In 1987 Automobile magazine commissioned me to evaluate the factory-installed sound systems in several cars. I took it upon myself to comment on the cars as well. Those comments were edited out of the story for publication. The entire text of the story appears here.

A MUSIC LOVER'S GUIDE TO THE NEW CARS
or

WHO CARES HOW IT HANDLES; HOW'S THE STEREO?

There are those for whom the song of the open road is simply the hum of a finely tuned engine, the mellow throb of an unrestricted exhaust, and the muted crackle of tires making short work of miles of pavement. In the right car, on the right road, on the right day, that's a siren song most of us find alluring. Regrettably, it's also a song heard far too infrequently: much of the time we're driving to places we don't want to be, in cars that fall short of our fantasies, through weather that's best left outside. Those times call for different songs, and to play those songs most of us have equipped our cars with sound systems. And, because the car companies have historically ignored the needs of the mobile music lover, those of us to whom music is important have gotten used to going to the "aftermarket" for our systems.

Some such systems consist merely of an in-dash radio/cassette player and two speakers. Some add an external amplifier, and maybe a second pair of speakers, to provide more volume and depth. The all-out audiophile might opt for a system incorporating several amplifiers, an equalizer, a dozen or more speakers, and an electronic crossover network. But no matter how simple or complex the system is, it will require installation, and oftentimes this involves elaborate, permanent, and very scary, incursions into to the depths of the car's interior. Not a pretty thought. True, in many instances the negative results of these alterations are minimal: the radio/cassette sits nicely in the dash, ancillary electronics are hidden in the trunk or glove box, and the speakers are mounted behind inconspicuous grilles. But every squeak or rattle will make you wonder whether a screw or two fell between the cracks when everything went back together.

But assuming the services of a first-rank installer, and given a car whose interior panels can be properly replaced after removal, even the very finest aftermarket equipment has a major drawback: you have no idea what it will all sound like until it's done. That's because your car's own acoustics play such a large role in determining the overall sound of the system. The car's sonic influence can't be determined before the fact, because it will vary depending upon the nature and location of the rest of the equipment. Still, there are guidelines which may be followed, and millions of motorists are genuinely happy with their add-on car stereos. Also happy are the companies making the stuff, for their combined annual sales are well over a billion dollars.

Sooner or later, the car companies decided that they wanted a piece of that action. Their first line of attack was to simply make it more difficult for consumers to opt for aftermarket equipment. Dashboards were designed to accept only the odd-sized radio supplied by the factory; radio installation packages (speaker and antenna wiring) were omitted from option lists; sound systems were provided as standard equipment, with little or no credit for their deletion. This approach didn't work. The aftermarket said "we can fit any hole you build, and not only that, we're going to sue you for restraint of trade." So, as a last resort, the car companies tried something truly radical. They decided to offer genuinely good sound systems of their own.

The first of these systems resulted from a joint effort by GM's Delco division and the Bose Corporation. A maker of home loudspeakers, Bose is noted both for its particular attention to the interaction between the speaker and its environment, and for an understanding of the use of active equalization as a tool for achieving the desired response. In designing the systems for GM, Bose was able to analyze the acoustics of the various interiors, and to create systems tailored specifically to those sonic environments. So precise were the measurements that a car with a leather interior got a different system than the same car with velour upholstery. The GM/Delco/Bose system made its debut as an option on the 1982 Seville and Eldorado/Riviera/Toronado, and deserved every one of its rave reviews. The system was so far superior to everything else available that comparisons were laughable. But five years is plenty of time for the industry at large to have developed their responses, and develop they have. Ford and Chrysler have established their own speaker company alliances, and the offshore manufacturers have taken dramatic steps to upgrade their offerings.

How successful have these efforts been? Is GM/Delco/Bose still the leader of the pack? I decided to find out by borrowing a bunch of cars. Beyond saving wear and tear on my own vehicles for a couple of months, this would allow me to assess the current state of the automotive high fidelity art, as defined by the car companies. So here goes, in impartial alphabetical order.

