ENCLOSURE TUTORIAL

Sealed

Sealed
( Inverted woofer )

Ported

Ported
(SPL)

Aperiodic
(AP)

Isobaric

Infinite Baffle
(Free-air)
Acoustic
Coupled

Transmission Line

Single Reflex Bandpass

Dual Reflex Bandpass

ENCLOSURES

A) Sealed Box: a.k.a. Acoustic Suspension

This is a sealed enclosure that uses a calculated volume of air as a "spring" to help dampen and control cone movement. Sealed
enclosures can have a relatively smooth roll-off and flat response ( 9dB/octave for a Qtc .7).
Pro's: small boxes, higher power handling, excellent dampening and transient response, easy to design and build, can be
forgiving of design and construction errors.
Cons: limited efficiency/ output.
B) Sealed Box (Inverted Woofer)
Often mistaken for an Isobaric set up, this is simply a woofer mounted in a sealed box with the magnet facing out. This is done
for cosmetic or depth reasons only. There is no sonic benefit.
C) Ported Enclosure
Ported enclosures use a tuned port or vent to increase output at lower frequencies. Air inside the vent acts like a piston or
motor that moves in phase with the woofer reinforcing frequencies above the f3 (-3dB point)
Pro's: increased efficiency, increased low frequency output, relatively low distortion.
Cons: larger enclosures, less tolerant of design/construction errors, no woofer control below tuning frequency.
D) Ported (SPL)
Extremely large enclosures with very large port areas. These enclosure have high ripple and are used to pinpoint and boost a
specific frequency.
Pro's: very high SPL
Cons: very high f3 (woofer control is lost below f3), trying to reproduce musical frequencies will result in woofer failure.
E) Acoustic Coupled
Two woofers sharing a given volume.
Pro's: can be easier to build than a divided enclosure
Cons: output can be affected by each driver relieving slightly different information, enclosure is more likely to flex without the
additional bracing of the divider (usually needs additional bracing).

F) Infinite Baffle: a.k.a. Free-air

A woofer mounted to a surface that isolates the front wave from the back. (a woofer in an enclosure which has a larger vas than
the woofers vas)
Pro's: very low system resonance, minimal space used in the vehicle.
Cons: limited efficiency/output, no control of the woofer below its fs, usually very difficult to seal front wave from back.
G) Isobaric (most commonly "push-pull")
An enclosure that uses two woofers mounted face to face, one wired reverse polarity. This alignment effectively cuts the vas in
half. The general rule of thumb for an isobaric enclosure is twice the woofers, twice the power, half the box size.
Pro's: very small enclosures, increased power handling, driver non-linearities canceled out (lower distortion).
Cons: very low efficiency, due to the small size of the recommended enclosures for our woofers an isobaric alignment is not
practical.
H) Aperiodic
Aperiodic enclosures utilize an external membrane to dampen the woofer and flatten out the impedance curve of the
enclosure.
Pro's: extremely small enclosures, very flat response, excellent low extension.
Cons: low efficiency, usually needs large subwoofers to perform, EXTREMELEY difficult to design and tune properly.
I) Single Reflex Bandpass
Sealed enclosure that plays into a tune-ported enclosure that acts as a lowpass filter. This increases efficiency within the "passband" or usable frequency range of the enclosure.
Pro's: can be made very efficient within the "pass-band", can be designed for increased gain in a band of frequencies, increased
power handling within the band.
Cons: distortion hard to hear so it's very easy to destroy woofers, increased gain designs sacrifice low end response, relatively
large enclosures, very difficult to design and build, very sensitive to design/construction errors.

J) Dual Reflex Bandpass:

A ported enclosure in which the woofer plays into a tune-ported enclosure that acts as a lowpass filter. This creates a highly
efficient system with two resonance frequencies.
Pro's: can be even more efficient than a single reflex bandpass, excellent damping at resonance, increased
power handling at resonance.
Cons: EXTREMELY difficult to design/construct, not forgiving of design/construction errors, like a ported enclosure it looses
woofer control below f3, steep low frequency roll-off (-24dB), very large enclosures.
K) Labyrinth
A form of Transmission Line, this enclosure uses a port that is a fraction of a wave length to couple with the woofer.
Pro's: can be built to maximize output at a particular frequency (SPL purposes)
Cons: difficult to build, giant enclosures, easy to blow woofers, not practical unless used for SPL competition, experimental.

