# The Magic Bus Will be Exhibiting at T.H.E. Show Newport, May 31 - June 2!



## jon w. (Nov 14, 2008)

I’m pleased to announce that the world-famous “Magic Bus” will be available for you to see and hear at The Home Entertainment Show Newport Beach, or "T.H.E. Show Newport" for short, at the Hilton Hotel in Irvine, CA, on May 31 through June 2, 2013, inclusive (www.theshownewport.com). The Magic Bus will exhibited out-of-doors on the tennis court along with other exotic cars. There will be plenty of signs and personnel available to direct you to the Magic Bus! I cordially invite you to experience the ONLY mobile audio system in the world to appear on the cover of _*the abso!ute sound®*_ magazine as “*The World’s Best Car Stereo*”.

For those unfamiliar with my work, the Magic Bus is my lifetime masterpiece, and considered by many to be a mobile audio system without rival (please refer to the publications and endorsements at Welcome to Whitledge Designs!). The Magic Bus' audio system, installed in an unconventional, but acoustically favorable, Mercedes Sprinter van, was designed purely for sound quality and comprises of nine Dynaudio loudspeaker transducers, powered by six Genesis amplifiers capable of producing 4,620 Watts! Each of the six loudspeaker transducers (two Esotar tweeters, two MW150 midranges, and two MW180 woofers) in the two-channel, three-way, stereo front sound stage are powered by a dedicated monoblock amplifier and actively controlled by a dedicated channel of the 96 kHz - 24 bit digital signal processor (Alpine’s F#1 Status PXI-H990). The mono subwoofer, comprises of three large Dynaudio Esotar subwoofer transducers powered by three Genesis amplifiers capable of producing 3,300 Watts! The 300-pound subwoofer enclosure was laminated from multiple layers of Baltic birch, and resides on properly tuned military-grade generator mounts. A seventh channel of the digital signal processor actively controls the subwoofer system, which has full, proportional output down to 10 Hz!

As most audiophiles know, audio systems are only as good as the room in which they are installed. The scientifically designed, and computer-optimized, acoustics inside the Magic Bus takes mobile audio listening to a new height with an unprecedented balance of studio quality reverberation times. This remarkable achievement was made possible by an industry-first use of 54 acoustically functional panels, consisting of *34 Helmholtz absorbers* and *20 binary amplitude diffusers*, resulting in what surely must be the highest performance mobile listening room ever built. To combine functionality with aesthetics, a prominent interior designer coordinated the colors and fabrics for the Magic Bus’ interior, which includes suede-covered headliners, custom carpeting, and acoustically functional draperies and window valances. The entire audio system, its supporting infrastructure, and the acoustical treatments weigh over 3,000 pounds! Although the interior of the Magic Bus, and its audio system, were meticulously tuned using state-of-the-art computer-based measurement systems, *Steve McCormack* (www.smcaudio.com), legendary audio component designer, performed the final system voicing by ear. The audio system took more than 9,800 hours to build and tune over the course of 6-1/2 years. 

*Robert Harley*, Editor-in-Chief of the abso!ute sound® magazine, heard the newly completed Magic Bus at T.H.E. Show Newport Beach (June 2011) and wrote in his show highlights,

_Jon Whitledge showed the latest incarnation of his ‘"Magic Bus", a van that houses what I called "The world’s best car stereo" when I heard it five years ago. Since then, Whitledge has taken the system to an entirely new level of performance. The design, construction, passion, and dedication that went into the Magic Bus are unprecedented, and it showed in the sound quality. The system had effortless dynamics, very high resolution of low-level detail, and tremendous timbral fidelity, throwing a soundstage that rivaled that of a well-set-up home system._

Other prominent audio industry veterans have also heard the Magic Bus and commented on its performance ...

_The Magic Bus by Jon Whitledge defines a new standard for mobile audio. I had the pleasure, via my company Straight Wire, of being involved with many of the top sound quality competition and demonstration vehicles since the mid 90’s. The Magic Bus is a testament to Jon Whitledge’s vision and great efforts to produce a moveable high end aural experience that will captivate all who have the pleasure to listen._
*-- Steven Hill / President / Straight Wire*

_Sound like none other - "music from the inside" - the goal of those with ears and hearts that care for what is left on earth as truth and beauty!_
*-- Jim Merod / Writer & Reviewer / Positive Feedback & Enjoy The Music*

