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Hey guys, I know you've probably seen this title "Pick my system" many times before, but this is like my first or second time posting in this forum b/c I basically don't know jack **** about systems, so bite me! Anyhow, I could sure use some help. I want a Head Unit, Amp, and 1 or 2 12" subs. I figure if I can get a head unit for a little over $100, a $100 sub, and maybe an amp a little over 100 it would be cool. Price and quality is very important, I guess the best bang for the buck.

I want a clean and crisp hit, I don't need something that rumbles so loud that everybody from outside my car can hear (that's how you get jacked).

How are Alpine Type-E's?
Anybody ever heard of Volfenhag Subs?
I was looking for maybe around a 300w amp... Do I need more?
Head Unit - Any recommendations for $150 or under? Mp3 or cd, whatever.

 
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buy my alpine type e's and alpine mrv t420 amp. nice bass system.

 
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lol, I'm like already talking to you about it right now

 
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Never heard the Type E but I think it would be a good choice... for an amp I dunno, I'd have to look into it more. Rule of thumb is the more power the better

For a deck, I'd look into an Alpine MP3/CD player. You just GOTTA have the MP3 capability these days, and I'm starting to be really turned on to //Alpine lately, so give it a shot.

 
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I'm leaning towards this deck... The Clarion DB345MP for around $100. It plays MP3s, remote control, 2 pairs of preamp outputs, 50x4, signal to noise ratio is 100 db, but only 17watts RMS? I don't know if that's good or not, but then I compared it to Sony.

Sony Xplod CDX-R3000
52x4
23.2watts RMS
1 pair of preamp outputs
Signal to Noise ratio: 120 db
No mp3 or remote control
Around $130

It also comes with a subwoofer output... Whats that? Do I need that? All I need are some preamps right? The RCAs? Anyway, what do you guys think? I really like the Clarion, but the XPlod seems to have more juice.

 
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I'm leaning towards this deck... The Clarion DB345MP for around $100. It plays MP3s, remote control, 2 pairs of preamp outputs, 50x4, signal to noise ratio is 100 db, but only 17watts RMS? I don't know if that's good or not, but then I compared it to Sony.

Sony Xplod CDX-R3000
52x4
23.2watts RMS
1 pair of preamp outputs
Signal to Noise ratio: 120 db
No mp3 or remote control
Around $130

It also comes with a subwoofer output... Whats that? Do I need that? All I need are some preamps right? The RCAs? Anyway, what do you guys think? I really like the Clarion, but the XPlod seems to have more juice.

 
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The RCA outs.. the sony probaby has Front, Rear, and Subwoofer. More is better in that respect. But, its sony, and I and none of the people I know have had good experiences with sony head units. Their amps seem to be okay though. Also, if you are going to be amping your speakers, dont worry about the RMS from the deck, since you want be using it.

 
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$100 for a deck won't buy u much. u at least gotta front about $250-$300. but u can get an allright cd player for about $100 if u can find one on sale that's a year or two old. and u gotta have mp3 capability for sure. i'd go with either one 12'' kicker sub, or two 10'' kicker subs. depends on how much trunk room u want/need, type of sound u want, type of music u listen to, etc. and u can't forget bout speakers. i'd go with two sets of pioneer speakers cuz they will handle the upper end of the system, and bring the mid-bass, then you'll have subs for the low end thumpage. then you'll have the all around system. listen to the systems of people that u know, and ask around at car shows what diff people use/prefer. or go to a car audio store or a place that sells car audio gear and talk to the employees, they ususally know what's up. keep me posted.

 
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Clarion DB345MP for $118 SHIPPED
Pioneer TS-W 305 12" Dual Voice Coil sub for $60 SHIPPED
Audiobahn A4004T 4CH Amplifier for $165 SHIPPED
4 Gauge Amp Install Kit for $26 SHIPPED
12" Sealed Sub Enclosure for $30.88 SHIPPED

Thats $399.88 TOTAL.
You should spend a few dollars more to by some polyester pillows at a $0.99 store so you can use stuff the polyfill in your enclosure.