ACURA LEGEND
There's good news and bad news about the Acura Legend. The good news is that it feels just like a Honda Accord: comfortable, well-built, and competent. Problem is, that's the bad news too. For all of its competence, at $20,000 the Legend is just a bit too bland. As a luxury sedan, it falls short in poshness, spaciousness, and gadgetry — not even power seats! And as a performance sedan it is a difficult car to drive both quickly and smoothly. The steering's abrupt transition from full power assist to next-to-none is disconcerting, and the automatic transmission's indecision and gear ratio complement makes the very smooth and powerful V6 engine work much harder than I suspect it needs to. Never mind that the numbers indicate otherwise: the Legend doesn't feel like a performance car.

It is, however, a nice car to sit back and listen to music in. With everything buttoned up tight the Legend becomes a quiet, comfortable listening room, and it's been provided with a fairly impressive sound system. FM reception is among the best I've encountered, and the tape player is fairly immune to what little road shock makes its way into the cabin. The faceplates are fairly well packed with tiny controls, but a pod near the steering wheel contains auxiliary control for volume, station scan, and tape scan. An electronically-controlled equalizer is part of the package, and while I normally have no use for such things, this one is useful in that several settings, allowing for differing musical tastes, can be stored in memory for instant recall. The whole system, including the speakers, is nicely integrated into the car's interior: it doesn't look like an installed-at-the-port-of-entry afterthought, as is often the case with imports.

Sonically, the Legend's system is very good. It sounds like a car stereo, but a splendid car stereo. There's no real deep bass, but the overall tonal balance is very pleasing. Clarity and fullness at relatively low volume levels is much better than average, as is its ability to play loudly without either amplifier- or speaker-derived distortion. In all, the sound system is almost good enough to compensate for the Legend's deficiencies as a road car.

AUDI 5000 CS QUATTRO WAGON
If ever there was a car that said "I can do it all" it's the Audi 5000 CS Quattro Wagon. Do you want Banzai acceleration, near escape-velocity top speed, and all-weather roadholding which — thanks to all-wheel-drive — demands that a whole new thesaurus' worth of cliches be coined? No problem.

How about a level of comfort that makes dawn-to-dusk marathons no more of a chore than a trip to the local 7-Eleven? You asked for it, you got it.

What's that you say? You've got lots of friends, and lots of stuff? Hey: this is the car that does it all. Five full-sized people and a ton of their stuff can be crammed into this baby, but there's so much room you won't have to do any actual cramming.

Is there a down side to the 5000 CS Quattro Wagon? That depends on your point of view. Personally, I'd like it a whole lot better with an automatic transmission, but then I have to drive in and out of Manhattan during rush hour once in a while. A more important drawback is the car's engine. Despite its undeniable ability to quickly propel the car well into three figure speeds, the Quattro's turbocharged "five" is way too rough around the edges for a car that's priced so well into the five figure range. For thirty-plus grand I want an engine that delivers smooth power now — not when the blower finally kicks in. Let's face it: Engines with enough on the ball going in — viz. BMW and Mercedes-Benz in-line sixes — don't need turbocharging and are better for not having it. And, while we're discussing what you get for your thirty thou, some of interior fittings seem too... well, too Volkswagenish. Bits and pieces that were just marginally OK in 1983, when the 5000S sedan debuted at under $15,000, just don't cut it in this arena.

But these are minor cavils, immaterial in the face of the long-named Audi's many strengths. Indeed, the car makes the very act of driving such a pleasure, and the act of driving quickly under adverse conditions such a revelation, the entertainment afforded by a stereo system seems superfluous. However, for those long hours on the interstate, when the delights of the car itself are insufficient preoccupation, a ten-speaker sound system is fitted.

The sound systems chief virtue is its ability to get very loud without distortion. FM reception is adequate, albeit highly dependent upon terrain, and the tape transport — especially in its ability to resist mechanical jarring — is excellent. Sonically, the system is reasonably well balanced, but the large, boxy interior mitigates against true stereo perspective. Conversely, it serves to enhance the low end response which is, to my mind, more important than imaging in a car system. My only real quarrel with the system is its lack of richness at low volume levels. Even with full bass and treble boost, the sound is fairly thin until you crank it up a ways. It's no big deal, though, and certainly nothing that would make me want to yank the system and start spending big money in the aftermarket.

