Welcome to the photo galleries of Fhrx Studios. For nearly twenty years now we've been photographically documenting every aspect of our work, from commencement to completion. Within these pages you'll find many photos of our demonstration cars and many photos of our work - both behind the scenes and the final product. There are also photos of cars from years gone by, photos of some of the shocking installation work we've diagnosed and repaired and last but not least; you'll find photos aplenty of Lamborghinis as Lamborghini Sydney is one of the many dealers whom we undertake various work for - everything from simple parking sensors to entire system builds. There are many images within these galleries so please be patient while they load. To hasten loading times we've thumbnailed each photo. When viewing the images from yesteryear and taking a trip down memory lane, please accept our apologies for the size and quality of some of them - there were no digital cameras back then. Many of these historical images have been scanned, some even from negative film.
If you're a regular follower of the audio competition scene you'll know the season finishes in late November and commences around late March. During this time you'll find most competitors busily working on their rides in order to ready them for the upcoming year's competition. Marty Price and the team at Fhrx Studios are no different. One of the leading pro street / expert class competition cars is Marty's red 200SX and although he normally writes many an article here, I was called in this time around to listen too, look at and generally harp on about (no pun intended) the car in order to let you all know what is happening with the 200SX these days.
I thought I'd start with a brief history. Many people around Australia will remember that at one stage a few years ago Marty's car had Rainbow Reference speakers installed; yes the $15k ones. Therefore topping them was never going to be an easy task. However Marty felt the need to have something new. After taking into consideration the vast array of component speakers he'd tested for various publications, he eventually settled on the Focal Utopia Beryllium Kit 7 which were clear stand outs during testing. More about them later though.
Let's start right at the front. If you're a habitual reader of the forums then you'll appreciate some of the arguments Marty has had with people who claim you cannot fit two batteries into the front end of a 200SX because of the intake and intercooler tubes. Guess what; you can! To supply power for the system the 200SX utilizes twin Stinger SPV44 gel-cells which supply well over a thousand cranking amps with plenty of reserve charge, meaning the car can be demonstrated for an eternity without running.
Now while having the batteries physically in place is one thing, the process of actually getting them there wasn't quite as straightfoward. Both are held in place with custom aluminium 6061 alloy brackets with the drivers side unit dictating very careful placement of the intercooler tube. The passenger side unit requires relocation of the charcoal canister and air intake. Luckily because the car utilses an aftermarket computer it doesn't require the standard bulky air flow meter. 0AWG cables flow throughout the car and earthing is handled by a custom made eight point Fhrx Studios earthing kit. The main system fuse is seated adjacent to the battery on a custom beveled and flame polished 12mm Perspex plate. In order to keep in line with the competition rules this fuse can be disabled very quickly.
Interior side; the system starts with a Pioneer DEX-P99RS source unit. A more recent upgrade, some have questioned why the old unit was replaced. Marty retorts: "The previous head unit was becoming quite dated and often struggled to communicate with many modern digital storage devices. The DEX-P99RS is the current benchmark when it comes to high-end source units and I was extremely impressed when I reviewed one recently. Not only does its onboard processing suite make most other decks look positively archaic, it also boasts some very cool technological advances such as sporting quad 24Bit digital-to-analogue converters; just to touch the tip of the iceberg. Overall; it's 'the' deck to use if you demand serious sonic performance."
The entire car body has been layered with multiple layers of sound deadening and diffusers have also been installed in key areas to eradicate wave reflections. The deadening thickness varies from single layer under the dash to triple layers on the doors. This keeps the cars noise levels to a minimum; even with the absurdly modified SR20 under the hood. Taking care of creature comfort and safety duties, the first of two fire extinguishers is located under the passenger seat whilst the other lives in the side of the boot in a special compartment.
Moving to the front stage; the 200SX employs the Focal Utopia Beryllium Kit 7 which is a three way system. The 6Be midbass drivers live in the fully prepared doors complete with reinforced and sealed baffles and enclosed front face. Boy can they kick! Handling the middle and higher frequencies are the 3Be midranges and Tbe Beryllium tweeters respectively. Marty explains his choice: "After reviewing many component sets, none came close to matching the superb detail of the Kit 7, especially that Beryllium tweeter. Coming from an engineering background I know just how difficult materials such as Beryllium are to machine, so I must tip my hat to Focal on this monumental effort. The Beryllium combines superior rigidity with low moving mass and the inverted dome profile is also very impressive. Together they give the tweeter extreme resistance to deformation while at the same time dispossessing the edginess often associated with harder domes. To the point where the Be tweeter is perhaps the smoothest you'll hear in a car today."
