Any ported design should work. There is nothing inherently special about the Full Marty.
1-25hz is for pipe organs, earthquake simulators and door slams.
25-40hz for rap/dubstep/carhead-bass.
40-300hz for dance/rock/metal/pop/country/drums/cat jumps/explosions/chest-kick.
90% of music bass is >30-300hz
90% of movies is >20-300hz
10-20hz is the remaining 9%
<10hz is the last 1%
Originally Posted by raransburgh
Would it sound bad if they were left and right of the listening position?
There will be an SPL gradient as you get closer to the subwoofer, you'll also be transitioning from the far-field to the near-field zone. You'll also have a phase-shift from left to right.
It will also depend on room-nulls.
Nobody said this was gonna be easy.
Some people have had success with DBA's behind their screen wall.
It doesn't solve the SPL equation, but it reduces the seat-to-seat variance without filling the room with subwoofers. Not sure if you have the space for it though.
Like most things it is a balance of compromises.
There is no such thing as the perfect room or perfect system or perfect driver.
However, some are substantially better than others; I mean an SI-24 is gonna beat the pants off a Walmart sub or BestBuy sub, or even an SVS sub... An Lab Gruppen PLM20k will have substantially higher output than a Parts-Express plate-amp or an iNuke. [and their price tags also reflect that unfortunately.]
For 30-300hz many have had success with B&C 21's or multiples-more PA-460's...
For <30hz it's hard to beat the SI-24, RF-19, HST-18, UM-18 for their given price-bracket etc...
The lower you port the box, the less mid-bass/chest-kick you'll have.
In simplified terms: the wattage is divided equally cross all frequencies, and so by covering more frequencies you'll have less power for any given frequency.
For the most part, bass is limited by displacement.
Which is a function of total-cone-area x total-excursion (or average playback, since almost nobody plays at full clipping/xmech all day long.)
Wattage causes excursion, it also causes heat.
Both heat and excursion cause distortion.
The way to reduce both is to add bigger cones / more cones.
1 18 can do things that 1 10 can't dream of,
and 8 18's can do things 1 24 can't dream of,
and 8 24's can do things 8 18's can't dream of.
You can always turn it down, but you can't always turn it up.
The NX6kD and UM-18 is "relatively" cheap, and they work well for their price bracket.
Hence why they are so popular... (and get constantly recommended.)
People tend to gravitate towards things that hold the best-value in general... or for a given-bracket.
Right now that's PA-460's and NX1kD's for 30-300hz mid-bass,
and NX6kD's and UM-18's for 1-30hz.
It used to be SI HT-18's and FI 18's, but things change based on availability/wait time/build quality etc.
Before the NX6kD and FP clones and miniDSP's, it used to be the EP4k's+DCX's.