BMW 635CSi
BMW's big coupe is even more desirable as it enters its second decade than when introduced in the mid-seventies. A strikingly beautiful body, reference-standard fit-and-finish, and a steady stream of mechanical updates allow the 635CSi to remain the prime object of desire even among those who can't begin to appreciate its less visible virtues. Among these are underpinnings that allow the kind of no-surprises handling that — except at the very limits — makes you a better driver, and do so without delivering a punishing ride. There are cars with more supple suspension systems, but its a rare one that manages to balance ride and handling so well. Shifting, too, is wonderful. If you've spent a lot of time in front wheel drive cars you might have forgotten how smooth and positive a stick shift can be when it doesn't have to communicate with the transmission via long distance.

And then there's the engine, the power and flexibility of which are surpassed only by its sound. The music made by BMW's malted-smooth straight six as it approaches redline is pure celestial harmony. It's a tune you don't want to play too often, though, or you'll quickly find yourself in a duet for BMW and police siren. Better to take it easy once in a while, and take advantage of the alternative sound source BMW is good enough to provide.

The 635CSi's sound system, despite an impressive array of features, is unusually easy to use. In fact, I was able to operate the system by touch, immediately. The controls are where they "should" be, and they operate smoothly. FM reception is nothing special, but it rarely is. The tape deck, by contrast, is terrific, exhibiting much better than average treble response and excellent mechanical stability. The overall sound of the system is good over a wide range of volume levels, but even when played loudly doesn't really fill the car with music the way the very best systems can. There is always an acute awareness of where the speakers are, and that they are the source of the sound. Of course, that characteristic is shared with the majority of OEM and aftermarket systems, and within that context the 635CSi acquits itself very well.

CADILLAC SEVILLE
Cadillac's attempts at attracting a younger, more European-oriented clientele, while at the same time satisfying the demands of its existing customer base, has resulted in one of the more schizophrenic cars I've encountered. Because the Seville doesn't know whether it wants to be a serious road car or a traditional plushmobile, it fails to satisfy buyers looking for either. Given its price, and despite highly advanced mechanical and electronic componentry, the overall package just doesn't make enough sense. There isn't enough power, nor enough cut-and-run handling ability, to please a demanding driver, and there aren't enough traditional luxury car cues — lots of room, lots of bulk, lots of plush — to keep the old guard happy. Mind you, the Seville isn't a bad car; on the contrary, in most respects it's pretty good. But pretty good doesn't cut it in this league. What the Seville is, is a terrific Oldsmobile. It can also be a terrific place to listen to music, or an awful one, depending.

When it comes to listening to music in their cars, Cadillac buyers have two advantages over most of us. The first is standard equipment with every Caddy, and it's the sonic isolation of the cabin. True, today's smaller models aren't quite as silent as the 2½-ton land cruisers of yore, but they still do a fine job of assuring that the music won't be accompanied by external cacophonies. The second advantage requires that the prospective purchaser check the option that reads "GM/Delco/Bose Music System." Regrettably, the Seville I drove was not so equipped. It was fitted instead with something called Symphony Sound, a name clearly selected by someone who's never been within hearing distance of one. Despite reasonable FM reception and a tape transport whose clunky controls belie its mechanical stability, the system is a major disappointment. Regardless of the type of music, volume level, or tone control positioning, the music never fails to sound drab and lifeless. Adding some good amplification and upgrading the speakers would let the front end perform to its potential, but such surgery is contrary to the notion of this treatise. It's also, considering the availability of the Bose system, flat out dumb. So all of you Caddy guys who care about music, steer clear of Symphony Sound.

CORVETTE
Why, I've seen it wondered in print, does the Corvette engine need a displacement of 350 cubic inches (and dammit, Corvette engines have cubic inches, not liters) to deliver a mere 240 horsepower? Or, to ask it the other way around, why doesn't GM see fit to squeeze any more power out of so enormous an engine. Now, that question might have some theoretical validity, and might even be truly important to real — as opposed to street — racers, but here in the suburbs a) nobody much cares about an engine's specific output and b) 240 horsepower is enough to scare the bejeezus out of anyone.