The midranges and tweeters once lived in the custom made fiberglass kick panels but now reside in custom made fibreglass A-pillars which are actually small aperiodic enclosures; the latter being employed to keep internal resonance and reflection issues to a minimum. The reason for the initial kick panel design was that Marty wanted to keep all three drivers close together to avoid separation and phasing issues. However he had to move the midranges and tweeters up to the A-pillars to achieve the best sound stage height for competition. He explains further: "When choosing a location to mount tweeters and midranges in order to achieve the best sound stage you're always faced with various issues. To get a decent result you need adequate width, height and depth. Put the tweeters up high and forward and you'll get good depth and height but the stage can sometimes suffer from being narrow. If you mount them high on the kick panels you tend to get good width and depth but a low stage, especially around that midrange driver. This is because the pinna (outer ear) are most sensitive between 2000-5000Hz so while the tweeters tend to be above that and will happily provide a car full of sound, the 3" midrange tends to localise these frequencies, dragging them towards it. Therefore you need to be careful where you place this main information driver. Once you have location chosen you'll want to pay considerable attention to the crossover summations; because if you don't choose the right roll-off logarithm you can end up with some very nasty results."
Even the angles are important to the stage and sound. Marty continues: After much experimentation I settled on these angles for a few reasons. First off, the speakers fire across the dash but slightly angled towards you. This puts the driver and passenger well within the speakers' dispersion azimuth without being right on axis, which tends to lend itself to a very shallow stage. They're also as close to the front of the car as possible and angled slightly upwards to offer a deeper and higher stage. Finally, they are angled away from the windscreen to avoid reflecting certain frequencies. So far as speaker cable goes; the old stuff was relaced with the latest and greatest for this evolution of the install.
Despite the head unit being capable of extreme levels of processing, Marty instead opted to keep it outputting plain music; all processing is taken care of via an ARC Audio PS-8 located under the passenger seat. The PS-8 is universally accepted as being the worlds best incar processor and is programmed using a PC via the USB port. It boasts eight fully assignable channels and using it in open architecture mode (a.k.a. professional) you have complete control over every facet of your system, from configurations, crossovers and line driving through to time alignment, equalization and phasing. I won't go too far into PS-8 abilities because you can read about it via Marty's review recently (email him for a copy). Moving to the rear of the car and you'll find the bulk of the system living there. The heart of the Focal Utopia Kit 7 and indeed why the components work together so seamlessly is the beautiful crossover. A lot of external testing was done on the crossover with a few things changed in order to offer the best in-car response with the least amount of inconsistencies and idiosyncrasies. The gang at Fhrx Studios remain quite tight lipped about the actual settings that Marty uses on the processor and crossover; such is the nature of serious competition.
The power is provided by a triplet of heavily modified Focal Dual Direct amplifiers and when I say power; I'm talking many thousands of watts! Yet despite this massive ability, the amplifiers are set with their gains on one from a possible forty. There is method to this madness though as Marty explains: Just because an amplifier is 'stable' doesn't mean it's necessarily happy. Your engine is 'stable' to 8000rpm; however you don't do it all day do you? Amplifiers likewise; a gargantuan amplifier turned right down tends to have very little comparative workload. This equates to a happy amplifier, and happy amplifiers stay cool, run more efficiently, don't dehydrate components and most of all possesses a titanic amount of head room which equates to zero hiss, zero noise and bugger all artefacts finding their way into the sound stream.
The amplifiers and crossover are all presented using a beautiful blend of three red LED backlit Perspex shelves. These shelves have been CNC machined and flame polished to reflect a red ring of light around all the components when viewed in the dark. The entire amplifier rack is made of billet alloy and is welded up to handle a fair bit of punishment (remember this car still get track raced). All cables used throughout the rack are high quality and remain neatly underneath out of sight of the viewer. Right dead centre of the rack is an engraved plaque in what Marty affectionaltely refers to as "nailing ones colours to the mast spiritually".
