Just do a google and you will find it for free. I have built sixteen of these dual ten band pass enclosures and they always amaze. The Deathbox is one that he sells the plans for, however.
It is available in a single 10 or a single 12 inch version. I have built both and I can recommend them each very highly. They are intended for car use, but also serve well for a small home system. Most of his designs are intended for home use, however if you need a refrigerator sized band pass box that puts out enormous amounts of bass, try the 18" House Wrecker.
He also has a "reworked" modernized, beefed up, braced up version of the Jensen Imperial that looks very interesting for the Vintage audio enthusiast. It has already been mentioned, but the man makes his living selling high end tube amplifiers and speakers to go with them. Used it in my bedroom system for about three years. Three of which using true pro audio drivers and are still being used by musician friends to place in corners at small clubs they play in to hep with room nodes in small clubs.
One is recently finished and I have yet to test it fully, using one JBL M in the upper chamber and two cheap low Fs Jamo drivers iso-loaded in the lower chamber. Even that was pretty powerful, but I always wanted to build one using really HD pro audio drivers in this size.
That one still sits in the top of a small school's auditorium, seating , blowing out plenty of decent bass. Bear in mind it is a bandpass box, with all the associated compromises bandpass physics brings into play.
While they are super easy to build and fun to play with, I would not recommend anything but the 18 or 15 versions using pro drivers. However, if you have some shit drivers sitting around and need to gain some construction experience, you would get about the best possible sound out of your cheap drivers by throwing them in iso-coupled arrangements in a Housewrecker.
Incidentally, I went to Steve's site to place a link to his WO plans, but they are no longer free. It makes an essentially passive preamp the perfect solution. Beware those who'd categorically write off neutrality as unmusical without considering the particular system context. Using the F2 current-source amp in today's comparison had an additional benefit. It would render the interconnects and speaker cables used more or less invisible.
Transconductance drive disregards those parameters. The CSP is billed as "stone quiet". Into the F2 which is stone quiet, the CSP wasn't. The amp's low-ish On the active input, this hum increased with attenuator setting to be very noticeable at full tilt and still audible at the o'clock position. Mind you, the CSP isn't unduly noisy at all and for its asking price actually quite impressive - but to call it "stone quiet" is rather overstating things. Incidentally, there's also a minor amount of signal leakage from the active into the open input.
Sonically, the tiny tot mirrors the Zen Taboo and Bel Canto by being an ultra-transparent player indeed. While not quite the equal of the PRe2 in that regard, you'd have to really pay attention to little things like the lengths of decays in the recording venue or vocal peaks where the CSP would occasionally inject a little bit of grit. It initially sounded like a faint whiff of distortion very similar to a slightly scratchy voice coil. Here it was audible only on certain instruments and some vocal peaks.
Where the Decware scored was in the texture department. Unlike the billowy yet thick and dense texture I just described in my review of the DeHavilland Ios, this texture was much more subtle. It reminded me most of the very light yet smooth surface of a Rayon shirt. The Decware also benefitted the dimensional aspects of the presentation. It's something I nearly always hear with tubes. To this day, I am at a loss to explain how tubes do that.
It's easy to hear yet when you ask what exactly creates this effect, clear-cut explanations play coy and are impossible to come by. It's fair to call the Decware active in that regard since it. Things fill out a bit both in spatial and tonal terms. Don't think octals though. In the wrong circumstance, those can get a bit fat, blurry and thus indistinct, bloomy and smudged.
The CSP is not at all about excess. Its additive contributions do not curtail apparent rise times to round over attacks or put a minor drag on music's innate pace. While stage depth was slightly foreshortened vs the Bel Canto, the performers on that stage concretized for an appealing trade off. My only criticism really was that occasional nearly subliminal scratchiness in the upper midrange. It combines Flamenco, Brazilian Jazz, vocal scatting, e-guitar riffs and J.
Bach preludes in completely mindboggling ways - a true treasure trove for guitar aficionados. The harmonica. This makes any sonic intrusion quite obvious. The Decware pre, here and there and steadily on repeats in the same spots to eliminate the possibility of actual bad-tube distortion , sounded just a bit 'dirty' in that particular register.
That and the slight operational noise were the only two areas my internal judge marked in his little black book. To get a more precise fix on exactly the extent to which the Decware pre offers active contributions over sonically invisible preamps, I reinserted my customary ModWright SWL 9. But the moment both components lack tubes by going solid all the way, something vanishes - and I miss it.
It clearly proved to be smoother, far more dynamic and more endowed in the bass as though it gripped and drove the amp and thus the music harder. Jordi's e-guitar wails had more bite as had Antonio Serrano's harmonica but at the same time, the minor dirtiness vanished to make the hotter dynamics also smoother. Duquende's vocal interlude on "A mi me andan siguiendo" benefitted equally - more violence on the peaks for increased dynamics yet simultaneously more refinement.
No giant killer then, this Decware CSP - though very respectable and highly credible for its asking price. It's quieter too while we're taking notes. Sonically, this was a much closer call, meaning it likewise stepped down the higher intensity scale of the ModWright to get back into more of the CSP ballpark.
In the above spirit of sonic activity, the PRe2 gets the lowest marks for being the most passive, the ModWright the highest for maximizing drive, dynamics and bass mass.
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