I grew up in Brooklyn, a mere 15¢ subway token from Coney Island's notorious Cyclone, and must have ridden that creaky antique more than two hundred times. Well do I remember the "Omigod!" sensations, physical and emotional, evoked by that noble roller coaster's first drop, and let me tell you, the rush that I felt when I nailed the Corvette's gas on a (slight) downgrade was definitely Cyclone-class. A Callaway twin-turbo would probably yield the same sensations on level ground, but it's a lot cheaper to just find a nice long downhill run when you need a G-force fix.

Sonically speaking, the Corvette is one of the winners of this survey, simply by virtue of its having been equipped with the Delco/Bose system. This system, the first true audiophile-oriented car stereo to be offered by a major manufacturer, is still one of the few which treats the car's interior — and its inevitable influence on overall sound quality — as an integral part of the component complement. Comprehensive acoustical measurements are taken, using a dummy head with microphones in the ears, and the results are factored into the system's overall equalization curve. One of the hallmarks of the Delco/Bose system, and a direct result of all of this high-tech tinkering, is that it doesn't have to be loud to sound good. Tooling around town you won't have to crank the volume up to the obnoxious level just to hear all of the notes. On the other hand, the ambient noise level of the Corvette's cockpit at speed is fairly high, requiring hefty output from the sound system to be overcome. The system's four speakers, each with its own amplifier, are equal to the task. Both driver and passenger are treated to a remarkably spacious sonic perspective, which is very unusual in an automobile. In a car, each occupant sits much closer to one speaker than the other, and is lucky if the more distant channel is audible at all. By contrast, the Delco/Bose system has juggled speaker position and dispersion in such a way as to assure balanced sound for everyone. No, the system isn't perfect. The bass sounds somewhat compressed and over-equalized, but that's better than no bass at all, which is more often the case. A more important down side to the system has more to do with the car than the hifi. The Corvette's heavy-duty suspension option might be great for autocross, but it wreaks havoc with the tape transport. The slightest bump causes audible warbling. Switching to FM is no help either: stereo reception is barely adequate and there's no way to manually select mono, which would render marginal stations listenable.

So on balance, the advice vis-B-vis musical Vettes is simple: stick with the standard suspension and don't fail to order the Delco/Bose system.

LINCOLN CONTINENTAL
Right up front I'm going to admit that I find the peculiar virtues of the old-style American luxury car highly seductive. There are times when I like an interior big enough to have a noticeable echo; a windshield I can't reach from the driver's seat; a suspension that coddles, rather than challenges me. (After all, if I really want to know whether or not the road is paved, I can always get out and look.) That's why, when I'm away from home and need transportation, I always try to rent a Town Car, the quintessential good-old-days American barge. So when it came time to gather cars for this comparison, I looked forward to a comfy few days in a Lincoln. Trouble was, Lincoln didn't have any suitably equipped Town Cars in New York, and instead provided a Continental.

You remember the Continental: it's the little bustle-back four-door, the one based on the old Fairmont platform. But forget I said that, because if today's Continental behaves like a Fairmont, then Colonel Quaddafi behaves like St. Francis of Assisi. What a nice surprise! Sure, the Town Car has acres more room in the back, but who cares. After all, I don't have to sit there. In front, where it matters, the Continental has a pair of enormously comfortable and infinitely adjustable thrones which are better than anything I've perched upon in a Town Car. The real revelation, though, is the ride. The Continental's steel springs were replaced, a couple of years back, by the same computer-controlled air suspension that supports the Mark VII, and the results are remarkable. The damping is every bit as good as in the Town Car, as evidenced by several comparison runs over Manhattan's worst potholes, but the air-sprung car feels much more in control. The Continental is no LSC, but neither does it completely go to pieces if you enter a turn a little too late, and a little too fast. And boy, is the interior quiet. Whisper something to your front seat companion, and everyone in the back will hear you perfectly. That's bad for telling secrets, but perfect for all of you music lovers out there.

