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Had a leak around the speaker terminal. Fixed it and now it's pounding.Took a few pics to show how small the box was and the amp rack I built.Got around $300 for the box,sub and the materials for the amp rack build.

Craigslist..... Ugghh... I have had a motorcycle on there for about a month now, looking to upgrade... Anyway, even with my disclaimer about scammers in huge capital letters at the beginning of the add, I get 2-3 a week trying to do the Paypal scam.... I used to report them to Craiglslist and the local PD each time, but I am sick of it. I now send this canned message each time- "Sir- Here is the deal. I will accept your Paypal payment and you may send your private shipper to my house to pick up the motorcycle. There is one catch though. If any Eastern European/Carribean/Shady motherfucker shows up at my house BEFORE the Paypal payment has cleared and sat in my bank account for a minimum of 7 buisness days, I will shoot them. I won't ask any questions. If there is anyone with them, I will shoot them too. This isn't a joke, I am not making idle threats. I am the wrong guy to fuck with. So if you still want to press ahead, send the money to [email protected]". I will be happy to give you the motorcycle once the money is clearly in my hands and cannot be withdrawn. Thank you, -Mike Edgar" I don't get shit after I send this out....

and here is one more from the same site ... enjoy !!! Advanced Car Audio Sound Quality Concepts By Doug Newcomb Although the four basic sound quality concepts (clarity, dynamic range, frequency response, and tonal balance) are the most fundamental to understand before purchasing a new car audio system, there are a few other sound quality attributes that are also important. Timbre Timbre (pronounced "TAM-bir") refers to a system's ability to recreate the sound of an instrument as it was originally intended to be heard. An acoustic guitar is usually a good test for this because most people have heard one. Does the sound have that warm, slightly resonant quality that the instrument is known for, or does it merely sound like a low-resolution reproduction of that signature sound? Tonal accuracy Tonal accuracy describes how faithful a system is in general to the original recording. It can apply to instruments as well as vocals. The more accurate the system is while playing a good recording, the more you feel as if you are there, listening to a live performance as opposed to a recording. Tonal accuracy can also apply to the ambiance in a recording, which refers to the space in which a recording is made. Most modern recordings are made in a sort of vacuum, with individual instruments recorded separately or, in the case of some rap music, the individual parts are sampled from other recordings. But many older recordings, some modern ones, and almost all live albums capture the environment in which the performance was recorded. In fact, certain recording studios and performance spaces are known and revered for their sound, which give a recording or performance a specific ambiance. Think of timbre and tonal accuracy as the reproduction of how close you get to the actual performance or how the producer intended for it to sound. Whether it's the sound of Miles Davis's trumpet, Jimmy Page's guitar, a Dr. Dre beat, or the ambiance of Carnegie Hall, how well a system can reproduce it the way it went down in a studio or concert hall determines the difference between a good system and a great one. Staging and imaging Staging and imaging are related concepts that go back to the heyday of stereo, and therefore don't always apply to modern music. The basic idea is that when you're listening to a stereo recording, the system should recreate the illusion of the stage on which the performance occurred, and you should be able to pinpoint the sonic image of the individual performers and instruments within the stage. Think about the example of a basic rock band that includes a singer, guitarist, bass player, and drummer. You should be able to close your eyes and picture the singer at the center of the stage, the guitarist to the right, the bass player on the left, and the drummer center and behind the singer. Keep in mind that this is an ideal that sound quality systems should approach if not achieve. With rap and many pop-music recordings, the vocalist will be centered, but the concept of a band playing on a stage doesn't exactly apply. Speaker placement has a dramatic effect on staging and imaging, and hardcore enthusiasts often go to great lengths to position their speakers for the best possible results. This includes rebuilding door panels to better position speakers. Some have even built elaborate mechanisms to mount speakers in or raise them above the dash in order to achieve better staging and imaging. Finally, no discussion of sound quality would be complete without mentioning interior acoustics. A car's interior, its reflective surfaces (such as glass), and its absorptive materials (upholstery) play a dramatic role in a system's response. And every car interior is different; if you install the exact same components in your Toyota Camry that your friend has in his Chrysler 300C, the systems will sound very different. Read more: http://www.dummies.c...l#ixzz1IGyu3hCJ