_Absolutely phenomenal - both in terms of the result, and also the fantastic amount of work he has put into it. His ‘Magic Bus’ audio van is far and away the highest-performance audio system I have ever heard on wheels, but more importantly, it rivals the best home systems in many ways. _
*-- Steve McCormack / Designer / SMc Audio* 

_Audio References for me are based on tonal quality, stage height, width and depth and install quality. And until recently, there was not one vehicle that encompassed all of these characteristics. So I guess you could say I had many references. Jon’s van encompasses all of these, and even raises the stakes by smacking around many of the high-end home systems I’ve heard. Jon has worked, and will continue to work, very hard to achieve unparalleled excellence in his designs. This vehicle has been regarded as the best sounding vehicle many of the home and pro audio guys have ever heard, and they are a hard bunch to convince._
*-- Paul Messett / Sales and Marketing Manager / Cascade Audio Engineering*

_It is always a pleasure when you discover someone focused on following his or her passion. As a musician & producer, I have learned to gravitate towards people like this, for there is where you find the single-mindedness necessary to create the very special things in life ... Jon Whitledge loves musical performance. He has devoted himself to creating the ultimate automobile audio system. Armed with his extensive knowledge, ingenuity and attention to detail, along with the dedication of countless hours, he has produced a mobile listening environment that rivals the experience of being present when the music was created ... In these days of minimization, compression and dithering, it is a pleasure to come across someone interested in bringing out all the fullness and nuances of musical performance. On his system, my own recordings sounded as I remembered them in the studio._
*-- Chuck Perrin / Musician / Producer*

_Absolutely, positively the best bass I've ever heard in a car. … The noise floor in the system is as low as it gets. … It sounds like you're listening to a stereo in a bank vault. No electrical noise, and the isolation from the rest of the world is remarkable. … the Magic Bus isn't about bass, or soundstaging, or tonality. It's about EVERYTHING. So there are certainly car systems which will get louder, but I've never heard one that was as pitch-perfect in the bass. And there are systems with 'stealthier' installs, but none that can image like this. It's made me think about what's important in audio reproduction. … definitely a system for the most discerning listener._
*-- Patrick Bateman / respected DIYMA.com forum member*

And check out these video testimonials ...

Earl Zausmer Listens to the Magic Bus
*-- Earl Zausmer / Legendary mobile audio competitor / Industry consultant *

ANT Listens to the Magic Bus
*-- Anthony Collova / Owner / DIYMA Car Audio Forum *

Dan Brooks and Alan Clark Listen to the Magic Bus
*-- Mobile audio industry veterans*

The Magic Bus, Jon Whitledge, Larry Mitchell, and Alan Childs at 2013 CES
*-- Peter Breuninger / AVShowrooms.com*

Alan Childs Listens to the Magic Bus
*-- Alan Childs / Drummer in Rock of Ages at the Venetian / drummer for David Bowie, Julian Lennon, Rod Stewart, and more*

Notably, the Magic Bus is the only audio system in the world (to my knowledge) that is extensively autographed by Grammy award-winning, and otherwise famous and talented musicians. To date, I've acquired over 200 musicians' autographs, and continue to acquire more. I consider the Magic Bus a “rolling shrine” and a tribute to the musicians who light up our lives with harmony and sound. 

Because most of you will have traveled from all over the nation to see and hear the Magic Bus, I feel you deserve the best listening experience possible. Therefore, I'll be conducting one-on-one listening sessions at approximately 8-10 minute intervals. That means only about 40-50 lucky people per day will get to experience the Magic Bus. Feel free to bring your favorite audiophile recordings on CD (44.1 kHz - 16 bit) or DVD-Audio (96 kHz - 24 bit). As a special treat, I'll be playing selected, recently recorded, ultra high-resolution BluePort Jazz (BluePort Jazz | Hosted by Jim Merod), and Ikezi Music Foundation (JazzSanDiego_Home), recordings. The realism of these recordings is simply jaw dropping! Once you hear these, you won't want to listen to CDs anymore!

Seeing and hearing the revelatory audio system inside the Magic Bus is just one of the many reasons you'll want to attend this spectacular event. With the best in high-end audio, live jazz, classic and exotic cars, wineries, and fine cigars, I can't imagine a better place to be. I cordially invite you to T.H.E. Show Newport to share all of these great experiences!

