MINI2

During the week 19th to 23rd of May, the MINI One D launch event was held on the Isle of Man. MINI2 was of course in attendence, and this time, we have two seperate
reviews on the new diesel powered MINI.

Continue reading TWO Reviews of the MINI One D

MINI2 and MINI USA offered MINI2 members the chance to put forward 20 questions to Jack Pitney, general anager of MINI USA. As you will find below, a wide range
of queries came through, and every attempt was made to pass on a good range of questions to Jack. We hope you find something useful and interesting from this Q and A session.

Continue reading Jack Pitney Answers MINI2 members’ 20 Questions

Site Features Latest Technology and a Chance To Win a Trip to Venice

.With excitement mounting for the upcoming May 30th release of the new Italian Job movie, MINI USA has launched a special Italian Job microsite on www.miniitalianjob.com.

Continue reading MINI USA Launches Italian Job Internet Site

Over 500 MINI fans gathered in 250 MINIs at the Paramount Pictures Studios lot in Los Angeles, California last night to see an exclusive preview screening of The Italian
Job.

Continue reading Largest MINI Gathering in the United States Sees Preview of The Italian

The popular and respected Channel 4 4car website has awarded MINI2 it’s “4CAR SITE OF THE WEEK” award.

Continue reading Channel 4 Awards "Online Temple" MINI2.com

A combined review and tutorial….

Because there has been some controversy and apparent misunderstanding of the nature of the upgrade H/K audio system offered by MINI, I thought it might be useful to explain some of the features and the apparent design philosophy behind the system for users and prospective purchasers of the system. I suppose the situation is only exacerbated by the scant information in the MINI stereo manual. As a recording engineer by trade, I have worked for years with Harman Kardon and Harman Group professional equipment and have developed a respect, and a certain trust, for their products. Given that, I stuck out my neck and ordered the H/K stereo sight-unseen. I, for one, wasn’t disappointed. After listening to and analyzing the system, here are my observations. Please understand that all the information contained in this document was acquired through “reverse engineering”, meaning the information came from listening to and experimenting with the system, rather than from Harman Kardon. Where the heck is the manual that should have come with this thing?

EXPECTATIONS
Everyone goes into a stereo purchase with his own expectations. Let’s define some relevant terms to make things easier to discuss:
Imaging: How we perceive or “visualize” the physical location of individual sounds in a program.
Point source: One end of the imaging philosophy spectrum preferring an ability to easily pinpoint the physical locations of particular sounds in a program.
Diffuse Field: The other end of the imaging philosophy spectrum preferring to spread sounds throughout the listening area to make them fill the space and sound “bigger”.
Flat response: Uncolored sound. Reproducing all frequencies within a program at the same loudness level. In the real world this isn’t possible but it is one goal for which some manufacturers strive.
EQ: Equalization. A tool designed to make a sound system reproduce all frequencies at the same volume level and reproduce uncolored sound. The moment an equalizer got into a user’s hands, it also became a creative sound-shaping tool, allowing the user to color the sound to his tastes. It’s a little bit of audio democracy.
Hollywood Curve: A frequency-response coloration that adds volume at the low and high ends of the frequency range to make a program sound more exciting.
“Loudness” Contour: A circuit designed to be used while listening at low levels which superimposes a curve similar to the Hollywood Curve onto a signal to compensate for the ear’s reduced high and low-end response at low listening levels.

PHILOSOPHY AND INTRO
Now that we are all talking the same language, lets dive into the apparent design philosophy of the H/K stereo and learn to match its capabilities to our expectations. The Harman Kardon Stereo system available for the MINI has been specially designed to acoustically compliment the interior of the MINI. Armed with a little information, the user can choose from a variety of combinations of sound dispersion patterns and broad frequency response curves to suit his needs. The apparent design goals for the MINI H/K were:
1) To create an extremely high-quality audiophile-type sound system
2) To create a moderately high-powered sound system.
3) To create a system with the flexibility to handle differing music, listening situations, and tastes.
4) To create a system which takes up no more precious user space in the car than the base-level system.

In order to achieve these goals, the system is built around a multi-channel amplifier which hides in the right-rear trim panel of the boot, a digital signal processing (DSP) preamp (contained in the amp), and eight high-quality speaker elements, some of which are dual-tasked. There were some compromises, but there always are. The DSP system is controlled by menus within the “Boost” head unit that is standard in the US. and an upgrade in the UK. The H/K system provides for both Point Source and Diffuse Field dispersion patterns with its menu-selected MODES. It also provides a mode that allows front and rear-seat passengers to hear roughly the same sound.

I should mention that there are also diverse philosophical approaches to frequency response in stereo design. The two ends of the philosophical spectrum are represented by:
1) Attempts to create the most flat and neutral reproduction system possible, and
2) Creation of a system which “flatters the music” by deliberately adding and subtracting volume at various frequencies in order to create a rich, “bigger than life” sound.

The H/K system caters to both, providing a fairly flat mode and some colored modes to allow the system to appeal to differing tastes. Due to my profession, you can probably guess which type of system I prefer. At home and in the car, I like for my stereo systems to be fairly flat but have just a tad more bass and treble (a slight Hollywood Curve) because those additions flatter most music.

