DIY Vertical 312

The box as shown has identical ports top and bottom so it should be balanced.
Even a cab with only one port can be balanced, or with a total of two ports having two ports at the top or two ports at the bottom, or one of the two at the right of the top an the other one at the left of the buttom also can be balanced.


With Eminence Designer using minimal damping and Boxsim as a cross check,
Minimal damping is quite typical for ported cabs. Boxsim expects you to add the amount of damping manually rather than "automatically" as is with Eminence designer.

a tuning of 55.4Hz gave a peak of +1.5dB that was reached at 101Hz.
IMO that's not so bad for rather smallish and/or medium sized net volume (thus some reduced low end) cause it helps to strengthen the total of low response of an MI bass guitar cabinet.

Did you know that the 12PR320 was designed with respect to the needs and demands of MI bassguitar cabinets?
Thus, don't worry about the noticable peaking with the modelling, its not a bug, its a (rather musical sounding) feature, and its a darn good one feature!
For this given net volume per driver, I'd go with ~55Hz


3rd: 1.25" port shelf, Vb=4.58ft3, Fb=55.4Hz, F0=70.7Hz, F3=57.4Hz, F6=49.8, F10=42.0Hz, +1.5dB peak
Although Boxsim can predict accurate Fb numbers with rectangle shelf ports, even with Boxsim its quite tricky to predict Fb with triangle shape corner shelf ports.
I myself did it about two or three years ago with Boxsim but, I don't recall the way I actually did it, just to predict accurate Fb number for trangle shape shelf ports.

Sorry if the representation wasn't clear. The drivers could be centered in the box with four smaller corner ports or with these two ports if the box was 19" wide instead of 18". Many commercial cabinets are about 19" wide. 24" width is a knuckle buster when going through doors and would require a more squat profile which the 312 is not. I've owned 24" wide cabs, don't like them, and wouldn't own another one. I understand the need for stability but have never had an issue with a single cab 15" deep. Using a full front grill would add an extra inch of depth. IME, I don't think a 39.5"Hx18"Wx15.5"D 60 lb cab with evenly distributed weight and a Class D head on top should be unstable.

The presentation drawing above shows (mistakenly?) 7.25" for depth dimension, which than would provide a very unstable footprint for a cab of that hight dimension IMO
With about ~15" deep you will be fine.
 
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I just priced a new one from Reliable Hardware for one of my cabs and the price was much higher than previously. Increased shipping costs do no favors there!

Last week, I bought a piece of perforated metal to use as a full face grill. I could walk in to the store, so no shipping cost. $46 Cdn cut to 32 1/4 x 20" and out the door. A couple of years ago it would have been $30 bucks or so.
 
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I'd be more interested in an optimized 312 design with internal volume, porting, and tuning given.
With the 12PR320 there will not exist only ONE optimized design for MI bass cabinet, rather than one optimized design there are several optimized designs possible but, they all do depend on individual sound goal design.
With a larger net volume the 12PR320 will provide some extended lowend response, yet pretty nice and "musical" roll off shape and pretty good mechanical power handling.
With a smaller net volume (and higher tuning) the 12PR320 shows a little bit more of peaking that is quite often adapted as musical sounding bass strengthen feature rather than anything "boomy".

The 12PR320 is a high quality driver with good efficience and quite large Xmax.
I think for most part of all of my needs on stage a 212 loaded with these drivers would do the job in about nearly any situation.
If there was need for 3x12 I'd build an extension 112 cab that I could stack on top of the 212.
For rather smallish events then I'd bring (likely) only the 112.
 
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I think that sometimes these skinny towered columns of drivers are way overthinked.
These designs may make way more sense with rather smallish drivers such as 6" or 8" or may be 10" at best.
I would not try to design a narrow skinny column with 12" or even 15" and just the same way trade off benefits (I'd like to have) due to cab dimension trade offs just to keep it as skinny and narrow as possible.
The 12" driver format is already a little bit too large to really benefit from those column row designs in a full range running cab design.
 
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With the 12PR320 there will not exist only ONE optimized design for MI bass cabinet, rather than one optimized design there are several optimized designs possible but, they all do depend on individual sound goal design.
With a larger net volume the 12PR320 will provide some extended lowend response, yet pretty nice and "musical" roll off shape and pretty good mechanical power handling.
With a smaller net volume (and higher tuning) the 12PR320 shows a little bit more of peaking that is quite often adapted as musical sounding bass strengthen feature rather than anything "boomy".
I agree with this statement. Different designers will come up with different valid designs based on their personal goals and preference. Enclosure size is also dictated in part by the driver compliance volume (Vas). The 12PR320-8 has a relatively small Vas for a 12 which can work well in a compact enclosure. I don't care for an overly large enclosure because it has a lower power limit at Xmax, larger group delay, and seems to fill the room with bass but lack that percussive punch that sounds good with the kick drum. Too small can tend toward peaking and lack enough fullness and low end to support the rhythm section, so I like to try and find a balance between these two.

