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If you are a new user here at Termpro.com, you may not be aware that there are quite a few in-depth technical articles pertaining to auto sound in our library. To view these articles, please go to www.termpro.com/articles/articles.html.
[ 12-22-2001: Message edited by: Wayne Harris ]
-------------------- "Keep it Loud and Make me Proud!"
The key components are an amplified speaker, a walkman, a pair of stereo headphones, and a set of muting plugs. These four items, along with a handfull of RCA patch cords and connectors, will allow you to test and verify a multitude of problem conditions in any audio system. Here are just a few of the possibile tests that can be performed.
Amplified Speaker: use it to verify signal content, set gains of amplifiers, pinpoint noise sources.
Walkman: use it to provide an alternate input source to verify the working condition of RCA patch cords and amplifiers.
Stereo Headphones: with a few adapters you can also use these to verify signal content, if your system is down then you can use the headphones and the walkman to provide tunes till you get the system up again.
Muting Plugs: use these to provide a zero bit signal to amplifiers, this is especially useful when trying to isolate the point of entry for system noise, whether it be alternator whine or other radiated noise.
RCA Connectors: keep a few extra patch cords around, for substitution and connections that are to be made while tracing the source of the problem. Also keep a few of the following, RCA Y-connectors(1 male/2 female and 1 female/2 male), RCA barrel connectors(male/male and female/female), Stereo Y-adapter( Radio Shack Cat. No.274-369)(1/8" stereo mini/RCA), and also a few jumper leads with alligator clip ends and some spare fuses. -------------------------------- Setting gains with noise kit: If any of you read the post concerning the noise first aid kit, I've got another use for the amplified speaker(a/s) that I suggested. The a/s can be used, along with a 1kHz test tone(0dB attenuation), to set and match the gains of your amplifier(s) to the output of your source unit. First you need to set the maximum undistorted output of your source unit. To do this you need to connect the a/s to the RCA outputs, of your source unit, do this with your amplifier(s) powered off. Set the volume of the a/s to a comfortable level, then play the test tone, increase the volume of the source unit until you hear the signal begin to distort. You'll know when distortion is present, the tone changes pitch, with the sound quality changing from smooth to harsh. Once you begin to hear the distortion, back the volume down until the sound returns to normal, this is the maximum volume without distortion. Pause the unit while you power up the amplifier(s) and set their respective gains one at a time. If your source unit has a numerical volume indicator, you might want to write down the number for future reference.
To set the amplifier gain, play the test tone and increase the gain until you hear the distortion appear in the speakers that are connected to the amplifier, again lower the gain until the distortion is gone, this process has now matched the amplifier gain to the output of your source unit.
Repeat the process for each amplifier in your system, just remember to turn off any crossovers that would keep you from being able to hear the test tone through the amplifier and speakers. ------------------------------ Fiberglassing techniques using a center console (includes the Q&A sections): http://www.termpro.com/cgi-bin/ubb/ultimatebb.cgi?ubb=get_topic&f=32&t=000549 Fiberglass Center Console
Steo One: Forming an Idea
Draw a simple sketch of what you want to do, keep in mind that the plan will change as you progress. Use cardboard to copy the contours of the dash and any other features of the vehicle that you will want to incorporate as part of the design of your console. Test fit preliminary side panels and cross members as you assemble them, remember to keep the desired end result in mind as you position the components. Remember to allow for various fabrics and the transition from one to another, build in a break point and remember to reference other features in the vehicle. Step Two: Getting the Form
Cover your frame with a pliable fabric, define the form now, extra effort spent here determines the work required ahead. Resin & Glass, when applied smooth will require less sanding and produce a better product, take your time and trim off the excess as soon as it begins to cure. Apply body filler to smooth out the rough spots and troughs in the fiberglass, fluid transitions will make it easier to wrap with vinyl. Step Three: Covering Your Masterpiece
Find the bias and follow it, let the fabric do as much of the work as possible.
Apply heat, well before you need it, warm vinyl before you begin it will be easier to find the bias. Start at the most difficult point, get this done while you have plenty of loose vinyl to work with. Indent openings, this will allow the vinyl to stretch into an opening with ease. Staple everywhere you want it to stay, once the vinyl is in position, keep it there. Pictures that help to explain the process will be posted soon.
-------------------------- Q1.) How do you know how much hardner to use?
