A little background first: I’ve been actively involved in the audio community for quite some time, and have built many, many speakers and subwoofers. Full range, multi-way, front loaded horns, rear loaded horns, transmission lines, open baffles, isobaric, you name it. I don’t believe in fancy cables or mystical noise filters, just sound engineering along with repeated listening and measurements. The purpose of this instructable is to demonstrate a different way to build subwoofers, which has become my absolute favorite method for low frequency reproduction: the tapped horn.

The tapped horn is a relatively obscure subwoofer arrangement, only recently brought to prominence by Tom Danley. A tapped horn is unlike other horns, in that it uses the radiation from both the front and rear of the driver, and combines them at the mouth. This allows for many possibilities, including greater efficiency, smaller enclosure size, and deeper extension. One of the greatest benefits a tapped horn exhibits over other arrangements is lower excursion (the distance a woofer moves from rest). Because of the acoustic load placed on the driver, excursion is reduced, leading to increased maximum SPL and lower distortion.

My goal of this instructable was to build a versatile, affordable, small, and high performance tapped horn that someone with reasonable woodworking skills could assemble. Don’t just think of this as another common sealed or bandpass subwoofer tutorial, this is a much different realm, and is also significantly harder to build. It utilizes two 8 inch MCM 55-2421 drivers, which cost $28 each, and perform at a level of drivers costing magnitudes more. Add a sheet of plywood and few bits of hardware, and you have an excellent tapped horn subwoofer for $120. How much would a tapped horn cost commercially? Well, the most affordable tapped horn sub I know of is the TH-Mini, which runs about $1300 per piece. For less than 1/10th the price, you can see what all the fuss is about. Now, without further delay, let’s make some sawdust!

What would I do with a Shopbot? Tom Danley had hinted at offering a kit for a multiway tapped horn speaker, but because of limitations with time and a focus on the professional market, it is something that will not happen. However, he was very supportive of the idea, and offered to license the technology to a third party if they wanted to tackle it. If I were to get a Shopbot, I would pursue a licensing agreement with Danley Sound Labs to provide these kits at a very low price. It would be my way of giving back to the community for a Shopbot that I didn’t have to pay for. A Shopbot can precisely cut the complex angles and provide the precise alignment that is necessary for such an undertaking, not to mention do it at a rate that would allow production costs to be kept very low.

Step 1: Designing the Horn

I designed this tapped horn using three different programs: Hornresp (horn response), AkAbak, and Sketchup. All are free, but all have a learning curve, some of which are steeper than others. I won’t go into how to use these programs, as there are tutorials online if you are interested. If you haven't worked with speakers in the past, you will have to spend some time educating yourself on the various parameters and meanings. If you need any help, or want guidance on where to find info on using HornResp or AkAbak, feel free to ask questions in the comments section!

The arrangement of the driver is roughly similar to the TH-Mini, which has the driver on the bottom of the cabinet firing down into the throat. I designed mine in a similar fashion, as it works well in a cabinet this small. I’ve attached my Hornresp input file, as well as the Sketchup file with a 3D model. The cabinet is approximately 30”x30”x10”, but the 10” width can be increased to smooth out the response if materials and space allow. Please note that I did not follow the model I made in hornresp exactly. I changed the flare at the end to use as much space/wood as possible. The predicted response won't be far off, subtle changes so far down the horn have little effect.

When using a tapped horn, one has to be very careful about low frequencies that are out of the pass band, as excursion rapidly increases. An active high pass filter is what I generally use, but a passive high pass filter would work just as well. I'll explain later this in greater details later.

Step 2: Gathering Materials

The MCM 55-2421 can be found online here:


If you search for the 55-2421 on the MCM website, the price will be $38, but when I search for it in Google shopper, it is only $28. Not sure exactly why, but check to make sure you’re getting the right price. My total came out to $71.49 for two drivers including shipping.

