I am interested in building some cabinets, but my skills are limited. I have a mental block where math is concerned, and I have an uneasy relationship with computers, so I read up and tried to plot out the novice path to design. Reading most of the available texts was not the way for me, because I could not understand them, and they seemed to get way too deep into electrical/mechanical/acoustic engineering. It also seemed troubling that it wasn’t easy to figure out if I was reading about hi-fi, auto, or musical instrument speaker design. Fortunately, I stumbled onto some of Bill Fitzmaurice’s posts. BFM seems to be setting the right course for me, as he provides what looks like high-end guidance that is still accessible to musicians. (My only affiliation with BFM is satisfied customer.) I ordered some of the plans from his site to get started. The panel jig plans were a great help, since I have a cheap table saw which is pretty exciting to use. The Tuba 30 and Omni 12 looked just about right for my purposes, but I wanted to check my box building protocols before attempting to build the horns on those designs. I had most of a 4’ x 8’ sheet of ½” oak veneer plywood sitting in the shop that was left over from a furniture project. I didn’t need it for anything else, and I wasn’t sure if it would be void-free enough for a serious effort, so I decided to use it to build a few vented direct radiators to experiment with. I also wanted to start getting a feel for what the response curves I was seeing in my Eminence Designer software actually sounded like. I chose to use Eminence Designer software after my attempts to download and run WINISD failed. My computer is pretty old, and doesn’t seem to be running properly, so this is not a comment on the software. I flailed around in there with my pathetic computer skills until I decided $70 or so for ED might be worth it. The Eminence Designer software is easy enough for me to use. After entering the speaker’s T/S specs, it offers suggestions for a maximum output design, a hi-fi design, and an extended bass design. I entered the Eminence Delta 12LF specs and compared the response graphs for the three different versions. I could easily see the difference in bass response between the three different size boxes using the graphs and the F3, but I couldn’t tell what that would sound like, how different the little bumps on the left side of the graphs would sound to me as a bass player. I decided to build the max volume and hi-fi sized boxes because I could use the plywood I already had, and while there would be some Kentucky windage in my first efforts, they would get me started on translating the response graphs and F3’s into audible examples. I needed to know what they would sound like, and how much the bottom end response and overall tone would benefit from the additional size of the hi-fi box. I tweaked the shape of the boxes from ED's "Golden Ratio" and I tweaked the sizes slightly to fit the plywood I had on hand, so these are not the exact dimensions ED coughed up, but they are close. The first box has Vb of 1.7 cu. ft., Fb of 40 Hz, and F3 of 65 Hz. The larger, “hi-fi” version has Vb of 2.7 cu.ft., Fb of 42Hz, and F3 of 54 Hz. (For sake of comparison, the extended bass suggestion offered a Vb of 4.5 cu.ft., Fb of 38 Hz, and F3 of 45 Hz, all numbers rounded.) I braced the smaller box with a shelf brace, and the sides of the larger one with 3” strips of plywood, running lengthwise about 1/3 of the way across the panels. The larger box also has a front-to-back brace. The braces are all “swiss cheesed”, and all of the sharp edges were radiused with a router. The small box will get heavily dampened, the larger one will get typical damping. In addition to the Delta 12LF's, I’m going to use an Eminence Alpha 8MR in the larger box, crossed over at 800 Hz, and three 3” vents, 6.7” deep. The smaller box will get an Eminence APT-80 tweeter, since I am pretty much out of room in there, and the Alpha 8MR won’t fit! The 4” diameter port will be about 7.2” deep. The baffles are ¾” Baltic birch.