A: Follow the mixture ratio recommended by the manufacturer, this will offer the best cure sequence. It is possible to speed up the curing process by increasing the amount of catalyst, but this practice also improves the possibility of developing cracks in the surface, brought on by increased heat and surface tension during the curing process.
Try to use an accurate measuring device, such as a graduated beaker or a dispenser designed for this purpose, squeeze dispensers work the best as they allow easy, one handed, dispensing of exactly the amount needed.
Typically 1 quart of resin requires the addition of 10 cc (0.4 oz weight, not volume) of MEKP catalyst with a peroxide concentration of 1% peroxide. As the peroxide concentration increases so does the amount of catalyst.
Q2.) How much is too much?
A: This depends on the person doing the work and the intended use of the finished product. Some people say that I use too much catalyst because the working time is relatively short, but with my experience level and knowing what I require of the finished piece, the mixtures that I work with are fine, usually twice what the manufacturer recommends. This is not a practice that I endorse, nor do I recommend for the first time user of fiberglass, but as you experiment with various mixtures and techniques you will develop a system that works for you.
In any case, the presence of smoke is a sure sign that you've got too much catalyst in your mixture.
Q3.) What effects does the amount have on the finished product?
A: Again, surface cracks and weakened fibers due to excess heat build-up during the curing process.
Q4.) What are the most comon types of resin and what is the difference? Epoxy? Polyester?
A: Most common, see question.
A: Epoxy resin is better for applications that require a definite adhesion of the fiberglass to whatever the substructure might be, it also works well for fiberglass repairs and where your finish requires some flexibility and increased durability.
A: Polyester resins have increased impact resistance and are generally easier to work with. They are available in several different types, each of which have their own distinctive applications and charachteristics.
Gel Coat
Structural Lay-Up Resin
Laminating Resin
Surfacing Resin
Isopthalic Flexible Resin
Q5.) What kind of resin is used with each type of matting (kevlar, carbon fiber, fiberglass, etc..). A: Kevlar and Carbon Fiber: Marine Vinyl-Esther Resin, Fiberglass: Epoxy Resins and Polyester Resins alike, which one depends on the intended application and type of glass that you are using.
Q6.) What are the most comon ways to apply resin? Tools used?
A: Brush, Roller, Spray Gun.
Q7.) Can you dye resin, if so with what?
A: Yes it is possible to dye resin by adding coloring agents intended for this purpose directly to the resin when you mix it.
Q8.) Can you thin resin? Styrene? Aecetone?
A: Thin resin, it seems as though it would be possible, but why? If you find that you need a thinner mixture of resin or one that is lower in viscosity you might just want to change the type of resin that you are using.
Q9.) What does resin stick to? Metal? Plastic? Skin?
A: Yes to all of the above, but it will not stick to plastics of high molecular weight such as Polypropeylene, Nylon and UHMW.
Q10.) How should the area be prepped that is going to be glassed?
A: It should be clean and free of dust, grease, and wax. If it is a smooth surface then it should be scuffed with a course grit sandpaper to provide a surface for the resin and glass mixture to establish a hold on
Q11.) What are the comon types of coatings for fiberglassed parts? Gelcoat? Polycore Enamel? Differences?
A: Gelcoat, actually is not a coating since it is usually applied first during construction requiring a mold, therefore it would be termed a pre-construction surface layer. Polycore Enamel is normally applied after construction is complete, as a finish layer, requiring preparatory finish work and final surfacing.
Q12.) How do you laminate parts?
A: Clean the surface to be laminated, apply glass cloth or roving, and wet with resin.
Q13.) How to properly use a mold?
A: Once mold has been cleared of any foreign debris, spray with PVA and Gel Coat, follow with either chopped fiber mat or glass cloth until desired thickness is attained.
Q14.) How much ethonal should be comsumed after a completed project?
A: As much as you feel you can consume without affecting your performance the following day.
Q15.) Complete list of what supplies should be on the table before starting?
A: I usually cover the entire table with masking paper so that cleaning up the mess is as easy as possible. Then I like to have the following supplies assembled.