OPERATIONAL NOTES
As a starting point it would be wise to choose the dispersion pattern you desire. First set the MODE to achieve this pattern and then tweak the EQ to your tastes. Descriptions of each of the modes follow. Because each of the modes features its own frequency response curve, it is likely you’ll want to tweak the EQ after you change modes. The reasons for this will be obvious in a moment. As you may already know, the Boost head unit which is used to control the H/K system offers individual tone settings for each input to the system (Radio/CD/CD changer, etc.). On a side note, the “Tone Lin” feature neutralizes all the EQ settings you’ve tweaked up so nicely in one “fell swoop”, by resetting the EQ controls to their middle position. Be careful!

SPACIAL CONSIDERATIONS
Point Source
If you wish to preserve the spacial integrity of the stereo signal, you should use the “H/K MINI”, “Electronic”, and “Instrumental” modes. These modes use the rear speakers as woofers and sub-woofers, and the front systems as midrange and high-frequency drivers. The result is a front stereo soundstage with exceptional left to right imaging and tonal clarity and strong, deep, and clear bass response reinforced from the back. Because bass frequencies are much less directional than mid and high frequencies, from the front seats the bass is not perceived as coming from the back. Because the MINI interior is fairly small and because mid and high-frequency sounds reflect from hard surfaces, as volume comes up, the mids and highs spread throughout the cabin pretty well. At lower levels, however, the back seat passengers may not hear much high-end sound.

The Point Source programs offer a further spacial enhancement, “Driver”. By employing minute delays and volume adjustments, “Driver” setting optimizes the soundstage for the driver, simulating the sound you would hear when seated centered between the speakers. To my ears, it appears to collapse the sound field a little towards the center a tad. You will have to decide if you like this mode for yourself.

Diffuse Field
If you wish to spread the sound around the cabin and create a “wash” of sound which surrounds you, or if you will be carrying passengers in the back who care about the quality of the sound, select the “Spacial” mode. This mode uses the two rear speaker systems as full-range systems and thus presents to the back and front similar material. Similar, but different, because the frequency response of the two systems is different. “Spacial” mode provides the basic four-speaker car stereo array with enhanced spacial spread added by surfing the tone differences between the front and rear speakers. To demonstrate this, with the car parked, the stereo playing, and you in the driver’s seat, turn your head to the right and look out the passenger window. You should be able to hear the front-to-rear spread. You’ll probably notice a little drop in bass and lower-midrange frequencies in this mode as the rear speakers are used as full-range systems. You can, however, adjust the frequency response of the system with the front-to-rear fader.

“Festival” mode blends delays into the front speakers and sends a reduced front signal plus reverb to the rear speakers to create a “concert hall” type of sound. You can hear the delays when transient sounds are played. During the silence while changing CD tracks you can hear the reverb ring out in the rear speakers. Oh, wow, man.

POINT SOURCE MODES AND TONE
Each of the point source modes offers a slightly different response curve. Of the Point Source Modes, “H/K” provides a smooth and open midrange sound with solid bass and crisp treble which makes it excellent for vocal music and a good starting point in experimenting with EQ curves. It also has a very natural but full bass response with plenty of dynamic range. As you raise the volume, the bass becomes more and more solid. Don’t be surprised if you find yourself adding a little treble. The better the recording, the better it will sound in this mode. Break out the wine and cheese, this mode has “audiophile” written all over it.

On the other hand, “Electronic” mode applies a generous Hollywood Curve, much like switching in a “Loudness” contour. Those who listen at lower levels may find this compensates for the ear’s non-linearity down there. At louder levels, you’ll find thick bass and sharper highs. Do you have any recordings that are weak in the bass and treble? Remember the ‘60s and early ‘70s? If so, were you really there? How about the boxy, electronic ‘80s? “Electronic” can make them sound more alive by bringing out the cymbals, bass, and kick drum. Make it jump off the speakers, man.

“Instrumental” mode seems designed with classical music listeners in mind, with very little “hype” and very flat response as its hallmarks. This lack of hype allows you to jack up the volume to hear low-level passages with little fear that a sudden swell will blow the speakers out of your doors. A recording that is too brittle on the high-end and too boomy in the bass can be mellowed out by this mode. The flat response will also minimize the little irritations classical recording can manifest (hall rumble, string razz from the violins, page turns). This would also reduce the problems in those PBS classical broadcasts. Put on your black tie and enjoy.

WHOOP-TEE-DOO! WHAT DOES IT ALL MEAN, BASIL?
If you are looking for an earth-shaking, modern, extremely high-powered system designed for hip-hop, and you plan to run it at 110db or above, maybe this isn’t the system for you. If you are looking for the type of system that can be heard from within your living room as a car passes out on in the street, this possibly isn’t the system for you. If you are looking for an “attack” system that can be leveled on the other motorists around you at stoplights, this probably isn’t the system for you. That isn’t exactly “Motoring”. Do I sense an attitude from the author here? Sorry. At any rate, those systems typically need a separate sub-woofer, which takes up extra space in the foot well or boot, space that is at a premium in our MINIs. If you are hoping to have a system with four similar-sounding speaker locations, this may not be the system for you.