Ford (Motor Company) recently cut a deal with the JBL speaker people to design and manufacture high end sound systems for its high end cars. At the moment, the system is only available in four-door Lincolns: the Continental and the Town Car, with the Mark VII scheduled to go on line sometime during the 1987 model year. The obvious comparison to be made here is with GM's Delco/Bose system, as each involves a major home speaker manufacturer in a cooperative venture. From both philosophical and technological standpoints, each company's car stereo closely parallels its approach to building home speakers. Since JBL is known for building conventional-appearing speakers with lots of punch and exceptional clarity, the Ford/JBL system offers no surprises. Indeed, JBL's approach to car stereo is fairly conventional: lots of speakers (12, in all) and lots of power (140 watts). It's the same approach a savvy aftermarket installer might use, with results that might vary all the way from awful to superb, depending. Well, in this instance all of that hardware adds up to sound which transcends the normal car stereo experience, and begins to enter the realm of good home equipment. In virtually all significant areas, including clarity and smoothness of response, the sound is exemplary. This is especially true in the low end. This is the first factory system I've heard that could deliver real sock-'em bass response. The low end has visceral impact and musical definition — not the toneless thud lesser systems try to pass off as bass. The only sonic area where JBL loses ground to Bose is in the latter's strongest area: stereo perspective. But that's small beer in the face of the system's strong points, and if its imaging isn't top notch, neither is it awful.

The performance of both tape deck tuner are fine, but neither the subjective feel of the controls, nor the feature complement are up to the standard set by the system's sound. But put up with it anyway, because it's worth it. In fact, if you've got it in mind to own any of these cars, and don't plan to equip it with the JBL sound system, you're making a big mistake. The standard "Premium Sound System" is all right, but the JBL system is simply spectacular.

MERCEDES-BENZ 300TD
Expectations run high when you're dealing with a Mercedes-Benz, especially one that's "all-new" and hence reflective of the company's latest technology. In the company's new wagon, that technology manifests itself in ways both significant (the unprecedented power and flexibility of its turbocharged 6-cylinder Diesel engine) and amusing (the automatic engagement of the rear window wiper when the car is put into reverse with the main wipers on). But everybody's got trick technology these days, and they don't dare charge forty-grand for a mid-sized wagon. Neither, however, do they build Mercedes-Benzes which, like the rich, are different. Sure, to the casual observer a Mercedes-Benz might seem to be just another car, with doors, seats, and an engine. What sets the car-with-the-star apart is its unsurpassed synergy; the way a collection of basically ordinary hardware is brought together to produce something quite extraordinary. This is especially noticeable in the 300TD.

You see, wagons suffer badly from the "no-free-lunch" rule, and are almost inevitably severely compromised in one way or other. Their suspensions must handle heavy loads, so they're usually uncomfortably hard-riding and handle with a certain tail-wagging twitchiness. Their box-like structures lack the comparable sedan's stiffening bulkheads, so they tend to rattle. Those are the usual tradeoffs. Daimler-Benz, by contrast, finds those sorts of tradeoff unacceptable. Better, they reason, to build a station wagon with traditional Mercedes-Benz virtues, and let the tradeoff appear at the bottom line. The result is a wagon which feels even more solid than the sedan upon which it is based, and whose combination of ride and handling are superb.

The stereo system, for its part, almost lives up to the standard set by the rest of the car. Station wagons are a difficult case, car stereo-wise, for there aren't any really good places to mount speakers. Locations that allow them to be aimed properly aren't large enough to accommodate efficient woofers, so once again it's a question of compromise. The 300TD, like all current Mercedes-Benzes, is equipped with the top-of-the-line Becker radio/cassette player. Ergonomic problems that plagued earlier versions of this unit have been solved: it's now one of the better full-featured units in that regard. FM reception is only average, but the tape deck is a real winner. Its mechanical operation is a model of smoothness and even the roughest roads doesn't jar the transport. The sound quality of the system is highly dependent upon the liberal use of the bass and treble controls. Audio purists who habitually leave them in the flat position will find the sound to be dull and lifeless. Add a fair amount of boost at either end, however, and it opens up nicely, even at low volume levels. Overall, though, I suspect that an above-average portion of the cost of this system was allocated towards assuring long-term reliability, and not enough in the direction of superior sound. The 300TD is equipped with a good car stereo, but deserves better.