Mp3 players at around $100 seems to be either the Clarion or some crack brand. Clarion wins.
The Pioneer sub should be good enough for what you asked for. The sub runs at 400RMS (200RMS x 2 @ 4 ohm)
The Audiobahn amp has the right amount of power to run your sub. It runs at 200RMS x 2 @ 4ohm mono. Plus its a 4 channel amp so if you decide to change your stock speakers you have an amp you can use.
You'll need a amp wiring kit so I included that in there.
Also a sub enclosure. 3/4" MDF is plenty thick.
I said to go buy some poly fill because the sub has a recommended airspace of 1.5 cubis feet but the box is spec'd at 1.25 cubic feet. The polyfill should make it play like it's in a bigger enclosure. Polyfill may or may not help...but you have nothing to lose but a few dollars to try it.

You are on a budget so you can't expect too much from it but this setup should satisfy you. I just went around eBay and put together a system without using anything from Pyle or junk like that. Look around and deals will show up.
Plus visit the SoCal forums because people sell their used audio and that means "more for less" for you.
Good luck.

 
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That's a nice selection of equipment there

 
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i say just save up some money. use the 400 to get only a new deck, or only a pair of subs. then when you get more money, buy the rest

 
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yes indeedy

 
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Best advice here !

 
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Yeah Ludlams suggestion makes the most sense... might take you a while to put your whole system together but when it's done it will be so much sweeter

 
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I agree - I'm also on a budget for my sound system - I was thinking about buying everything at once but then I may be getting lower grade equipment and wasting my money cause I'll want to replace it down the road. I may just cut a 4 channel amp and run the speakers from the HU until I have enough $$$ for a good 4 channel amp. Do the most important things to your set-up now (the ones that will make the most audible difference) and save up for more, but better, equipment!

 
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yea you'll prolly need at least 2 g's for a really really good system. at least that's how much i would save. wait.....i don't have a job........

 
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Dang I didn't know so many people replied, thanks guys! (Especially to LikeAFerio for acutally looking up my whole system for under $400, lol). I don't need a system for competition, but just good enough to sound inside the car. I think I'm gonna go with that Clarion DB345MP head unit, so thats out of the way.

As for the amp, I think I only want a 2 channel for now b/c I don't plan on upgrading my speakers for awhile. If I do, I'll just get a 4 channel just to power those. How are the Kenwood amps? There are a lot of those on sale (like 800w for $70 for example). As for the subs I'm still looking around. I was looking at the Alpine Type-S and Type-R's. And that box, I'll probably get that exact one...

I'll keep posting and hopefully you guys will still be around to tell me yay or nay. Thanks!

 
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Is there any benefits to a deeper, bigger box?

 
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Deeper, bigger bass

Put some serious time and thought and work and engineering into your box, and it will sound like a million bucks, even with the crappiest woofers. ENCLOSURE IS EVERYTHING!!

 
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Slant or no slant? (or is that just preference).
Stay away from bandpass and ported right? What about vented, with a little room for air to escape?
3/4 not 5/8 right?

 
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No slant

Make your box ported for sure man, especially if you want loads of bass. Ported is the way to go.

Make sure it is properly tuned for your application and it will go DEEP

 
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Yeah forgot to mention the important part.
10% equipment 90% installation.
A p.o.s. pyle sub in a properly tuned box will probably kick *** compared to a Type-r + random box.

 
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vented and ported are basically the same. stay away from ported unless you are having the box custom built for your subs. You want 3/4" MDF (not particle board) and your airspace should correspond to the airspace requirements for your subs. 1.25 is too much for the Alpine subs I believe.

 
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I'm kinda confused... MegaHurtz is saying ported, Mystik is saying non ported. What is the actual sound difference?

DoubleDeuce2k2 is trying to sell his amp for $60shipped. Its a year old used Kenwood 729S 600watt 2 channel. I'm thinking about getting this, should I?