Plywood: I used one 5x5 sheet of Baltic Birch ½” plywood, and one small scrap piece of ¾” plywood for the baffle the drivers mount to. You can use all ½”, I just had the ¾ on hand. Bought this from a local wood company for $44, and it’s high quality void free plywood. Try not to skimp here, and DO NOT use MDF.  A well braced plywood cabinet is superior to one made of MDF, and the additional stiffness is noticeable in both sound quality and overall strength. MDF also contains formaldehyde, which is used as a bonding agent, and cutting this stuff is nasty business. Even with a respirator, it will get everywhere in most non professional wood shops, and it is simply not a risk worth taking. For a unique look, bamboo plywood can also be used, which I have used in many of the speakers I’ve built.

Binding posts: I chose to use a Neutrik speakon connector ($2), as I like the cheap cost, secure connection, and fully insulated design. Feel free to use anything that works for your application.

Wire: I used some extra bits of 16 gauge stranded copper here, but any decent copper wire should be fine, given that it is at least 18 gauge.

Glue: I have a large bottle of Titebond II that I use for most woodworking projects, but will also use PL polyurethane adhesive. Achieving a good seal is very important in any horn design, and the expanding nature of polyurethane can be helpful in sealing up any potential voids.

$71.49 for the drivers, $44 for plywood, and $2 for the Speakon puts the cost at right under $120. Add a little more if you need glue and use a passive crossover.

Step 3: Cutting the Plywood

Here’s how I would cut the 5x5 sheet:

The large side panels are each 30” by 29 17/32”, so let’s start there. Cut the full sheet at 30”, you will later cut this piece in half to form the two sides. I didn’t have access to a full sizes table saw, so I used a circular saw and guide to cut the large pieces to size. I’m accurate to about 1/32”, which is acceptable for these larger pieces. I use a flushing bit on my router to clean things up at the end, but sandpaper could do the trick if you are limited.

Next, rip the remaining ~29 ⅞ piece into three equal widths, I made mine roughly 9.5” wide. Did this on a table saw, which makes things easy. This doesn’t have to be an exact width, but it is important to have all these internal panels the exact same. Otherwise, an internal panel might be slightly off, which could lead to leaks, not to mention a more difficult assembly. I generally try to use all the wood with minimal scraps, here’s the formula to get you close: 29 ⅞ by 3, minus the width of the blade *2. Go a little bit smaller, just in case.

Now that you have three 60” long pieces at roughly 9.5” wide, cut these pieces to length. Here are the lengths of the internal pieces:

Bottom and Top: 29 1/16”

Back: 29 17/32”

Front: 13 ½”

Inner pieces:

a: 22 29/32”
b: 18 15/32”
c: 14 ½”
small piece that joins baffle and bottom: 1-1 ¼”, depending on what thickness baffle is used

Driver baffle: 26” - NOTE- I used a seperate ¾” piece of plywood for this piece.

Step 4: Final Preparation Before Gluing

Now that all the pieces are cut to dimension, it’s time to sketch out how the internal panels fit to the side panels. I use a straight edge and pencil to sketch how things should look, using my Sketchup drawing as a guide. I just marked the interior corners of the horn path, and line up the pieces as I assemble the horn.

One thing that is worth noting is the position of the drivers. In my Sketchup drawing, I only placed them in an approximate location. The exact location of the drivers is important to how the horn operates. We want to maintain a compression ration of approximately 3:1 to 4:1. This ratio is the total area of drivers (each driver is 210cm squared, so 420 total) to area of the horn at the point where the drivers fires into the throat. So to maintain that ratio, we want to have the drivers centered at point in the throat where the area is around 100cm squared. This will change depending on how wide your cabinet is. If you cut your panels to 9.5” like I did (roughly 25cm), that would mean the drivers should be centered around the point in the horn that is 4cm tall. I simply test fit the baffle piece, measured the point at which the height was 4mm, and made a pencil mark. On each side of this point will be a driver, oriented as close together as physically possible. Don’t fret about this too much, as I’ve found these drivers can actually handle a variety of ratios without problems.

