Guitar cabinet wood

Guitar cabinet wood DEFAULT

CABINET CONSTRUCTION

At Mojotone we get calls from customers in need of a new extension cabinet, or just a replacement for an older worn out cab -- obvious, yes I know.But in all of these calls, there seem to be a few questions that come up more than others, so we wanted to put together a quick overview that aims to concisely break down certain bullet points regarding cab construction and hopefully will give you an idea of what your own preferences are.

Are Your Cabinets Finger Jointed?

Valid question.Yes, our cabinets utilize ¼” finger joints for a number of reasons.For one, we are in the business of producing true-to-form vintage reproduction speaker cabinets.In an effort to maintain historical integrity, we use ¼” finger joints since that’s what the big dogs were using even back in the 50s and 60s.For two, we are also in the business of making the finest speaker enclosures in the world, and with that comes a large degree of responsibility.¼” finger joints create a solid bond between the wood panels used in constructing a speaker cabinet.Carefully and consistently cut, and with the right amount of wood glue, this type of joinery increasing the overall foundational stability of your cab and thus increases the life of a cabinet by years.

I have used a number of cabs over the years, and when I first started out I was even building my own cabs and using a basic lap joint.Not to knock lap joints in general, they are perfectly suited for certain applications but definitely not the right choice for a speaker cabinet.  By nature, speaker cabinets tend to find themselves in abusive relationships.They are moved around constantly, thrown into trailers, hauled by random stagehands, dragged here, pushed there, dropped, bumped….burned alive….alright perhaps not the last one, but you get the idea.In any case, I have watched lap-jointed cabinets crumble from nothing more than everyday wear and tear within 6 months of their construction, whereas I have literally tested the absolute limits of a finger-jointed cabinet by throwing it as high as I could on repeat for about 20 minutes and letting it crash to the ground over and over...and in all honesty, the finger joints never separated no matter what other damage came to the cabinet. 

Baltic Birch Ply or Solid Pine?

Glad you asked!Unfortunately, this is where things get a little more subjective, so I’m going to outline some of the basic sound characteristics of these woods and then let you decide.

Our Baltic Birch Plywood is voidless and very high quality.But as a general rule, there is not a lot of “movement” with the birch ply.What I mean by this is that a baltic birch ply cab will not necessarily become a big part of your overall sound as it does a lot of dampening/isolating and tends not to be able to color your sound.The plywood is stronger and heavier than solid pine but almost completely non-resonant.  Historically birch ply has more often been used for larger closed back cabinets (Marshall and Mesa) if this helps establish a frame of reference.

Solid pine is a much different beast.Tone geeks often consider pine to be a more “musical” wood in that it adds to the vibrational whole of the sound and can even color your tone.It is a lively sounding wood that is lighter than birch, making it easier to haul around to gigs.There seem to be a lot of players who enjoy experimenting with their favorite (and least favorite) speakers in pine cabs to see how the wood itself affects their final sound.On the other hand, a lot of players find a speaker that they are happy with and use a baltic birch ply cab under the notion that the cabinet won’t change the sound of the speaker they love so much.Historically speaking, pine has most often been used in smaller openback cabinet like all the old Fender Tweed and Blackface models.

Both woods are extremely high quality and have their unique benefits.But like anything else, this is an extremely subjective topic so we recommend testing out as much as you can.If you have a pine cabinet but you know a buddy with a birch extension, mosey on over and plug your amp into their cab and see what you think! 

Open Back or Closed Back?

If you have a cabinet built with a 3-piece removable back panel, you may have already noticed that going from open to closed back can drastically change how your amp sounds and interacts with any given room/stage.In fact, if you are in the market for a speaker cabinet, it is worth checking out our 3-piece removable back panel option as it will allow you to shift from open to closed back in a heartbeat with nothing more than a screwdriver.

Open back cabs are typically only partially open, with an upper and lower back panel still in place.This allows some of the speaker’s sound to emanate from the back of the cabinet and out into the room.Often this provides a more open and “breathing” sound that many guitar players consider to be a more natural/true representation of sound as the speaker’s voice is not being compressed.   When using an open back cabinet, one may notice the representation of high end in their sound is a bit more brilliant where the low end is more loose.  Depending upon the room you are in and the sound system being used, this can help fill the listening area and/or the stage.

