Earl had two systems in his famous red BMW 540i.

Version #2, with Milbert tube amps and also noted for its earlobe/head-position laser guide and Sony XES-Z50 system with rearview mirror mounted display (suggested by his daughter Julie), includes B&W 801D 15" woofers mounted in the front floorboards and non-moving dash speaker "pods" that hold the unique FST 6" midrange and Signature Silver tweeter (from the B&W Nautilus Prestige). Pictures and details from Version #2 are shown above.

Version #1 had Milbert tube amps plus a Sony ES system with B&W Signature 800 speakers with up-front/in-fender/side-mounted 13" woofers and motorized dash speakers (4" midrange + bullet tweeter) that raised up and twirled out of the dash when the system was powered on. The pictures and details below refer mostly to Version #1.

The car sports Racing Dynamics rims with P700 17-inch tires, Dinan engine chip (325HP), shocks and rear suspension.

325HP + 315ft-lbs. Torque // Top Speed I have Had The Car To so far is 153 MPH, and it was still going. Not bad for a family sedan. I learned a bit about high speed driving from my old boss in Germany on the Autobahn, numerous times.

Over $50,000 of labor and equipment. Milbert Amplifiers vacuum tube amps along with exotic B&W 801 Nautilus speakers, Straightwire interconnects, Streetwire power wiring, ZAPCO, and Sony XES. Two 15" subs in the front fender/floor and custom molded pods for the tweeters and mids. Remote controls and display for system. An everyday driving car with sound from heaven.

Missing from the explanations is the importance of time alignment (via the Sony head unit), the taughtness of the bass and overall impact (due to having all B&W speakers up front), the overall quality of the speakers and wiring (B&W 801 Nautilus & Straight Wire Maestro), and the smooth purity and natural sound of the midranges and tweeters (Milbert tube amps).

This car and the stereo system was featured in Time Magazine, CNBC, MTV, 14 TV stations throughout the US, 211 newspapers around the US and 27 other magazines worldwide.

This was the first competition car:

• to have fold open fenders
• to use the B&W 801 and Silver Signature speaker system in a car
• in the world to have the B & W 801 Nautilus System installed in a car
• to use the all digital Sony XES system
• with laser-alignment for the driver's head sweet-spot positioning
• to compete with the Milbert vacuum-tube amplifiers
• to have speakers that rise out of the dash
• to have a motorized tweeter that spins to face listeners
• to have mid and tweeters directly on axis within 2 degrees of drivers ears
• to have such extensive machining work throughout the entire car
• to have a microwave speaker protection system
• to have a machined tube venting system for Optima battery
• to use Straightwire Maestro speaker cables
• to mold the ES stalk into the steering column for easy operation
• to change the color of the fluorescent display
• to have a write-up in BMW Roundel magazine in 15 years
• to have a custom equipment rack made of African Zebra Wood
• to be in Time Digital magazine (4,250,000 circulation)
• to appear on CNBC television

I wanted this part of the car to shine for extra points. Due to the large power draw of the system, two batteries were needed. Instead of just using a cable between the batteries, Henry got a brainstorm and the work started. The end result was great. What to do about venting the battery? Another Henry brainstorm. Why not make caps to fit over the battery vents and pipe it to the outside. The final touch was to gold plate all of the battery for a highlighted and different look.

• Start with a solid brass bar and get it true.
• Round the edges and thread the end posts so they grip the battery.
• Cut the expansion slot with a side cutter.
• Aluminum wire, guide brackets were machined to fit cable and battery stubs.
• For the battery vents, square metal was first drilled with vent holes.
• Then turned on the lathe inside and out.
• Screws then had their centers drilled out so gas can flow.
• Final caps are shown.
• Who could miss the gold plating?

Again, if you have some space let's highlight it and do something special. Henry came up with a strong plan for making these parts. Machining new capacitor bars and rods out of solid brass and making a wire loom bracket for the fuse block. I always get a bunch of points for this.

