Thank you for the kind words sir, it definitely did bring everything to the next level.
Just been more focused on the final outcome which for me always been to continuously learn and improve my system by extracting the most out of what I have before moving on to better equipment hence didn't post it earlier. Changing equipment which is well common practice I've seen people sell off equipment and move on even before letting the current equipment break in. Plus coming from a home audio background, car audio equipment is mostly plagued with snake oil and most people fall for face value if i may.
So finally pulled the plug on some of the most overbuilt amps known to the world of car audio.
Phoenix Gold Xenon 100.4 (Tweeters, Midranges)
Phoenix Gold Xenon 100.4 (Midbasses bridged)
Phoenix Gold Xenon 1200.1 (Subwoofer)
Phoenix Gold Xenon X200.4
Xenon Xe100.2 Review
Build:
Some may say these amps are light, but this is a tank. Keep in mind there is no steel in this amp, so it will be lighter than a ZX or Ti amp. It is at least as heavy as an older RF amp (Punch 400.4), but this one has a fan, so it does not need as large a heat sink as it actually has.
This amp has a total of 6 power supply switching MOSFETs. This is quite overbuilt for a 200W amp, to say the least. Based on some of my rough guestimates this supply itself is capable of well over 1000W. This being a Class A/B amplifier rated to do 200W RMS, it will never max out that supply, and during normal use the supply will just idle away.
As for output devices, this amp has plenty. 8 of them in all, and they are of the TO-3P package size. This is a bit smaller than the standard TO-3LP style BJTs used in earlier PG amps, so they should have slightly less thermal dissipation. Seeing how this amp uses twice the quantity it needs, I don't see any thermal issues ever occurring. (Note: PG informed me these are Sanken devices, and are made in Japan. They switch much faster than the traditional PG outputs, and are superior quality which is a bonus.
Frequency response was great. My reference amplifier is a M25. It is simply the best sounding, and best measuring amp I have come across. Mine is beat to death with all the paint falling off, but I still use it as a reference. These response plots done with my LMS show how the Xenon stacks up.
I hooked up the M25 and the X100.2 for an A/B test. You can see my setup below.
I must note I have listened to many PG amps. ZX, M, and MS. All of them sound the same at low levels. This makes perfect sense, as they all use the same basic design. The only differences between these amps are features and power levels. The M25 is a solid amp, with no onboard processing other than a bass boost, and it uses the bare minimum of parts, thus the bare minimum of inconsistency between parts.
A friend of mine who is really into audio also came over for his impressions too. I matched the gains of the amplifiers as close as possible with a DMM and a 1kHz tone. I used my DIY 8 ohm home speakers which have been measured to be a near flat response with very expensive test equipment, while I worked for Rockford. We played an assortment of CDs, mostly Rock, and Pop.
The results were as follows: We were consistently inconsistent, if you get what I am saying? This testing was done blind, with one of us running the switching, and the other listening. I picked one I liked better, then at a later time picked the other amp. He ended up doing the same. He was fully confident he knew one was better, but his choice changed randomly. This went on for well over an hour, and I developed a headache from trying so hard to hear any difference, there simply was none.
Bottom line: Xenon sounds as good as all the other top of the line PG amps do, and easily makes its rated power levels.
Some comments on diyma:
I am not a expert and cant give you a fancy review..I can tell you there are as good as some of their legendary stuff but less expensive....and have pleny of clean power.
Only drawback was their size...the 200.4 is huge..the 200.2 is not so huge..
One of the top sounding amps I have had. You should try it and see...if you dont like then sell it. I think you will like it.
I used the 200.4 in the past to power my whole system - 3 way passive + sub. It handled the job perfectly.
I might add, their xovers are excellent!
As far as SQ, it pretty much sounds like any other previous PG amp...a good thing
the design of my amprack completely silences the fan on startup. also, dejo torturetested my xenons in the last truck he had and said they're the ONLY amps that NEVER went into thermal protect during a long jam session on his long commutes. he had them in the most gawdaweful places too. THAT'S saying something right there and in my experience they SIP power. they make the most out of the current they pull unlike cough eD cough
I highly doubt that you'll regret it. I haven't had an issue out of my 100.2 and 600.1 since I bought them 2yrs ago. These are VERY strong and clean amps. I'm still surprised how "slept on" these amps are by the SQ crowd especially at the prices they go for. Maybe it's the cosmetics? The look kinda grows on you after awhile though.
SQ on Pheonix Gold XENON - Car Audio | DiyMobileAudio.com | Car Stereo Forum
Well since we're posting pictures, let's post the pictures of the actual install itself. What's the point of high end equipment when you don't even install it ehh?
And here we go...
These amps are HUGE!!! , that is a playstation 4 controller next to it for a reference.
This board is 40 inches in width and 25 inches in height when placed horizontally.
Monsters ready to go inside the trunk.
When you put 3 huge amps all on one side, when there's a will, there's definitely a way. 
No need to introduce the man behind the install.
And Oh Yawar look it's your bae [emoji14]
Thank you Omar bhai, it really did make the setup shine and goes on to prove that changing equipment is not the answer. In car audio, throwing money simply does not solve your problems, you can have the most expensive equipment in the world but if you don't know how to tune it that setup simply won't reach it's potential. So it's not only about the sword, but about the one who wields it.