Drill the proper holes for your input connector(s) on the back panel, and the holes for the speaker drivers. I used a circular jig attached to a router to do the large speaker cutouts (7.125” hole for each), and used a roundover bit to smooth the transition from driver to throat (note: only do this on the side facing the bottom). The speakon connector is slightly larger than 7/8", I used a forstner bit to get the approximate size, and reamed it out with a file. I also drilled two small holes in panel A for the wires to connect the input connector to the drivers. Don't forget to seal these with some glue or caulking, we don't want any leaks between chambers!

Step 5: Gluing and Final Assembly

Now that everything is cut to size,  start gluing pieces together. I start with the front panel and top piece, and work my way back, constantly checking to be sure things are square. All internal pieces are glued to one side first, making sure to use plenty of glue to avoid any leaks. A brad nailer can make things go faster, but I just use wood glue and a little patience. If you cut the pieces with some accuracy, this should be a straightforward process. One all the internal pieces are glued in place, it's time to install the drivers. I use a set of heavy duty screws, but bolts and t-nuts are also often used.

When wiring the drivers, the amplifier you are using must be considered. Each driver has a rated impedance of 4 ohms, so you can wire in series for 8 ohms or parallel for 2. I went with parallel wiring, and have an amplifier that can handle low impedance loads. If you want to add a passive high pass crossover to prevent over excursion out of the pass band (don't ignore this, use either a passive or active filter), it will change depending on how you wire your drivers. In both cases, there is a capacitor in series with the drivers, and a inductor in parallel with them. Here are the values for each wiring scheme:

Parallel (2ohm load): ~1600uf capacitor, ~12.86mH inductor
Series (8ohm load):  ~400uf capacitor, ~51.4mH inductor

These values don't have to be exact, just try to get as close as you can. I've also provided the modelled excursion of the drivers at their rated power. These drivers have an xmax (maximum one way excursion) of 8mm. As you can see, as you go below the low corner at 40hz, excursion quickly increases. At 30hz, you are above the rated max excursion. A high pass filter greatly reduces the chances of damaging your drivers due to over excursion, so please use them!

Wire the drivers to the input connector, seal the holes with caulk/glue, and take a final look at your handiwork: once the other side is glued on, you won't be able to easily access the internal workings! Apply a generous amount of glue to the edge of all internal pieces, and clamp the final side in place.

Step 6: Testing

After patiently waiting for the glue to cure, place the sub in a desirable location (corners will increase the low end response even more), and connect to an appropriate amplifier and high pass filter. Slowly bring the volume up, as long as you wired things properly, you should be able to hear output. As you crank up the volume, you will soon see just how much. When modeling this in Hornresp, the predicted maximum output was a stunning 122 dB at 40hz! For two 8 inch drivers in a 130 liter cabinet, that's pretty impressive! 

