AES Technical Committee

Automotive Audio

Chair:    Alfred Svobodnik      Send Email
Vice Chair:    Pat Dennis      Send Email

The Mission of this committee is to:

- Encourage the development of technical papers workshops, tutorials, master classes and poster sessions in the field of automotive audio

- Promote awareness of new trends and developments that may impact Automotive audio

- Encourage technical communications within the vehicular audio community

- Propose the development of new automotive audio standards

- Create an awareness within the larger audio community of the engineering challenges and excellence of premium vehicular audio

- Discuss unique applications of audio transducers into the automotive environment


Areas of Concentration

- Automotive Transducers

- Vehicular System Design

- Objective System Evaluation

- Subjective System Evaluation

- New Audio Sources and Music Delivery Systems

- Automotive Mulitchannel Sound and 3D

- Noise production and cancellation

- Amplifiers

- Loudness

- Advanced DSP

- Industrial Design

- Loudspeaker Integration/Packaging

- Vehicle Sound Design

- Sound Field Control

Current Areas Of Work

- Max SPL

- Automotive loudspeaker measurements

- Common best practice

Recent/Planned Activities

Recent Activity:

145th AES International Convention in New York, NY: Meeting of the AES Technical Committee for Automotive Audio.

Planned Activity:

146th AES International Convention Dublin, Ireland: Meeting of the AES Technical Committee for Automotive Audio (March 20 - 23, exact date/time TBD).

AES 2019 International Conference on Automotive Audio in Neuburg an der Donau, near Munich, Germany, Sept 11- 13, 2019. See AES Events page for more details.

Automotive Audio Trends

1. Vehicles with built-in Internet capability (via high speed phone connection, etc.) could present numerous music and talk selections at higher quality than most other data-reduced sources. At least one OEM is working on personal audio to allow people to have the same data & source material they have at home in the car. Connectivity may be based on the user's mobile phone. Some OEM's are considering using a dedicated server to control quality.

The current mobile phone system would be burdened to near unusablilty by a high percentage of customers using a large number of music channels, so minimizing station selection, data reduction and speeds beyond 4G will likely be necessary. This is especially true in urban areas at current cell tower density levels.

There is, however, a growing number of people that are using this kind of service with little difficulty. The though that this will replace FM, AM, Satellite and CD has occurred to some persons and others see this is unlikely and at least premature.

An Update: A recent survey of 1036 adults indicates still a strong preference for AM/FM and CD music sources. USB and other removable or portable sources are becoming important source of music.

Vehicles with built-in wireless routers are now being offered to occupants that likely means listening to music over headphones via phones or tablets.

2. Premium receivers are beginning to appear that do not include CD players. Increasingly larger USB drives are becoming a primary music storage medium, along with bluetooth-connected smart phones with their often large music libraries.

3. There is an interest in providing sounds for very quiet cars such as electric vehicles. These include "engine start" and "engine running" sounds for inside the vehicle and pedestrian safety sounds for outside the vehicle. This was a major discussion topic at the Munich AA Conference.

4. SSD's are replacing mechanical hard drives as preferred storage when cost permits.

5. Objective measurement is still battling subjective listening tests as a final authority for OEMs. SPL vs. distortion measurements are quite good now, and directionally correct frequency response measurements are improving. Spatial measurement capability has been developed and evaluated.

6. Trends towards higher performance audio systems is in direct conflict with recent trends of cost and weight reduction of components in automobiles. Increased application of neodymium magnets may help.

7. Neodymium metal costs are still high and are variable. As of this past May, price of Neodymium Metal is $87/kg US. It is still risky for a supplier to quote neodymium speakers because of price variability.

With high neo prices, speaker customers need a strong set of specifications to insure that suppliers maintain speaker sensitivity and Xmax.

8. Planar style speakers are now found in vehicles. These are not totally flat, but have profiles of 10 mm or less. Some examples have shown very low sensitivity.

9. HD radio components are now for sale. In the US, AM HD radio offers much higher fidelity and FM HD offers additional program sources. Because of the fidelity difference on AM, rapid switching in fringe areas must be carefully managed. Spectral compression artifacts are mentioned with HD AM.

10. "Surround sound" is almost mandatory in high-end automotive systems, even when the source is limited to two-channel (via upmix algorithms). Some listeners sense that some surround systems provide limited envelopment on both stereo and most "surround" source material.

11. There is almost universal branding of audio systems in luxury cars. Newer brands are emerging. The maximum number of speakers used in luxury vehicle systems seems to be leveling out at 18 ± 2. An exception to this is a 34-speaker system soon to be released.