Moving along to the final component in the system, choosing the subwoofer was a but of a challange. Marty originally had previously used Image Dynamics IDMAX's, Morel Ultimo's, Diamond Hex's and even the Focal Utopia subwoofer. This is one serious list of contenders offering some choice-grade subsonic tunes however he eventually settled on a DynAudio E1200. He explained why "when talking high end subwoofers these days its all about how hard they hit, even how sharply if you're an SQ head. However we need to remember that we should also be listening to the thing too. That's why I chose the E1200; put simply it's the first sub is years that I've tested where I could actually hear things such as horse hair bows running across the strings of a double bass, or the timbre from a bassoon. We're so hell bent on hammering ourselves into submission these days that we've forgotten how to listen to bass. The other reason is that the front speakers in the doors already extended way down so I required something that was suited to the 15-40Hz region. This is because the less a speaker cone moves, the less it distorts. Therefore I needed to find a subwoofer with a very low FS and the newly released E1200 fitted the bill perfectly.
Back to Marty's particular subwoofer; it was sent away to have its parameters measured before the enclosure was built into the boot floor using a combination of fiberglass and marine ply. The exact volume, plate angle (it's not completely horizontal) and how much fiberfill etc is contained will remain secret for now but it does allow for a constant group delay throughout its entire frequency range in addition to offering an extremely low roll-off. Marty is more than happy to play pipe organ tracks to demonstrate this design (the bottom pipe of the pipe organ is tuned to the point of you feeling it rather than hearing it).
The top of the enclosure is painted in five layers of Nissan red and five layers of clear to give it a really deep look while the surrounding grey panels are trimmed on vinyl and dyed to match the factory Nissan trim. The subwoofer is supported and reinforced by a custom machined alloy trim ring. One of four sway bar bolts through the floor and keeps the rear end of the car nice and tight without affecting the subwoofer.
So that'll do for now. For those interested in having a look or more importantly, a listen; please ring Marty at Fhrx Studios to organize an audition sometime.
When Andy first brought his stunning 57' Chev down to us we knew we'd be in for a challenge because, as is always the case with old classics like these, you cannot just install any old component set because space is at a premium in addition to the fact these cars tend to come out with some very obscure sized speakers (4 x 10" for example). Therefore when undertaking this install we'd have to develop some way of installing the large amount of planned audio gear without damaging and the cars trim pieces and secondly; we had to ensure it could be removed again if upgrades were plumbed in further on down the track.
Starting at the source literally, the Chev uses a Kenwood XXV-01D as its main head unit and this was chosen primarily for its ability to reach full preout voltage without any hint of distortion. We tend to check each and every head unit and amplifier here on the oscilloscope for distortion and this deck got the nod because it's output is so impressively devoid of any such sonic anomalies.
From here the signal heads to the Audison BitOne processor. The more processing abilities a system has, the better we can tune it to sound. For this reason we often install the BitOne as its a complete digital sound processing suite that offers the user total control over every aspect of the sound.
From the processor to the engine room of the system; the three huge Focal Dual Direct amplifiers. These amplifiers represent the pinnacle of Focals amplifier engineering abilities and not only offer an abundance of clean power (try 2 x 250 watts @ 4 ohm), they're output is virtually free of additional ambient noise such as whine. The system is setup in a semi-active configuration which sees one amplifier running the tweeters and midranges, one amplifier running the midbass drivers whilst the remaining one compliments the subwoofers.
Shooting a sideways glance at the boot, you could be forgiven for thinking it's just a simply flat wood false floor however nothing could be further from the truth. Upon closer inspection you'll notice its constuction is actually from fibreglass and has quite a few contours and curves in it as it leads from the boot rear seal right up to the enclosure face plate. The design of the floor keeps within the classic lines of the Chev and matching the side carpet was no easy task either just quietly with us scouring all over the US trimmers for a match. For additional decoration we created a perspex plate which breaks up the edge between the amplifiers and the carpet. This 'window' is the flame polished and edge lit using bright red LED's. We've welded and polished up a new alloy bracket to hold the nitrous oxide bottle for those moment where planting the right foot aren't quite enough. Under the right hand side of the boot floor is a compartment that holds the jump start and power supply (for shows) leads. Lastly; the BelAir badge was added as a decretory highlight and is mounted on the front sloping contour of the floor plate.
