4ACES

5326 bucks....mates rates install..the whole kit n tuning..allowed 1k extra for stuff ups with DIY

CHEATERRRRRRRRRRR!!!!!!!!!! man id laugh if you got caught...in fact I hope one of em finds out eh..thats wrong. nasty! But look on the brightside if one finds out then you get your mind made up for you.

turbo arrived on the 4th......its under construction boys... :P

alright this is crap...why isnt it working...meh yeah there the ones....Im getting a custom job on the style. Pretty much copies for the lex, if that makes sense... Im just getting general opinion. I wouldnt choose ones and dash my hopes because they dont fit.

first time no worries on my 17th bday.

dat better?

Thinking of Getting these rims for my IS200 These little beauties are 18s in a width of 9" front and 10" rear and an awesome offset of +13 Whats ya think?

i found it on a website too, aint nothing like sharing.. I think it can be a benefit for all. There are always questions.

yeah im 20 so im in the 7.11% insurance cost me 1567 AUS dollars.. fully covered and im principal driver.

haha sorry....... :D but seriously how speccy is it!

Might help.....i found it helpful...Im bored at work again...haha Correctly Adjusting Gain and Crossover Controls on your Amplifiers By - Rob Mar This article has been written to help people tune the ‘gain’ and ‘crossover’ settings on their amplifiers. Before leaping into adjusting the settings, first you should have a basic understanding of the controls and reasons behind proper adjustments. Abbreviations used in this article: *EQ = equaliser *HP = highpass *HU = headunit *LP = lowpass *RMS = root mean square *W =watts What is a gain control? The gain control is NOT a volume control. Turning the gain up higher and higher does not produce higher ‘full-power’ output. If an amp produces a maximum of 100WRMS per channel, increasing the gain will not yield more than this. Better to think of the gain as a ‘sensitivity’ setting: the higher the gain, the more sensitive the amp is to the signal fed into it. As an example, consider three gain settings: A, B, C. A is ‘low’, B is ‘medium’ and C is ‘high’. The lowest possible setting would be fully anticlockwise and highest would be fully clockwise (where the gain control is a ‘knob’ or pot). Now let us say the HU is delivering a 2V signal via the preouts and RCA cables. With the gain at B, the amp may be producing 100WRMS per channel. If the gain is now changed to A, the amp is less sensitive; in order to produce the 100WRMS as before, the HU must now deliver a higher voltage signal, say 3V. Setting the gain to C, the amp becomes much more sensitive; it now may require only a 0.5V signal to produce 100WRMS. The purpose of the gain setting is to match the HU preout signal-voltage with the amplifier. A HU with a higher voltage signal will require a low gain/sensitivity setting; if the HU only produces a low voltage signal, the amp would need to be more sensitive to produce the same power. What do the voltage markings on the gain setting mean? Some gain controls have markings with ‘voltage’ to use as a guide. These voltage settings suggest to you what RCA input voltage is required to make the amp produce full power. You’ll note that with a high gain/sensitivity setting, the marking may read 0.5V; this makes sense because the amp needs to be more sensitive to respond to a low voltage signal in order to produce full power. Whereas a low gain setting may have a marking of 4V; with such a high input voltage, the amp needs to be far less sensitive to produce full power. What RCA preout voltage does my HU produce? Unless you have sophisticated measuring equipment like an oscilloscope, you will not know what voltage the RCA signal is from you HU. The advertised voltage found in the specifications refers to the signal under special conditions: usually by playing a constant signal like a test tone at a fixed frequency. This is obviously very different to conditions of playing music. Music is very dynamic, meaning it is constantly changing between loud and soft. It is important to realise that the RCA preout signal, when playing music is far lower than if playing a test tone. Therefore, whilst a HU may feature ‘4V preouts’, when you play music the ‘average’ voltage may in fact never reach beyond 1~1.3V. Sure, it may peak as high as 4V, but never reach that level in a sustained manner. Of course, these voltages are only achieved when the HU volume is turned up to full. Using a low volume setting, as you would for normal listening, the signal voltage is far less again. The implication is that the gain setting on the amplifier must be much higher than predicted. You should expect a 3~4 times ‘overlap’ in voltage. For example, a HU claiming ‘4V preout’ signals will only produce an average of 1~1.3V when playing music and at full volume, which is 3~4 times less than predicted. The gain setting remains true however; that is, if you set the gain to the ‘1.3V’ marking, the amp will produce full power when the HU delivers 1.3V. Why set the gains properly? There are several reasons to set the gain control properly: 1. The wider the range over which you can use the volume control on the HU, the finer the control you have. There’s no point having the amps reach full power with only 30% on the dial where every little step produces a large volume difference. Therefore, you want full volume to be achieved when the volume control on the HU is full (100%). 