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No way the 24 would work well in 3 cf, my guess is you’re getting the 18 confused as that works well in 3-4 cf. For the 24, I wouldn’t go smaller than 8 cf and you do get a little lower extension going 10-12 cf, which would be my recommendation. Then again, I usually recommend to my customers multiple 18s over a single 24 for more even bass response in the room. It I think you already have the 24s.

My sealed HS-24 based subs are flat in-room to 7 Hz at reference. 7 Hz has been measured in over a dozen rooms at this point and one room was flat to 6 Hz as the sub was corner-loaded with 2 exterior walls. So there is something to be said for Josh’s recommendation of a simple sealed enclosure for these subs. Yes you lose some 25+ Hz output compared to the efficiency of ported but below 20-25Hz, the sealed should have more output isn’t a Linkwitz Transfrom. Multiple subs would be needed to make up for the porting efficiency but that would be worthwhile for more even bass response anyway.

I thought you were doing a really nice build but that 85 degree port is unacceptable and you probably need to start over. Just kidding. I think it looks great. Great job and you should be very happy.

Fair enough, incompetence may have been the wrong word and unfair but I’m not sure what other word I’d use. We don’t know what sort of time or pressure these people are under to deliver these soundtracks but we have to say that some of the results are simply poor. Even for regular systems some of the results are poor with blanket filters. I just think about me putting my name on something or releasing something. It should have a certain level of quality and I feel the quality in some of these soundtracks is absolutely poor. This is a pet peeve of mine and has been for several years so I will refrain from further comment. To me the differences between different types of tracks on a particular soundtrack is minor compared to some of the more egregious issues with some of the soundtracks released.

Or what their incompetence allows them to. So frustrating.

That ported design on Nick’s site is for car enthusiasts that want to get the most bass response from their sub. I agree that 29 Hz tuning is too high. There are generally two camps of home theater subwoofers enthusiasts, those that are content with 20+ Hz bass content and those that want the ability to reproduce bass below 20 Hz. With my 24” subs, obviously I’m in the under 20 Hz camp and feel there is a lot of content there. But even if you’re in the 20Hz camp, a 29 Hz tune is way too high for home theater in my opinion. You’ll be missing many explosions as there is a lot of movie content under 30 Hz. IMO, you’d be better off buying a few more subs and going with sealed. Extra amp channels is fairly cheap and those subs aren’t too expensive. Plus you‘ll gain the benefit of more even bass from more subs in the room. Use the Multiple Subwoofer Optimizer to align them and you’ll have deep, even bass throughout the room. You could always start with 2 subs and add more later if you want more output and more even bass throughout the room. That’s what I’d do and what I’d recommend. https://www.andyc.diy-audio-engineering.org/mso/html/index.html

And it expired today so someone can take off with it if they so desired.

Maybe your film composer buddy could ask some of the audio engineers that finalize the soundtrack to speak to some of the things we find when reviewing movie soundtracks, especially some of the filtering that appears to get applied. I’d be interested if they could speak to what is being done (software, plugin?) and why. And then a way to reach out to that community so we can nicely ask them to stop putting out neutered soundtracks. One could wish.

But why neuter the sound below 25 Hz unnecessarily? If a system can’t play that low, it’s just like systems that can’t play to 20,000 Hz, no big deal. But once they start putting these canned filters in the bass, they’re negatively affecting the soundtrack for no good reason. I wonder how many would cry if they started rolling off the top end at 18,000 Hz. Oh well, I was about to write, I wish I knew how to get through to these soundtrack engineers and then I thought about them having a trade group or society. Does anyone know what group the soundtrack engineers might be members of?

Well movies are much more subjective and creative from the initial story to how it is converted to a movie. Then there’s the direction and cutting of the film and many, many other pieces. So I can understand when that isn’t so good. But come on, for a blockbuster, there really isn’t an excuse for these amateur heavy handed shortcut filters that boost and filter audio for no good reason. Sound is much less subjective and could be more scientific or at least prescriptive. At the very least for a given studio, it should be consistent but we don’t even see that. Movie audio today is the wild west with little quality and absolutely no consistency. McDonalds may not be good but they’re popular due to their consistency (and marketing). Anyway, I could argue for hours due to how frustrated this makes me when hearing different movie soundtracks. I’m done venting.

Maybe they just assign the home movie soundtracks to the interns. I mean, it’s only for the home, people will just listen on TV speakers anyway. Of course that doesn’t explain why some of the theater soundtracks are also so bad.