Warmest Regards,
Jon R. Whitledge


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## jon w. (Nov 14, 2008)

*The Magic Bus discussion dump.*

Dear DIYMA.com friends,

For those of you interested in amplifier design, I'm pleased to share with you that my audio mentor, *Steve McCormack*, will be a panelist, among a group of distinguished amplifier designers, in a seminar entitled, _*The Amplifier Designer Toolbox*_, on *Sunday*, *June 2*, at *1:30 p.m.* Here are the details:

Session Title: _The Amplifier Designer Toolbox_

Session Description: 
Tubes, Transistors and Transformers. Amplifier designers have a bevy of choices at their disposal, from SET tube designs to state-of-the-moment digital amplification, and everything in between. Designers Jim White, Steve McCormack and Bruno Putzeys clarify the acronyms, delve into the choices and identify the benefits and downsides to the differing approaches.

Moderator:
*Peter Roth*; Associate Editor, SoundStage! Network & Vice President/Board Member, Los Angeles Orange County Audio Society

Panelists: 
*Jim White* | Aesthetix Audio | Founder and Principal, Head of R&D and Design
*Steve McCormack* | SMc Audio | Founder and Principal, Head of R&D and Design
*Bruno Putzeys* | Hypex Electronics & Mola Mola | Chief of R&D (Hypex) | Founder and Principal, Chief of R&D (Mola Mola)

*Jim White* was working his day job at Theta Digital in the early 1990s when he had the idea of making an all-tube phono stage. From that moment of inspiration sprung the Io phono stage, the product that launched Aesthetix. As Aesthetix has thrived into its third decade, Jim has designed two full lines of tube-based pre-amplification devices, a series of hybrid amplifiers, and most recently a pair of digital source components.

*Steve McCormack* has a long history in the world of high performance audio, from running The Mod Squad to the release of McCormack amplifiers of the 1990s and most recently and notably his cutting edge designs for SMc Audio. From his history of modifications to a clean-sheet design approach, Steve brings a unique perspective on amplification choices.

*Bruno Putzeys* has been on the forefront of digital amplification research, development and design since his days at Philips. Having developed and patented UcD amplifiers, he joined Hypex Electronics to further the development of OEM digital amplification modules, an effort resulting in their new NCore modules. Seeing an opportunity to shake up the consumer market, Bruno co-founded the new Mola Mola brand, which offers digital monoblock amplifiers (based on his NCore designs) and an analog preamplifier with optional, internal DAC and phono stage modules. 

I sincerely hope those of you interested in amplifier design will attend what is sure to be an informative seminar! For more information about *Steve McCormack* visit www.smcaudio.com. Steve will also be exhibiting with *The Lotus Group* in *Room 323* at the *Atrium Hotel*. 

Warmest regards,
Jon Whitledge
www.whitledgedesigns.com


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## ErinH (Feb 14, 2007)

thread cleaned up and all OT discussion moved here:
http://www.diymobileaudio.com/forum...cussion/148843-magic-bus-discussion-dump.html


Let's keep this one on topic.


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## jon w. (Nov 14, 2008)

Dear DIYMA.com friends,

As many of you know, I strive to make the Magic Bus *experience* original and unforgettable. In shows past, I’ve piped live instruments played by Grammy and Emmy award-winning musicians into the bus’ audio system. This year I’ve decided to do something a little more technical. I plan to conduct comparative listening tests between songs rendered in standard CD quality (44.1 kHz – 16 bit) and their hi-res (192 kHz – 24 bit or 176 kHz – 24 bit) downloaded counterparts. For these tests, I’ve chosen _Spanish Harlem_ by Rebecca Pidgeon and _Smash_ by Patricia Barber. 

Is hi-res really worth it? Is the Magic Bus capable of revealing differences between these resolutions? Can *you* hear the difference? I invite you to take a listen for yourself and decide. The results may surprise you!

I hope to see you at the show!

Jon


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## basshead (Sep 12, 2008)

Hi Jon, I've been looking into high resolution playback for a while and was looking at the F#1 combo you are using in the bus for my system.

I'm just wondering if you updated to a newer processor (if yes could you share) since the PXI-H990 will only process at 96kHz, "worse" if you are using the graphic EQ it goes down to 48kHz. 

For home I now have a system (Burson Audio Amp/Dac) that can play high resolution (192kHz/24bit) content and can't find any difference from 96 to 192, even from 48 to 96 24 bit I couldn't hear any difference, but from 44.1 16bit to 48 24bit it was a pretty big step. Can you notice a difference from 48 to 96 at 24bit with the bus?

Thanks

You should drive to Montreal, Canada with it. We have a big hifi show each spring Salon Son & Image, i'm sure it would be a hit.