There are some that say why build a 215 cab when you can just stack a pair of 115's? Others prefer a single larger cab that you can just tilt back and roll. The 212+112 stack is an excellent and the most common modular solution, but if you just want a single tilt and roll cab with physical size and weight similar to a 215, I think this novel 312 design is worth exploring.

I enlarged the ports slightly and added a bit more volume to the cab to increase depth to 15.25" for a larger footprint. For a full-face grill, add another 1" to the depth and recess the baffle by 1". Drivers are aligned slightly right of center to accommodate the tweeter and larger ports. Some assymmetry in the cab also reduces the tendency for standing waves.
Even though the 1.5" acoustic foam acts like minimal damping, Eminence Designer calculated port volume is shorter and more accurate when set to typical damping. Bill Fitzmaurice posted years ago that tri-ports can be treated like round ports with the same cross section set into a corner. There is a wall effect to consider but if the damping assumption is set right, it comes out pretty close. Here is the frequency response for the cab below. With the port shelf that short, I'd probably just use a piece of 3/4" square dowel.

1.50" port length, Vb=4.87ft3, Fb=55.3Hz, F0=73.1Hz, F3=57.9Hz, F6=50.0, F10=42.2Hz, +1.2dB peak
Faital 12PR320x3Va CabDwg.png
 
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Off center by a couple of inches does essentially nothing for standing waves, the frequencies that it MIGHT have a slight effect on are already dealt with by the damping material.
 
That's still pretty reasonable. How much would that grill weigh?

I don't know for sure. I'd say around 5lbs? 16 gauge? Lol I'm sorry I just walked through the shop feeling the pieces of perf until I found one that seemed right. The cost increasing by 50% in the space of a year or two is the shocker. But that's like everything else out there I reckon.
 
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Off center by a couple of inches does essentially nothing for standing waves, the frequencies that it MIGHT have a slight effect on are already dealt with by the damping material.
That makes sense
View attachment 4770051 You mean kinda like this?
I shouldn't have made the statement because standing waves were not an issue here. The comment just pointed out that the slight offset in this alignment wouldn't have any effect in this regard. No use jumping down that rabbit hole...
 
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That makes sense

I shouldn't have made the statement because standing waves were not an issue here. The comment just pointed out that the slight offset in this alignment wouldn't have any effect in this regard. No use jumping down that rabbit hole...

Two things - Are you using the BGH tweeter in this design? If so, how do you intend to cross it over?

And second, what type of foam are you using? (Once, I used some convoluted acoustic foam I bought at a foam shop that had a distinct measurable impact on cabinet tuning and impedance)
 
Two things - Are you using the BGH tweeter in this design? If so, how do you intend to cross it over?

And second, what type of foam are you using? (Once, I used some convoluted acoustic foam I bought at a foam shop that had a distinct measurable impact on cabinet tuning and impedance)
It’s builder’s choice whether or not to use the tweeter since the 12PR320 extended treble response is quite good on its own. The 12” drivers are run full range and the BHG25-8 tweeter would be paired with an Eminence PXB-5k0 high pass filter and PX-LPad attenuator to add some high end sparkle.
https://usspeaker.com/eminence crossovers-1.htm

I’ve found 1.5” self-adhesive egg crate acoustic foam easy to work with and effective. This 39”x78”x1.5” one by BookishBunny is available from Amazon for $44.99.
 
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The vertical 410 below is from the RevSound thread, Post #1174. The owner is planning to rewire it to 2-ohms.
The DIY 312 is 8" shorter, 2" wider, and 3"deeper than the vertical 410 but shares a similar concept.
upload_2022-8-3_10-11-55.jpeg

Specifications: RS410VT
  • Black Duratex finish
  • black nickel corners
  • Neutrik Speakon input
  • top and side handles
  • built in tilt back wheels
  • sound isolating feet
  • 16 gauge powder coated steel grill
  • Revsound oval logo
  • (4) Celestion Neo 10s and (1) 300 watt titanium bullet tweeter
  • L-pad for tweeter adjustment
  • 1400 watts power handling
  • Sensitivity: 102 db 1 watt/ 1 meter
  • 55-20Khz
  • 8 Ohms
  • Dimensions: 48" H X 16" W X 12" D
  • Weight: 60 lbs
 
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Enclosure size is also dictated in part by the driver compliance volume (Vas).
Together with other parameters, VAS at some part dictates some range of net volumina for a meaningfull design.

The 12PR320-8 has a relatively small Vas for a 12 which can work well in a compact enclosure.
I'd call it medium, some 12" drivers have lower number for VAS while other ones have some more of it.