Closed back cabs do not utilize the multi-directional projection of sound, but rather only move your sound forward.If you think about the physics here, moving the sound in a more narrow direction may give the player a harder time hearing themselves on stage, causing them to rely heavily, if not solely, on their monitors.However, most sound technicians would likely be grateful for the use of a more compressed sound that doesn’t “wash” the stage as much.  Closed back cab users will likely also experience a more defined attack in the midrange and low end of their amp/speakers giving them a more direct punch in the end.

Again, as with anything, these two build styles each have their own pros and cons.  Rest assured that if you order any variety of Mojotone cabinet you will be receiving the highest quality piece of gear you can buy.We do not skimp on materials or joinery, and we have done the research to know exactly how to faithfully reproduce your favorite vintage cabs as well as how to build a proper sounding modern enclosure.We even provide our customers who want a fully custom build that same peace of mind.Call today to start building your dream cab.

Sours: https://www.mojotone.com/blog/speaker-cabinet-construction

Celestion Loudspeakers

When designing a cabinet for guitar speakers, the cabinet’s size,shape and construction are of far higher significance than the internal volume. Guitar speaker cabinet design using Thiele Small parameters ignores these most fundamental aspects. 

Important factors include the material you make the cabinet from, the panel sizes and shapes, how they are joined, how the cabinet is finished, the mounting of the speaker, etc. These, not Thiele Small parameters are the critical factors in the design and ultimately the sound of a guitar speaker cabinet.

What’s Different about Guitar Speakers

Lead guitar speakers are a unique area of loudspeaker design. A loudspeaker is usually a transducer, designed to faithfully reproduce the acoustics of the signal presented to it. An electric guitar speaker, however, is a creative part of the music, contributing its own character and tonality. The ‘instrument’ an electric guitar player uses is really a combination of guitar, amplifier and speaker. All three parts are vitally important to a good sound.

As guitar speakers are different, so their cabinets are different to hi-fi or PA cabinets. Deep, thunderous bass is not required (the low E of a standard-tuned lead guitar is 82Hz). High frequency reproduction is a positive disadvantage, allowing unpleasant harmonics and electronic noise to be heard. Distortion-free sound would be a disaster.

Designing the Guitar Cab. 

Guitar cabinets consist of two elements; a driver and a box. The box design is acoustically less critical than that for hi-fi or PA systems, but proper construction is essential. The cabinets should be solidly built to ensure no joint vibration (unpleasant buzzing), and be of adequate strength to withstand hard use. Remember that guitar speakers are quite heavy and amplifiers that sit on top of

guitar cabs are even heavier. Internal bracing is generally not required, but battens inside the joints are good if your woodwork skills do not extend to complex corner joints, and a central bracing post can be advantageous in a 4×12.

Most quality cabs use 15-18mm plywood for the main cabinet, with MDF for the baffle (the part where the speaker(s) are mounted), but they can be constructed of any material. Many budget cabs are made of chipboard (cheap, but poor in terms of strength, ruggedness and sound) or MDF (easy to machine, but heavy and dead). Maple, mahogany and walnut are often used for high quality cabinets.

The important characteristics of the cabinet material are strength, sound and ease of use. Lively resonant materials, such as plywood or real woods, vibrate in sympathy with the speaker and enhance the sound, but should be at least 13mm / 0.5″ thick, or they will unduly colour the sound. Most woods or wood composites will be strong enough at this thickness. When considering price, you should also consider cabinet finish. Cabinets can be painted or stained, or covered with a vinyl or carpet finish. Real woods finished with a stain can be very exclusive and expensive looking!

Open back or sealed boxes should be used. Open back gives a looser low end with less depth, and ‘figure 8’ directivity (sound field looks like an 8 when looked down on from above the cab). Sealed boxes give tight, deeper low end but are more directional, giving less spread of sound. Vented / tuned / ported boxes are not recommended for lead guitar, as they can damage guitar speakers. The box size is not critical. The baffle size is more important in open back boxes (larger = more low/mid presence), and for closed back boxes larger volume means deeper but looser bass. Do not use internal acoustic wadding, it is inappropriate for guitar cabs, reducing sparkle and life.

Mount the speaker securely using bolts into T-nuts, not self tapping screws. Do not overtighten so the housing rim bends. Ensure the speaker is protected from the front, as the cone is easily damaged. The speaker can be front or rear mounted.