CALCULATING ENCLOSURE VOLUME

1. Either measure the inside of the enclosure or subtract 1.5" (for .75" for 3/4" wood) from each of your external measurements.
2. Use the appropriate formula to find volume in cubic inches.
a. L x W x H for a rectangle or square. Example - 1
b. (L1 + L2) x H x W for a wedge. Example - 2
2
c. m r2 x L for a cylinder. Example - 3
d. For an odd shape you can use a known volume container to fill the shape with either water or packing peanuts. While filling the shape count the
number of times you need to refill the container. Multiply volume of the container by the number of times you had to fill it to figure the enclosures
volume. Example - 4
3. Find and subtract woofer displacement and port displacement, this will give you net box volume. Example - 5
(To find port displacement you must measure OD (outer diameter). Example - 5.2
4. To convert cubic inches to cubic feet, divide by 1728. (1728" = 12 x 12 x 12 = 1ft3) Example - 6

Example - 1
a x b x c = vb in3

Example - 2
(a + c)
x b x d = vb in3
2

Example - 3 (cylindrical enclosure volume)

m = 3.141
3.141 x a 2 x b = vp in3

Example - 5
= .75ft3 gross

b
c

.75ft3

.75ft3

.75ft3

.75ft3

.75ft3

vb = .624ft3 net

= 6.5ft3

.75ft3

a
.75ft3

.50ft3

= .058ft3
= .068ft3

Example - 5.2 (port tube displacement)

m = 3.141
3.141 x a 2 x b = vp in3

OD
.75ft3

re

ID

Example - 4

Fill with water or packing peanuts

En

u
lo s

tu
t
r
Po

be

Example - 6
vb in3 = vb ft3
1728

PORT CONVERSION
In some cases recommended port lengths are too long to fit in an enclosure using standard port tube. In these cases you will need
to use slot or square ports. See example below.
When figuring the area of a round port mouth you need to measure the radius of the ID (inner diameter), not the OD (outer
diameter). fig-1.
A round port can be converted to a slot port of the same length as long as both port mouths have the same area. For example: a 6"
round port mouths area is 28.27in2, one equivalent in a slot port would be a 4" x 7.07" mouth (4" x 7.07" = 28.28"). Make sure not to
have more than a 10 to 1 ratio between the height and width of the port mouth or it will not work properly.
Once your port is done, make sure to round over the inside edge at the top of the port and both edges on the bottom to help
eliminate port whistle.

EXAMPLES
12
"

r
OD

ID
fig-1

H
6"ID
r = 3"
r2 = 9"
9 x 3.141 = 28.27
area = 28.27in2

12
"

=
4"x
7

6"

.07
"

area= H x W
4"L x 7.07"W interior
4" x 7.07" = 28.28in2
area = 28.28in2

L3

L1
L2
Length of port = (L1+ L2) - L3
L1 = 11", L2 = 7", L3 = 4"
(11"+7") - 4" = 12"

4" x 7.07"

"Q"?... WHAT DOES IT MEAN?...WHY DO I CARE?

When you are trying to decide what size sealed enclosure you want to build, one thing you will see in our Enclosure
Recommendation section, is the term "Q" (this stands for Qtc). The Qtc of an enclosure represents the shape of its frequency
response. The higher the "Q", the steeper the roll off. This, along with the f3 or -3dB point, can tell you what you need to know about
the way enclosures will perform.
Fig-2
Qtc = 2.0
Qtc = 1.1
Qtc = 0.9
Qtc = 0.7
Qtc = 0.5