2. To avoid overpowering speakers. Every speaker has a power handling limit; if it is fed a continuous amount of power beyond this, it will be at risk of having the voice coil overheated and permanently damaged. Gain settings can be used to limit the amount of power being delivered to within safe operating levels. 3. To avoid ‘clipping’ the amplifier. Clipping occurs when an amplifier is pushed beyond its limits; this limit is the maximum clean power the amp can produce. Beyond this, the output signal becomes highly distorted, and is referred to as being ‘clipped’; it is very audible and difficult to mistake. If the gain is set too high, the amplifier will reach full power when the volume control has not reached full; if the volume control is turned up higher, the amplifier is now pushed beyond its limits into clipping. By reducing the gain setting, the amplifier will never reach clipping despite the volume control being turned up full. Note that clipping does not necessarily mean the speakers will be overpowered; therefore it is not always dangerous for the speakers (see later). 4. To achieve a nicely balanced system between front and rear speakers, and the subwoofer, their respective levels need to be matched. Using gains is a useful means to achieve this. What happens if the gain is set too low? If the gains are set too low, the amp will not be sensitive enough to reach full power. For example, if the gain is set where the amp requires an input signal of 3V to produce full power but the HU only delivers 2V even at full volume, the amp will never reach full power. This is wasting the potential of the amplifier. However, this may still be required if you are to achieve a better balanced system, or more importantly, to avoid overpowering the speakers or subwoofer. As such, a ‘low’ gain setting can be used to cap power output from the amplifier. What happens if the gain is set too high? This has been discussed to above. The problems encountered include the risk of overpowering speakers and causing clipping. What is distortion and overpowering speakers and subwoofers? In audio, distortion is a music signal (electrical or acoustic) that is less than 100% perfect from the original. Where the CD recording is the ‘original’, distortion may occur when this data is converted from digital to analogue, as it passes through the controls (preamp) of the HU, along the RCA leads, into the amplifier, out to the speakers, and in the reproduction by the speakers themselves. Some is audible and this should always be considered ‘bad’, if not only to our ears, but also to the components. Important forms of distortion to be aware of include: 1. Over-excursion of the cones of speakers and subwoofers from being pushed beyond their physical limits. This typically occurs when small speakers (eg: 4~7” diameter) that are part of the front-speaker setup are fed too much bass, especially when delivered a ‘fullrange’ signal. By using a HP filter to remove bass, it will greatly improve the power handling of the speaker and avoid over-excursion. 2. Clipping of the amplifier. Discussed above, clipping occurs when the amplifier is pushed beyond its limits of producing ‘clean’ power and becomes distorted. This transition is typically sudden and harsh, but some amps have soft clipping, which is far less noticeable. Other amplifiers features a clipping warning system, which is commonly an LED warning light. Overpowering of speakers occurs when either they are pushed to over-excursion or the power being delivered exceeds their power handling. Every speaker and subwoofer will have a power handling designation specified by the manufacturer, and usually marked onto the speaker itself. You should always refer to the ‘RMS’ power specifications. It is possible to cause over-excursion without exceeding power handling. For example, a 6” speaker may have a power handling of 50WRMS, but if fed a signal with subbass it may over-excurt and distort with only 30WRMS of power. Usually a speaker or subwoofer audibly distorts if it is overpowered. This is a warning to back off or risk permanent damage! Clipping