Menu
Forum
What's new
New posts
Live Activity
Search forums
Members
Registered members
Classifieds Member Feedback
Car Audio Discussion
General Car Audio
Car Audio Build Logs
Car Audio Equipment
Subwoofers
Speakers
Amplifiers
Head Units
Car Audio Help
Wiring, Electrical and Installation
Enclosure Design & Construction
Car Audio Classifieds
Car Audio Classifieds
Car Audio Wanted
Classifieds Member Feedback
Gallery
New media
New comments
Search media
SHOP
Shop Head Units
Shop Amplifiers
Shop Speakers
Shop Subwoofers
Shop eBay Car Audio
Test
Forum
Search
Search titles only
Search titles only
Log in / Join
Search
Search titles only
Search titles only
What's new
New posts
Live Activity
Search forums
Members
Registered members
Classifieds Member Feedback
Menu
Reply to thread
Forum
Car Audio Help
Enclosure Design & Construction
Buck Box Designs - Refreshed Thread
JavaScript is disabled. For a better experience, please enable JavaScript in your browser before proceeding.
You are using an out of date browser. It may not display this or other websites correctly.
You should upgrade or use an
alternative browser
.
Message
<blockquote data-quote="Buck" data-source="post: 8770188" data-attributes="member: 591582"><p>I like that box. I've been working on improving my designs, all the time, of course.</p><p></p><p>In most situations, I am pro-slot port. There's a way to lay out slot ports to force air compression at different stages within the enclosure, sort of like a tapered and folded t-line (inverse expanding width horn). Not every box can be designed like this; it is situation dependent, but I try to flow like this whenever I can. I'm not sure if there's any specific term for this type of sound-design within a ported sub box, but I like to think of it as pressure-staging. The port tunes the box due to the restriction/resistance/impedance that it introduces into the cycling pressures moving in and out of the box. The air inside of the main subwoofer chamber gets squeezed down (resistance/impedance) and all stuffed inside of the port opening(s) at relatively very high pressure, considering the rest of the pressures in the system. I guess it's technically a type of acoustical coupling inside of the enclosure itself that I'm explaining, where I'm trying to couple the internal port opening to the airspace inside of the box, using the design of the ported chamber to step-increase air density of the rear air-wave as it makes its way from the back of the sub to the internal port opening. I feel like I'm on the verge of giving away some secret sauce, if you're following.</p><p></p><p>I'm not sure if people understand some of the finer details of how I design. Idk if other people do this; I just developed this knowledge over time from building, installing and hearing many systems, as well as studying a ton of raw sound physics, mainly quarter wave physics. I also study electricity and things like how air pressure works with aircrafts and flight, for example, and that really helps understand air impedance and how just the shape of the air can change the way the enclosure works, to whatever degree. I don't know exactly how much difference intentionally designing like I'm talking about makes. I'm not even sure that many people would follow along if I tested this theory out with an actual build, looking for secondary resonances within sub boxes that could be intentionally designed in.</p><p></p><p>I know people in the audio industry; I'll just say it like that. I've had industry audio friends keep info from me for competition reasons, then eventually show me what they're doing. Series SPL competitors use 1/4 wave math to create secondary resonances to help boost their scores, just with ported boxes. And that's all I want to explain on that, but what I'm doing is the same concept, just with musical boxes. I literally try to do any small thing I can to make the box sound better. I'll go back and forth sizing different 45's and moving bracing around to try to create specific effects within the enclosure that are aimed at making the enclosure sound better just across the board (SPL over a bandwidth, if you will).</p><p></p><p>I've got hybrid/maybe rarely or never seen/used style designs I'm trying to test out, to anyone who reads this. Lmk if you're bored and have a ton of space to play with, whether if it's in a vehicle or in a house or boat or plane or semi-truck or UFO, idc. I'm trying to do some stuff like parallel 6th order t-lines and horns, if that makes sense. I'm not sure if that's the correct technical name, but just try to visualize that in your mind. I'm not just recklessly testing. I'm trying to figure out what style enclosures can be used in certain situations to create a huge advantage over more simple enclosures, all in the name of loud, musical bass. There's all sorts of subwoofer enclosures that can be used that people have no idea are even possible, and I think there could be many advantages to some complex enclosures, especially in the SPL world and in home audio. Home audio is something I wish I could do more. I wish I could get more home audio customers, because that's where people have the space to try to make lower powered systems as loud and efficient as possible. HT environments are just a different type of animal, at least compared to most vehicles. So, hit me up if you want to do some fun, advanced box building and testing. You might get a box you keep forever, and the design might be free.</p></blockquote><p></p>
