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Scrappy, a lightweight 8” cab built from scrap

Feb 12, 2008
346
625
Scrappy, a lightweight 8" cab build.

I'm posting this before I close up the cabinet with the last panel as a last opportunity to collect, and possibly incorporate feedback. Feel free to provide feedback.

Please understand the following:
  • I am absolutely inexperienced in building, and especially designing speaker cabinets.
  • I am a moderately experienced wood worker, having built several pieces of furniture, and can turn a bowl or two.
  • I bowed to expediency, and simplicity in my methods here by using butt joints (gasp!), No rabbets, dadoes, grooves, box joints, or dovetails, or pocket holes here. I intend to reinforce the butt joint with dowels before routing the roundovers.
  • I built this to meet a general goal of small, light, narrow, low volume, and cheap. More on what drove the design parameters to follow.
The need/ design requirements:

I recently started playing at church again. The facilities guy is in charge of the PA, and has set HPF filter at about 250k, even for the bass, and kick drum! Also, the compressor/limiter is set at such a ratio as to squash the bass. Together, this makes the bass inaudible through the floor wedges. They also got rid of the entire in-ear monitor set up I had put in place several years ago. So, I need to have a small, quiet amp that doesn't take up much floor space. The venue holds 800 people, but the choir area is low volume. My SWR Monitor 12" wedge is just too big, and with it, I keep my Gnome's volume at about 2-3. My daughter has taken up the bass, and plays in church. She'll need a small cab and amp that are easy for her to carry. I also need the cab to handle my low B (at low volumes). It would be a bonus if this cab is loud enough for practice with my other band (uses acoustic drums).

I really like the idea of JdoubleH's cab. He inspired me to build my own small, 8" cab using a super cheap driver. Don't laugh or balk at my driver choice. I know, I know.

My departure from JdoubleH's design: Pardon me while I "vent"…
I used a spreadsheet to play with cab volumes, tuning, etc. Unfortunately, due to the high FS of the driver, I couldn't get the low end I wanted out of a sealed design, and super small box. I decided on a vented cab.

The driver:
Pyle (I know, I know) PPA8 meant for PA systems
Cost: $16
Source: Newark online
D9CC485F-1367-4E66-A736-A3B25C43DB26.jpeg

Hey, if they make 'em in 18s, they have to be good. Right?
81FF8DF3-F22D-4704-BDC0-81A813969400.jpeg

See the stats below:
7834A870-25A5-4FCC-A00F-B137366148A3.jpeg


Box calculator:
I tried WinISD, but my laptop resolution made it unreadable.
I ended up using a spreadsheet provided by YouTube's Audio Judgement (thank you!!). See what I ended up with here:
6DABFDE7-7C74-45D2-8D19-424693068447.jpeg

5AA43BA2-855B-46A6-890E-551F20DE2BF5.jpeg

Build material:
Sande plywood from Home Depot, 1/2" thickness (actually 12mm). This is very light and nearly void-free. I had a full sheet leftover from a storage bench/couch I built a couple years ago. This is described as paint grade, and a hardwood. But's it does need sanding, and is fairly soft. It was warped, so I have to work around that. Since this is from scrap wood, I'm calling it Scrappy. I'm hoping it doesn't turn out to be crappy.

Box dimensions:
Volume is about 1.181 ft3
That worked out to be about 17" x 14" x 10" for the external size. I know that I didn't quite compensate for the driver volume (partially), and cab bracing. But, I kept the bracing design minimal since this is a low volume cab.

Weight:
I'm hoping for less that 20 pounds. I weighed just the six outer panels, and the driver together, and came up with 15 pounds even. With the port tube, bracing, foam, and hardware, I expect another pound or two.

Like JdoubleH's approach, I plan on recessing the handle so that the Gnome sits easily on top. Instead of using plywood to create the recess, I'll use a some fancy aluminum that I've had lying around from my Jeeping days. It's about and 1/8" thick, and will not take up much internal volume, but provide enough rigidity for the purpose.

Handle:
I bought a strap handle from Amazon, but it turned out longer than advertised. I might make it work, but am hesitant to try. I might order a different one.

Cab corners:
Although I'm kind of wanting a vintage look for this cab, I know from experience that metal corners can let a cab slide around in a vehicle, and can be tough on fingers. Plus, they would require separate rubber feet to be added to the cab. Because of these factors, I went with the stackable plastic corners. I don't expect to make a second cab that will stack. But, these corners will keep the cab from sliding around as much, won't scratch up things, and will eliminate the need for rubber feet.