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## cAsE sEnSiTiVe (Jun 24, 2008)

Yesterday I had the pleasure of meeting Jon, and listening to his bus for a minimum of least 2 hours. I am extremely impressed with what he has accomplished. The first thing it does better than any vehicle I have ever listened to, is that it so easily shows you the differences that exist between various recordings, whether subtle or readily apparent. Jon played a disc that had two songs on it (Rebecca Pidgeon's 'Spanish Harlem' & Patricia Barber's 'Smash', each back to back...each recorded in standard 16/44.1 resolution, and 24/176.4 resolution. The higher rez versions displayed an openness and transparency that the redbook offerings simply couldn't match, and Jon's Sprinter easily showed the differences.

The listening environment treatments that Jon was able to incorporate into the bus, really shows up in the lower regions, where there is simply no masking whatsoever of the fundamentals of various instruments, allowing you to hear the notes in their entirety, all the way up through the harmonics, with not a hint of blurring. 

Also very notable was how delicate cymbals were reproduced, with the detail and proper decaying that I would expect from a carefully assembled home rig, but so rarely have heard from a car. This bus can do delicacy and thunder in the blink of an eye....and do so without a hint of effort. 

The stage was rear-view mirror height, width was pillar to pillar when the recording called for it, front to back imaging cues were easily discernible. Even though the left A-pillar pod was fairly close to the listening position, it never once gave away its location....in fact, none of the drivers gave away their physical locations. 

The lower bass was superlative. It was as deep and tight as one could hope for, never calling attention to itself, simply blending in with the rest of the spectrum. The imaging of the mid-bass drivers never once pulled down the height of the stage, yet all the while adding just the right touch of body to the fundamentals of the notes being played or sung.

I really could go on and on here, and probably have  ...but you get the idea. He's really got something special here. 

Lastly and most importantly, I was very thankful to Jon for allowing me such a lengthy listening session in the midst of a show like that. He was very gracious, informative, and surprisingly very humble when it came to discussing his creation...probably more so than I'd be if the situations were reversed. lol

I climbed in with some pretty high expectations, and all of them were met...and then some.

My $.02

Bob


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## jon w. (Nov 14, 2008)

hi basshead,

great observations and great questions. 

first, i'm using the graphic EQ, so my PXI-H990 is rendering music in 48 kHz - 24 bit resolution. until you pointed this out, i thought my processor was rendering music at 96 kHz, but then i discovered a small statement on page 51 of the 111 page manual that states this fact.

your listening experience with various resolutions of audio are consistent with my experiences. i confess that i've not done a rigorous, scientific comparison of resolutions, and to be fair, this is more difficult than it seems. the best demonstration of audible differences between one song at various resolutions (that i have witnessed and heard) was conducted by *philip o'hanlon* of on a higher note (www.onahighernote.com). miraculously, he acquired a song from patricia barber rendered at all possible resolutions, individually, from the original master tape. in other words, the 44.1-16 version was not derived from a downsampled 192-24 version - it came from the original master tape. 

what i heard was a BIG jump in sound quality going from CD quality (44.1-16) to ANY of the higher rez formats. once i was hearing music at 48 kHz, and above, with 24 bits of depth, the differences were quite subtle. 

as i've acquired numerous hi-rez downloads from HDTacks.com, i've learned that recording techniques can play a bigger role in the quality of the rendered playback than resolution. listen to any CD recored by *gordon goodwin*'s big phat band and you might wonder why higher resolution would be necessary. but when great recording techniques are married with hi-rez, the results can be spectacular. for example, my recording of *gilbert castellanos* playing "guadalajara 1972", made by *jim merod* and *joe kubala* (192-24) is about as good as digital playback gets! the three-dimensional holographic imaging, transparency, tonality, and dynamics are simply jaw-dropping.

in the july/aug issue of _the absolute sound_®, *robert harley* wrote a wonderful and informative article entitled, "what exactly are CD and high-resolution audio? why sampling frequency and word length aren't everything". see attached *.pdf. 

*robert harley* interviewed *bob stuart* of meridian about the psychoacoustics of sound and digital resolution. please follow the link to this fabulous interview:

*TAS 194: MERIDIAN AUDIO'S BOB STUART TALKS WITH ROBERT HARLEY*
TAS 194: Meridian Audio's Bob Stuart Talks with Robert Harley | The Absolute Sound

i sincerely hope you found this information insightful. i would love to someday take the magic bus on a nationwide tour, and one of my destinations would certainly be montreal. 

warmest regards,
jon whitledge


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## HTX (Aug 7, 2007)

I have just one question, when are you coming to Texas?


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