You keep quoting me but I don’t think I ever wrote those. But really nice work.

My thoughts on the practice? I think the sound engineers should act like professional engineers and do a professional job. It seems like they have 100 soundtracks a year to do and can’t be bothered to do it right. It’s maddening that a Blu-ray would be released to millions of customers with such shoddy work. They should be ashamed but for all I know, they have little control. Whatever the issues, it is a pretty poor practice for something involving millions of dollars.

You may not be able to hear the SQL-15 in a theater room but you can hear it in Nick’s car. Reach out to him, his email (sales@) is on his website and ask him if you can come hear it, he is a very gracious host though his email habits aren’t the best. If you don’t get an email response within a few days, PM me and I’ll ping him. He also has the HST-11s in his home theater in a dual-opposed square tube but that tube is probably too heavy to move just due to the 70lb magnet motors on the HST series. And yes, I wasn’t sure I wanted to respond to someone who might ONLY want 12” subs. Lol! Glad you’re here and glad we provided some useful info. Great and incredibly knowledgeable people on this forum.

And I just talked to Nick of Stereo Integrity and he’ll be coming out with a more sensitive and less expensive set of 12 and 15” subs near the end of the year, which might be worth checking out. They’ll also dig pretty deep in a fairly small enclosure, 2 cuft for 15”. However I wouldn’t consider those if you’re wanting to move forward in the next month or two.

I use Stereo Integrity subs for my commercial subs so I’m partial to those and know they perform well. The HST-18 is a really powerful driver that is one of the most powerful you can get. SI also makes smaller diameter subs using the same magnet-motor in the HST-11, 12, 15, etc thought they may be more expensive than many other drivers. But I heard the HST-11 and a pair of those were impressive in very small enclosures so while the value may not be there, you have a lot more flexibility with placement. ‘And I’m not a big fan of dual-opposed simply because their advantage, vibration canceling, isn’t that big a difference with a well-built large single sub. And the disadvantage of placement options is what I really dislike as their best placement is midwall running parallel to the wall and not many have that position available. ‘’And if you’re thinking a coffee table, I’d personally go for a well-built down-firing coffee table. Or a pair of end tables or similar, which you can spread out a little better. Also think about size vs location in respect to your main listening position. Maybe place a larger sub near the front of the room and a smaller driver near your primary seat. The SI HST series could help with this as the sonic signature is the same while the output is slightly different, stronger up front with a larger driver, and less output near your seat since you don’t need the closer sub to play as loud to keep up with the front.

It’s actually 2 12” (amplifying both subs) almost equal a 15” and 2 15” almost equal a powerful 18”. 2 18” almost equal a 24” sub. Generalization but fairly accurate. And I always recommend at least two smaller subs than 1 larger sub though I wouldn’t go less than 15” in size. The reason for multiple subs is to even out the bass in the room, dismissing improvement above 4. If you play a single sub in a room, walk around it and you’ll hear boomy bass in some areas such as the corners and in other areas the bass will be weaker. So for best bass consider 2 of whatever subs you can fit.

Wow! Great job! Fantastic attention to detail. Can’t wait to see the final result.

Looks great. How smooth did it turn out on the inside?

Spider webs are electrically conductive too. Wow!

You’d think professional engineers with their name on something that will heard by tens of millions would take a little more pride. I’m surprised by how many movie sound tracks have such poor audio. I guess they tune for a sound bar and move on to the next poor movie soundtrack. I feel my blood pressure boiling. 👹

The neighborhood used to have a movie night periodically. I offered to handle the audio one night and took a pair of 24s with my JTR 212 speakers out to the cul de sac. People halfway up the street came out to explore the bass. It wasn’t even turned up loud but people were complaining about how loud it was, except for the kids. I figured out later that it was just a time for the adults to socialize and that the movies were secondarily...not with me handling the audio. Needless to say I haven’t been asked to host movie night again and everyone knows where the bass comes from. Luckily my house doesn’t leak much bass and there isn’t a house right next to my outside wall with the living room/theater.

Actually, since I primarily use the Speaker Power SP2-8000 amps, I was calculating the cost and came up to just under $40,000 if those were SP2-8000 amps. I have worked with the IPR2-7500 before and was pretty impressed with them. Not quite as powerful as the SpeakerPower but for half the cost, they were pretty close. Definitely a strong and powerful series of amps.

Wow! Double (delete please)

Wow!