I hope you've enjoyed this tutorial, please comment if you build this tapped horn,  feedback always appreciated!
<p>I would like to try it with Altec 515B 15&quot;, any opinion on that?</p>
<p>Hello. Excellent guide. I will definitely tackle this as a project to get started in the world of tapped horns. Can you please tell me if this particular driver is well suited for use in a tapped horn enclosure? Once I get more confident, I would like to experiment to see how small I can make one of these things while still achieving low frequency extension. </p><p>Aurum Cantus AC-130MKII</p><p><a href="https://www.parts-express.com/aurum-cantus-ac-130mkii-5-1-4-carbon-fiber-kevlar-woofer--296-404" rel="nofollow">https://www.parts-express.com/aurum-cantus-ac-130m...</a></p>
<p>wil it works with 2 8inch philips subwoofers 120watt</p>
<p>Is anyone able to help with the wiring of the drivers - particularly the positioning of the capacitors and inductors if the drivers are wired in parallel. I'm trying to work this out from stuff on the net and it is doing my head in! I can't even work out where to just buy a unit from... aarrgg!</p>
<p>If you're wiring in parallel; both positive and negative hooked together to share the same output, here is a simple diagram... </p><p><a href="http://www.diyaudioandvideo.com/Tables/ButterworthCrossover/2ndOrder/" rel="nofollow">http://www.diyaudioandvideo.com/Tables/Butterworth...</a></p><p>L1 is the coil and C1 is the cap. You're following the LOW PASS filter, 12dB.</p>
Many times I thought build something like this, but always left it for later. I think it's very interesting design. <br><br>I wonder if it would be a good idea rounding the edges inward, to facilitate the &quot;flow&quot; of sound. It is to say, to put a quarter of PVC tube in the interior of the angle joints.
At the long wavelengths involved, it really doesn't matter. When I built my first few horn speakers, I made angled pieces to fit the corners, thinking it would help. The only differences I noticed I attributed to the bracing these pieces provided. When building larger horns, I'll use any extra wood for bracing instead of angled corners. It certainly looks nice though!
well, even with lower frequencies you still might get diffraction and reflections from the momentum of air through the guide, this is often described in both transmission line and horn loaded sub's and speakers though you are correct in that higher frequencies need it more since they are more directional and are affected by reflections more easily.
Is this a variation of a &quot;Folded Horn&quot; design? or the same only named differently? I have made several folded horns, home, car, and other applications.... Great 'Ible btw.
usually a folded horn refers to a sealed enclosure with an extended, typically &quot;folded&quot; horn to act as a waveguide to extend frequency response and improve loading and acoustic impedance matching. Though I've never built one, I believe bill fitzmaurices designs are based on folded horns. in addition, there are back loaded horns with the front of the driver radiating into the listening area (often used to increase the frequency response of full rangers in older vintage designs) and the tapped horn like this one which combines both front and back loading with the waveguide effect of the horn as well and frequency reinforcement from the length of the line. There's a lot to learn about the different designs and sometimes youll find a few designs that overlap a couple different categories of horns or enclosures.
<p>Hello,</p><p>would it be possible to get a drawing with sizing? Especially the first angle would be interesting...</p><p>Or am I just stupid not to see it?</p><p>Thanks for your help</p>
<p>HI,</p><p>Thanks for this material. I am planning to build this soon and I have few questions</p><p>1. Can I use the same dimension for a single 15&quot; sub?</p><p>2. Is there any other material that I can replace with plywood to reduce the totwl weight.</p><p>My plan is to use this sub for mobile parties where i will be carrying this in my bike.</p><p>Thanks again</p>
<p>I am no speaker builder and I don't know a ton about horn design, but I think I know more than you. I would say:</p><p>1. Probably not. A lot of math goes into designed the size and shape of these boxes, and they are calculated based on the driver size. A single 15&quot; driver would probably request at least a different size, and maybe shape too.</p><p>2. Plywood? I don't know of any horn subs that people are building out of plywood. Maybe you could, but your sound would probably suffer. Use MDF if you want to go cheaper, but that will drastically increase your weight. If you are worried about weight, you shouldn't be building a tapped horn sub at all, and you definitely should not be carrying this on your bike. </p><p>I've been using this sub in my home for a year and a half, built almost entirely to spec by a horn builder in Boulder, CO, and I love it. The only thing different that he did was use a more durable, harder wood, actually salvaged from an old desk. I don't know what kind of wood it is, but the sub is very heavy and rock-solid. </p><p>I am using probably the same plate amp that one of the users below posted. It sounds great, especially in a small to medium-sized room. Definitely do not use this in a large room. Even for a medium sized too, I would probably recommend two of these, or perhaps a different sub. One of the more difficult things with this sub has been playing with the placement. It truly sounds best corner-loaded. However, I have found that it does not sound that great simply in a corner firing out. It is a very &quot;directional&quot; sub, and you loose a lot of the bass if you are not standing right in front of it. Best to fire it directly into the corner of a room (either right at the corner or at a right angle to one of the corner walls, which is what I am currently doing, just a few inches from the wall). This way, the bass expands around the room to fill the entire room. If you are doing this, and also because it is a folded horn, you will want to incorporate delay into your speaker tops, as the bass frequencies will be exiting the mouth of the horn after the high frequencies exit the tops. I use a Behringer external PA crossover (CX-3400) and crossover at about 180 Hz. Really sucks that the plate amp doesn't have a crossover built in, but oh well. The CX-3400 gives me a lot more control with other things too.</p>