In summary:

  • Plywood or real wood construction is preferable
  • Strong, rigid construction means no buzzes or rattles
  • Size is not critical
  • Ensure the speaker is adequately mounted and protected
  • Avoid air leaks if using sealed box construction

CAUTION

We do not advise mixing different impedances of driver within the same cabinet. This can lead to uneven power sharing between speakers, causing one speaker to be overdriven and damaged, while the other is underdriven. 

Note: Thiele Small Parameters 

Thiele Small parameters are useful for controlling the low frequency response of sealed or ported cabinet systems by changing the cabinet internal volume, and port dimensions. However they are of limited use when designing a guitar speaker cabinet.

  • Electric guitar speakers do not reproduce ‘low’ frequencies (the low E string of a lead guitar has a fundamental of 82Hz) and so the frequencies at which Thiele Small parameters have significance tend to be below the operating range.
  • These parameters are measured at very small signal levels. Guitar speakers become non linear at very low levels compared to other types of speaker, greatly reducing the significance of Thiele Small parameters in actual speaker use. Using the Thiele Small parameters of a typical guitar speaker, you will find that halving or doubling the cabinet size makes minimal difference to the response.
  • Then parameters have no relevance to open back cabinets.
  • Guitar speakers are not recommended for use in ported cabinets (as the increase in cone excursion below the tuning frequency can cause the thin paper edge of the cone to tear).
Sours: https://celestion.com/blog/thinking-of-using-thiele-small-parameters-to-design-a-guitar-speaker-cab-think/
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How The Sound Of A Speaker Cabinet Is Affected By The Type Of Wood Used

1960A speaker cabinet on Bobby Owsinski's Production BlogYou might not be aware how much the type of wood used for building a speaker cabinet greatly contributes to its tone. Cabinets, like guitars, can be built out of just about any kind of wood. But just like guitars, only a few kinds of wood are used because of their sound or cost. In this excerpt from my Ultimate Guitar Tone Handbook (written with my buddy Rich Tozzoli), we look at the most popular building materials used in speaker cabinet construction today and how they affect the tone that you’ll hear when you crank them up.

“Marshall cabinets are built out of 11 ply Baltic birch, a wood that’s known for its strength and light weight. This is one of the reasons (besides the speakers and the closed back) that nothing else sounds quite like a Marshall cabinet. Other manufacturers also use birch, but some use the cheaper and thinner 3 or 5 ply, which compromises the sound. Others use 13 ply birch to make the cabinet more robust in transport, but that makes them heavier as well (see the graphic on the right below).

13 ply baltic birch on Bobby Owsinski's Production Blog

13 ply baltic birch

Early Fender cabinets were made of pine, which is light and has it’s own tone. Pine was inexpensive and easy to get, but it wasn’t the strongest wood, which was a negative for the gigging musician. Like most manufacturers, Fender slowly but surely changed their cabinet wood, first to marine plywood, and then particle board (known as MDF – Medium Density Fiberboard). MDF is very strong and inexpensive, but is somewhat neutral sounding at best, and harmonically dissonant at worst.

Today, most manufacturers (even Fender and Marshall) use MDF for their inexpensive cabinets, and birch or birch composite for their more expensive or vintage cabinets. (see the graphic on the left) That’s why you can have two cabinets from the same company loaded with the same speakers, yet they can sound completely different.

MDF on Bobby Owsinski's Production Blog

MDF

Plywood and MDF has less cabinet resonance than solid woods like pine, cedar and birch. The resonance is what contributes to the “warmth” of the sound, but can also be responsible for blurring the notes because of the slight acoustic absorption that also occurs. That means that the sound coming out of a pine cabinet may be full and round, but it won’t project as well as a cabinet made of plywood. Baltic birch is chosen because of its musicality even though it’s not quite as resonant as pin,e although it does have a bit harder edge. The resonance that occurs with MDF is often described as “dead” and “atonal.” Anything that adds color actually wastes a bit of the speaker output since some of the energy vibrates the wood instead of the air.

Sometimes cabinets were designed out of necessity instead of a grand tonal design. In the case of the famous Marshall 1960 4×12, the cabinet was built as a way to contain the four Celestion G12 speakers, which were cheap and plentiful at the time. These speakers were rated at just 15 watts and were prone to flapping on hard hit low notes, so the closed back cabinet helped limit the cone travel because of the air suspension, and having four speakers kept the amp from blowing them out.”