can cause overpowering and is therefore dangerous for speakers. It is a common cause for burning out voice coils. A clipped signal is typically far more powerful than a clean signal, quickly reaching double the power of the clean signal. It is because of this rapid transition that people are caught out. Setting gains properly can avoid clipping! Note that clipping per se is not dangerous for the speaker. It is the actual power of the signal that causes the overpowering. For example, an amplifier may produce only 100WRMS of power, beyond which it will clip. If clipped, the signal may reach around 200WRMS. However, if the subwoofer it drives has a power handling rating of 300WRMS, it will not be overpowered or at risk of overheating. Therefore, the subwoofer will happily reproduce a clipped signal of 200WRMS all day long; it will just sound terrible and the amplifier may overheat! So understand that clipping is a sign that the amp is being pushed beyond its limits; that the onset of clipping causes a rapid increase in power output, albeit highly distorted; clipping does not necessarily mean the speaker or subwoofer will be overpowered. How do I best utilise crossover filters? Crossover filters are defined by the frequency at which they are set and how dramatically they filter out the signal (slope). Nearly all amplifiers include a crossover filter, and most are ‘variable’. This means you can adjust the frequency from where the filter takes effect. Most slopes are fixed, commonly of 12dB/oct effect. Detailed explanation of filters is beyond the scope of this article. You should set the filter to suit the speakers and subwoofer, and also to achieve a nice blend between front, rear and subwoofer. If a small speaker is fed too much bass, it will distort prematurely from over-excursion, therefore reducing its power handling; this may limit how loudly you can run the system. The choice of frequency where the HP filter is set is a compromise: whilst it is ideal to have more midbass (70~150Hz range) from the front speakers, asking too much of them will diminish their power handling. It may also ‘muddy’ their sound because they struggle to maintain the clarity of the higher frequencies whilst reproducing the midbass. Setting the HP filter slightly higher will improve power handling at the expense of midbass. Setting LP filters is also a compromise. The subwoofer may also be able to reproduce midbass and as high as 200Hz quite well. However, these high frequencies beyond 100Hz are ‘directional’ to our ears: they can usually detect where in the car these frequencies are coming from. Having our ears detect midbass being reproduced from the rear of the car adversely affects the soundstage. You are aiming to have all the sound ‘appear’ to arise from infront. Subbass frequencies (well below 100Hz) are non-directional; therefore it works to have a subwoofer in the boot because our ears cannot determine this. Note that if you can ‘hear’ a subwoofer’s location, it will be because the subwoofer is either reproducing higher frequencies or there are rattles and vibrations that localise it. The actual ‘best’ setting for your setup will depend on many things, including quality of the speakers and their installation, acoustics in the car, and your tastes. However, as a rough guide, the HP can be set depending on the size of the speakers: *6~7” speakers: 70~100Hz with 12dB/oct crossover *5.25” speakers: 100~150Hz *4” speakers: 150~250Hz A steeper sloped filter will remove the bass more dramatically. Therefore you can afford to set the filter at a lower point without delivering excessive low frequencies. Most people recommend setting the LP filter near that of the HP for the front speakers. Note that filters are not a brick wall; they do not suddenly cut out frequencies below/above their setting. Therefore, any ‘underlap’ between filters does not leave a gap. An example of underlapping would include a HP setting of 90Hz and a LP of 70Hz. Underlapping is favoured by most enthusiasts for best results. However, many systems sound best with equal settings or indeed overlapping crossovers where the subwoofer and front speakers share more of the frequencies around the overlapped range. Setting the gains You are now hopefully armed with some useful basic knowledge to help tune the system to good potential. The following is a recommendation for the steps required to properly set gain and crossover adjustments. You will want to perform these settings in an environment where loud music is not a nuisance. Also protect your ears with earmuffs as necessary to avoid hearing impairment. In general, adjust front channel gains first, then rear (if applicable), and finally subwoofer. Then adjust the balance in sound between front, rear and sub, which may require turning the gains 'down' for some amps (eg: subamp). Use of any EQ or processor can be left till the end and gains readjusted as necessary. Steps to set gain levels: 1. Play music that is well-recorded and you are familiar with, featuring the entire frequency bandwidth from subbass to treble. 