• A solid piece of brass was first marked off for shape.
• This was followed with some machine work and smoothing of the edges.
• A brass rod was then put on the lathe and sized with a end notch.
• Another special shaped positive power connector was then made.
• It then bolted together as one unit as planned.
• Looms for the cables were then added to the fuse block.
• When all was done, it was clear coated for safety reasons. You can touch most of the brass and nothing conducts to the touch. This prevented us from having to make a Plexiglas cover, which would have ruined the look.

After competing for five years, you get to see that 99.9% of the cars have stretch carpeting because it is easy to install. After a while, most of the trunks look the same, with the same fuzz. On one occasion, I saw a new Rolls Royce trunk, and this changed my thought pattern. It look finished, with all edges neatly stitched: a nice clean look. That is when the decision was made to go with hard-backed carpet. Keep in mind this is very hard to work with. If you can completely do a trunk in stretch carpet in 6 hours, this will take three to four times longer and a lot of muscle. When you see the car in person, you tell me if the effort was worth the time. Most everyone comments on the clean look.

• The spare-tire well gets carpeted.
• Next a board was trimmed to size and a cutout for the spare tire was made.
• A metal support ring was then made to hold the spare tire cover board.
• The entire assembly was then carpeted.
• I bought new factory trunk side panels for recovering.
• First thing that needed to be done was to strip the rubber backing off of carpet.
• A major job in itself. The rear, seat armrest board was then covered with a tube made to cover edges.
• The side panel was done in two pieces due to certain curves on the panel.
• All edges were taped so the glue would dry with a tight fit.
• Notice finished side panels with their clean look?
• The bottom panel of trunk was then stitched around the entire edge.
• Carpet was cut for the struts and edges turned first and glued.
• Carpet was then wrapped and all edges filled in.
• The same was done for the trunk hinges.
• Rear sill panel for the lights were carpeted for a factory look.

The idea was to get a very strong front stage of which the subs were considered part of. So the placement of the subs ahead of the listener was the natural choice.

It is sometimes hard to locate bass, but when the subs are right in front of you, their location is easily found. Many people have listened and always comment on the very accurate and strong bass line. Keep in mind that since the subs are up front, the sound hits less surfaces and bounces and changes directions fewer times before hitting the listener. These subs have a resonant frequency of 17 Hz running full free air. The subs will port through this cutout.

• First the fender was removed and the original brackets that held them in place were modified for easy removal of outer fender at judging time.
• The car body was opened up and trimmed to the same shape as the sub ring opening.
• Then the Bridgeport Milling machine did all cuts within 5/1000 of an inch tolerance.
• Due to the hardness and thickness of the steel, three passes were made, each one deeper.
• Once the ring was positioned into place and clamped down the welding could start.
• The front and back of the ring, got welded all around for added support to the car.
• Holes were then tapped and threaded for the woofer box mounting.

The rear deck fuse block was added for the halogen lights, antenna and Sony XES fuse. This was all done under the rear speaker grill. The grill now covers the fuse block and is easily removable for display.

• A wood box was first made and then all cable holes got drilled.
• The box was then carpeted with factory stock.
• A top carpet trim piece was then stitched for a finished look.

DYNAMAT:

DYNAMAT: DOORS

DYNAMAT: ROOF / HEADLINER

DYNAMAT: HOOD

DYNAMAT: TRUNK LID

DYNAMAT:

DYNAMAT: TRUNK LINING

Without Dynamat sound deadening material in this car, I could never get the real sound that it is capable of producing. One to eight layers of different Dynamat was used in all different places throughout the car. Lots of Dynamat pictured, and throughout many of the other car construction pages. You should get the idea this is a very solid car with no extra vibrations.

To be a top-scoring car you need to be different with your ideas. This is the first IASCA car to compete with fenders that fold open. They are totally waterproof and just before most shows, I just dust the inside down for a clean look. This idea has taken many judges by surprise. Changing a woofer is also made easier.

My record for opening up the fender from scratch is 37 seconds. Due to the closeness of the sub to the back of the fender, a lot of reflected bass was hitting the sub and producing a slightly boomy sound. To fix this, four soft DEFLEX panels were glued to the inside of the fender. Any sound or energy that hits these pads dies right there. After putting them in, there was a noticeable improvement in the sub response and sound.