I don't care for an overly large enclosure because it has a lower power limit at Xmax,
Within meaningfull net volume for a given driver, larger cabs will produce larger cone movement in the range of ~50..100Hz while for smaller cabs (same driver) the cone movement wil be reduced.
Larger cabs - lowish tuning
Smaller cabs - highish tuning

Besides Cms paramter (the compliance) and Bl (the motor strength) the essential thing that largely effects cone movement (in the range of ~50..100Hz) does simultaneously relate to radiation impedance and Fb for the Helmholtz resonator.
Radiation impedance is determined by cone surface in first instance, and second by frequency. Radiation impedance goes down when frequency goes down, thus producing rather highish cone movements at the low end side of the bandwidth.
The Helmholtz resonator helps to improve total radiation impedance of the cab system where radiation impedance of alone the driver is already down.

The larger the cab volume then the lower the tuning within the range of a "meaningfull" cab design will be. Once Fb goes down then the "enlarged gap" between Fb and still good radiation impedance of the driver cone surface (above ~200Hz) will result in an noticeable enlarged cone movement in the range roughly ~50..100Hz.

But, not every driver is just the same, and there is no generalism statement valid in this regard.
For just the same cab volume and tuning, some drivers may perform some more of cone movement while others may perform noticable less of it, at just the same input power provided to the cab.

Modelling for cone movement for two different drivers at just the same cab volume and same tuning, and similar F3 points.
upload_2022-8-4_17-40-37.png





larger group delay,
I strongly suggest to clearly distunguish between total group delay and normalized group delay numbers.
A group delay number that is equal to 10msec. at 50Hz may have just the same meaning as a group delay that is equal to 5msec. at 100Hz.
The normalized group delay was just the same on both 50Hz and 100Hz.

Thus, a larger group delay number does not automatically mean an increase of normalized group delay!

Modelling of group delay for the same two different (as above) drivers at same cab volume and tuning
upload_2022-8-4_17-43-44.png


Rather than pure cab volume and tuning numbers its the loaded driver in interrelationship WITH the cab design (volume and tuning) that determines the (normalized) number of goup delay.
Furthermore most of all DIY guys do totally mismatch group delay with pure time related "delays". IMO that's totally missing the point.
Although group delay at some content may have a slightly similar effect to the signal such as pure "delay", yet its not the same, at least as long as there was no modulated "signalgroup" distributed to the (HPF filter-)system.
However, the amount of group delay may tell something about the damping of the cab system.
highish group delay - underdamped
lowish group delay - overdamped
For a "desireable" critical damped property you may figure the group delay somewhere in the middle of highish and lowish.
Thus, some group delay isn't all that bad as it may look alike (to some DIY folks)!

The suggestion I did above for 212 with 12PR320 was done with lots of care, even with lots of respect to group delay and its directly relating damping property for the cab system.



and seems to fill the room with bass but lack that percussive punch that sounds good with the kick drum.
It depneds cause a group delay equal to 10msec. may provide the same normalized group delay as a group delay that was equal to 8msec.
Both cabs might provide just the same "filter alignment" and therefore just the same damping characteristic, therefore just the same "percussive punch".
As usual, it all depends! Probably it depends rather on "knowledgement" than really on total group delay numbers


Too small can tend toward peaking and lack enough fullness and low end to support the rhythm section, so I like to try and find a balance between these two.
As I told above, some peaking isn't as bad and "boomy" as some DIY folks frequently try to discuss.

Bill Fitzmaurice posted years ago that tri-ports can be treated like round ports with the same cross section set into a corner.
Its hard to believe that Bill might ever have told these words.
I'm pretty sure he knows better

There is a wall effect to consider but if the damping assumption is set right, it comes out pretty close.
If any, I couldn't even tell what was the right damping assumption, and as well there may arise other unwanted effects if too much of damping material does affect internal functionality of the port.
 
The vertical 410 below is from the RevSound thread, Post #1174. The owner is planning to rewire it to 2-ohms.
The DIY 312 is 8" shorter, 2" wider, and 3"deeper than the vertical 410 but shares a similar concept.
Similar on paper at best.
The Revsound cab design does stack 10"s which then predicts more of benefit in regards of improved dispersion than it was possible with 12"s.
There was even more of benefit possible with 8"s, the least possible benefit (if any) with narrow stacked 15"s.

As long as the 12"s are running fullrange I don't see much of meaningfull benefit with a vertical column of (narrow) 12"s.
Except for a two-way cab system with apropriate LPF crossover setting for the 12"s
 
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Together with other parameters, VAS at some part dictates some range of net volume for a meaningful design.

I'd call it medium, some 12" drivers have lower number for VAS while other ones have some more of it.