Port:
I went with the spreadsheet suggestion for a 3" diameter tube. The tube is a shipping tube from UPS, and only cost $5! I committed to the tuning when I incorporated the tube support into the cab bracing. I reduced the length of the tube from 5.8" to about 5.5" due to the modest flair routed at the ends. The length is now fixed.

How will it sound?
Not sure. I know that I risk pushing driver extension in the low frequency tuning. I'm hoping that the low volume needs, and the inherent inefficiency of the driver will keep things in check in the low end. The Qms of 2.9 seems to suggest high damping of the driver, and maybe a flatter response, but I'm at about 7,000' in elevation, which could possibly play a part. We'll see.

Here are pics of the build.
Panels, cut to size:
C3E6C438-C141-4414-892F-4EAAB39458F0.jpeg


Baffle with driver, and port cutouts. Life Bill Fitzmaurice says, (paraphrased) "people buy with their eyes, not their ears". I centered the driver, and port, but tried to leave room for a future tweeter, if needed. I got lazy and used the scroll saw. Don't judge me!
E09A25B6-8128-4837-AD30-FA752094BCB0.jpeg

I rounded over the outside of the port for a cheap flare, which probably won't be that effective.
5145C46B-B874-4043-8A0D-3B3168AA11C5.jpeg


I recessed the back of the baffle to hold the port tube. This was eyeballed, not measured (again, no judging, please)
1EB57284-54D5-4550-B324-98770063B827.jpeg


Behold the $16 Pyle driver:
4E89EBD5-31CE-43DA-8CF3-C1545677B4CE.jpeg

Here's the vertical brace which will also hold the back end of the por tube. The port hole was flared, and recessed because I could, and it will help me sleep at night knowing I did it. I knocked this out with the saber saw because it doesn't need to be 'CNC pretty' (also because I don't have a CNC machine).
CFF42408-1260-4336-9D32-A942AE2733DB.jpeg

Note that this is just a test fit of the tube.
4B2A3095-1DED-459B-AD1F-4B607AB21231.jpeg

Baffle and brace meet in what will be a forever a totally tubular relationship.
11C1F2FF-3B48-46EF-84F4-5FEB5EA05E8F.jpeg

All the panels assembled. For you Nodal Nerds, the brace is technically not in the center of the sides, but slightly forward of center (determined by port length). Also, since this is made from warped scrap, the box is decidedly NOT square. I'll be clamping on some pressure to bring what's now a trapezoid back to square. I knew this would happen going in, and will do what I can to hide the warpage. Note that I added an inch up front for a speaker grill.
5A7A807C-C549-484B-BE82-75ACB56199F1.jpeg

Here's how it sits today. Next steps are to cut a strategic, and hopefully appealing hole in the tope for the handle recess. Then, cut the aluminum plate to be screwed into the top. I'll have to rebate the top of the brace for clearance.
45DF0DCB-5405-4CD1-91E6-712975757BEC.jpeg


Let the feedback and guidance befall me, oh wisened cabinet builders.
Oh, let me know if this thread needs to be moved elsewhere.
Thanks.
 

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5StringBlues, I get where you're coming from.

Aged, I'm trying to learn from your comment. Am I correct in understanding that the box may be too large, thus requiring the large Xmas (due to low back pressure)? I was afraid I had gone the other direction., and was pushing for a smaller box than the calculators suggested.
 
No, your SPL will be dependent on the Xmax and sensitivity. It will take a fair amount of power to get from the high 80dB range to say even 100dB at low frequencies, and this power will translate into axial displacement. If eq is used to increase LF SPL, this also places additional requirements on SPL and thus Xmax.

It should work ok for low volume use.
 
Scrappy, a lightweight 8" cab build.

I'm posting this before I close up the cabinet with the last panel as a last opportunity to collect, and possibly incorporate feedback. Feel free to provide feedback.

Please understand the following:
  • I am absolutely inexperienced in building, and especially designing speaker cabinets.
  • I am a moderately experienced wood worker, having built several pieces of furniture, and can turn a bowl or two.
  • I bowed to expediency, and simplicity in my methods here by using butt joints (gasp!), No rabbets, dadoes, grooves, box joints, or dovetails, or pocket holes here. I intend to reinforce the butt joint with dowels before routing the roundovers.
  • I built this to meet a general goal of small, light, narrow, low volume, and cheap. More on what drove the design parameters to follow.
The need/ design requirements:

I recently started playing at church again. The facilities guy is in charge of the PA, and has set HPF filter at about 250k, even for the bass, and kick drum! Also, the compressor/limiter is set at such a ratio as to squash the bass. Together, this makes the bass inaudible through the floor wedges. They also got rid of the entire in-ear monitor set up I had put in place several years ago. So, I need to have a small, quiet amp that doesn't take up much floor space. The venue holds 800 people, but the choir area is low volume. My SWR Monitor 12" wedge is just too big, and with it, I keep my Gnome's volume at about 2-3. My daughter has taken up the bass, and plays in church. She'll need a small cab and amp that are easy for her to carry. I also need the cab to handle my low B (at low volumes). It would be a bonus if this cab is loud enough for practice with my other band (uses acoustic drums).