• An adjustable stainless-steel cable holder was made and drilled into the car body.
• This allows me to set how much I want the fender to open for display.
• Having the fender stay in this position allows me to keep the presentation moving without having to worry about where to put the fender.
• Glue was applied and the DEFLEX pads to hold them firmly in place.
• Two panels were then applied per fender.

To keep this system easy to use, I had the main system controller mounted on the steering column. I never need to remove my hands or fingers off of the steering wheel to do any system function. It also looks factory, because it is mounted at the same angles as factory turn signals and wiper stalk.

• The stalk was bolted into place, and all angles got adjusted.
• Bondo was then applied and it was sanded smooth.
• The entire unit was then painted.

This car did have the display in the factory radio position, but this time I felt brave. I always had to take my eye off the road to see the display. So this time it was put at eye level. The mirror got reformed. All system functions are in the mirror now, like the remote receiver.

Earl's original BMW (the white one) had the Sony head unit display mounted in the dashboard. That was cool, but it was his daughter Julie's idea (and insistence) to move the display up onto the rear view mirror in the red BMW.

• The factory mirror and the Sony XES head unit get joined into one piece.
• Bondo forming and sanding was then followed by more sanding.
• The control cable exits the rear with a grommet. Paint was then applied.

I have been in some other competition cars, and when someone would sit in the rear seat the seat back or bottom would sink in sometimes. This was due to woofers behind the seat with all support for the cushions removed. Since I use this car every day, a good rear seat with the correct support was needed. Secondly, why not use the area under the seat to gain more points? So I made it a display area and fully finished.

Photo Descriptions

• Rear seat, bottom cover was removed to expose the foam.
• 1/8 inch, thick metal was heated and bent into shape. This could support hundreds of pounds.
• It was then attached to the seat body and formed into a different shape due to the two larger then stock batteries.
• For the under seat and battery cover plate, tin foil was laid down to the needed shape.
• Seven layers of fiberglass were then applied.
• After it was dry, Bondo was used to smooth out this piece.
• An opening was left to highlight the running of speakers cables.
• Easy removal was a must in the design.
• And the finished look.

PODS: PASSENGER

If you want the most impact from a system, be sure the sound hits your face before it hits any inside surfaces of the car. Putting the speaker pods in top of dash position assures this. No flat surfaces, but all hand contoured and sanded. The design follows in the footsteps of the B&W Nautilus Sea Shell design. The pods are free air and vent to under the dash, where Deflex panels are waiting to disperse any leftover sound. In person they I look elegant and like a piece of art.

Photo Descriptions

• We first made some molding foam, and then cut it down in size.
• Inch by inch Jim shaved and formed to the new shape, while trying it in place.
• When the form got close, the long process of filling, shaping and continuous sanding goes on.
• The front of the pods got put on a sanding belt for a flat speaker mounting surface.
• Two pods on the table ready to be fiberglassed.

The new B&W Nautilus system uses a newly designed 15" hollow magnet woofer. To keep the sound as close as the original designer wanted, I kept the 15 inch. A tough fit but after some listening, well worth it. Anyway when is the last time you saw a regular sedan with 2 15" subs in that location? Size matters!!

Photo Descriptions

• All wires in passenger area get tied down.
• The front plate gets shaped and put into place with sub and side panel.
• The speaker ports into the fender.
• Halogen lights are then installed for color accenting during presentations, and fiberglassing begins.
• Deflex panels were glued into place. Having Deflex in the sub enclosure is VERY important to the end sound quality. VERY highly recommended.
• Carpet was glued down for the front grill area and trimmed.
• Catch the size of that magnet.
• Finished shots of passenger and driver side subs after painting.

• The top rear lid was not level so we had to build a new level one so all equipment would lay flat.
• We started with a metal panel and trimmed it into place.
• Holes for wires and grommets got drilled.
• The space left on the front edge got Bondo filled and sanded.
• Next we made trunk lid arm trim covers and then fit them into place. Carpet was then applied.