The front end of the system is taken care of via a whole swag of Hybrid Audio Technology components. Fitting them in and making everything look like it belonged proved to be the largest challenge of this install due to space really limiting where components could be mounted. The location for the tweeters at the base of the a-pillar was chosen in order to offer a high stage and whilst we would have liked the midranges to be right up there next to them to minimise phase issues, the full size 4" were just too large to mount there without impacting significantly on the viewing window. Therefore the midranges went down into the kicks where the massive midbass drivers live.
Just like the boot, the kick panels themselves are not as simple as they first appear either. Mounted to a custom anchor frame which bolts to the car, the they're constructed wholly from fibreglass and actually contain small aperiodic chambers for the 4" to work in so they're not impacted by significant airflow from the larger midbass drivers. The entire 6.5" portion of the kick panel itself is also a sealed enclosure and like the tweeter pods they've both been coated in multiple layers of black two-pac black to match the car body colour. We've created grilles to protect the speaker cones and trimmed them in grey grille cloth to match the interiors three tone greyscale colour scheme. Additional red LEDs were installed above them to highlight the footwell area in the dark.
With sixty hertz and up taken care of it was time to address the bottom octave of the sound. The subwoofers chosen were the mighty Focal Utopia 33WX2s because of their tight and accurate bass output. In the correct enclosure (and it does take quite some research and testing to get the enclosure correct) they not only sound amazing but can easily hold their own with many of the louder subwoofers on the market today, especially with their thirteen inch 'W' sandwich fibre / composite cone. In the middle of the enclosure lives the cars battery; a gargantuan Odyssey PC1500. This has been de-labelled and it's alcove home painted in two-pac black. The entire front face of the enclosure has a custom made trim panel which curves up under the shelf and like the floor it too has a black surround with bright red edge lighting. All in all the boot offers up quite a few special reflections when lit in the dark.
Last but not lease there is the custom dash work. When the car first came in there was talk of modifying the factory dash but we imediately turfed that idea in favour of manufacturing a fully custom centre console to not only hold the deck but also the gauges. This option was chosen over cutting the original dash because let's be honest; who wants to cut into a genuine 57 Chev dash? The front plate design of the console was a mammoth challenge too as it had to fit around the gate shifter but with patience and about twenty trial plates, it is now in there and also finished in two-pac black. More LEDs have been installed under the shifter to give it an unearthly glow when the lights are hit.
So there you have it. From conception to completion; the Chev is now kitted out with the latest and greatest audio technologies, all whilst retaining its classic lines. Best of all though; nothing has been damaged in the process of installing the great sounding system.
When approached buy a Piano teacher of 40 years, we knew the system would have to be perfectly accurate as ears so finely tuned would pick up on mistake right away. Enter head installer Marty Price from Fhrx Studio's. Other requirments included not demolishing the bank account and not taking up any space.
The system starts with an older Alpine TDA-7554 head unit and CHA-S601 shuttle combination. From there it runs into a Audison SRx3 amplifer mounted into the tailgate and under the factory trim. This required a fair amount of work to relocate the rear door lock in order to fit the amp and it's cooling fans. The amp is accessible for servicing purposes via a small door worked into the trim on the drivers side.
Front speakers are Pioneer splits for budget accuracy and live in simple custom buildouts, nessessary to keep the midrange speaker away from the window mechanism. You'll also notice the midrange sit's a long way rearwards in the door and this was due to our 'no metal cutting' policy requiring it's placement be there. Because of this ditance, the tweeter could not be kick panel mounted like our normal split systems as we didn't want channel separation. The rear speakers are Alpine 5 1/4 co-axials and live in customised roof binacles behind the back seats, keeping right away from the luggage area.
To handle the sub bass duties, a 10" Solo-Baric Kicker was brough into the frey. The area surrounding the subwoofer is
fully sound deadened using Stinger Road-kill Pro and the sub is carfully mounted into a fibreglass 0.66 cubic foot enclosure
behind the drivers side trim panel of the boot. The original panel has been removed and replaced with a reinforced grille
for protection as well as looks.
When head installer Marty Price came to installing a system into his brother's new Toyota Prado, it required careful consideration seeing as the 4WD was to see a lot of off-road and consequently rough action. The system starts with an Alpine CDA-7962 CD player coupled to a Alpine CHA-S601 6-disc shuttle.