If, on the other hand, you are looking for a reasonably powerful, musical, wide-range stereo, one which can be configured to optimize the front seat listening experience or provide music for all, this might just be the system for you. If you enjoy “audiophile” stereo systems at home, this may just be the system for you. If you don’t want to loose foot room or trunk space and want to keep the nondescript (though excellent) Boost front-end unit to deter theft, this might just be the system for you. Also remember, when installed at the time of purchase, this stereo is also covered for the duration of the MINI’s warranty.

As in most things audio, the final result is very subjective. Some will love this system, some will hate it. You’ll want to go down to a MINI dealer with your favorite disks in your hand and ask to spend an hour with a Harmon Kardon-equipped car to find out. You can listen with the car turned off, but the system will automatically shut down every twenty minutes. Just turn it back on. Bon appetite’!

Review by: Bob Womack AKA 2nd Mini on the MINI2 forums.

The John Cooper Works Cooper S (to give it its full name!) has had an interesting parentage. German owned, built in Oxford yet refined on the South coast to BMW’s exacting standards.

To the untrained eye the Works car looks pretty much unchanged from standard – just a set of unique, semi-circular Works badges which grace the front and rear bodywork. On closer inspection it sports twin chrome-tipped slash-cut Works embossed exhausts – again subtle. In fact the only part of the test car in questionable taste was the Aero body kit, but that’s an extra cost option. But the pretty cross-spoke R90 17-inch alloys most definitely were! Sadly there were no cars fitted with the optional JCW 18-inch alloy wheels, that look great in the pictures but I can’t help thinking how they would spoil the ride.

The changes are just as hard to spot under the bonnet; the only obvious way of telling a converted car is the silver-topped Works emblazoned cover to the intercooler. There’s also a special engine plate detailing the conversion number on the top of the rocker cover, much like the one fitted to my old classic Mini Cooper S.

Over 40 bhp up on standard yet the Works is still covered by the factory warranty and the TLC servicing (where applicable) remains intact. How many other 200 bhp S conversions boast that - peace of mind at a cost.

The interior too is standard S fare, with the same stylish dash and supportive sports seats. But Richard De Jong, General Manager at John Cooper Works was keen to show me the optional bespoke JCW sports seats. Manufactured by Sparco, the seats can be trimmed to match the rest of the interior. They look excellent quality and will probably add to the sporty feel of the Works.

It’s obviously in the driving where the differences between the Works and standard cars are most noticeable. The first audible change is the noise; it’s a much deeper mote with a pleasant metallic cackle on the overrun. Start off, and it’s soon clear that the Works car is far more capable than standard. This I believe can be attributed to the higher compression of the new cylinder head and the larger, more efficient Supercharger with increased boost.

The power is even more linear and accessible; it feels alert from as little as 1,500 revs right through to the red line. In short, it feels very capable in the lower and upper reaches of the rev band, where the standard car, feels restricted. I think it makes the standard car feel peaky and harder to drive fast. On another note, at speed the higher pitched whine of the new supercharger almost overrides the deeper exhaust note. Even more pleasing, is my problem with the change quality of the six-speed gearbox in the standard S, seemed less noticeable with the extra power.

Five minutes into my drive and we’re on the dual carriageway and I’m already breaking the speed limit! All with a cheeky grin from ear to ear. I defy any MINI owner not to be amused by the giant-killing performance; it’s really the car the standard S should have been. That’s the thing about this conversion, it may not be cheap at over £3,500 fitted, but every Works component is so well matched and balanced that the car feels factory standard. This where the long development time and meticulous BMW testing have come into there own.

The half-hour drive came to an end all too quickly, and I came to the conclusion that if I owned an S, I’d have to find the extra cash to splash on this kit. Residuals are likely to be even stronger too. I can’t see any owner losing money on a JCW converted car, you only have to look at the high prices commanded by converted classic Minis. Without doubt the best new MINI (in my view) is the official one, although I could be swayed. Hartge, Graham Goode anyone?

Review by: Martyn Collins AKA Ginger on the MINI2 forums.

No more speculation: BMW Group Board confirms decision to build a MINI Cabrio.

Munich. At this year’s shareholder meeting on May 15th 2003, Dr. Panke, Director of the Board of BMW AG, announced that the MINI family will be expanded by a MINI Cabrio. This ends months of speculation about an open-top MINI variant. MINI is responding to many customers’ urgent calls for a MINI Cabrio.

Continue reading BMW Confirms Decision to Build a MINI Cabrio

MINI USA Launch Exceeds Expectations Jack Pitney Credits Innovative Marketing, Enthusiastic Dealers On Road to Success

Detroit, MI — May 7th, 2003… One year after the MINI brand was launched in the U.S., its brand awareness has more than quadrupled and sales have exceeded expectations by fifty percent, according to Jack Pitney, General Manager for MINI USA, in a speech to the Automotive Press Association in Detroit today.

Continue reading MINI USA Launch Exceeds Expectations