Fig-1

Qtc

Roll Off

Efficiency

2.0

-15dB/Octave

Very High

1.1

-12dB/Octave

High

0.9

-11dB/Octave

Moderate

0.7

-9dB/Octave

Low

0.5

-6dB/Octave

Very Low

0dB
-3dB

20Hz

30Hz

40Hz

50Hz

60Hz

70Hz 80Hz 90Hz 100Hz

Fig-3

-3dB @ 45hz Qtc 0.7

-3dB @ 45hz Qtc 2.0
If you notice in Fig-3, two different enclosures both have -3dB
points at 45Hz. One enclosure has a "Q" of 0.7, the other has a "Q"
of 2.0. The higher "Q' enclosure is louder from 45Hz and above,
but notice how below 45Hz the lower "Q" enclosure is louder. This
information is very useful when trying to decide which enclosure
to use. In this particular case if you wanted a very smooth
sounding enclosure with good low extension the 0.7 Qtc is the
one for you. If you just want to be loud and hit hard the 2.0 Qtc is
for you. This is why just knowing an enclosures F3 or -3dB point is
not enough to make an informed decision on how it will perform.

0dB
-3dB

20Hz

30Hz

40Hz

50Hz

60Hz

70Hz 80Hz

TRANSFER FUNCTION (Cabin Gain)

Once an enclosure is placed in a car its output is affected by the closed environment. Low frequency output is usually boosted
approximately +12dB between 20Hz - 70Hz. This boost is referred to as a vehicles "Transfer Function" or "Cabin Gain" and varies
depending on its interior volume and seal leakage around windows, vents and doors.
A vehicles transfer function can be measured by taking a free field (open environment) curve of a small test enclosure and
subtracting it from the in-car curve of that same enclosure. The difference, between the two curves, is the amount of gain that is
produced by that vehicle. You can then add this transfer function curve to any enclosures free field curve to accurately predict its
response in that particular vehicle.
Example: (This fictional example represents a possible scenario)
The enclosure in graph below rolls off -3dB at 45Hz, however the transfer function of this particular vehicle re-enforces and
boosts the low-end making this a very smooth system.

-3dB @ 45hz Qtc 1.5

Vehicles Transfer Function

System Output

0dB
-3dB

20Hz

30Hz

40Hz

50Hz

60Hz

70Hz 80Hz

BASS CANCELLATION IN SEDANS

Where is the bass??? Why is my car louder with the trunk open??? Cancellation!!! This is a very common problem in sedans. Here is the
explanation:
Automobile manufacturers strive to quiet the interiors of their cars by eliminating road noise. Automobile trunks are designed so that any noise
transferred into it via the rear axles will enter the passenger compartment out of phase with the noise from the front axles. Unfortunately (for us) road
noise has a similar frequency range to bass. If an enclosure is just set in the trunk with the woofers facing the back of the rear seats, the primary wave
from the speaker passes through the rear seat and enters the passenger compartment. At the same time waves get reflected into the trunk, they then
exit out of phase from the primary wave, causing bass robbing cancellation. (fig.1). Opening the trunk allows the out of phase (reflected) waves to
escape and no longer cancel the primary wave (resulting in an increase in bass with the trunk open) (fig.2). Simply facing the enclosure towards the
rear of the car helps eliminate the cancellation by sending all bass into the trunk before it enters the passenger compartment, however this can cause
the trunk to rattle and vibrate. (fig.3) If you want the best performance and have the time, then the example in fig. 4 is the way to go. First a baffle needs
to be built to seal the trunk completely (this baffle should have a hole that the speakers will fit through). Slide the box up to the baffle and screw in
place, if done correctly this should eliminate any bass from entering the trunk. While the system is playing sit in the car and have someone open and
close the trunk, there should be no difference. If opening and closing the trunk still makes a difference then you need to seal the baffle better. (fig.4). For
more information call Crossfire Technical Support (562) 483-8111.
Cancellation

(fig.1)

(fig.2)

Sealed
Sealed

(Small rear deck)

(fig.3)

(Large rear deck)

(fig.4)

ENCLOSURE CONSTRUCTION

RULE #1: MEASURE TWICE...CUT ONCE!