They sound absolutely amazing, tons of clean power with immense detail. If i were to explain the control they exhibit just imagine a 4.0 litre v8 truck pulling a shopping cart. They never ever bottom out or feel stressed.
The internals are top notch and even similar to their flagship Elite series amps which produce more power, as far as sonic signature is concerned you saw that they stacked up to the reference M series amp that the reviewer used. This speaks about the heritage that they follow which consists of no compromise on performance which has been PG's slogan as they are indeed a tribute to the old school where cost cutting wasn't a thing due to economics,sure they might not be the best looking amplifiers around but what they do is simply no gimmicks and all dedication towards sonical finesse.
Sir it will definitely be more than available, plus it'll come with a technician just at the expense of a pizza [emoji14]
They're doing exceptionally well with the marantz amp although I do have a certain plan for them
http://www.toacanada.com/assets/files/265-ME-AV_IM.pdf
Since most people don't know this, having a reference sound goes a long way when you're looking to make a great system. The likes of Mark Eldridge and other people have had a great home system before they went on to be known in the world of car audio. These are my studio monitors that have helped me train my ears for a reference, they are magnetically shielded as well since back in the old days TVs used to have big magnets in them which could compromise the integrity of the sound.
These were built by TOA, they are a fairly large, independent company. Most of their traditional business is in public address and installed sound. When management there decided to take a shot at the recording studio market, they really put serious effort into it. Some of their nearfield monitors and studio mics developed a loyal following. The 265-ME-AV was targeted directly at the Yamaha NS10.
Most home audio folks know that the Yamaha NS10 is a studio monitor which was a benchmark for over 20 years.
Originally conceived as a domestic hi-fi speaker, the NS-10 was designed by Akira Nakamura and launched in 1978.[SUP][2][/SUP] It was sold at the $400 price point.[SUP][3][/SUP] The speaker was poorly received and its commercial life was short.[SUP][2][/SUP] However, it took five years for its popularity to be established with professional users. As recording engineers came to rely on the NS-10 as a benchmark, it dominated the mixing of pop and rock music throughout the world for at least 20 years
Signature sound[edit]
In simplistic terms, the NS-10 possesses sonic characteristics that allow record producers to assume that if a recording sounds good on these monitors, then it should sound good on most playback systems.[SUP][1][/SUP][SUP][2][/SUP] Whilst it can reveal any shortcomings in the recording mix as well as the monitoring chain,[SUP][2][/SUP] it may lead to listener fatigue with prolonged use in the domestic setting.[SUP][9][/SUP]
The NS-10 does not have a perfectly flat frequency response. The sound of the NS-10 is slightly heavy in the midrange, and like other sealed-box speakers of similar size its bass extension is limited.[SUP][2][/SUP] It has a +5 dB boost in the midrange at around 2 kHz, and the bottom end starts rolling off at 200 Hz. The midrange response is so open that it exposes the frequencies that are the most problematic and worst-sounding to the human ear.[SUP][9][/SUP]
On a practical level for the music professional, the speaker is analytic and clinical-sounding.[SUP][1][/SUP][SUP][9][/SUP] Gizmodo likened the NS-10 to music editors who reveal the weaknesses of recordings, so that engineers would be forced to either make necessary compensation in the mix or otherwise rework them.[SUP][1][/SUP][SUP][9][/SUP]
A 2001 report by Newell et al. at Southampton University undertaken for Studio Sound in 2001 found that the NS-10 had excellent time-domain response at low frequencies ? its ability to start and stop in response to signal input was found to be superior to that of most other nearfield monitors. Part of this was related to its closed-box design. The researchers held that the extremely fast decay time of the speaker in the low frequencies ensures that the bass instruments (guitar and drums) are correctly balanced in the mix.[SUP][2][/SUP][SUP][5]
[/SUP]Where does all that leave us? Why do we still use that old monitor? We use it because it does a job, even if it sometimes doesn't sound very nice while doing the job, partly because, if it's installed or driven inappropriately, it will reveal such shortcomings without mercy, and partly because it sometimes reproduces elements of our work that we don't particularly want to hear. But we also use it because nearfield monitor manufacturers seem to have suffered a 20-year blind spot and failed to identify why the NS10 works and remains so popular. Go figure.
https://en.wikipedia.org/wiki/Yamaha_NS-10
The Yamaha NS10 Story
Even to this day, I know for a fact that sound engineers use the Yamaha NS10 as I know a guy who owns a high end recording studio and has worked with some pretty huge artists.
Last but not the least, It certainly has been an eye-opening experience and i'd definitely like to thank the people who have helped me personally throughout my tuning process.
Jon Whitledge(http://whitledgedesigns.com), owner of the magic bus which is one of the best sounding cars of all time and is a benchmark anywhere in the world with the sheer dedication and time put into this project.
Andy Wehmeyer (CEO Audiofrog),one of the most knowledgable folks in the industry with over 25 years as product manager at JBL and the brains behind the ms8.
Hanatsu from DIYMA forum with his in depth knowledge of REW and other acoustic measurement programs.