I really like the idea of JdoubleH's cab. He inspired me to build my own small, 8" cab using a super cheap driver. Don't laugh or balk at my driver choice. I know, I know.

My departure from JdoubleH's design: Pardon me while I "vent"…
I used a spreadsheet to play with cab volumes, tuning, etc. Unfortunately, due to the high FS of the driver, I couldn't get the low end I wanted out of a sealed design, and super small box. I decided on a vented cab.

The driver:
Pyle (I know, I know) PPA8 meant for PA systems
Cost: $16
Source: Newark online
View attachment 4810490
Hey, if they make 'em in 18s, they have to be good. Right?
View attachment 4810505
See the stats below:
View attachment 4810486

Box calculator:
I tried WinISD, but my laptop resolution made it unreadable.
I ended up using a spreadsheet provided by YouTube's Audio Judgement (thank you!!). See what I ended up with here:
View attachment 4810487
View attachment 4810488
Build material:
Sande plywood from Home Depot, 1/2" thickness (actually 12mm). This is very light and nearly void-free. I had a full sheet leftover from a storage bench/couch I built a couple years ago. This is described as paint grade, and a hardwood. But's it does need sanding, and is fairly soft. It was warped, so I have to work around that. Since this is from scrap wood, I'm calling it Scrappy. I'm hoping it doesn't turn out to be crappy.

Box dimensions:
Volume is about 1.181 ft3
That worked out to be about 17" x 14" x 10" for the external size. I know that I didn't quite compensate for the driver volume (partially), and cab bracing. But, I kept the bracing design minimal since this is a low volume cab.

Weight:
I'm hoping for less that 20 pounds. I weighed just the six outer panels, and the driver together, and came up with 15 pounds even. With the port tube, bracing, foam, and hardware, I expect another pound or two.

Like JdoubleH's approach, I plan on recessing the handle so that the Gnome sits easily on top. Instead of using plywood to create the recess, I'll use a some fancy aluminum that I've had lying around from my Jeeping days. It's about and 1/8" thick, and will not take up much internal volume, but provide enough rigidity for the purpose.

Handle:
I bought a strap handle from Amazon, but it turned out longer than advertised. I might make it work, but am hesitant to try. I might order a different one.

Cab corners:
Although I'm kind of wanting a vintage look for this cab, I know from experience that metal corners can let a cab slide around in a vehicle, and can be tough on fingers. Plus, they would require separate rubber feet to be added to the cab. Because of these factors, I went with the stackable plastic corners. I don't expect to make a second cab that will stack. But, these corners will keep the cab from sliding around as much, won't scratch up things, and will eliminate the need for rubber feet.

Port:
I went with the spreadsheet suggestion for a 3" diameter tube. The tube is a shipping tube from UPS, and only cost $5! I committed to the tuning when I incorporated the tube support into the cab bracing. I reduced the length of the tube from 5.8" to about 5.5" due to the modest flair routed at the ends. The length is now fixed.

How will it sound?
Not sure. I know that I risk pushing driver extension in the low frequency tuning. I'm hoping that the low volume needs, and the inherent inefficiency of the driver will keep things in check in the low end. The Qms of 2.9 seems to suggest high damping of the driver, and maybe a flatter response, but I'm at about 7,000' in elevation, which could possibly play a part. We'll see.

Here are pics of the build.
Panels, cut to size:
View attachment 4810493

Baffle with driver, and port cutouts. Life Bill Fitzmaurice says, (paraphrased) "people buy with their eyes, not their ears". I centered the driver, and port, but tried to leave room for a future tweeter, if needed. I got lazy and used the scroll saw. Don't judge me!
View attachment 4810499
I rounded over the outside of the port for a cheap flare, which probably won't be that effective.
View attachment 4810500

I recessed the back of the baffle to hold the port tube. This was eyeballed, not measured (again, no judging, please)
View attachment 4810501