MERCURY SABLE
It doesn't take the sagacity of a prophet to predict that the long-term success of this car will be a large factor in the salvation of the American automobile industry. And, in spite of any ill treatment I've suffered at the hands of said industry (and my personal fondness for European iron notwithstanding) I would hate to see it die. I'm glad, then, that just about everywhere I go the roads are full of these shiny new gumdrops. Let's face it: given our countrymen's enthusiastic acceptance of opera windows and landau roofs, it could have gone either way. The car deserves its success, too, if the Sable GL I drove is typical. With 15,000 hard miles as a member of the New York City press fleet, it was as solid and free from squeaks or rattles as any car, old or new, I've driven. It also felt somehow right. The seats are comfy and supportive, and all of the controls seem to have been designed by someone who has actually driven a car. Nothing appears to have been tacked on as an afterthought, and this includes the "Premium Sound System" with which this particular GL was equipped.

Because the Taurus/Sable was basically a clean-slate project, the sound system was able to be unusually well- integrated with the car's interior. More important, though, is how good it sounds. Up until recently, when you ordered a factory-upgrade sound system it meant a fancier radio/cassette player, but little else. ("After all," reasoned the bean counters, "they can't see speakers.") In the case of FoMoCo's Premium Sound System, the upgrades occur where they'll be heard: more and better speakers, and a more powerful amplifier. The result is a system which, although it adds but $168 to the price of the standard outfit, compares favorably with aftermarket systems selling (installed) for well into four figures. Its purely technical performance is among the best, with FM reception that is second only to radios equipped with the two-antenna diversity system. The tape transport's controls operate with uncommon smoothness, and playback isn't disturbed by even the deepest Manhattan potholes. The overall sound quality is highly pleasing, with substantial bass, clean, well-dispersed treble, and a natural-sounding midrange. The tonal balance is maintained very nicely even at lower volumes, while high levels are achieved with no significant distortion. Simply put, this is the best "non-exotic" sound system in the bunch.

From a music lover's standpoint, the Starion should have a great deal to offer as well. After all, Mitsubishi is a well-known and highly respected manufacturer of all sorts of audio and video components, including some very nice aftermarket car stereo. The Starion is fitted with a very elaborate stereo, the complexity of which is mitigated by the placement of some of the more frequently used controls on the steering wheel. The purely electronic performance of the system is very good. FM reception is well above average, as is amplifier performance. If you like your music loud, Mitsubishi really delivers. Unfortunately, despite the sophisticated hardware, the system's sonics leave a great deal to be desired. The highs were too shrill, the vocal range too hollow, and the bass too boomy. A hotshot California installation shop could probably tune the system, using a spectrum analyzer and a hard-wired equalizing network, but out of the box the Starion's system's strong suit is annoying the car next to you.

NISSAN MAXIMA WAGON
This is a real GE Toaster Oven of a car, all task-oriented competence and no personality whatsoever. Even the gizmos — and this being a top-of-the-line Japanese car, there are plenty — lack any real panache. This is probably intentional on Nissan's part. After all, the majority of Maxima buyers want nothing more from their cars than quality, reliability, and a level of comfort and convenience commensurate with the sticker price. By those criteria, the Maxima Wagon is a highly successful piece of work. It's very comfy, reasonably roomy for its overall size, and much quieter than the average wagon. The only jarring note is a very choppy ride on all but the smoothest roads. This is one wagon that could use a more sophisticated suspension system.

