a picture of where I put mine:

That is the drivers side door. Put it in the same spot on the passenger door.

Once you have the motors in place and the rods connected, make sure both motors are in the 'lock' position. It doesn't matter which position really, but they should at least be in the same one. If you haven't already, connect the long span of wires to a power and a ground. The power has to be constant power from the battery. There's plenty of places to pull this from in the car. Make sure to also use the fuse that came with it. Just cut the loop of wire in the fuse, attach one end to the long span of wires and the other end to your power input.

Once you have the wires with ground and power attached, pull the fuse out of its holder so the system has no power.

Attach the cables to the left and right side motors, put the fuse back in, and watch how your masterpiece comes to life.

Now comes a really important step: Make sure that all your cables are secured down. I ended up drilling holes in the inside door panel (it's fiberglass) alongside the bottom. Here's are some pictures of where I drilled the holes and used the zip ties to hold the cable down:

This is vital because once the door panel is back on, you don't want to have to pull it off because the cable got stuck to your window or something. Make sure everything is fastened down good.

Once all that's done, put everything back on in reverse order and you're set.

Upgrade vehicles lighting to LEDs
http://www.lastofthebreed.com/Installs/InstallIndex.htm

**96firebird311** · 05-20-2006, 11:39 AM

Re: FREQUENTLY ASKED QUESTIONS!!!! READ FIRST!! -------------------

How to fix grinding headlight problem (96firebird311)
Does your firebird make super loud grinding noises when you turn the headlights on or off? Sounds like the motor continues to run after the headlights are already in the fully up or down position? Did the dealer or repair shop tell you that you had to buy a new headlight motor and pay out the nose? Well worry no longer! Use this walk through! The problem has nothing to do with the headlight motor. The motor assembly contains a large plastic gear that has stripped down and broken. You can buy only the gear separately and replace it yourself very easily! Costing only a small fraction of what the entire motor assembly would cost! So let's begin shall we?

First, you will need to buy a new gear for each headlight that has problems. They are universal, so they work for either side. You might think about doing both motors now while you're at it, vice fixing one and the other one crapping out soon after. Although I don't think GM sells the gears separately, they can be found all over online. I bought mine off Ebay. Here's a link to some

However, the best gears set is from Rodney's Fiero Accessories as it includes a bracket to ensure the cover does NOT come off after replacing the gears.

Directly on the sides of each headlight, you can easily find and get to the headlight motor assembly. The rubber cover has been removed in the picture. Turn your headlights on, disconnect the motor (light blue arrow below) and then turn the headlights off. Now, use a Phillips screw driver to take off the plastic covering around the headlight itself. 4 screws. It's may be hard to squeeze it out from around the headlight, but pull it out and set it aside.

Then, use a socket wrench to unbolt the headlight linkage from the motor assembly. (Green arrow is pointing to it) Pull the linkage off the drive rod. It's not easily at all, but it does just pull straight off. I used a large crow bar to gently break it free. Now the headlight is free from the motor. Doing this in the beginning gives you easier access to the remaining bolts. Prop the headlight in the up position with something. Unscrew the 3 bolts holding the motor assembly in place. (yellow arrows) Use a crescent wrench to hold the nut in place and a socket wrench to unscrew the bolts. There's not much room to move around down there is there? Glad you removed the linkage first huh?

Use a flathead screwdriver to gently pry off the back cover. It's on there pretty good. Stick the screwdriver in as far as you can and twist. It should start breaking free.

This is what you'll see. Pull the large white plastic gear out and inspect it closely. I bet it'll look like this:

Notice the missing tooth on both gears. And the teeth directly above the missing one are severely damaged.
\/\/\/\/Continued below\/\/\/\/\/

**96firebird311** · 05-20-2006, 11:44 AM

Re: FREQUENTLY ASKED QUESTIONS!!!! READ FIRST!! -------------------

Pull the drive rod out and remove the rubber insert off the old gear. Reinstall both on the new gear. Use the grease in there to lube up the new gear a little. Drop it back in the motor assembly.

Notice how all the teeth line up now? See why it wouldn't work once that tooth had broken off? Now use a two part epoxy or another strong glue to glue the cover back in place. Be careful not to get it all over the place. Once the glue dries, reinstall in reverse order. Make sure to install the nuts on the inboard side and bolts slide though on the outboard (headlight) side. Just as removed and shown in first pic. If you don't the headlight cover catches on them while it trying to go down. When re-installing the headlight linkage, make sure the bend or elbow in the linkage is pointing to the rear of the car. It will go on the other way, but will not allow the headlight to move properly. Manually crank the headlights up and down once to make sure everything is free and clear before you throw the switch for the first time.

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FREQUENTLY ASKED QUESTIONS!!!! READ FIRST!! -------------------

FREQUENTLY ASKED QUESTIONS!!!! READ FIRST!! -------------------

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