Behold the $16 Pyle driver:
View attachment 4810504
Here's the vertical brace which will also hold the back end of the por tube. The port hole was flared, and recessed because I could, and it will help me sleep at night knowing I did it. I knocked this out with the saber saw because it doesn't need to be 'CNC pretty' (also because I don't have a CNC machine).
View attachment 4810506
Note that this is just a test fit of the tube.
View attachment 4810507
Baffle and brace meet in what will be a forever a totally tubular relationship.
View attachment 4810518
All the panels assembled. For you Nodal Nerds, the brace is technically not in the center of the sides, but slightly forward of center (determined by port length). Also, since this is made from warped scrap, the box is decidedly NOT square. I'll be clamping on some pressure to bring what's now a trapezoid back to square. I knew this would happen going in, and will do what I can to hide the warpage. Note that I added an inch up front for a speaker grill.
View attachment 4810533
Here's how it sits today. Next steps are to cut a strategic, and hopefully appealing hole in the tope for the handle recess. Then, cut the aluminum plate to be screwed into the top. I'll have to rebate the top of the brace for clearance.
View attachment 4810538

Let the feedback and guidance befall me, oh wisened cabinet builders.
Oh, let me know if this thread needs to be moved elsewhere.
Thanks.
You wouldn't have needed to build it, if the facilities man were as competent as you.
 
Trippin on a sanctuary that holds 800 people and you're "too loud" with a low powered single 12 combo and a sound guy slappin an HPF on everything 250 Hz and below.

Yep. We have eight 18" PA cabs flown up on the roof behind a custom fascade, and a few 1,600 watt QSC amps in a rack in the back. We had a couple 1,200 watt amps for old monitor wedges. About 5 years ago, I submitted a proposal to upgrade the 70's era analog 32 channel board to digital (Midas M32), with two digital snakes to get like 84 channels (which we don't need), and 9 in-ear personal monitors. We got rid of about 40, 70 foot cables that ran in a trunk line through the floor, and went to CAT6s. Only two of the nine music groups embraced the in-ears. The others didn't like hearing themselves so well. They thought that the in-ears made them sound flat/off pitch! We all know that they were just getting a taste of how they really sounded.
Anyway, the "sound techs" just couldn't get how to run the Midas 32 board, and the music groups wanted their floor wedges back. Of course, the monitor mix got louder than the mains, making it a muddy mid range mess. Goodbye silent stage.
In came a new pastor who wanted things ultra quiet (which the silent stage would have provided)
In the end, they sold the Midas, and put in the rack mounted version, locked it up so only the elite few (facilities guy) has iPad access to the M32-Mix app. I have been trying to get over my bitterness. The best I can hope for is getting that darn router password, and changing things under cover.

Oh, my proposal also included a brand new Aguilar Tonehammer DI pedal, and Tech 21 Fly Rig (which I have). I think the TH has been banished and relegated to the attic with the Behringer P16s. At least they didn't sell the P16s, and the digital snakes are still there (and not understood).

Drama over.
 
Last edited:
Yep. We have eight 18" PA cabs flown up on the roof behind a custom fascade, and a few 1,600 watt QSC amps in a rack in the back. We had a couple 1,200 watt amps for old monitor wedges. About 5 years ago, I submitted a proposal to upgrade the 70's era analog 32 channel board to digital (Midas M32), with two digital snakes to get like 84 channels (which we don't need), and 9 in-ear personal monitors. We got rid of about 40, 70 foot cables that ran in a trunk line through the floor, and went to CAT6s. Only two of the nine music groups embraced the in-ears. The others didn't like hearing themselves so well. They thought that the in-ears made them sound flat/off pitch! We all know that they were just getting a taste of how they really sounded.
Anyway, the "sound techs" just couldn't get how to run the Midas 32 board, and the music groups wanted their floor wedges back. Of course, the monitor mix got louder than the mains, making it a muddy mid range mess. Goodbye silent stage.
In came a new pastor who wanted things ultra quiet (which the silent stage would have provided)
In the end, they sold the Midas, and put in the rack mounted version, locked it up so only the elite few (facilities guy) has iPad access to the M32-Mix app. I have been trying to get over my bitterness. The best I can hope for is getting that darn router password, and changing things under cover.

Oh, my proposal also included a brand new Aguilar Tonehammer DI pedal, and Tech 21 Fly Rig (which I have). I think the TH has been banished and relegated to the attic with the Behringer P16s. At least they didn't sell the P16s, and the digital snakes are still there (and not understood).

Drama over.
I have issues with my church too, but I'm happy to use my gifts. Sounds like you play often at yours.
 