From the front the signal runs into a Boston GT-50 five channel amp and GT-24 two channel amp. The four channels on the GT-50 run the front and rear speakers which are from Polk Audio. The fifth channel on the GT-50 runs the two 8" Polk midbass drivers mounted in the boot.
The GT-24 is bridged to deliver a whopping 600 watts continuous to the subwoofer. In the boot is a flase floor containing the crossovers for the Polk driver, as well as cabling and three 0.5 farad Stinger power caps for extra power delivery when the cars power system is under load from the numerous off-road accessories.
Both the midbass and subbass drivers are mounted in custom fibreglass enclosure, easily removable in case you want to pack the truck full of camping
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Often the task of finding a trustworthy audio store seems more daunting than actually getting the system completed. Like most Fhrx Studio's customers the owner of this MR2 wanted a high end system without removing what little practical space already had available to him. One main prerequisite for the install was that the boot must remain untouched, so head installer Marty Price opted to utilise the small space behind the seats seeing as this was a hard top (targa top versions stow the roof behind the seats).
The system starts with a carefully installed Alpine CDA-7998R receiver. In order for the 1.5 DIN face to clear the dash when the screen was deployed, Marty used Toyota camry head unit mounting brackets and modified to top mounting point to sit the deck an extra two millimetres off the dash. This gives the deck 1 millimetre of clearance between the face and dash plate. The entire dash itself including gearshift surround has been removed and painted in baked two-pac gun metal grey.
Moving onto the binnacles behinds the seats. The drivers side binnacle is actually a sub enclosure measuring 0.644 cubic feet and is home to a JL Audio 10W3V2-D2 10" subwoofer while the one behind the passenger is an amplifier rack holding an Audison LRx4.300 four channel amplifier. Both enclosures were covered in grain and colour matched vinyl and removing the flush mounted grilles reveals surround painted in the same two-pac metallic paint as the dash
All edges on the enclosures have been meticulously detailed to perfectly match the contours of the MR2. Various red lights light the twin enclosures up at night creating quite an eerie effect. All cable is from Stinger and features a custom mount steel fuse holder in the spare tyre hole. Additionly, the cars earthing systems were also upgraded.
The front end preparation took a fair while to do. Kick panels and door trims both had to be reformed and now hold Kicker RS6 Resolution splits rather than the factory paper dual-cones. Matching the door contour too perfectly butt up against the dash when closed proved to be interesting to say the least. After forming, they're vacuum formed in matching MR2 vinyl.
While not screaming at you for detail, the doors main difference can easily be seen when the factory door panel photo
is inset into the finished photograph. Double layers of Stinger Road-kill and a diffuser plate cover the outer skin
directly behind the midrange. The inner skin also copped a layer or Road-kill. At the end of the day one very clean install.
You can simply tell right away when someone is passionate about their car. Take the owner of this jet black IS300 for example. He wanted the best he could get, in every department. This included shoe-horning a 3 litre twin turbo 2J from a Toyota Supra, adding enough products from Trust, HKS and GReddy to sink a ship and not too mention fully adjustable Tein coil-over suspension all round. So naturally when it came to the sound system, the choice was logical. Fhrx Studio's had to install the best gear around for his budget.
The hardest part of this install according to Marty was the dash. "There are so many controllers to be mounted into such a relatively tiny space. Besides the Clarion VRX935VD DVD / monitor head unit, there is a Tein suspesion controller, GReddy turbo timer, GReddy boost cotroller (including screen) and boost contoller remote handset. Now getting all this in was quite a task, to make it look factory is near impossible.
The traction controls and seat warmers had to be relocated to start with. The traction control switches now live on the drivers side dash while the heater controls are in the center console between the two front seats. The console itself is constructed from three layers of carbon Kevlar and while light remains expemely strong. From the head unit the signal travels down Stinger RCA's too three Audison amplifiers - an SRx4 for channel and twin SRx2S mono-blocks. The SRx4 controls the front and rear channels from the Clarion DTS decoder while each Srx2S runs a JL Audio 12W7 each.
The doors are fully sound deadened inside and out and both have sound diffuser panels fitted to aid in mid-bass sound wave
dispertion. The doors are home to Kicker R6 midrange drivers and the kick panels are home to Kicker ND-25 tweeters. Stealth was a
large consideration for the doors as well so Marty opted to run with the factory trims.
