He is some stuff on the whys and hows from Audio Box Design.
Now, as to the pros and cons of the closed box system. They are relatively easy to build. They will tolerate some inaccuracy, with little degrading of sound quality. They achieve excellent transient response (damping ) with the addition of absorbent material. The one big minus for the closed box is the need for consid-
erable power to get much volume in return. We measure efficiency by the ratio of watts in, ( electrical ), to watts out, ( acoustical ). This is where the closed box falls flat on its face. We only consider the radiation from the front of the driver as being beneficial and try to retard that which is being radiated from the rear. The cone moves in two directions. Why throw half of the sound away. This leads us to our next, and possibly most popular, enclosure, the vented, bass reflex, type. Instead of throwing away the rear driver radiation it combines it with the front. These two components of driver movement produce a considerably more efficient system. We can thank, in part, a gentleman by the name of " Helmholtz " for dis-
covering that a certain volume of air, when excited, resonates at a specific frequency. This principal is what a bass reflex system takes advantage of. Smaller, fixed, volumes of air can have the frequency varied with the use of a duct, tube, added to the vent opening. In the, not to distant, past it was believed that the volume of the enclosure had to be increased so the vent was equal in area to the piston area of the low frequency driver(s). The one factor, either not considered or mis-understood at the time, was the velocity of air in the port or vent. As the size of the vent decreases or the length of the duct increases the velocity of the air within them increases. Most design criteria measures this velocity as a percentage of the speed of sound. If this is kept below 5% it is not considered detrimental. That is to say, for the most part, it is in-audible. If the velocity is allowed to increase much beyond this threshold it starts to produce harmonic components of its own. A loudspeaker system is supposed to be a transparent device. As soon as it adds its own sound to the mix, it no longer is.
In the past 25 years or so loudspeaker enclosure design has, technologically, caught up with the times. An Australian by the name of AN. Thiele has brought order out of chaos. His formula, for the design of vented enclosures, has made the design of vented systems an achievable goal for almost anyone. Those of us a bit daunted with the mathematics involved can, with an affordable computer, both design and construct very respectable speaker systems. The programs available are numerous and priced reasonably enough to allow you to pick and choose. The program considered the best, unfortunately, has failed to take advantage of the newest and most accepted operating systems. Some of the other programs, including the least expensive, have. There are very few programs that include a C.A.D. component. The one, we have found, that does is called " Term-Pro " and is marketed by " Wayne Harris Enterprises " in Mesa, Arizona. We have about four basic enclosure design programs which we use. We always use at least two on a design as a double check for errors.