Mixing can or bucket: for mixing the resin and catalyst in
Stirring sticks or paddles: for mixing resin and catalyst
Squeegee or Bondo spreader: for spreading resin around quickly
Disposable brushes: for applying resin
Rollers: for smoothing cloth and removing trapped air pockets
Disposable rubber or vinyl gloves: to keep hands clean
Trimming shears: to trim overhanging cloth or mat while curing
Other trimming and shaping tools as well
Sandpaper: for smoothing and surfacing between coats
Resin, glass material of choice, and catalyst along with the appropriate dispensing device and parts of project to be fiberglassed.
Q16.) Effects of weather? Temp? Humid? A: Heat speeds up the curing process, while cold and humidity slow this process down.
Q17.) What if you don't have enough beer?
A: Now that's just bad planning, but in any event a youngster with a fake ID would come in handy at this point.
Q18.) Can you use wax paper or something simliar to create a nicer finish that requires less sanding etc?
A: I suppose you could, but some careful planning and application will keep the finish work to a minimum.
Q19.) Big one. How many layers? I get asked all the time... How thick? How many layers? What kinda mat where? This for comon projects like sub enclosuers, kick panels etc..
A: It depends entirely on the intended application, or as thick as it needs to be in order to withstand the placement and abuse that it will be subjected to.
Kick Panels: Two or three layers of cloth is more than enough, that along with a coat or two of some sound deadening material will work just fine.
Sub Enclosures: seven to ten layers of cloth is about right, fewer if you are using Knytex or other material that is thick to begin with.
Q20.) How much resin? Just wet the matting? soak it? Etc..
A: Resins usually cover the following amounts:
Glass Cloth: 40 sq. ft. per gallon
Glass Mat: 20 sq. ft. per gallon
Glass Roving: 15 sq. ft. per gallon
Use enough resin to wet the material but not so much that it sits in a pool of resin, the strength of your finished product comes from a balanced mixture of glass fibers and bonding resin.
Q21.) Resin the surface first?
A: Not necessary, usually you should firmly attach the fabric to the surfact to be laminated with masking tape or staples first. But in some cases it does help to position smaller pieces of cloth if you apply a thin coat of resin first.
Q22.) Put cloth on right away after you put resin on?
A: See above. If your application of cloth involves using strips, then by all means apply as many pieces as possible to complete the project in as few steps as possible.
Q23.) Layering... To sand or not to sand? Differences between resins?
A: If you use the proper type of resin (laminating) then you shouldn't have to sand between layers. But if you follow the common practice of using a surfacing resin throughout your project, then you will need to sand between layers to remove the wax coating that rises to the surface during the curing process.
Furthermore, it is best to apply as many layers as possible at the same time, this increases the amount of concentrated heat that aids in the cureing process decreasing the time which is necessary for the fiberglass to be useable.
Q24.) Best way to link a fiberglassed section to a wood section? Sub enclosure...
A: Epoxy Resin
Q25.) Comon ways to mount things to fiberglassed projects?
A: Build in a mounting surface; ring, strip, or plate, typically plywood, but can be as elaborate as metal plates that have been driled and tapped, or threaded wood insters installed in the wood surface.
Q26.) Special types of cloth other than standard mat/cloth?
A: Depends on the reason you're doing the sanding, if sanding between layers, don't wait. If it's finish work, wait until it is completely cured.
Q28.) Using heat gun? Downfalls?
A: Too much heat applied to just the surface creates an uneven cure and increases the surface tension, cracking can be a problem, as well as unexpected suprise shrinkage during application of additional layers.
Q29.) Layering before/after layers are cured?
A: If you need seven layers, and you have the skills top do so, put them all on at the same time. Multiple layers produce more heat while curing, heat that is beneficial to the curing process.
If you do not have the experience or intestinal fortitude to do thid, take it slow, there is no reason to rush things if you don't need to do so.
Q30.) Qualities of different cloths? Carbon fiber, Kevlar, Fiberglass?
A: Hard to say, each has it's own beneficial charachteristic that might be of importance to your project, research will help you to decide.
Q31.) Comon materials used for mold?
A: Latex and Silicone Rubber.
[Q32.) Ways to create compound curves without a mold?
A: Build-up layers of Fiberglass Mat, use glass content fillers to smooth transitions.
Q34.) Type of cups to use to hold resin? **pictures cup mealting on work surface**
A: Paper will do, but Polypropylene is best, the cured resin does not stick to the cup so it can be reused. Also for accurate mixing use a container that has graduated liquid measurements printed on the cup.