12. Voice recognition systems for telephone and navigation functions are now quite sophisticated and enjoy wide application.

13. Active noise cancellation by the audio system is being used for exhaust drone under condition of cylinder deactivation.

14. Active road noise bass and/or level compensation now enjoy a widespread market presence. Basic versions are available in many OEM head units while some high-end premium systems have more sophisticated implementations.

Simple systems use the speedometer signal to apply predefined loudness curves. Others use microphones to measure the current cabin noise, after separating the music, allowing more targeted equalization or bass/level compression to be applied.

15. Switching audio is now common in automotive amplifiers. Switching audio cost are becoming comparable with older AB amplifiers, as the heat sink requirement is minimized. Important for electric vehicles is the low current draw under most all audio power output conditions.

16. Aftermarket audio now represents a very small part of the automotive audio market. OEM head unit and speaker reliability is comparatively good, and performance of OEM systems is often quite good enough for most listeners.

17. Rear seat audio performance may be important in China and other countries, as some who can afford automobiles can also afford drivers.

18. There are still parts of the world where 5.1 and high-level premium audio are not featured in most vehicle's audio lineups. These systems can take advantage of inexpensive, powerful audio DSP systems to improve performance.

19. Audio system designers are frustrated by performance differences between concept vehicles and production implementations. Reasons for differences include sealing issues, material changes, structure differences, etc. Even 1-2 dB differences in side to side acoustic balance can degrade spatial performance.

Strategies to address this issue include tightening specification, but this is unlikely to completely solve this problem. Post-manufacturing re-equalization could also help, if a good way to do this can be found. This issue was discussed in Munich.

20. Modern surround sound encoding algorithms use metadata to send 5.1 information in about the same bandwidth as stereo information. Offerings include Dolby Digital Plus, DTS Neural Surround and MPEG Surround (MPEG-2 TS. I think), This could kindle more interest in surround sound. One hopes that surround offerings become somewhat standardized, but production standards may not exist.


Meeting Report:

These documents do not necessarily express the official position of the AES on the issues discussed at these meetings, and only represent the views of committee members participating in the discussion. Any unauthorized use of these publications is prohibited. Authorization must be obtained from the Executive Director of the AES: Email, Tel: +1 212 661 8528, Address: 551 Fifth Ave., Suite 1225, New York, New York 10176, USA.

2019-3-21     TC-AA Meeting/Web Meeting Dublin, Ireland 3/21/19
Description: Meeting minutes from meeting/Web meeting held on 3/21/19 at AES Convention in Dublin, Ireland

2019-2-13     TC-AA Web Meeting 2/13/19 Minutes
Description: Meeting minutes from web meeting held on 2/13/19

2019-1-3     TC-AA Web Meeting 12/12/18 Minutes
Description: Meeting minutes from web meeting held on 12/12/18


Technical Report:

2019-4-11     AES 146th Dublin - Impact and Audibility of Distortion in Auto Audio - J. Schlechter
Description: Presentation during Workshop - Impact and Audibility of Distortion in Automotive Audio System by Joachim Schlechter

2019-4-11     AES 146th Dublin - Impact and Audibility of Distortion in Auto Audio - R. Kassier
Description: Presentation during Workshop - Impact and Audibility of Distortion in Automotive Audio System by Rafael Kassier

2019-4-11     AES 146th Dublin - Impact and Audibility of Distortion in Auto Audio - S. Temme
Description: Presentation during Workshop - Impact and Audibility of Distortion in Automotive Audio System by Steve Temme

2019-4-11     AES 146th Dublin - Impact and Audibility of Distortion in Auto Audio - R. Shively
Description: Presentation during Workshop - Impact and Audibility of Distortion in Automotive Audio System by Roger Shively