2. Start with only the front speaker channels; disconnect all others by pulling out the RCA leads or disabling them via the HU (if applicable). If using a bridged 4-channel amplifier to provide 2 channels, you will need to set the gain for each side, left and right, separately. Do this more easily by using the ‘balance’ function to concentrate on one side at a time. 3. Turn gain right down (full anticlockwise). 4. Turn HP filter up higher than required (eg: 150Hz for 6" splits). 5. Turn off ‘loudness’ and set any EQ to flat. 6. Now play the CD and turn the volume as high as it goes without distortion. Some HUs allow 100% volume without distortion via the RCA preout; others go only as high as ~90% before distortion; set it just below any distortion. 7. Gradually turn the gain up: keep going until you now hear distortion. Any audible distortion should be considered 'bad', so turn the gain down a little, just below its onset. 8. Finally adjust the HP filter: lower it until your front speakers play adequate midbass without loss of power handling. Alternatively, lower the crossover setting further and expect diminished power handling which will require a lower gain setting accordingly. This may be preferable for some listeners who don’t want the volume to be so loud and prefer added midbass. So now the front gains and HP filter are set properly. They are at a level where you will have maximum usable power when the HU volume control is turned up to full (or to pre-distortion level). Next: 9. Repeat the above for rear speakers where applicable; leave the front and subwoofer channels disconnected. Next: 10. Start to tune the subwoofer channel gains by disconnecting the front and rear channels. 11. Consider setting the HU sublevel control to about 1/3~1/2 (eg: 6/15). Whenever you listen to music you can lower the subbass for various tracks yet still set it higher for others; it gives good flexibility. Otherwise, set the sublevel to ‘0’. 12. Turn the gain right down (full anticlockwise). 13. Turn the LP filter up higher than required (eg: 150Hz). 14. Leave ‘loudness’ and EQ off. 15. Again, play the CD and turn the HU volume to the level used to set the other gains. 16. Gradually turn the gain up: set it just below where any distortion becomes audible. 17. Finally adjust the LP filter: lower it to a setting close to where the HP is for your front speakers. Now you want to achieve some form of balance between all your speakers without either the fronts, rears or subwoofer dominating. 18. Disconnect or disable the subwoofer when setting front and rear balance (ie: 'fading'). Use the fader control to achieve the balance between front and rear that you like. 19. Reconnect the subamp channels. 20. Now determine if the subbass is too much, which is usually the case. If so, do NOT increase the gain on the front/rear amp channels but reduce the gain on the subamp by turning it anticlockwise. Set the subamp gains for a nice balance between sub and front/rear. Most people like a little sub-heavy action which is fine if it suits your tastes. Bingo, you're about done! You can if you want, adjust the EQ to your liking. Note that if you boost any frequencies (although most people prefer to ‘cut’), you are pushing the amp a little closer towards clipping. This means, if you now turn the volume up to what was previously the maximum level, the amp may infact clip because the signal is stronger than before For this reason, you need to either trim the gains down a little to compensate or never turn the volume up as high as you used when setting the gains. Most enthusiasts using a subwoofer never switch any ‘loudness’ setting on; it is unnecessary. Finally, realise that some CD recordings vary in quality. Very occasionally you will encounter a recording that is excessively ‘high’ in level. Bear in mind that such recordings will push the amplifier closer towards clipping and you may not be able to utilise the volume control up to full. Importantly, playing test tones (constant frequency), as could be the case during SPL competitions, makes the RCA preout signal much stronger compared with music. This too will push an amplifier closer towards clipping so you must limit the volume control to below full. When all the gains and crossovers are set correctly, you will use the stereo knowing that you have all the usable power on tap and can turn it up as loud as it will go with limited risk of damaging your components from excessive power. So enjoy!