You can read more fromThe Ultimate Guitar Tone Handbook and my other bookson the excerpt section of bobbyowsinski.com.

Crash Course image
Sours: https://bobbyowsinskiblog.com/speaker-cabinet-wood/
Covering Guitar Amp Cabinets in Tweed or Tolex - Sizing, Cutting, Gluing, Applying, Cutting Corners

Anatomy of an Amp Cab

In our mad pursuit of boutique gear, it’s easy to overlook the humble speaker cabinet. While we drill down on the merits and specs of various speakers, the box that houses them typically takes a backseat to everything else in our signal chain. Which ain’t right, if you think about it. No guitarist is going to wow the crowd dangling a raw 12" speaker from a pole, right? The truth is, your cab plays as important a role as any other device in your rig, so it’s worth taking the time to explore it in its various forms. We’ll cover key points that will better acquaint you with what you already own and help you make an informed decision the next time you purchase a combo amp or extension cab. And while we’re at it, perhaps we’ll dispel a few myths.

Cabinet material. If you ask guitarists what their cabs are made of, most will say “wood.” That’s the short answer, but it’s also very broad and incomplete. There are many different types of wood, and what a builder chooses will affect how the cabinet performs. Each type of wood has its pros and cons, and whether a cab has an open or closed back has a huge bearing on what a builder chooses to construct it with.

Many combo enclosures are made from solid wood—particularly vintage Fenders, which were built with solid pine. And since vintage gear is the gauge by which most new gear is measured, replica pine cabinets have grown in popularity over the years. Solid pine cabs typically have an open back, meaning the speaker is exposed to the air and thus delivers a more diffused and less directional sound. Solid pine is lighter than other cabinet woods and, as anyone who has lifted a combo amp knows, weight savings can be crucial—especially if you haul your gear to lots of rehearsals and gigs. But pine flexes, and this can emphasize certain frequencies. Because open-back combos don’t trap soundwaves, but rather allow them to escape, you don’t end up with resonant frequencies being accentuated by the cabinet walls. This explains why solid pine is ideal for open-back combos. Closed-back cabinets are more focused and directional, so it’s rare to find one made of solid pine, due to the aforementioned flexing and the sonic chaos it can bring.

Whether a cab has an open or closed back has a huge bearing on what a builder chooses to construct it with.

Most closed-back, or sealed, cabinets are constructed from plywood, as are some combos. The industry standard is 18 mm Baltic birch plywood, which differs from the sheets of plywood sold at the hardware store. To be a useful cabinet material, plywood needs to be voidless—meaning there is no trapped air between the plies. Unlike plywood used for less demanding tasks, Baltic birch plywood is made to be voidless, and this prevents the cabinet walls from rattling when you play. In Baltic birch plywood, each ply is a uniform thickness, laid with the grain alternating between north-south and east-west, and the boards are laminated with exterior-grade adhesives. The rigidity of Baltic birch plywood makes it an excellent material for closed-back cabinets, such as 4x12s and bigger 2x12s. Because of how it’s made, Baltic birch is nearly indestructible. However, this also makes it very heavy, which is why you see wheels on a lot of these larger cabinets.

You’d think the strength of Baltic birch would make it a good material for bass cabinets. Well, bass cabinets tend to need more rigidity than even Baltic birch offers, so they’re often made with chipboard or medium-density fiberboard (MDF). Both of these materials are extremely strong and have little-to-no flex because of the way they are made. Chipboard, sometimes called particleboard, is made by gluing together many different chips of otherwise useless wood scraps—and sometimes even sawdust. The chips are bound together with a resin and then drawn out into boards. MDF is made in much the same way, but, as its name suggests, uses much more finely broken-down wood fibers. This material is then pressed together with wax and resin at high temperatures. While the strength of these engineered materials is very high, so is the weight.

As a general rule, to do justice to the low frequencies of bass, mass wins. You need all that physical weight to help produce a burly low end. But there’s a downside to these man-made materials: They can deteriorate over time with heavy use, such as banging the cabinet against every stair as you hoist it up three flights to play for those 10 people.