It could also use a better sound system, which is a shame, because from a nuts and bolts standpoint the system is excellent. Nissan fits the Maxima with one of the best factory front-end units around, with FM and tape performance that can't be faulted. The tuner is equipped with diversity reception, a two-antenna scheme that virtually eliminates "picket-fencing," and the resulting improvement in FM reception (over conventional units) is astonishing. Tape handling, too, is first class: all of the controls operate with a smoothness typical of the best home gear. There's even an automatic volume control, and it's much more sophisticated than the one on the '57 Thunderbird (which simply keyed the volume to the engine RPM). Nissan's AVC is equipped with a microphone, and cleverly adjusts the level to compensate for interior noise. But despite all of the nifty hardware, the Maxima Wagon's stereo fails to please: regardless of the equalizer's setting it sounds thin and muffled at all but the highest volume level. Maybe this is part of the toaster-oven philosophy: restrict frequency response and dynamic range so that even heavy metal winds up sounding like Muzak. Next thing you know, the tuner will only lock onto the local "beautiful music" station. Too bad: there's a lot of potential here.

OLDSMOBILE DELTA 88 ROYALE BROUGHAM
The Oldsmobile Delta 88 Royale Brougham, despite its high tech credentials (or maybe because of them) is still your basic big American coupe. It's at its best when you don't take seriously the implied promise of its Eagle GT tires, for any enthusiastic cornering attempts will return a series of lurches as first the tires, then the suspension, and finally the car make their separate responses to the steering input. But that's OK. Driven as most Americans drive their cars the 88 is highly satisfactory: real smooth, and real quiet — in short, an ideal place to listen to music.

That being the case, the $875 Olds asks for the Delco/Bose music system (over the cost of the standard stereo) makes a lot of sense. When so equipped, the 88 is less a car than a concert hall, but one in which you can take an intermission wherever you choose. The Delco/Bose system, when wrapped up in an Oldsmobile, has many strong points, and just a few weaknesses. Its stereo imaging — the ability to provide a believable sense of acoustic space and separation — is outstanding. The placement of the speakers, and their dispersion pattern, work together to ensure that wherever one sits the balance is correct, and it works well enough to obviate the need for a balance control. Also worth noting is the system's bass response, which is among the best you'll find. Unlike many systems, which seem to substitute a one-note thump for true bass, the Delco/Bose system's low end acts as a foundation for the music: well defined and with real authority. There is some volume compression in the low end: it's the inevitable result of asking relatively small speaker cones to do so much work. But that's a small price to pay, especially when you consider that the alternative is gross distortion. The electro-mechanical aspects of the system — FM reception, tape transport operation — get high marks for performance and ease of operation, but lose points in terms of overall sophistication. A mechanically-operated transport is something of an anachronism these days, as is a tuner with only four preset stations. But on balance, and for the money, you'd be hard pressed to approach the overall quality of this system on the aftermarket.

PEUGEOT 505 STX
This new-for-1987 variant on Peugeot's 505 theme proved to be the biggest surprise of the bunch. I've always liked some things about the 505, but never enough to take it seriously. Tasteful styling and a comfortable ride are important, sure, but so are power and handling. Well, after a number of false starts, Peugeot has finally hit upon the right combination, and the STX is it. The key to the STX's transformation is its wonderfully smooth and flexible V6 engine. Unlike the turbocharged four (which yields slightly better numbers) the V6 responds instantly, and delivers its power over a very wide rev range. Complementing the new engine is a suspension that retains most of Peugeot's justly admired smooth ride but still allows for precise and highly predictable handling, and steering that allows the suspension to do its job without drama. Whatever the road, whatever the reason, the Peugeot 505 STX is highly satisfying to drive.

The sound system, for its part, is less so. Perhaps the unit was chosen based upon the standard 505's somewhat cushier ride, for even the slightest bump causes the tape transport to shudder audibly. The speakers and amplifier could stand improvement as well: there's significant distortion above moderate volume levels, especially with the bass turned up a bit. On the other hand, FM reception is above average. Overall, though, this is not a system for the serious music lover.

SAAB 9000
A friend of mine recently replaced his older Saab 900 Turbo with a new one. Wanting to keep his options open, he also looked at several other cars, including the new 9000. Of the latter he said "nice car, but it's no Saab." He's right, of course. The new model is arguably better in every significant area, but it's still a car. The 900 is a Saab. Me, I've never been a big Saab fan. Not that I'm not against the notion of an idiosyncratic car — heaven knows, I've owned enough of them. I just don't find Saab's unique goofiness particularly appealing. Maybe that's why I like the 9000 so much. It's fast, smooth, comfortable, and doesn't knock you over the head with constant reminders that the front wheels are doing the work. Not that the 9000 is perfect. I'm convinced that Europeans are temperamentally unsuited for designing complex climate control systems. If they can't master Air Conditioning 101 (and believe me, they haven't) what makes them think they're ready for Graduate work. The system in the 9000 is complicated beyond belief, and — naturally — stopped working entirely on one of Autumn's "gotcha" 90-degree days.