Yeah hey, bored at work so I thought I might post this up incase people have questions and prob get a decent convo going about things. The Basics of How A Turbo System Works. Ok, air comes in through the filter, then through the AFM (which measures the amount of air coming in so the ECU can calculate the amount of fuel required). The air is then sucked into the turbo, where the compressor wheel increases its pressure and sends it to the engine. On the way there's an intercooler to lower the air temp, because a by product of the turbo is quite a lot of heat. Before the air gets into the engine it passes through the throttle body, which is what your accelerator pedal is connected to. The throttle valve restricts airflow into the engine so that you can vary the power it makes. When it's open the engine tries to produce maximum power, and when it's closed (almost closed) the engine will be at idle. So the path of air is: filter -> AFM -> compresor (turbo) -> intercooler -> throttle -> engine. The exhaust gas flow from the engine is roughly proportional to the amount of power it's making, and that flow is what spins the turbo's turbine, which in turn drives the compressor. So, the more air going in, the more power, and hence more exhaust coming out, which means more boost, which means more air, hence even more power. It's a feedback loop which is kept under control by the throttle input from the driver. To keep the maximum boost at a safe level there's the wastegate, which is just a valve allowing exhaust to bypass the turbo, and therefore not spin the turbine any faster, or create more boost. It works in a very simple way. The valve is held closed (all gas goes through the turbine) by a spring, until it is forced open by a diaphragm driven by boost pressure. When the appropriate boost is reached the wastegate starts to open, and the turbo will stay at the set boost level while the exhaust flow can still increase as the engine revs rise. All of this works quite simply under constant acceleration: Air comes in, is compressed to the set boost level, intercooled, used by the engine, and the exhaust keeps the turbo spinning. It becomes more complex when you start changing throttle settings. If the throttle is wide open, and you're at full boost accelerating, then close the throttle (for a gear change, or back off) suddenly the turbo is pushing against a closed throttle, and at the same time the engine has stopped producing exhaust gas, so the turbo starts to slow down. Now that there's a whole intake system full of compressed air with nowhere to go, and the compressor is not being driven by the turbine - so it can't hold the same air pressure that it did while spinning flat out. The air will start to flow the other way, which means going backwards through the still spinning compressor. This is where compressor surge comes into play. The compressor is still trying to pump air, but at the speed it's going it can't provide as much pressure as there already is in the pipe. This causes the compressor to "stall". Stall is a misleading turn used here, because it doesn't mean stall as in to stop spinning. It's the aerodynamic stall, like a plane that's tried to climb too steeply, or has slowed down too much to maintain lift. The smooth air flow through the compressor blades is broken up, and some of the air will flow back out through the compressor, making a hissing noise. Centrifugal compressors work on a "squared" relationship for speed vs flow / pressure, so if the turbo slows down to half speed it will only be able to hold a quarter of the boost pressure. The "chopping" or "fluttering" sound is caused by the accoustic effects in the intake system, determined by the size and length of the piping / cooler. Rather than air constantly flowing back out of the turbo it tends to come out in bursts, triggered by pressure waves in the piping hitting the compressor. Generally though the flutter is the sound of the pressure wave cause by the throttle closing bouncing back and forth between the turbo and the throttle plate (the longer the pipes the slower the flutter). Every time the wave hits the turbo it causes the compressor to cavitate, which makes the noise. It's not the blades chopping the air making the flutter. Since the blades are spinning at 80000+rpm you wouldn't be able to hear the individual "chops" If you listen closely you'll actually hear a more constant hiss sound at higher boost levels and rpm when backing off. (ie, a "whooosh" rather than a "chop chop chop") The loudest flutter tends to occur at lower rpm and boost levels of only slightly above atmospheric pressure (0psi). This is partly because the sound is "chopped" up more noticeably, and partly because the rest of the car is making less noise at lower speeds. This is also where it's least damaging. Car manufacturers don't like weird noises from the intake system, so they use restrictive airboxes designed to muffle the sound, and more recently (SR20 onwards) used a Blow Off Valve. The blow off valve provides a new path for air to get out past the compressor. Instead of forcing its way back through the spinning blades it is piped out of the intercooler piping and back into the intake piping before the turbo. Obviously it could be vented straight out to the atmosphere, but the AFM has already measured that air coming in, and if it doesn't reach the engine the ECU will be injecting too much fuel in its absence. (Also, venting to atmosphere makes a bit much noise for conservative owners and manufacturers) The BOV works a bit like the wastegate, in that it's held closed by a spring, and controlled by a pressure operated diaphragm. This time though the boost pressure helps keep it shut rather than open it. The control air pressure for the BOV comes from the plenum, which is the chamber between the throttle and the engine. When the throttle closes the engine creates a vacuum (negative pressure) in the manifold / plenum as it tries to suck air past the closed throttle. The vacuum is used to "pull" open the BOV, to vent the excess air in the intake system, preventing "flutter" and other noises. A BOV is a compromise device because, to eliminate all fluttering it will have to open at very low boost levels, and very quickly - which means that it must have a very weak spring. This can cause some leaking of boost due to the valve not staying sealed properly, and also means that every time you back off the throttle, all the pressure in the intake system is vented. When you open the throttle again the turbo will have to build up all that pressure again, whereas if there was no BOV there'd be more pressure remaining as it's a lot harder to get out through the compressor. Most aftermarket BOVs won't open until you reach 6psi or so of boost (because with an atmo venting BOV if it leaks boost you'll have major problems - whereas a slightly leaking plumb back type won't cause bad running, just a very slight loss of power) When you start running well over stock boost, and have larger intercoolers / intake piping obviously there's a lot more air in the intake system, and it will be at higher pressure - so when you back off the throttle there's a lot of air trying to escape through the compressor. This means it will be slowed down quite quickly and violently, which puts large loads on the turbo bearings, wheels, and shaft. Repeated hammering by high boost backoffs can harm the turbo, and the amount of slowing each time causes a lag when the turbo spools back up after each backoff / gearchange. The best compromise setup is to have a BOV which will open when you back off at over say 6 psi, and vent back into the intake to prevent the rich running problems of atmo BOVs. If it's too loose you'll lose boost response due to too much presure being lost on gearchanges, and if it's too tight you'll lose response due to the turbo being slowed down too much - and potentially damaged by the rapid deceleration. Why does it flutter when my gauge isnt reading any boost? The reason it flutters even when you can't see boost on the guage is that you're looking at the pressure in the plenum (after the throttle), but the turbo can actually be producing a bit of boost in the cooler and intake piping. yeah hope it helps....*shrugs* Edit: spelling