<p>I am not able to edit my post. Sorry for the spelling mistakes. </p><p>After thinking more about it, one of these in a medium-sized room in a home would probably be fine. I should mention that I am a deep house &amp; techno DJ, so I play a lot of bass music. Heavy bass in the 30-40 Hz range is very important to me, and this sub does an excellent job at handling that. However, like I said before, playing my music in a slightly large room with this subwoofer would not suffice. I would need two of these probably. But if you play a lot of jazz, rock, or other music with significantly less bass, that would probably afford you more wiggle room with this sub. </p><p>Other notes: including about $100 labor for someone to build it for me, the sub probably cost me about $250 (not including the amp). Pretty great price for what you get. As you can see in the photo, I built it with parties in mind. I wanted it to be durable, portable (handles), and protected. I realized after two parties in my medium-sized basement space that this sub was not intended for that. It could not handle high SPL deep bass at a loud party. I blew one of the drivers after the second party I think, which was really not a big deal at all, because a new driver was about $30 and not difficult to install. For home listening, this thing is great. For PA applications, go with horn subs built for that. We are currently using Bill Fitzmaurice PA speakers. Specifically Titan 48 subs with DR280 tops. </p>
<p>I'd love to try building one of these, but know nothing about speaker design, so looking for a &quot;cookbook&quot;. If I learn a bit more about sketchup, can Iread off it the exact position of the internal baffles? (or are they somewhere in this article, and I am just not seeing them?</p><p>thanks!</p>
<p>I just built this sub with two 8 ohm Rockford Fosgate Punch 8's I used to use in my truck and a 250 watt plate amp. The results are excellent given the scale of the drivers and the high impedance. The scale is a bit obtrusive, but I've committed our family to hi-fi at all costs so they don't seem to mind the furniture being functional.</p><p>I'm still tweaking the gain and frequency on the plate amp to get the frequency response that sounds best in the room. I also made a modification to the design to accommodate the plate amp space (seen below middle). This seemed to have little effect on sound quality.</p><p>Anyway, thanks so much for the instructable. It's a good project and not expensive at all.</p>
So has anyone built this sub? Im thinking of trying it.
Really interesting project. Are you able to measure the response? If not, what would you guess as the bottom end. With less power requirement on the driver, I suspect that this system provides a nice accurate, tight bass.
I have the measured response in a file on another computer, I'll try to upload that later in the week.
interesting 'ible!<br>Is there a link for the physical / acoustics principles behind this design?<br>I'd be interested to find out.<br>Some questions that are raised in my mind:<br>Is the driver as efficient 'pushing' as well as 'pulling' in both phase and amplitude?<br>I'm assuming that the housing causes the sound waves to be combined at the output aperture?<br>If so, how does the design ensure the wide bandwidth required for audio? ie performing a 180o phase shift across the sub-woofer frequency range.<br>Thanks in advance!<br>
Here's a pretty detailed explanation of how a tapped horn works:<br><br>http://www.danleysoundlabs.com/pdf/danley_tapped.pdf<br><br>It should answer your questions better than I can, let me know if you still need clarification.
I wonder how well adding 2 speakers on the face would do. I was going to say something about using plywood instead of MDF, but since this isn't a closed box design I guess it doesn't matter that much.
very nice design<br>
I had never imagined you could combine the push and pull in one direction. I might try this with a 3&quot; speaker setup I have laying around. I need to put a volume control on the amp first though...that thing is already too loud. lol
I'm wondering if this could be used for live sound systems. As a bass player, I'd like to know if this design could be modified to handle up to 300W.
I actually used a pair of tapped horns with a single driver in each cabinet for a PA system, this should work even better. You can lay them on their side, and place the mains stands on top. Each horn is rated at 240W, those last 60W won't significant difference in overall output. Good luck!
Very interesting I will show this to a couple of friends I am meeting up with in a few days.<br>You tilte needs work though &quot;Design&quot; really does not get across exactly what it is your 'ible has to offer, if I were looking for information on speaker construction I could easially overlook it.

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