So for example this amp^^, since its 600 watts I'll be running it bridged in order to power 1 sub, right or wrong? Does that mean I'll actually be getting 600watts to that sub? Any recommendations?

Oh, and 2ohm or 4ohm sub? Depends on a 2ohm or 4ohm amp?

Sorry guys, so many noob questions, but there's only one way to learn...that's to ask questions.

 
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*Disclaimer*Brace yourself, this is gonna be pretty long. *end Disclaimer*

First of all, for the person that replied to go with ported cause it gives better bass. That was the dumbest post I've ever read regarding car audio. My reasoning? There is no perfect box, period. If there were, why don't all of the sound competitors run the same box with the same dimensions, same airspace, same port volume, same everything? Because there is no better box. You want insight? Search for Ludlam's post regarding box types. He linked it in another thread, don't remember which. Also, here is some information from one of the top audio manufacturer's (JL Audio) website regarding the "better box myth".


"Perhaps the most controversial area of high-end car audio is the topic of subwoofer enclosure design. Anyone who has been around car audio has probably heard different opinions expressed about which kind of woofer enclosure produces the best sub-bass performance. Some people swear up and down that sealed enclosures produce the best performance, others are equally adamant about the benefits of ported and bandpass designs. Most of these people are well-intentioned in recommending enclosures that they have had good success with, but anyone who says that a given enclosure type is superior in every way is always wrong.

You would think that if a single, truly superior enclosure design existed, everyone would use it. Certainly, all serious car audio competitors would. That is not the case, however. If you take a look at some of the top IASCA competition vehicles, you will notice that many different types of enclosures are used. There certainly is no consensus among these competitors as to which produces the best results. Their choices are based on which enclosure will work best within the limits and demands of their vehicles and systems and produce the performance benefits that they feel are most important.

The most important fact to keep in mind is that there is no "magic box" which will give you the highest SPL, flattest frequency response, best transient response, power handling and efficiency. Everything in enclosure design revolves around the basic fact of life that nothing is free.

What we will attempt to do in this tutorial is to discuss all the popular enclosure designs. It would be nearly impossible to thoroughly describe the physics involved in each enclosure type or to cover all possible scenarios and applications within the confines of one small tutorial, and there are plenty of other references that will do just this so we will defer you to them for a more in depth analysis of each enclosure type. For this reason, we will only give a generalized description of each enclosure type and focus more on their benefits and drawbacks so that you might gain a basic understanding of the trade-offs involved in subwoofer system design."



Here is another piece of information that describes box types (in case you didn't search for Ludlam's post)



SEALED:
The sealed (aka: air-suspension, acoustic-suspension) enclosure is a classic box design. Patented in 1949 by Harry Olson and popularized in the 1950's by Acoustic Research, this design has stood the test of time and has been adopted by many home and car audio companies.

In a sealed enclosure, the woofer is tightly controlled by a trapped volume of air in the enclosure which acts as a spring (hence the name "air-suspension.") The woofer must literally pull the air with it as it moves outward thus decreasing the air pressure inside the box and compress the air inside the box when it moves inward, which increases the air pressure inside the box. Since the air pressure inside the box seeks to equal the barometric pressure of the atmosphere, it acts as a controlling force over the motion of the speaker. The more the speaker moves inward or outward, the greater the pressure exerted by the air-spring of the sealed enclosure in the opposite direction.

The relationship between the parameters of the speaker being used and the volume of air inside the enclosure dictates the performance of the sealed subwoofer system. By making the box larger, the air spring limits cone motion less and allows the system to play lower and with flatter overall response (lower Qtc) at the expense of power handling. If you go too large, however, you begin to lose efficiency in order to gain the additional low frequency extension. By making the box smaller, the air spring exerts more control and limits cone motion at low frequencies which increases power handling but does not let the system play as low and produces a more peaked response (higher Qtc.) For any speaker competently designed for sealed box applications there is a range of enclosure volumes that will produce good high-fidelity sound. Changing the enclosure volume within that range can fine-tune the response to suit the tastes of the listener and/or the acoustic properties of the vehicle.