Another weak point in the 9000 is its sound system. Actually, the sound system is pretty good, but the song and dance you have to go through to get it to do its stuff is not to be believed. The control scheme is even more complex than that of the climate control, making intuitive operation out of the question. This is a system that must be studied and learned; eventually a willing student should be able to control its basic functions without stopping at the side of the road. Adding to the chaos is the equalizer, whose saving grace is the incorporation of computer memory that saves several EQ curves for instant recall. Instant, that is, if you remember the right sequence of buttons to push. All of this complexity cannot have come cheap, and I can't help feeling that more money should have been spent on speakers, and less on the complex front end. Still, the sound is better than average, and maybe you can entice a friend into coming along to work the controls.

VOLVO 740 TURBO
When Volvo introduced the 700-series a few years ago my reaction was "are they nuts? nobody's going to buy a car that looks like that!" Boy, was I was wrong! Volvo 700s are all over the place here in Westchester, and though I still think it looks pretty wacky, the car is so good I'd almost buy one anyway. The 740 Turbo is, to my mind, everything a sports sedan should be. The engine has plenty of power and, despite some turbo lag, it responds quickly enough to play an active role in the car's excellent handling ability. (Part of the credit here must derive from the fact that the driving wheels are in the back, where they belong.) Fortunately, for all of its sporting character, the 740 Turbo doesn't forget that it's a sedan: it's big, at least by today's standards. Jettas and 325s might have seats for five, but lack the squirming and stretching room needed for serious travel. The Volvo, by contrast, with its serious seats and loads of elbow room, is an ideal ride for trips to any destination, however far and on whatever roads are available. Such trips call for music, and ever-obliging Volvo hasn't neglected the audiophile.

The sound system fitted to Volvos in the 700 series is typical of what you'd get from an above average aftermarket installer. The front end drives four speakers via a moderately powerful outboard amplifier, and the results are perfectly satisfactory. The system doesn't get as loud as some of the others, but to compensate, sounds richer than most at low-to-medium volume levels. The tuner is just average: reception is fine when the signal is strong and clear, but distortion is evident when weak stations are tuned in. Tape performance is just fine, with good highs unencumbered by noise. Overall, it's a system that, while not at the top of the list, is far from the bottom. If you want your Volvo's sound system to sit closer to the winners, though, you don't have to leave the dealership. The 760 and 780 are fitted with much better components, and they are available as an option on the 740 cars. The same front end is used, but the upmarket cars get considerably more power, a graphic equalizer, and significantly better rear speakers. The result, as auditioned in the 780 Coupe, is very impressive: deep, well-defined bass and an overall clarity that places the system well into the ranks of the best available.

TO SUM UP
A sweeping statement: cars and car stereos are much better than they've ever been. In fact, I'd be hard pressed to say in which area the improvements are more dramatic. It used to be, if you wanted a great car what came out of the factory — almost any factory — was just the point of departure. From there, you'd look to the aftermarket for parts that would make it go, stop, and handle better. No more. Nowadays, a well-chosen car (and there are lots of good choices) will almost inevitably be diminished in some important way by whatever you do to improve it.

It's less clear cut, but a similar situation exists with car stereo. While it's still true that the very best sound systems are found on the aftermarket, it's no longer a forgone conclusion that anything will be better than what the factory provides. The car companies want a piece of the action, and in many instances they've gone after it by providing good sound at a fair price. So when the salesman says "what about a stereo" don't automatically say "forget it, I'll get my own." By choosing the right showroom, and checking the right option box, you could save yourself time, money, and a lot of potential grief. Remember: anyone with a hole saw can call himself an installer!