Heya, My names charis (car riss) and im from Perth, Western Australia. I bought my IS200 two weeks ago....and have fallen in love with it. *sigh* Im 20 and Im a public relations consultant (pretty damn boring) However im a big fan of japanese imports, also a big fan of turboing...love the projects. Split up with my man 7 weeks ago so its a step in the right direction Found this site when i was looking for information about getting a turbo kit.

yeah well i copied that one from an email.... aint nothing like entertainment while at work Hahah

There are approximately two billion children (persons under 18) in the world. However, since Santa does not visit children of Muslim, Hindu, Jewish or Buddhist (except maybe in Japan) religions, this reduces the workload for Christmas night to 15% of the total, or 378 million (according to the Population Reference Bureau). At an average (census) rate of 3.5 children per household, that comes to 108 million homes, presuming that there is at least one good child in each. Santa has about 31 hours of Christmas to work with, thanks to the different time zones and the rotation of the earth, assuming he travels east to west (which seems logical). This works out to 967.7 visits per second. This is to say that for each Christian household with a good child, Santa has around 1/1000th of a second to park the sleigh, hop out, jump down the chimney, fill the stockings, distribute the remaining presents under the tree, eat whatever snacks have been left for him, get back up the chimney, jump into the sleigh and get on to the next house. Assuming that each of these 108 million stops is evenly distributed around the earth (which, of course, we know to be false, but will accept for the purposes of our calculations), we are now talking about 0.78 miles per household; a total trip of 75.5 million miles, not counting bathroom stops or breaks. This means Santa's sleigh is moving at 650 miles per second—3000 times the speed of sound. For purposes of comparison, the fastest man-made vehicle, the Ulysses space probe, moves at a poky 27.4 miles per second, and a conventional reindeer can run (at best) 15 miles per hour. The payload of the sleigh adds another interesting element. Assuming that each child gets nothing more than a medium sized Lego set (1 kg), the sleigh is carrying over 500 thousand tons, not counting Santa himself. On land, a conventional reindeer can pull no more than 150 kg. Even granting that the "flying" reindeer could pull ten times the normal amount, the job can't be done with eight or even nine of them--Santa would need 360,000 of them. This increases the payload, not counting the weight of the sleigh, another 54,000 tons, or roughly seven times the weight of the Queen Elizabeth (the ship, not the monarch). 600,000 tons travelling at 650 miles per second creates enormous air resistance this would heat up the reindeer in the same fashion as a spacecraft re-entering the earth's atmosphere. The lead pair of reindeer would absorb 14.3 quintillion joules of energy per second each. In short, they would burst into flames almost instantaneously, exposing the reindeer behind them and creating deafening sonic booms in their wake. The entire reindeer team would be vaporized within 4.26 thousandths of a second, or right about the time Santa reached the fifth house on his trip. Not that it matters, however, since Santa, as a result of accelerating from a dead stop to 650 mps in .001 seconds, would be subjected to acceleration forces of 17,500 g's. A 120 kg Santa (which seems ludicrously slim) would be pinned to the back of the sleigh by 4,315,015 pounds of force, instantly crushing his bones and organs and reducing him to a quivering blob of pink goo. Therefore, if Santa did exist, he's dead now. :D :P