Buck Box Designs - Refreshed Thread

Skar VXF 15 ported going in a minivan.

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This is a 2 Skar DDX 10's ported box that I designed and my customer built for a van.

This was a design I did back in February (2021), iirc. I had no idea how the design turned out until now. It's a weird/cool setup, because the sub box sits down inside of this giant well in the floor at the very back of the vehicle. The box isn't in it's large floor-hole in this pic. Customer said the box turned out well. I'm glad, because I was interested in how the box would play, exactly, being down in that hidey hole.

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Been wondering how those new Cerwin Vegas stack up these days on the subwoofer area vs the old red Cerwin Vegas that were so popular and hard hitting of the old days.

This sub seems alright. It seems more like a softer, SQ-ish type woofer, if anything, to me. That 15 isn't moving a whole lot of air, but some of the best sounding subs are that way.
 
And just like that, I feel deep shame in the quality of my buck build and might not post any pics until I get some woodworking equipment that isn't from the early 1950s. That's some solid woodworking/craftsman ship there!
It was one of the first things I ever built. It also took me 4-5 O think and had to correct several mistakes. Buck was a good resource for help/questions as well as internet searches. But think you for the compliment! No one really said anything so I thought maybe it wasn't built very well.
 
I just thought I would share this. This is what I typed with a convo with an audio friend talking about port area recommendations in relationship to box sizes for certain woofers:

I've actually followed chamber size quite closely as I've designed. Two 4 cube chambers will resonate slightly higher than One 8 cube chamber in sealed or a 4th bandpass (any level this works). Why? The raw volume of the chamber matters, regardless of the system. Smaller chambers reach air-compression/vacuum limits earlier than larger chambers, regardless of how many woofers or chambers or sizes. It's always this way, even if all total airspaces are equal.

Like, 2 sealed boxes has 16 internal corners, where a single sealed box has 8 corners. The 2 sealed boxes will have more corners inside of it where pressure will be higher; that's not technically what I'm saying, but that's one way to think about it. The more air you add to air, the more the air can overall compress. Larger chambers have more air that can be compressed further than smaller chambers.

This is just how air itself works. It shows itself in every type of enclosure. The bigger the ported box, generally the slightly less in^2/cube you need to keep the port velocity the same. The bigger the sealed chamber, the lower it resonates vs doing multiple small chambers with the exact same airspace. Larger air volumes have more inherent compression/vacuum "stretching" ability from nature. When air bumps into to air instead of walls, the air has even more cushion to compress more. In a dual chamber vs single chamber, the air is hitting the splitter in the box and raising the pressure, instead of hitting another giant wall of air in a single chamber, where both walls of air are able to compress on each other, instead of getting higher pressure and not being able to compress because it's hitting a wooden chamber split.

Might be a word salad. I tried. You need less box volume and port area in any enclosure as the enclosure gets bigger to keep the same resonances, port speeds, cone movements, etc. It's just a few % points as you double in size, from what I've seen (I've done 16-24 cube chambers multiple times).
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SoundQubed HDC310 series 6th order downfiring bandpass going behind the rear seats in a mid size SUV.

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I want to hear this one, for sure. I got to kind of have a field day. Idk why I always try to push myself haha. Sometimes I use a lot of energy really trying to perfect a box (in my eyes), based off what's wanted for the sub system and the physical dimensions. Sometimes it's better to go a little slower with audio and let the whole situation absorb into your mind, then a picture will appear. Like, I just listened to what the owner said, and then I let it flop around in my mind until all the pieces aligned, and this box is what made sense to do. I didn't have to do the octo, but I wanted to do the octo. I think octo's are very strong with better efficiency than a square or rectangle port. I think flared aeros & round ports would only have slightly more efficiency. Octoports really aren't hard to build, if you ever want to do one. I built like a 10" diameter octoport for a 4 15's box once. The only think is, if you want a really good octoport-hole, you need a plunge router. Good luck cutting an octohole with a jigsaw.
 
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@Buck, a triple box for a stereo shop. All three tuned to 34 hz.

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I want to get into parallel and series t-lines and horns for applications like this. My box builder and I are planning to do some test enclosures at my builder's shop, because they listen to music all day while building, basically. So, we've got several random woofers. I've got some old 500w RE 12's, we have a couple of Sundown 6.5's, some stuff like that. I want to make a bandpass-style for both a t-line and horn, and test that basically in an open-air environment. It can be very difficult getting good sounding bass if you're outside or in a very big room.

I tend to think that the larger the environment that you're in, the larger style boxes you will sound better. I really think free-air style boxes are the best way to do any big environment/HT style bass.

Like this box, this is how the f*ck you do a sub box for a building. This box makes me feel like I design little kid boxes:

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