I was tired of all the trunks done in stretch gray carpet, so I said "Why not an exotic wood with a strong grain?" I picked Zebra Wood from South Africa. This wood once cut is soaked in elephant manure for three months to darken up the grain. (When you sand this wood, it smells very bad).

Both amplifiers are mounted on German chromed Steel Spikes. This gives me a different and distinct look compared to any other car. All amps, players and ES system are suspended from the rear deck by rods. In person, this look is strong.

• Trunk lid gets covered with Dynamat and then with forming board.
• BMW factory carpet is then applied and a rubber edge is put on.
• A plywood form was made before cutting the final Zebra Wood. This wood is too expensive to waste.
• Once cut, all edges were sanded down.
• I used 600-grit sandpaper to finish the surface before clear coating.
• Cable and spike holes were drilled on a press.
• Grommets were drilled out for all cables.

Earl's BMW was among the first to use this technique, at least ten years before Mercedes-Benz' 2005 patent.

Perhaps Earl's car showed Mercedes how to do bass? -- "...the frame utilizes an unconventional body structure that enables the 'front bass' music system design, and indeed the 2012 'SL' models will be the first to feature mercedes's 'front bass' audio system, which provides clearer bass and dynamic range...instead of featuring bass speakers installed in the doors, the system places them in the footwell in front of the driver and front passenger...cavities behind the speakers act as resonating chambers, while the location at the vehicle's front, framed by the floor and underside of the dashboard, funnels and concentrates the sound." designboom

The Absolute Sound Sep 2012:

"...Mercedes-Benz has created a novel technique for greatly improving the sound of car audio. The technology, called FrontBass, moves the woofers from the door panels to the footwells and uses the car's structural beams as enclosures behind the woofers...The primary reason for this unusual placement was the opportunity to load the woofers in the 'longitudinal beams,' two hollow rectangular structural members that run parallel to the ground from the footwell toward the engine compartment. Loading the woofers in relatively large sturdy metal chambers of just over half a cubic foot each instead of the doors confers significant sonic virtues, as you might imagine.

"The SL 550 sounded extraordinary, with wide dynamics, outstanding bass, and a big, open sound that belied the two-seat roadster's small interior volume. Playing tracks from organist Joey DeFrancesco's CD Part III, I heard bass depth and pitch resolution that was unlike any other car audio system I've heard. On many tracks DeFrancesco plays the bass line on the Hammond B3's pedals, and the SL 550 kept up with the very high levels of very low bass. I played this track at unrealistically loud levels to test the system and was surprised by the bass' depth and power, lack of strain, and clarity of pitch. If the audio system can handle this disc at these playback levels, it can handle anything. Kick drum not only had real extension and impact, but the SL 550 system exhibited a transient fidelity that I've not heard before in an OEM car audio system. That is, the kick drum had a steep transient attack and equally sudden decay, infusing the music with a lively and propulsive quality rather than sounding thick and slow.

"Vocals on the Signature Sound disc were particularly impressive, with convincing imaging above the dashboard. Lead vocals and other centrally placed instruments were spatially distinct from the rest of the mix, but fully integrated with it rather than sounding detached or disembodied. It's an interesting phenomenon to hear from a car stereo a centrally placed image as a pinpoint in space (just as we hear it from a high-end home system).

"The midrange and treble were similarly impressive, with a smooth yet detailed tonal balance. The cymbals on the great 88 Basie Street combined delicacy and finesse with detail and resolution. The sense of air around the cymbals was also outstanding. I was particularly impressed by how much the sound changed with the recording quality. The SL 550's system didn't impose a "sameness" to all music, but rather was transparent enough to resolve subtle differences. Overall, the SL 550's audio system was terrific, particularly considering the small cabin. I wish I could have heard the top-of-the-line B&O system.

"The car environment poses some difficult challenges for audio designers. The speaker placement options are limited, there's lots of reflective glass, and the cabin volume is small. On the plus side, however, the designer has several advantages over, say, a designer of freestanding loudspeakers. The car-audio designer knows precisely where the speakers will be positioned, where the boundaries are, and where the listener will sit. The design team behind FrontBass and the SL 550's audio took maximum advantage of these variables to create an exceptional-sounding system."