I have seen a few posts on here recently about trunk cars and the difficulties that some have experienced with their sub bass system. I think this may help. There are a few primary problems that are encountered when we install subwoofer enclosures into a sedan type vehicle with a trunk. The most obvious problem is the reduced amount of bass in the main listening cabin. The next possible problem is that there is more bass with the trunk open than when closed. A third problem is the excessive rattling of the trunk body panels. Proper damping will greatly reduce the vibrating body panels and yield slightly higher SPL in the vehicle, but will not resolve the other issues inherent with sedans. Let’s take a good look at what is happening acoustically. We will find that everything makes sense and that the solution will be obvious... Since the main goal is to get the loudest and cleanest bass in the cabin, let’s address the loss of volume issue. Taking the logical approach, we would be curious to know how the bass is heard in the listening cabin when the box is in the trunk. If the car was a hatchback, we would have the box in the listening area. But since it is in the trunk, what pathway does the bass energy take to get inside? Well, in cars with foam-backed seats, the sound can propagate right through the foam. Suppose the sedan we are talking about is a Mercedes or BMW... Most of these cars have steel lined trunks or masonite-backed seats. They pass even less bass. So, what pathway is left? Leaks! That’s it. No wonder why we don’t get a lot of bass in the cabin! DUH!! So, the logical solution would be to increase the direct air coupling as much as possible. This would involve making some type of perforations in the rear deck, which would couple the trunk to the cabin. This seems like a simple solution, and works very well if done correctly, and if the consumer will allow you to cut metal. The last part of this article will give one format of making this modification solution. By now, the highly resonant trunk body panels should make perfect sense. Why wouldn’t it rattle and buzz if the box is trapped inside? Al of that energy escapes through poorly damped body panels. We will find that all of the above mentioned problems will be cured with one simple solution. Some people have realized that by simply cutting a hole in the rear deck, amplitude will increase. The bigger the hole, the bigger the gain. Other people do not want to decrease the structural integrity of the body. I have a technique that has worked for me for years which typically yields a gain of 7 to over 13 dB of gain. The technique I use actually strengthens the body as well. I will start by removing the rear deck cover. I will then climb in the trunk and remove as much metal as possible, usually leaving a 1" frame around the perimeter and a 1" brace from front to rear of the deck. Try to visualize the left over metal. It is in the shape of the number "8", so to say. Assuming that the rear deck cover fits very well, I will trace the cover onto a piece of MDF or marine-grade plywood that is 1/2" thick or thicker. When I set the “8” shaped piece of panel wood over the deck, it should fit tight. I will then proceed to climb back into the trunk to trace the holes that I cut out of the metal, onto the panel of wood. Then remove the panel and cut the holes out, leaving the same 8 shape as the metal rear deck. The next step is to cover the top of the panel with chicken-wire or metal mesh material. Then I will finish the panel with color-matching acoustically transparent carpet, velour, grill cloth or similar material. To install the new panel, I like to use either 100% pure silicone or Liquid Nails as an adhesive. Lay down a generous bead of adhesive onto the surface of the 8 shaped metal rear deck. The press the new grill into place and allow to dry. The result is rear deck that is now over 8x thicker than the stock 1/16" thickness, so it is definitely stronger. We have a lot more acoustic coupling, so it will yield a lot more amplitude. The pressure will not build up in the trunk as much as before, reducing trunk panel vibration. As an added benefit, the rear deck speakers (if located here) will not be forced to comply with the pressure of the larger subs in a "sealed" trunk, which will result in longer life for the rear fill drivers. This solution will work with acoustic suspension, bass reflex or bandpass enclosures. Some people think they’re a genius because they ran the port of a bass reflex enclosure up through the deck. I find this to be a dumb idea as the only output that will increase will be the frequencies close to the tuning frequency of the port. For those people who like the slammatotious bass of a psycho bandpass, you are in luck if you plan on building a custom enclosure. By simply extending the whole port(s) up through the rear deck, you can focus 100% of the acoustic energy into the cabin with zero energy wasted in the trunk! The hole around the port must be sealed with silicone to assure 100% direct air coupling. Suffice to say, hatchbacks are notorious SPL monsters and are naturally loud with little audio equipment. The above technique simply converts a sedan with a trunk into a "pseudo hatchback". by: Grizz Archer