Within meaningful net volume for a given driver, larger cabs will produce larger cone movement in the range of ~50..100Hz while for smaller cabs (same driver) the cone movement wil be reduced.
Larger cabs - lowish tuning
Smaller cabs - highish tuning

Besides Cms paramter (the compliance) and Bl (the motor strength) the essential thing that largely effects cone movement (in the range of ~50..100Hz) does simultaneously relate to radiation impedance and Fb for the Helmholtz resonator.
Radiation impedance is determined by cone surface in first instance, and second by frequency. Radiation impedance goes down when frequency goes down, thus producing rather highish cone movements at the low end side of the bandwidth.
The Helmholtz resonator helps to improve total radiation impedance of the cab system where radiation impedance of alone the driver is already down.

The larger the cab volume then the lower the tuning within the range of a "meaningfull" cab design will be. Once Fb goes down then the "enlarged gap" between Fb and still good radiation impedance of the driver cone surface (above ~200Hz) will result in an noticeable enlarged cone movement in the range roughly ~50..100Hz.

But not every driver is just the same, and there is no general statement valid in this regard.
For just the same cab volume and tuning, some drivers may perform some more of cone movement while others may perform noticeable less of it, at just the same input power provided to the cab.

Modelling for cone movement for two different drivers at just the same cab volume and same tuning, and similar F3 points.
View attachment 4771542


I strongly suggest to clearly distinguish between total group delay and normalized group delay numbers.
A group delay number that is equal to 10msec. at 50Hz may have just the same meaning as a group delay that is equal to 5msec. at 100Hz.
The normalized group delay was just the same on both 50Hz and 100Hz.

Thus, a larger group delay number does not automatically mean an increase of normalized group delay!

Modelling of group delay for the same two different (as above) drivers at same cab volume and tuning
View attachment 4771548

Rather than pure cab volume and tuning numbers it's the loaded driver in interrelationship WITH the cab design (volume and tuning) that determines the (normalized) number of group delay.
Furthermore most of all DIY guys do totally mismatch group delay with pure time related "delays". IMO that's totally missing the point.
Although group delay at some content may have a slightly similar effect to the signal such as pure "delay", yet its not the same, at least as long as there was no modulated "signal group" distributed to the (HPF filter-)system.
However, the amount of group delay may tell something about the damping of the cab system.
highish group delay - underdamped
lowish group delay - overdamped
For a "desireable" critical damped property you may figure the group delay somewhere in the middle of highish and lowish.
Thus, some group delay isn't all that bad as it may look alike (to some DIY folks)!

The suggestion I did above for 212 with 12PR320 was done with lots of care, even with lots of respect to group delay and its directly relating damping property for the cab system.

It depends cause a group delay equal to 10msec. may provide the same normalized group delay as a group delay that was equal to 8msec.
Both cabs might provide just the same "filter alignment" and therefore just the same damping characteristic, therefore just the same "percussive punch".
As usual, it all depends! Probably it depends rather on "knowledgement" than really on total group delay numbers

As I told above, some peaking isn't as bad and "boomy" as some DIY folks frequently try to discuss.

Its hard to believe that Bill might ever have told these words.
I'm pretty sure he knows better

If any, I couldn't even tell what was the right damping assumption, and as well there may arise other unwanted effects if too much of damping material does affect internal functionality of the port.
Thanks for the explanations and clarifications. I have observed much of what you described in reviewing and adjusting different models. Good point out about how group delay and damping are related. I typically look at the group delay peak around Fb which can indicate when tuning for a given driver and Vb is out of line. Some of my observations were just qualitative generalizations to describe behaviors as parameters were adjusted.

I really did read that post about tri-ports. They are a bit strange to model but quite useful and you have to start somewhere. The damping selector on Eminence Designer helps me get the port length right. I only use a modest amount of damping material and don't use any in the port areas to avoid any possible interference. After a build I use my Dayton Audio Test System to take an impedance sweep and verify tuning (Fb). After a few builds like this and revisiting the models, I've improved at predicting the right port length for the given cross area and tuning. It's painful to go back and modify tri-ports.

Even if one argues there isn't a large benefit for vertical alignment of larger (12" and 15") drivers, that is what you get when stacking a pair of 115's or many of the 212/112 cabs. I like having the top driver closer to ear level to make the mids and highs more audible and would like them in a single cab. The minimum height for vertical alignment was 39.5" but this 312 could be made shorter and wider, whatever the builder wants to make it to be stable and a convenient shape to transport.

1.25" port length, Vb=5.07ft3, Fb=55.1Hz, F0=72.1Hz, F3=57.1Hz, F6=49.3, F10=41.9Hz, +1.2dB peak
Faital 12PR320x3V CabDwg.png
 
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