Q35.) Neat little tips like dyeing each layer of resin a different color so you can see the layers/where you have layed resin?
A: Do a yellow pages search of Fiberglass Supplies, that will turn up something close to you. If you are a net-shopper you can also try www.tapplastics.com, then browse around their fiberglass section.
Q37.) Kind of paints that can be used on fiberglass?
A: Most resins will withstand exposure to both lacquers and enamels, but not to enamels that contain rust inhibiting agents.
Q38.) Cleaning resin off shiz? How?
A: Acetone or Replacetone.
Q39.) How to cut cloth? Small strips? Large squares?
A: Utility shears, those with ceramic cutting edges work the best without dulling, but a semi-serrated edge works as well.
Q40.) How to protect area's you want to glass over to make mold of?
A: Masking tape, folowed with a coating of mold release wax.
Q41.) Fiberglass hurt by water? gas? etc?
A: Surfacing resins are least affected by exposure liquids and chemicals, while structural and laminating resins have some suseptability to sustained exposure.
Q42.) What does resin taste like?
A: Don't know, but I'm guessing it doesn't taste too good.
Q43.) If brushs are recommended. What size? What type?
A: Depends entirely on the size and type of application, obviously you wouldn't want to be working on a five foot by four foot well using only a 3/4 inch brush.
As for type, cheaper is better, because when you're done you can just throw it away.
Q44.) fiberglass re-enforced bondo? anygood? use where?
A: Yes, great. Good for quick build-up and able to be shaped and sculpted while curing. Used in complex shaping like kickpanels, and door pods or panels.
Q45.) All resins use the same catlyst?
A: No.
Q46.) Best way to measure how much hardner your putting in?
A: Graduated squeeze bottle dispenser.
Q47.) Measuring cups nessasary? Guestimation?
A: Yes to some extent, usually while you are learning or getting to know the ins and outs of mixing resin.
Q48.) Comon ways to secure fiberglass panels to vechicle?
A: Integrated panel fasteners, grill fasteners, or screws from behind
Q49.) How many deep breaths into a can of resin does it take to harm a cat?
A: I've not done any research on the effects of resin on cats, dogs, or anything else for that matter, but I bet you can't get a cat's head into a can of resin without losing a little blood and some skin.
Q50.) Spray on bondo?
A: It is possible, if you add resin to the bondo, but I'm not fond of this practice I've yet to find an application where this would benefit me.
----------------------------------
Q51.) Originally posted by GlasSman: Ok.....I'm pretty good at this stuff. But due to my recent laziness there's one type of project I'm curious as to how the "experts" approach it. And I'm sure this is something MANY others also wonder about. Trim panels in the trunk that fit perfectly to the rubber weather stripping that surrounds the trunk opening. Getting the contour and overall shape of the panels is no problem. I thought of just taping the entire area off and glassing the weather stripping area. Then use these pieces as a starting point after trimming for the rest of the panels. Just wondering what approach you would use for perfectly fitting trim panels.
A: Pull the weatherstrip off, put your favorite glassin material underneath (fleece, t-shirt material etc), push weatherstrip back down onto material to hold it down. Need to protect the weatherstrip from resin, vasalene works, or you can tuck some foil or industrial saran wrap under the weatherstrip and flip it up. Then resin away, you know the rest
-----------------------------------
I think i want to add about 8 to 10 more layers. can i do that all in 1 step? If you've got some experience with glassing, my advice would be to follow your instincts, and do as much as you can handle at one time.
Should i sand between layers?
If your resin sets to a smooth waxy surface, typical of surfacing resins, then yes you should lightly scuff the surface to remove the waxy build-up, or else the subsequent layers of resin will not adhere to the previous ones.
How long does this stuff take to harden to where it is sandable? how can i tell if it's sandable?
Lightly touch the curing surface, if it has set to a rigid shell you can begin to work the resin by sanding and filing away the unwanted excess.
Should i scuff the fiberglass surface? what grit to scuff with?
If you determine that this is necessary use a medium to fine grit sandpaper for scuffing the surface between layers, something between 100 and 180 grit should do.
------------------------------ Q) Thanks for the info, but that leads to another question. I'm going to need to build up the areas quite a bit (from 1-4" depending on the area). So how thick can you apply the kitty hair or fiberstrand at a time w/o the outside drying too fast and cracking? As far as my Great Stuff idea, could I use that for the majority of the build-up and then spread the kitty hair on top of that to get the final shape? I have used expanding foam several times, so I am comfortable working with it.