Yes they get a lot of love, they deserve it. Answers to the questions in the order they were asked: I have no idea if anyone's metered them for spl purposes, I don't think most who've bought them intended to use them for that purpose. Ported is generally where they're happiest, though they do quite well in sealed enclosures too. Stack up how? Output, accuracy of reproduction? They sound great, tight and quick when they're supposed to be and brutally deep output when it's called for as well. As about as well rounded a sub as one can get. I would imagine that the subs you listed would likely at least slightly outperform in output at full power since they're all rated at higher power handling. 300 watts is irrelevant when it comes to how "loud" as the enclosure it's installed in and the vehicle it's playing in would have more effect than just the sub that was being used. Just as a gauge, my sister's single 12" DCON in a 2.25cuft ported enclosure tuned to 33hz on the sub channel of a Hifionics ZXi8010 (rated 300wrms@2ohms) gets loud enough to have most everyone who listens to it disbelieving it's a single 12 and often ask to see the back of the enclosure because they swear there's more subs than that in there. It's loud enough for me to honestly say that if all I had was that single sub I would be very happy and would rarely be seeking more output.

Great review! I love my DCON 10" that I have had now for just under 3 years. DCON is a very under rated sub woofer! SSA ftw!

I recently picked up a used 12" SSA DCON and finally was able to find time to install it this last week. In this installation, I am running: Subwoofer: 12" SSA DCON single 4 ohm Enclosure: 2.00ft^3 tuned to 31Hz with a 4" aero port Amplifier: MB Quart DSC1500.1D at 4 ohms (375rms) I initially had low expectations, as this was my first single 12" installation. In addition, I have never used a low-power "entry class" subwoofer. After listening to this little guy for the last week, I must say that I am VERY impressed with its output and sound quality. I did a direct swap between a 15" Fi SSD and this 12" SSA DCON. The Fi SSD obviously gets louder, but the 12" SSA DCON is definitely no slouch and is plenty loud for the average daily setup. The 15" Fi SSD is one of my favorite sounding subwoofers that I have owned and I was not holding any high expectations for the DCON when it comes to sound quality. However, I was surprised once again, because the DCON sounded GREAT! In comparison to the SSD, I noticed that the DCON was punchier and a tad cleaner sounding. When it comes to the lows the DCON does well, but the 15" Fi SSD digs down deeper and hits the lows with more authority. Overall, the DCON is an amazing sounding subwoofer and can rival subwoofers that are much more expensive. The SSA DCON may be considered a budget subwoofer, but as for build quality, output, and sound quality, it is far from being "budget" quality.

The approach many people take can very wildly, in terms of quantity. Meaning, many believe in the less is more, such as in the less there is in-line of the signal, the less there is that can taint or color the sound. I have been in a couple of cars that have been super simple systems, with amplifiers with very little features. One install had those PRS amps that are essentially gain blocks. An install that ranks in my all time favorites that I was able to take part in, was all powered by an AG650.6. Other's approach is more tweaking and tuning the better, so you will see independent 31 band a side EQ's with digital DSP and time alignment and multiple front stage drivers for a raised and more adjusted stage. Personally, something in between I feel is the best approach, while not trying to act superior to others because you spent more on snake oil products.