PORTED:
Ported enclosures (aka: Bass-Reflex, Vented) have actually been around longer than sealed designs. The ported enclosure was patented in 1932 by A.C. Thuras. Further development since then has defined the behavior of ported systems much more precisely. A.N. Thiele and Richard Small are generally credited with having done the most definitive work in this area, which is why enclosure/speaker parameters are commonly referred to as Thiele-Small parameters.

The coupling of a port or duct to the air inside the enclosure allows the subwoofer system to take advantage of the work being done by the rear of the woofer cone to reinforce the low-frequency response. The resonant characteristics of the column of air in a port, when installed in a given box, are adjusted by altering its resistance to motion, which is accomplished by changing the dimensions of the port. In some designs, instead of a port, a speaker cone with no motor assembly or a flat diaphragm is used to achieve the same effect. This is known as a passive radiator. The resonance of a passive radiator system can be adjusted by altering the radiator's surface area, mass and compliance (stiffness of suspension.)

In a ported enclosure, there is a delicate relationship between the volume of air in the box, the resonant effect of the port, and the parameters of the speaker being used. When these three factors are correctly integrated, the rear output wave of the speaker is delayed just enough so that when it comes out of the port, it is in relative phase with the wave being produced by the front of the speaker. The result is constructive output from the port limited to a desired low- frequency range. This low-frequency reinforcement is one of the big advantages of a well-designed ported system. Using the work of the rear of the cone in a constructive manner means that a gain in efficiency of about 3dB over a broad band in the sub-bass range can be achieved as compared to a sealed enclosure using the same woofer. The other big advantage is that the interaction of the port, the enclosure and the speaker's resonant characteristics also reduces cone motion and, therefore, distortion at higher volume levels in the frequency range controlled by the port. The down side is that at frequencies below the tuning of the port, the speaker gradually begins to act as if it were not enclosed at all (more on this later.)

The increased output combined with reduced distortion in the "meat" of the bass range (35-60Hz) is a big reason why many home speakers and high-power sound-reinforcement systems use ported enclosures for low-frequency reproduction. The vast majority of recording studios also use ported enclosures as monitors for the same reasons.

The rules governing the behavior and proper design of ported speaker systems are considerably more complex than those for sealed enclosures. For this reason, it is a good practice to follow the advice of the speaker manufacturer or an experienced enclosure designer when it comes to designing a ported system. It is very easy to screw up a ported box if you just guess at the size and length of the port or the tuning frequency for the box. Not only will a poorly designed box sound bad, but it can easily damage the speaker if it is played hard.
Ported enclosures (aka: Bass-Reflex, Vented) have actually been around longer than sealed designs. The ported enclosure was patented in 1932 by A.C. Thuras. Further development since then has defined the behavior of ported systems much more precisely. A.N. Thiele and Richard Small are generally credited with having done the most definitive work in this area, which is why enclosure/speaker parameters are commonly referred to as Thiele-Small parameters.

The coupling of a port or duct to the air inside the enclosure allows the subwoofer system to take advantage of the work being done by the rear of the woofer cone to reinforce the low-frequency response. The resonant characteristics of the column of air in a port, when installed in a given box, are adjusted by altering its resistance to motion, which is accomplished by changing the dimensions of the port. In some designs, instead of a port, a speaker cone with no motor assembly or a flat diaphragm is used to achieve the same effect. This is known as a passive radiator. The resonance of a passive radiator system can be adjusted by altering the radiator's surface area, mass and compliance (stiffness of suspension.)