[QUOTE="Buck, post: 8770188, member: 591582"] I like that box. I've been working on improving my designs, all the time, of course. In most situations, I am pro-slot port. There's a way to lay out slot ports to force air compression at different stages within the enclosure, sort of like a tapered and folded t-line (inverse expanding width horn). Not every box can be designed like this; it is situation dependent, but I try to flow like this whenever I can. I'm not sure if there's any specific term for this type of sound-design within a ported sub box, but I like to think of it as pressure-staging. The port tunes the box due to the restriction/resistance/impedance that it introduces into the cycling pressures moving in and out of the box. The air inside of the main subwoofer chamber gets squeezed down (resistance/impedance) and all stuffed inside of the port opening(s) at relatively very high pressure, considering the rest of the pressures in the system. I guess it's technically a type of acoustical coupling inside of the enclosure itself that I'm explaining, where I'm trying to couple the internal port opening to the airspace inside of the box, using the design of the ported chamber to step-increase air density of the rear air-wave as it makes its way from the back of the sub to the internal port opening. I feel like I'm on the verge of giving away some secret sauce, if you're following. I'm not sure if people understand some of the finer details of how I design. Idk if other people do this; I just developed this knowledge over time from building, installing and hearing many systems, as well as studying a ton of raw sound physics, mainly quarter wave physics. I also study electricity and things like how air pressure works with aircrafts and flight, for example, and that really helps understand air impedance and how just the shape of the air can change the way the enclosure works, to whatever degree. I don't know exactly how much difference intentionally designing like I'm talking about makes. I'm not even sure that many people would follow along if I tested this theory out with an actual build, looking for secondary resonances within sub boxes that could be intentionally designed in. I know people in the audio industry; I'll just say it like that. I've had industry audio friends keep info from me for competition reasons, then eventually show me what they're doing. Series SPL competitors use 1/4 wave math to create secondary resonances to help boost their scores, just with ported boxes. And that's all I want to explain on that, but what I'm doing is the same concept, just with musical boxes. I literally try to do any small thing I can to make the box sound better. I'll go back and forth sizing different 45's and moving bracing around to try to create specific effects within the enclosure that are aimed at making the enclosure sound better just across the board (SPL over a bandwidth, if you will). I've got hybrid/maybe rarely or never seen/used style designs I'm trying to test out, to anyone who reads this. Lmk if you're bored and have a ton of space to play with, whether if it's in a vehicle or in a house or boat or plane or semi-truck or UFO, idc. I'm trying to do some stuff like parallel 6th order t-lines and horns, if that makes sense. I'm not sure if that's the correct technical name, but just try to visualize that in your mind. I'm not just recklessly testing. I'm trying to figure out what style enclosures can be used in certain situations to create a huge advantage over more simple enclosures, all in the name of loud, musical bass. There's all sorts of subwoofer enclosures that can be used that people have no idea are even possible, and I think there could be many advantages to some complex enclosures, especially in the SPL world and in home audio. Home audio is something I wish I could do more. I wish I could get more home audio customers, because that's where people have the space to try to make lower powered systems as loud and efficient as possible. HT environments are just a different type of animal, at least compared to most vehicles. So, hit me up if you want to do some fun, advanced box building and testing. You might get a box you keep forever, and the design might be free. [/QUOTE]
Insert quotes…
Verification
Post reply
Forum
Car Audio Help
Enclosure Design & Construction
Buck Box Designs - Refreshed Thread
Top
Menu
Home
Refresh