Personally, for what you want to do with the build-up (I'm assuming you want to use the contour as part of your enclosure), I'd use floral foam. Cut and glue blocks of it, then shape. It's much easier to get a nice smooth contour, and if you're using fiberglass cloth, it provides a smoother surface for the layup. The foam can be removed after the glass is cured.
A: Otherwise, just drape fabric over the project as Mabeita suggests. The contours will be nice. It works for me. --------------------------------- Working with plexiglass: There are alot of questions concerning the tools and procedeures for working with Plexiglass. I hope this answers a few of those questions. Handling: The most important thing to remember is that care of the plastic while you work with it will help make the finished product look it's best. Keep the paper or plastic covering in place until you're finished working, and are ready to begin assembly. If at all possible, leave the covering on until you're completely finished. In fact the paper covering makes the best masking for painted effects, just trim away the portion that you wish to paint with a razor knife.
Budget cutting: Plastics up to 1/4" thick can be cut by hand using a scoring knife, available at most home improvement and hardware stores for under $10. Stanley makes a good one, part# 10-599(knife), 11-942(blade). The blade is the key to how a scoring knife works, it has a wierd shape that scrapes a thin line into the plastic, allowing you to snap the pieces apart. I use these for quick projects, when accuracy is not an issue. However with a little practice you can do some really good work using one of these.
Cutting: If it cuts wood, it'll cut plastic. Things to remember though, use a sharp blade, and take your time. The extra heat that builds up from exerting too much pressure against the blade will cause the plastic to melt and gather in the kerf(the slot made when you cut).
Take it slow, if you are using a jigsaw, try and use a hollow ground blade, you'll be able to tell these from other blades by their appearance. Hollow ground blades have machined sides, and very sharp teeth, they are designed to cut with the teeth only, without the blade body coming in contact with the stock and building up any exrta heat. They cost a few bucks more, but they're worth it.
Circular saws and plastic, once again take it slow. Make sure to adjust the blade height, the blade should clear the plastic by no more than 1/4", I use a standard carbide tipped combination blade to rough cut the sheets of plastic into pieces for fabrication. Remarkably, the rough cuts are quite smooth and would pass inspection, in most cases. Just take your time, unless the edge is going to be polished, and in direct view, this may be all the work that is required to finish your project.
Routers, fabricators best friend, when used with a straight edge and carbide bit, routers produce the cleanest cuts, requiring the least amount of sanding. In some cases you can polish the trimmed piece without sanding at all. Let your imagination run wild, use different types of bits for edge effects, Remember to keep the speed high, if you have a variable speed unit, and bit sharp.
If you are going to be doing lots of plastic work, and have access to a table saw you'll want to get a good blade, 60 to 80 teeth, if you can find a TCG (Triple Chip Grind) blade, buy one, if not then the standard ATB(Alternate Top Bevel) will do, requiring a little more finish sanding or final trimming with a router. Freud makes one of the best ones available, the LU98 makes the absolute cleanest cuts due to it's Teflon coated body. This blade can be found for around $80, and is worth every penny, don't worry though it is a good all around blade, I use it as my primary blade in all of our table saws in the shop. It is capable of cutting wood, plastic, and aluminum, with extremly smooth cuts.
Drilling: Slow again, different approach in tools though. To drill through plastic you need to scrape, not cut, away the contents of the hole. This is done with a specially ground bit, standard drill bits cut away the stock. This cutting action will pull the drill bit through plastic, and force it out the other side, kinda like an exit hole from a gunshot, nasty results for your project. You can make a plastic bit by filing the cutting edge of the drill bit to a flat surface in-line with the shaft of the bit. No matter what type of blade you use, you should always place your project piece on a piece of scrap wood, this will help to support the area around the hole and keep the bit from bursting through the other side.
Sanding: Work your way towards 400 or 600 grit wet sandpaper. start out no lower than 100 grit, only if you have deep gouges to remove, preferably no lower than 200 grit. When using the wet paper, remember to use plenty of water, it will help to get the best results.