In a ported enclosure, there is a delicate relationship between the volume of air in the box, the resonant effect of the port, and the parameters of the speaker being used. When these three factors are correctly integrated, the rear output wave of the speaker is delayed just enough so that when it comes out of the port, it is in relative phase with the wave being produced by the front of the speaker. The result is constructive output from the port limited to a desired low- frequency range. This low-frequency reinforcement is one of the big advantages of a well-designed ported system. Using the work of the rear of the cone in a constructive manner means that a gain in efficiency of about 3dB over a broad band in the sub-bass range can be achieved as compared to a sealed enclosure using the same woofer. The other big advantage is that the interaction of the port, the enclosure and the speaker's resonant characteristics also reduces cone motion and, therefore, distortion at higher volume levels in the frequency range controlled by the port. The down side is that at frequencies below the tuning of the port, the speaker gradually begins to act as if it were not enclosed at all (more on this later.)

The increased output combined with reduced distortion in the "meat" of the bass range (35-60Hz) is a big reason why many home speakers and high-power sound-reinforcement systems use ported enclosures for low-frequency reproduction. The vast majority of recording studios also use ported enclosures as monitors for the same reasons.

The rules governing the behavior and proper design of ported speaker systems are considerably more complex than those for sealed enclosures. For this reason, it is a good practice to follow the advice of the speaker manufacturer or an experienced enclosure designer when it comes to designing a ported system. It is very easy to screw up a ported box if you just guess at the size and length of the port or the tuning frequency for the box. Not only will a poorly designed box sound bad, but it can easily damage the speaker if it is played hard.


BANDPASS:
These enclosures seem to be the latest rage in the car audio world. It would probably surprise many people to know that these designs have been around for many years. The first patent for a bandpass enclosure was filed in 1934 by Andre d'Alton. In the last ten years, interest has been renewed in these enclosure designs and substantial strides have been made in defining their behavior. Many home sub/satellite speaker systems currently use bandpass designs for low-frequency reproduction. Designs from Bose, KEF, AR, and many others have become very popular in home audio circles.

In a bandpass box design, the woofer no longer plays directly into the listening area. Instead, the entire output of the subwoofer system is produced through the port or ports. In a conventional sealed or ported subwoofer system the low-frequency extension is controlled by the interaction of the speaker and the enclosure design, but the high frequency response is a result of the speaker's natural frequency response capability (unless limited by a crossover.) In a bandpass enclosure, the front of the speaker fires into a chamber which is tuned by a port. This ported front chamber acts as a low-pass filter which acoustically limits the high- frequency response of the subwoofer system. The name "bandpass" is really pretty descriptive in that it refers to the fact that the enclosure will only allow a certain frequency "band" (range) to "pass" into the listening environment.

So what? Couldn't the same thing be accomplished by placing a low pass crossover on the subwoofer system? Yes, it could, but a bandpass enclosure can produce significant performance benefits in terms of efficiency and/or deep bass extension that would not be possible in conventional designs of equal size.

By adjusting the volumes of the front and rear chambers and the tuning of the port or ports, significant performance trade-offs can be created. When box parameters are adjusted for a narrower bandwidth, the efficiency of the subwoofer system within that bandwidth increases and can reach gains of up to 8dB (sometimes even higher.) As box parameters are adjusted for wider bandwidths, very impressive low-frequency extension can be produced from extremely compact enclosures at the expense of efficiency and good transient response. Intermediate bandwidths can also be designed which create a compromise between all these characteristics. As if that is not confusing enough, within each bandwidth range, the designer can also manipulate box parameters to shift the range of operation up or down the sub-bass range which also has an effect on efficiency.

As you can see, bandpass enclosures can have very different sound characteristics based on the designer's choice of box parameters. As such, it is not always possible to make blanket statements as to the performance benefits and drawbacks of bandpass enclosures in general.