Many combos have medium-density fiberboard cabs, which are sturdy but heavy. Some players opt to re-house their combos in aftermarket enclosures made of solid pine—the wood Leo Fender originally used. Available for popular models like this Fender Blues Junior, pine cabs look cool, shave pounds off the combo’s total weight, and arguably enhance the amp’s tone. Photo by Andy Ellis

Cabinet joinery. I’m sure you’ve heard a lot about different types of corner joints and how the joinery method impacts the cabinet. There are three main types of joints: the rabbet joint, the box or finger joint, and the dovetail joint.


The three types of joinery used for building speaker cabs. Dovetail joints are the strongest and are most often found on high-end cabinets with exposed, stained wood. Diagram by C.J. Sutton

As you can see in the diagram, these are quite different from each other, but it’s important to note that unless the joint is made poorly and allows the corners to flex, the joinery type has virtually no effect on the sound. Rabbet joints are the most commonly used in domestic cabinets because they are fast and easy to execute, and they’re strong. Finger joints are the most sought-after because that’s how Leo did it in the ’50s and ’60s. These joints are stronger than rabbet joints and reduce the potential for flexing. The strongest of all is the dovetail joint. Good dovetail joints can hold together without any glue, but don’t worry—no one actually builds speaker cabinets with unglued dovetail joints. You’ll see dovetail joints on higher-end cabinets, particularly those made of stained wood with visible joints that are part of the look.

The baffle. The front part of the cabinet where the speakers mount is called the baffle. It needs to be the strongest and most rigid piece of all because this part of the cabinet is subject to the most impact stress. Baffles are nearly always made with Baltic birch plywood, or in some cases even MDF—even if the cabinet walls are made of solid wood, such as pine.

There’s a lot of hubbub about whether speakers should be mounted to the front or rear of the baffle. When a cab has a front-loaded speaker, the grille is removable to allow access to it. Front-loaded speakers are found most often in bass cabs and ported guitar cabs, where the back of the cab is designed for rigidity and is not removable. A rear-loaded speaker attaches to the back of the baffle, which you access in closed-back cabs—such as a Marshall 4x12—via a removable back panel. Most open-back combo amps also sport rear-loaded speakers.

The rigidity of Baltic birch plywood makes it an excellent material for closed-back cabinets, such as 4x12s and bigger 2x12s.

The theory behind front-loaded speakers is that they don’t seal up perfectly to the baffle and thus allow air to escape, which adds some musicality to the sound. Also, in a recording situation, it’s easier to swap out front-loaded speakers in a quest for different tones. Conversely, rear-loaded speakers can be more of a pain to replace. In closed-back cabs, you have to remove the entire rear panel. If you’ve ever opened up a 4x12 cabinet, you know there are a lot of screws involved in securing that back panel. And if you’ve ever decided to take a shortcut and not put all the screws back in, then you know about the potential for ugly rattling.

A side note about 4x12 cabs: Some have posts inside that connect the center of the baffle to the rear panel. These baffle posts are designed to offer additional support and create one more connection point to keep the rear panel from flexing.


Speakers can be attached to either the front or rear of the baffle. Front-loaded speakers are accessed through a removeable grille; rear-loaded speakers are housed in open-back enclosures or in closed-back cabs with a removeable rear panel. Diagram by C.J. Sutton

Before you can access the rear-loaded speaker in some open-back combo amps, you first have to remove the chassis. This means virtually disassembling the entire amp. Please note: Never stick your hand inside an amp chassis. There can be lethal voltages present even after the amp is turned off and unplugged.

So is one speaker-mounting method superior to the other? That depends on what you’re after: Rear-loaded speakers form a tighter seal to the baffle and provide a sound that works well with rock ’n’ roll and heavier music, and front-loaded speakers can sound airier. But there’s no right or wrong. My friend Jason Jordan of Monarch Cabs says it best: “It’s all a matter of preference, really. What guitarists think of as a “good” sound is based on the music they listen to. As builders, we have formulas for making speaker cabs sound a certain way. It is a science. But at the end of the day, you need to experiment and listen, and then simply go with what works for you and your playing.”