Committee Members

 Robert Schulein  David Clark  Laurie Fincham 
 W.A. Deutsch  Marshall Buck  Jim Hunter 
 Peter Mapp  Earl Geddes  Floyd Toole 
 Eric Benjamin  Alan Phillips  Jonathan Lane 
 Matt Ruhlen  Martin Lindsay  John Stewart 
 Soren Bech  Mark Ziemba  Kim Rishoej 
 Spiro Iraclianos  Sean Olive  David Carlstrom 
 Steve Temme  Karlheinz Brandenburg  Jim Stratman 
 Thomas Gmeiner  Jayant Datta  Roger Shively 
 Ed Maniet  Todd Welti  Steve Hutt 
 Roy Delgado  Ruediger Fleischer  Tom Conlin 
 Scott Orth  Kevin Heber  Jyri Huopaniemi 
 Guy A. Torio  Thomas Sporer  Robert Sloan 
 Angelo Farina  Arndt Hensgens  Matthew Watson 
 Jan Pedersen  Sean Thomson  Brett Hanes 
 John Busenitz  Wolfgang Klippel  Mike Harris 
 Kevin Bastyr  Ryan Mihelich  Natanya Ford 
 Emanuele Ugolotti  Dave Baehr  Tyrone Hunter 
 Geoff Hill  Garry Feeley  Brian Sterling 
 Michael Noll  Hans Lahti  Michael Truman 
 Timo Esser  Michael J. Strauss  Robert Franks 
 Wolfgang Hess  Richard S Stroud  Christian Tasch 
 William L Martens  Kenneth Deetz  Dave Wilson 
 Robert Hartman  Christof Faller  John Yungman 
 Bradley Eid  Tim Richardson  Alan Trevena 
 Wontak Kim  Stel Anthony  Kelvin Griffiths 
 Jean-Philippe Dupire  Shinji Koyano  Krestian Pedersen 
 Toby Newman  Viv Railton  George Weaver 
 Kristina Busenitz  Philipp Krejci  Matthias von Saint-George 
 Morten Lydolf  Jon Zenor  Phil Simpkins 
 Josh King  Andrew Goeppner  Brent Karley 
 Volker Hochwald  Jason Kemmerer  Brian Knauss 
 Roger Kessler  Tobias Warmbrunn  Soonkwon Paik 
 Tom Ammermann  Jay Krusac  Timothy Jackson 
 Jeff Koch  Jonathan Pierce  Mae Nutley 
 Vitor Soares  Tyler Walker  Peter Primo 
 Peter Perzlmaier  Matt Jones  Armin Hoh 
 Niyati Desai  Patrick James Hegarty  Christopher Matthews 
 Pat Dennis  Daniel Foley  Tadeo Spraggon-Hernandez 
 Stefan Varga  Luke Blaszczynski  Christophe Macours 
 Armin Prommersberger  Shinichi Sato  Marcin Kalinowski 
 Pietro Massini  Stefan Holzhäuser  Hans Juergen Regl 
 Alfred Svobodnik  Chen Chienhao  Rafael Kassier 
 Paul Beckmann  Florian Rill  Piergiovanni Bazzana 
 Jeff Tackett  Benedetto Altieri  Hessam Alavi 
 Thomas Beer  Arnold Knott  Christian Uhle 
 Renato Yamane  Jigar Kapadia  Toni Treichel 
 Sachin Karajagi  Tom Morrow  Kai Inha 
 Toy Zhang  Fré Jorritsma  Lena Schell-Majoor 
 Jakub Honkisz  Garrett Laskowski  Martin Berg 
 Michael Adenauer  Peter Pörs  Andrew Manns 
 Balazs Kakonyi  Wolfram Jaehn  Tom Heed 
 Shinkyu Kang  Hebert Etzel  Seno Adi Wibowo 
 Sandra Brix  Glenn Cass  Jungwoo Han 
 Steffen Bergweiler  Stefan Behr  Simon Woolard 
 Juliano Medeiros  Tom Breithaupt  Stefan Irrgang 
 Dave Ernst  Christian Schmidberger  Nazrizal A. Tajuddin 
 David Navone  Jeff Bailey  Mo Yeol Kim 
 Siegmund Schreiber  Christopher Herold  Frederico Conte 
 K. C. Furge  Patrick Putzolu  Deersheet Mehta 
 Steve Swanson  john Feng  Ken Kantor 
 Gregor Höhne  Andreas Suess  Rishi Daftuar 
 Dirk Thomschke  Joe D'Angelo  Markus Christoph 
 Jonathan Christian  Mark Kalman  Oliver Alic 
 Edgar Kirk  Jurgen Gach  Neil Pedinoff 
 Carsten Schulz  Marco Castro  Nigel Fletcher 
 Andreas Fritsch  Robert Hewitt  Richard Clark 
 Imre Csonka  Kyangsil Lim  Stan Smith 
 Steve Hoshaw  Raymond Seymour  Lin Lin 
 Gerhard Pfaffinger  Jung Uk Noh  Thomas Bachmann 
 Bernard Fox  Brian Leu  Barry Moskowitz 
 Gregory Sikora  Thomas Guignard  Bartlomiej Kukulski 
 Francesco Baccelli  Wesam Ishaq  Viktor Dobos 
 Stefan Dorr  Matteo Nucci  Manuel Perucci 
 Maja Gagic  Joachim Schlechter  Philipp Paul Klose 
 Laurent Gagliardini 

To request membership in this Technical Committee please email the Chair by using the link above.

AES - Audio Engineering Society