One characteristic of bandpass enclosures which is universal is that they exert greater control over cone motion over a wider frequency band than conventional designs. Due to controlled, rapidly changing air pressure on either side of the woofer, the woofer is capable of producing high levels of acoustic output without physically moving very much. This means that the woofer is less likely to encounter excursion limits in the main part of the sub-bass range. However, just because the cone isn't moving as much doesn't mean that the speaker's motor assembly isn't still trying to drive the cone hard; it just means that the speaker cone is encountering resistance to motion. This resistance can be very hard on speakers, especially when crazy car audiophiles are at the controls. The conflict between the force generated by the motor assembly and the air pressure in the enclosure can impose extreme stress on the glue joints and suspensions of the woofers. You can literally tear a speaker apart in a bandpass enclosure if you apply too much power. Because the speaker is not moving as much and because noises are masked by the front chamber, it is also very difficult to hear when a woofer is in serious trouble. Many people have been known to crank bandpass enclosures up and blow the speaker to bits within a few minutes because they did not realize that the speaker was having a heart attack. Choosing the right amount of power and carefully setting amplifier gains is very important in order to ensure long- term reliability.

Bandpass enclosures can be divided into two basic types: single- reflex and dual-reflex. In a single-reflex design, the rear chamber is sealed and the front chamber is ported. In a dual-reflex design, both front and rear chambers are ported into the listening area. A variation of the dual-reflex and single-reflex, known as "series-tuned," has a port which connects the rear and front chambers.

The differences between single-reflex and dual-reflex bandpasses are similar to the differences between sealed and ported enclosures. A single-reflex typically exhibits a shallower low-frequency roll- off rate (approximately12dB/octave) and better transient response. A dual-reflex is more efficient and controls cone-motion over a wider range but typically has a sharper (18-24dB/octave) low- frequency roll-off. Because of the difference in low-frequency roll- off rates, a dual-reflex usually has to be larger in size to produce the same low-frequency extension as a single-reflex design.

As compared to more conventional enclosure designs, bandpass enclosures are very complex to design and build. The rules governing the performance of bandpass enclosures leave no room for error. Slight volume miscalculations or sloppy construction can turn a good design into a poor-performing box. Integrating the proper size port or ports can be extremely challenging and often renders designs that looked great on paper completely impractical. The design of these boxes should definitely be left to people with extensive enclosure- building experience.

ISOBARIK:
Isobarik loading has become pretty popular for car audio use in the last few years. Again this is not a new concept, having been originally introduced by Harry Olson in the early 1950's. Technically, "isobarik" is not really an enclosure type; it is a loading method. This loading method involves the coupling of two woofers to work together as one unit. This is typically accomplished either by placing two woofers face to face or by coupling two woofers with a small chamber. The result of coupling the two speakers is that the coupled pair (iso-group) can now produce the same frequency response in half the box volume as a single speaker of the same type would require. For example, if a speaker is optimized for performance in a 1 cu.ft. sealed enclosure, one iso-group of the same speakers can achieve the same low frequency extension and overall response characteristics in a 0.5 cu.ft. sealed enclosure.
There is, of course, a penalty involved. Whenever you use isobarik loading, you are sacrificing 3dB of efficiency compared to a single driver in twice the air space. In practical terms, this is not usually a big deal since the powerhandling is doubled (two speakers instead of one) and the impedance is typically cut in half if we parallel the two speakers (twice the power, assuming the amplifier can deliver the necessary current.) The end result is about the same output as the single driver in the bigger box but at twice the amplifier power (and twice the speaker cost.)
Isobarik loading can be used within any enclosure type, including bandpass designs. The ported and bandpass isobarik designs can be difficult to design and build due to very small enclosures with large port requirements. Isobarik bandpass designs, in particular, can be literally impossible to build with certain speakers. There are some things to look out for with each type of isobarik design, such as mechanical noise and uneven heat dissipation which can present potential sound quality and reliability problems. All the methods which involve opposite cone motion require that the speakers be wired in reverse polarity relative to each other. These designs also provide a performance advantage in that their opposed cone motion averages out suspension non-linearities (differences in inward and outward suspension control,) which reduces distortion.
If you are strapped for space and can afford the extra speakers and more complex enclosure, the ability to have a compact subwoofer system with no real sacrifice in performance is well worth the extra effort and expense. On the other hand, if you have a lot of space and are looking to get the maximum amount of output without sacrificing sound quality, using multiple iso-groups can give you the best cone area/box volume ratio while still retaining good fidelity.