Here is some good info I found that may help ... Terms to Know about Car Audio: Aspects of Sound Quality By Doug Newcomb Listening to audiophiles go on about the sound quality of their audio systems — from their woofers to their tweeters — can sound a lot like oenophiles going on and on about the qualities of wine. To understand such talk, start by understanding the four basics of sound quality: Clarity Dynamic range Frequency response Tonal balance Clarity Clarity is the ability of a system to produce the original signal as intended, without distortion. Distortion can be caused by numerous things — from a head unit that's not level-matched with an amplifier to an amplifier that's clipping, or being overdriven and sending a distorted signal to the speakers. And distortion can come from any component in a system. A good test is to listen to cymbals, which can have a brassy and off-putting sound when distorted. High-pitched female vocals are also difficult to reproduce and can reveal distortion rather easily. Achieving clarity and therefore avoiding distortion is all about proper system design and tuning. It's making sure components are of sufficient quality and compatible with one another and that signal levels are well matched between electronics. It also involves using a component as it was intended and not pushing it past its design limits. Dynamic range Dynamic range refers to the ability of a system to reproduce loud and soft passages in music with the same level of detail. When you're at a live concert, a singer may wail and then whisper or a drummer may hit a drum head with brute force and then back off a bit. Each extreme is an important part of the performance. If the performance is recorded and reproduced by an audio system, the loud and soft parts should be delivered with the same detail and accuracy. But often a system tends to suppress soft parts and emphasize loud ones, meaning you lose the subtleties of the performance. A related concept is linearity, which refers to a system's tendency to lose detail when the volume is turned down. A system has great linearity if it can retain the same detail at a low volume that it does when it's cranked up. Frequency response Every sound you hear, from the low rumble of thunder to the high-pitch wail of a siren, is caused by vibrations in the air that occur at certain frequencies. These vibrations are measured in hertz (Hz), which refers to the number of times per second these vibrations occur. Humans can hear frequencies roughly from 20 to 20,000 Hz. A car audio system's frequency response represents how much of the audible frequency spectrum it can reproduce. The frequency response of a car audio system can be measured by an instrument known as a real-time analyzer (RTA), which consists of a microphone attached to a processor with a display that has a graph that shows a system's response. Tonal balance An ideal car audio system uniformly reproduces the entire audible frequency spectrum from 20 to 20,000 Hz. But no system — at least while playing music — is perfect. Music is dynamic; some parts are loud and some are soft, so a system will naturally have dips and peaks in its frequency response. Although a system can have these peaks and dips in frequency response, it needs to have good tonal balance — a relatively equal amount of sonic energy across the frequency range — to sound good. Subsequently, system designers and tuners often measure frequency response to gauge which frequencies may need to be boosted or cut as opposed to trying to achieve a flat frequency response. This can be done with an equalizer, although it's best that the system is designed in such a way that it has good tonal balance to begin with. Read more: http://www.dummies.c...l#ixzz1IGxrzAQ8

The money and time invested in developing a high quality sub is a lot. Jacob has to make a living. Not to mention making an 8" sub... A very limited market and at that size he can't just carry over all of the soft parts... Not to mention the magnet itself may have had to been redone to make mounting the sub possible... From what I can see, this looks like probably one of the most amazing 8" subs ever designed. And at that price point, if you want a monster 8" sub... You can't go wrong.

Oh and because I like to take pictures: Shitty cell phone pic: Still deciding how I'm going to finish the enclosure.

Physical comparison to the Hybrid Clarus tweeter that Nick has been running : Similar form factor - obviously much different designs inside. HAT is on the right.

Big jump, 2069!

DC = old RE designs that were sold to them by David when David and Scott were partners at RE

Talk to him thru ebay not ssa forum.

I'll send you a reply in a few This isnt ebay!

Wow, looks like a beast! But the price point.....$10 less than an SA-12, really?