I know it sounds basic but it's easier to double check a measurement than to cut a new piece of wood, especially if the one you messed up was your
last piece.
It is very important when building subwoofer enclosures that proper materials and techniques are used. Due to its favorable characteristics .75 MDF
(Medium Density Fiberboard) should be used whenever possible. Particle board, chip board and/or plywood are not suitable materials for enclosure
construction. Once your MDF is cut into the correct size/shape pieces, air-nail or screw the box together. Be sure to always use high quality wood glue in
the seams, if you dont, the enclosure may blow apart very quickly, especially if under the influence of our BMF1000D. After the box is assembled seal the
inside seams using a silicone sealant (even in ported and bandpass enclosures). For ports, make sure to round off the inside edge of the top of the port
and both edges at the bottom, to reduce port noise, this goes for both round and slot ports. In larger enclosures, internal bracing should be used to help
cut down on flexing and resonance. In the minimum recommended box sizes stuffing them with dacron or fiberfill ( 1 pound per ft3) will help "trick" the
woofer into thinking it is in a slightly (approx. 10%) larger enclosure.
For extremely odd shapes fiberglass mat may be used to contour your enclosure to a custom shape. When constructing a fiberglass enclosure try to
use as much MDF as possible and fill the spaces with fiberglass. (fig-1) Fiberglass mat has a higher resonance than MDF and can cause the enclosure to
sound "ringy", spraying sound deadener on the inside surface of the fiberglass walls will help lower its resonance.

Fiberglass mat

MDF

Fiberglass mat

MDF

Fig-1

Points to Remember:
Use .75" MDF
Screw or air-nail together
Use a generous amount of wood glue
Seal all internal seams with silicone sealant
Internally brace all moderate size enclosures
Radius port edges - ID for the top, ID&OD for the bottom
Sound dampen all fiberglass walls

SPEAKER WIRING
Parallel Wiring

B C

Equation

AxB
A+B =R

Equation

A+B =R

B C

R
Equation

(A + B) x (C + D)
A+B+C+D

(A x B)(C x D)
Equation (A + B) + (C + D)

=R

=R

EXAMPLES

Parallel Wiring

4 Ohm

4 Ohm

4 Ohm

4 Ohm

Series/Parallel Wiring Dual Voice Coil

4 Ohm

2 Ohm

4 Ohm

4 Ohm
Series Wiring

Parallel Wiring, Dual Voice Coil

4 Ohm

4 Ohm

1 Ohm

4 Ohm

8 Ohm

4 Ohm

4 Ohm

4 Ohm

Parallel Wiring, Dual Voice Coil

Series/Parallel Wiring Dual Voice Coil

Series Wiring

SPEAKER WIRING Cont.

4 Ohm

4 Ohm

1.33 Ohm

4 Ohm

Parallel Wiring

4 Ohm

4 Ohm

4 Ohm

4 Ohm
4 Ohm

4 Ohm

4 Ohm

4 Ohm

4 Ohm

4 Ohm

4 Ohm

Series/Parallel Wiring Dual Voice Coil

2.6 Ohm

4 Ohm

4 Ohm

4 Ohm

4 Ohm

2 Ohm

4 Ohm

Series/Parallel Wiring Dual Voice Coil

4 Ohm

1 Ohm

4 Ohm

Parallel Wiring

WIRING INVERTED WOOFERS

INCORRECTLY WIRED
If all three of these woofers are wired with correct
polarity, the middle woofer will be out of phase.
Since not all of the drivers will be moving the same
direction, output will be impaired.

CORRECTLY WIRED
The middle woofer should be wired reverse polarity
so that it moves the same direction as the others,
meaning it will be in phase.

Notice how the middle woofers in each of these examples are wired
reverse polarity. These would be the correct wiring examples for this
particular set-up.

4 Ohm

1.33 Ohm

4 Ohm

4 Ohm

Parallel Wiring

4 Ohm

4 Ohm

4 Ohm

4 Ohm

2.6 Ohm

4 Ohm

4 Ohm

Series/Parallel Wiring Dual Voice Coil