Polishing: Buffing a well sanded piece gives excellent results, nice clear shine, and durable edges. Use a bench mounted grinder with buffing wheels(loose for plastic, tight bound for metals), and mild to fine(tan or white) polishing compounds. If you cant find a loose bound buffing wheel(buff), just remove all but three or four of the center rows of stitching that holds the wheel together. Apply the compound to a spinning buff, and polish the plastic using light to moderate pressure against the wheel. Be careful not to hold the plastic in one place too long, the spinning wheel will cut into the plastic, ruining the project. Another way to polish the edges is to use an open flame, this method requires alot of practice, and can easily ruin a project, so if you're going to attempt this, play with a scrap piece and get to know the limits and reactions of the plastic that you're working with.
All of these hints will work with cast and extruded acrylics alike, but the polishing will not work with Lexan, it requires a gas vapor to be used in the polishing process. --------------------------- How a ported enclosure works: The woofer moves in and out of the box. As per pressure laws, the pressure inside the box must vary. The port contains a mass of air that couples the outside air to the inside air. Note that this also couples the air outside to the pressure variations inside, however, the coupling amount changes with the movement of air inside the port. Port air movement is given by port tuning (and the frequency played, obviously). The port tuning is variance of area and length. The port area and length gives 1) the flow rate and 2) the air mass. General port info- As the speaker moves at a given frequency, the port air oscillates sympathetically. This moving air allows the compliance in the box to go up as the speaker is moving (that is, allows the speaker to move more freely). Thus, it allows the box to act less like a spring (therefore allowing the woofers back wave to couple with the front wave as well as allowing the speaker to unload more (than a sealed box of similar size).
At resonance - The tube and the air inside will have a resonance. At this resonance, the air in the port moves most easily. Because of this, the air acts very much like a little energy vacuum, sucking energy from the speaker to couple it to large amounts of port velocity. This causes the box to become less compliant, pushing against the sub, allowing it to excurt less and the port air velocity goes way up.
Under resonance - However, under the tuning frequency, the mass of air can no longer oscillate in the port. This makes the port become much like an open window, causing the box compliance to go WAY up. This makes the subwoofer unload until only the suspension of the driver (and a TINY bit of air resistance in the box) controls it.
Above resonance - Above the tuning frequency, the air in the port can oscillate quite well and vent velocity drops off quite fast (in one example I'm working with, vent velocity is 1/6th of the resonance velocity at 1 octave above tuning), as does Xmax (about 1/2 at 1 octave above resonance)
SPL effects - The primary factors in how loud a ported box plays are:
1) Phase - Between port wave and driver wave (how well they couple)
2)Xmax - How much acoustical energy the speaker is imparting to the total system of air
3)Vent Velocity - How much acoustical energy the port is generating
(NOTE- As the whole mass of air moves, and the shape of the mass is semi-constant (fluid) you could also apply a displacement (xmax) to the port air just as you could apply a velocity to the cone movement, the two are related.. Thus the mass of air in the port does act like a radiator of sound when moving, and it also acts like an energy sink (by dissipating acoustical energy through momentum, like a speaker)
Note, some-counter intuitivity. The vent velocity doesn't really make much sense if you think about it as air shooting out of the port. Since a sound wave is longitudinal (NOT transverse) when forced into a given shape like a cylinder, air moves back and forth in the port matching roughly the shape of the port. Note- This is a place vent losses can occur, as air near the sides of the port create friction and lose energy as heat)
Now, if you think about it, you can see why a ported box is generally loudest at about 1/2 octave above its tuning frequency. At this point, the waves of the port and woofer have a decently constructive phase relation, allowing them to couple, adding to the radiated acoustic energy.
Also, the box compliance is such that the speaker can move more freely than it can at any higher frequency.
And, the port air is close enough to resonance that it can move freely also.
Phase coupling + more xmax + more vent velocity = most overall radiated energy.
And dats wat its all about, right? Louda is mo' betta.
I don't know what you can or cannot use out of these, but they have been very helpful to me and many many other people. Thanks to anyone who spent the numerous hours to write these tutorials and great sites..!!
I have moved those articles to the Termpro Technical Archives Forum. This new forum is for informative articles that are just too good to get lost. Our new moderators for this forum are meph and mabeita.
When you come across a great article on the Audio Forum, please notify one of these moderators so that they can include it with our other articles.
Thanks!
-------------------- "Keep it Loud and Make me Proud!"
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