With that said, depending on your space requirements/limitations. Once you decide how much space you want to take up, then, you can decide on your sub and your box type. Believe it or not, some subs sound better in certain types of applications than they do in others. I'd also concur with the fact that, if you are wanting something that sound reasonably good, $400 is very small budget to work with. True, you can find some stuff that'll satisfy you for the time being, but why waste time, and money for that matter, on stuff you are eventually going to be dissatisfied with. And yes, car audio is addictive, and you will find the need for more and more quality out of the sounds your audio system produces. I know this as fact because I started in high school with my first vehicle, and said much the same things you did. I just want something that sounds pretty good, not too loud. Now, I've been through about 25-30 different systems in my vehicles (some were a result of theft, but I digress). Take your time, and invest your money wisely. That way, you are less likely to become dissatisfied as quickly. I'd say start with the deck. Then, save up some more and get components and an amp to power them(replacing stock speakers). Then, I'd go with a sub and amp. You could get the components and amp last, being as the stocks will suffice for the time being, in order to more quickly add the thump you desire, as I do not know your budget. Whatever you decide, make an informed decision, read as much as you can, go out and listen to product as much as you can. I could give you a plethora of choices to look at. But, again, I do not know your budget, or what type of music you listen to, or what you're wanting out of your audio system. Cater your system to your sound tastes, music tastes, and budget. We can give some helpful suggestions as to the direction to go with product choice, etc, but the choice is ultimately yours, and you're the one to be satisfied.

 
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In your case, I would go with sealed, simply because I doubt you have the money to get a box built specific for your subs, or want to build it yourself. A generic ported box will not sound good in MOST cases. That is why I suggested sealed. As in the above post, there are many reasons to go either way. Some subs sound better/get louder sealed, some in ported. I would suggest going to a shop and checking different equipment out to see what you like, and then buying your stuff online to get a better price, just keep in mind that most items purchased online will not have a factory honored warranty.

 
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PopcornPlaya: Thanks so much for taking the time and insight within that post. I learned a lot and I'll probably go with a sealed, non ported box since they seem easier for beginners to deal with. I actually have a ProBand Competition Bandpass Dual 12" box sitting in my living room because my neighbor gave it to me, so I'll give that a try too when I get my sub. After reading what you wrote I came to the conclusion that when you go to stores and listen to various systems, the sound will differ from when it is inside of a car. I went to Best Buy today and tested all of the subs and boxes. I noticed that the subs inside of a bandpass box sounded the best, but thats just because they're inside of a bandpass box.... The subs inside the sealed boxes did not sound as nice as the bandpass, probably because they aren't inside of a trunk, instead they were just hitting right in the open. As to what you said about saving my money and getting something thats worth it, that will come in time. I guess this is just my experience stage. I have to start with something first and learn... Later on I will know exactly what I want (something bigger) when compared to the system that I have. For now I just want "something." Thanks again for the information. I'll continue to do my homework and research.

 
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I bought the Clarion DXZ545MP 2 weeks ago and i think it's pretty good. Here it is for $114
Specs

Also, don't forget the smaller things add up in your total price. I spent around $100 for wire, RCAs, dash kit, MDF, and some other install stuff.

Also, I guess this is probably more than you want to spend right now but I have a new Alpine MRV-F450 in the box for $280 shipped if you're interested . If that's too much, make a reasonable offer (pm me). It's a good 5 channel amp. I have the specs listed in the For Sale section.

 
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Thanks Booner, I'm gonna get the one you just showed me instead of the Clarion DB345MP b/c its better and cheaper. As for the amp, thanks for the offer, but yeah its too much for me.

 
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I found a deal which I don't know if it is good or not. Polk/Momo, yay or nay?

http://www.cardomain.com/sku/POLMM12