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<blockquote data-quote="Buck" data-source="post: 8907745" data-attributes="member: 591582">If you mean where to place the rear port, I would tend to put the port as far back in the box as far as possible, that way the whole front chamber is properly pressurized and the rear port air meets proper impedance or restriction from the front port.&nbsp; The flow of the waves through the box matters, at least somewhat, to a degree.&nbsp; So for a series 6th you want to make sure the rear port air properly pressurizes the entire front chamber.&nbsp; That&#039;s how I do it, at least.Here&#039;s an example:[MEDIA=instagram]CQPeIU2ss0V[/MEDIA]^^^that design wasn&#039;t built but that&#039;s the best type of lauout IMO.&nbsp; Or this:[MEDIA=instagram]CSEgDGoL1sP[/MEDIA]Follow the waves from the rear cone or cone in rear chamber all the way out of the front port, it&#039;s a straight line sort of, as in the rear cone energy is forced to move through all the airspace of the box, both chambers and ports.&nbsp; That box did very well^^^So just remember the rear port relies on the front port for tuning to achieve proper rear tuning.&nbsp; If your rear port is like right next to your front port and there&#039;s a front huge chamber where the rear port air can largely or somewhat bypass, there might be some negative consequences to that.&nbsp; I realize sometimes layout is difficult with series 6th&#039;s.So here&#039;s a series 6th I did for an underseat pickup which is really funky to do, so the rear port would up being fairly close to the front port:[MEDIA=instagram]CX2ohAdMcpa[/MEDIA]That&#039;s why the rear port in the front chamber turns like it does to try to help it pressurize the front chamber better, since the rear port is so far into the front chamber and close to the front port.&nbsp; That layout just had to be that way to make it work, and I was told it worked well and sounded good.&nbsp; 2 6.5 DC subs, series 6th.</blockquote>

[QUOTE="Buck, post: 8907745, member: 591582"] If you mean where to place the rear port, I would tend to put the port as far back in the box as far as possible, that way the whole front chamber is properly pressurized and the rear port air meets proper impedance or restriction from the front port. The flow of the waves through the box matters, at least somewhat, to a degree. So for a series 6th you want to make sure the rear port air properly pressurizes the entire front chamber. That's how I do it, at least. Here's an example: [MEDIA=instagram]CQPeIU2ss0V[/MEDIA] ^^^that design wasn't built but that's the best type of lauout IMO. Or this: [MEDIA=instagram]CSEgDGoL1sP[/MEDIA] Follow the waves from the rear cone or cone in rear chamber all the way out of the front port, it's a straight line sort of, as in the rear cone energy is forced to move through all the airspace of the box, both chambers and ports. That box did very well^^^ So just remember the rear port relies on the front port for tuning to achieve proper rear tuning. If your rear port is like right next to your front port and there's a front huge chamber where the rear port air can largely or somewhat bypass, there might be some negative consequences to that. I realize sometimes layout is difficult with series 6th's. So here's a series 6th I did for an underseat pickup which is really funky to do, so the rear port would up being fairly close to the front port: [MEDIA=instagram]CX2ohAdMcpa[/MEDIA] That's why the rear port in the front chamber turns like it does to try to help it pressurize the front chamber better, since the rear port is so far into the front chamber and close to the front port. That layout just had to be that way to make it work, and I was told it worked well and sounded good. 2 6.5 DC subs, series 6th. [/QUOTE]

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