I have issues with my church too, but I'm happy to use my gifts. Sounds like you play often at yours.
Thanks.
To be honest, I haven't played in a couple years. I think my group, which focused on bringing up teem musicians, was part of the "too loud, and cutting edge" problem that the new leadership perceived. We were teaching the kids current songs from the radio, which tended to be lead by one lead voice, back by harmonies. That didn't fit the new model.
Fortunately, we have a new music director who is more focused on the teens, and young adults. He is slowly sneaking in more contemporary songs.
Life is like the ocean. It comes at you in waves. Some are gentle and barely noticed. Some hit you hard enough to tumble you in the washing machine against the bottom (surfer reference, there). In the end, we keep coming up for air, and move on. When the dolphins are around you, the sharks stay away.
 
Yep. We have eight 18" PA cabs flown up on the roof behind a custom fascade, and a few 1,600 watt QSC amps in a rack in the back. We had a couple 1,200 watt amps for old monitor wedges. About 5 years ago, I submitted a proposal to upgrade the 70's era analog 32 channel board to digital (Midas M32), with two digital snakes to get like 84 channels (which we don't need), and 9 in-ear personal monitors. We got rid of about 40, 70 foot cables that ran in a trunk line through the floor, and went to CAT6s. Only two of the nine music groups embraced the in-ears. The others didn't like hearing themselves so well. They thought that the in-ears made them sound flat/off pitch! We all know that they were just getting a taste of how they really sounded.
Anyway, the "sound techs" just couldn't get how to run the Midas 32 board, and the music groups wanted their floor wedges back. Of course, the monitor mix got louder than the mains, making it a muddy mid range mess. Goodbye silent stage.
In came a new pastor who wanted things ultra quiet (which the silent stage would have provided)
In the end, they sold the Midas, and put in the rack mounted version, locked it up so only the elite few (facilities guy) has iPad access to the M32-Mix app. I have been trying to get over my bitterness. The best I can hope for is getting that darn router password, and changing things under cover.

Oh, my proposal also included a brand new Aguilar Tonehammer DI pedal, and Tech 21 Fly Rig (which I have). I think the TH has been banished and relegated to the attic with the Behringer P16s. At least they didn't sell the P16s, and the digital snakes are still there (and not understood).

Drama over.
Just the AV version of the Peter Principle, happens all the time. Digital consoles just make the mess easier and more spectacular.
 
Yep. We have eight 18" PA cabs flown up on the roof behind a custom fascade, and a few 1,600 watt QSC amps in a rack in the back. We had a couple 1,200 watt amps for old monitor wedges. About 5 years ago, I submitted a proposal to upgrade the 70's era analog 32 channel board to digital (Midas M32), with two digital snakes to get like 84 channels (which we don't need), and 9 in-ear personal monitors. We got rid of about 40, 70 foot cables that ran in a trunk line through the floor, and went to CAT6s. Only two of the nine music groups embraced the in-ears. The others didn't like hearing themselves so well. They thought that the in-ears made them sound flat/off pitch! We all know that they were just getting a taste of how they really sounded.
Anyway, the "sound techs" just couldn't get how to run the Midas 32 board, and the music groups wanted their floor wedges back. Of course, the monitor mix got louder than the mains, making it a muddy mid range mess. Goodbye silent stage.
In came a new pastor who wanted things ultra quiet (which the silent stage would have provided)
In the end, they sold the Midas, and put in the rack mounted version, locked it up so only the elite few (facilities guy) has iPad access to the M32-Mix app. I have been trying to get over my bitterness. The best I can hope for is getting that darn router password, and changing things under cover.

Oh, my proposal also included a brand new Aguilar Tonehammer DI pedal, and Tech 21 Fly Rig (which I have). I think the TH has been banished and relegated to the attic with the Behringer P16s. At least they didn't sell the P16s, and the digital snakes are still there (and not understood).

Drama over.
Having had some experience with this sort of situation, I'm going to theorize that the sanctuary is a candidate for some serious acoustical treatment. At any rate, the good thing is a little amplification will go a long way in this case.
 
Redbrangus, surprisingly, their is OC703 all over the room. It's about the right mix of live, and dead, er, absorptive properties. There was, and is again a problem with the 20' tall windows behind the choir area. The floor wedges are pointed right up at it. Above the windows is a slanted room at just about the same angle as the angle to the floor wedges. So, all that mid range hits the windows, then hits the slanted ceiling panel, then bounces back off the main ceiling down toward the congregation. Of course, that would include the delay effect, which further muddies things with the direct signal from the mains. We built some window plugs out of OC703, and covered them in matching fabric from Guilford of Maine. They really helped. Unfortunately, the new pastor removed them. Go figure. So, I'm trying to work with things as they are now.
Just…need…to…find…that…Tonehammer ID!
 
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