Info coming soon.
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Subaru Impreza RX
When this bright red Impreza first appeared on the sound off scene around mid 2006 most people didn't pay it too much attention. Even after hearing it many people were quite impressed with its sound but some didn't see it as anything to specifically write home about. It was only upon discovering the car was competing with only a head unit and a set of splits that they were shocked. That's right; no amplifier and no subwoofer but it still sounded great! How this was accomplished will remain a Fhrx Studios secret. For now we're pleased to present to you the latest incarnation of the car.
The owner, Peter Pain, was content but wasn't overly satisfied with his cars performance in the 2006 sound off season. See Peter is a hopelessly addicted audiophile, has been for many years and has a serious amount of knowledge and experience in the audio sphere. He wanted to dramatically improve the sound that the Impreza output and so he sat down to plan stage two which consisted of amplifiers and the subwoofer. Now when audiphiles go looking for components they do not impulse buy. They tend to undertake a lot of research, listen to a lot of product and pile over mountains of information before settling on components. In the same light, when looking for someone to install their new system they do not take to this task lightly either. They expect the sound quality from the system to be paramount and are not satisfied until it is. This is where the relationship between Fhrx Studios and Peter flourished.
Fhrx Studios had just taken on board DLS products when Peter decided on his amplifiers. This worked well for both parties because what were chosen to perform the amplification duties were one of the best DLS amplifier ranges available; the 'Ultimate' series. These two amplifiers run the whole system and a third is planned in the near future. The massive A4 amplifier runs the front stage actively while the small but strong twin mono design A3 runs the subwoofer.
The system begins with a Alpine CDA-9835 head unit which controls all crossover points, slopes, levels and equalization. From there the signal travels to the two DLS amplifiers which are seated in custom bathtubs. Each of these bathtubs and their surround panels took installers Marty Price, Kevin Price, Michael Waugh, Joel Cheesman, and Jack Horrocks days to prepare and the bathtubs themselves are coated with five layers of two-pac red and five layers of two-pac clear to achieve that 'so deep you can swim in it' look. The bathtubs are surrounded by fibreglass covers that are molded to match the boot sides and seals. These are vacuum formed in vinyl and colour dyed to match the cars internal grey panels. Small plexi-glass windows in the top of each panel allow the viewer to see into the area behind each amplifier rack where two Stinger Expert 1.2 farad power caps are located and lit buy blue light.
While the boot panels were coming along nicely the rest of the system install was also attended too. The entire boot and various parts of the cars floor are deadened with Dynamat sound deadening so give it a much quieter interior. Up front under the bonnet an Optima D34M deep cycle battery offers power aplenty to the system. Running in conjunction with the twin caps, this car should just about never run out of power. As per the norm, a Fhrx Studios custom earthing kit was made up and installed along with Stinger fuse holder. All aftermarket parts are mounted to custom alloy brackets to avoid drilling holes anywhere. This also allows the car to be returned to factory should Peter ever sell it. Stinger Expert zero gauge and four gauge cables are used everywhere within the car as are Stinger speaker and RCA cables.
Moving to the front stage, the doors of the car are fully deadening inside and out with two layers of deadening. There are also Dynamat DynaXorb diffuser panels installed inside the door to prevent sound wave reflections. The baffles are custom made to attach to the factory screw locations and are sealed into the door to give the Morel Elate 6 midrange as much midbass punch as possible. The Morel Elate tweeters are located in custom made fibreglass A-pillars that have also been vacuum formed and dyed to match the cars existing interior grain and colour. These give the car an amazing sound stage.
Last but certainly not least, the subwoofer was the last hurdle to overcome. After listening to a plethora of subwoofers both here at Fhrx Studios and at sound offs and other events, the Diamond D9 12" was chosen due to it's remarkable accuracy and ability to play right down into the lowest subsonic regions. The subwoofer lives in a custom painted enclosure that measures 1.05cf in volume. This gives the subwoofer a superb roll off curve and allows it to handle all rumbling duties admirably without fuss nor hint of struggle. And just in case Peter feels like letting everyone in the neighbourhood know that he is feeling jovial, the subwoofer can be turned up to the point where it putputs a titanic amount of noise.
So at this stage the car is ready for the upcoming competition season but as hinted at above, both Fhrx Studios and Peter have bigger and better plans for the install.