Although the vast majority of amp cabs have either an open back or closed back, it is possible to have both. This 4x10 Marshall cab has been professionally modified to be configured either way, depending on the size of the stage and the band’s music. If you’re considering doing this yourself, the trick is to cut the back panel into thirds and then completely wrap each piece in “cab carpet.” This creates a super-tight fit between the panels and prevents rattling. In closed-back mode, tour-case latches hold the middle section securely to the fixed top and bottom pieces. Photo by Andy Ellis

Cab placement. So what happens when you want to take your rig public? What should you consider when placing an amp or cab onstage? The answer depends greatly on whether the cab is going to be miked up or not. If it is, then the cab can really go anywhere. To keep the stage volume down, many bands face their cabs backward—or even remove them completely from the stage—because the miked sound will be fed back through the monitors, which can be either onstage wedges or in-ear buds.


Some amp cabs are designed not to be heard—at least by anyone in the immediate vicinity. Such sealed “speaker coffins” have an internal mic clamped to a gooseneck to allow for precise positioning. Accessed through a hinged trap door, the mic connects to a recording console or front-of-house mixer via an external XLR jack. Notice how the Celestion Greenback in this Demeter Silent Speaker Chamber is front-loaded to facilitate quick speaker swaps. Photo by Andy Ellis

Visual vibe. Some players swear the cab’s covering material—or even its color—and grille cloth have an effect on tone. In my experience, I haven’t noticed any evidence of this. Certain grille cloth materials, such as cane, are more rigid than others, and this could potentially influence the sound, but essentially grille cloth choice is cosmetic and if it has any effect at all on tone, it’s very slight.

By the time the drums get pounding and you’ve cranked up your amp in response, it’s the speakers you’ll be hearing, not the grille cloth. And if you think a cab wrapped in red or green vinyl sounds better than black Tolex, who’s going to dispute that? After all, you might actually play better because you love the way your amp looks.

By the time the drums get pounding and you’ve cranked up your amp in response, it’s the speakers you’ll be hearing, not the grille cloth.

Eyes on the prize. When it comes to gear, my motto has long been “if it sounds right, it is right.” Once you understand the basics—wood, construction details, and how speakers are mounted—it’s then a matter of putting in the hours with different types of rigs and amp cabs.

In the process, you’ll develop an instinct for what sounds best with your guitars, technique, and musical style. And this is where the fun begins. My advice? Don’t stress over little things like what type of corner joints you have. Just get out there and play!


While some players agonize over the thickness of the grille cloth or cabinet covering material, there’s little evidence these cosmetic details have any significant effect on tone. Photo by Michael Silva

If you’re not miking your speakers, and the sound from the cabinet is the sound the audience will hear, it gets a bit trickier. You have to position the amp so you can hear it while you’re playing, yet the audience also gets a good mix. If your cabinet has wheels, you might find that popping them off or setting the cab on its side increases low-end resonance through greater contact with the floor. But this stage coupling might introduce muddiness into the band’s sound—exactly what you want to avoid. It depends on the stage and room, and each venue is different. The way to tame unwanted rumble is to reduce contact with the floor, perhaps by using an amp stand, or keeping the wheels attached to your cab, or placing it on the rolling bottom of a road case. Wheels offer another advantage: They make it easier to move your cab around during soundcheck until you find the sweet spot where you, the band, and the listeners can all enjoy your cosmic licks.

Sours: https://www.premierguitar.com/gear/anatomy-of-an-amp-cab

Wood guitar cabinet

Speaker Cabs Part I:  Speaker  Cabinet Materials

What is it?
MDF is made of wood fiber pressed in large boards. It has less void space than particle board and is made of smaller fibers.   It's tougher than particle board and is  heavy. Cabs made with it are heavy too.  It's more durable than particle board and easy to work with.
 

What Cabs Have It?
 Many cabs are made with MDF.  Its one of the most common materials for lower end bass cabs, guitar, and pa speaker cabs. It used on lots of heads too. It can be used in the whole cab or as panels for cabs.
 

How Does it Sound?
MDF is sonically dead and tends to absorb sound. Hi-Fi people and bass players people like it because  it does not alter the sound of the speaker but guitar players may find it to be less lively than other materials in a cab meant to be resonant. In non resonant cabs it's a fine material.
 

How does it hold up?
While tougher than particle boards. MDF boards can  absorb moisture and then fall apart but it's much less of an issue than with particle board. It critical to keep them dry.  MDF holds together well so long as the cab has adequate bracing. 
 

Other considerations:
MDF has to be covered since it has no wood grain. Tolex, carpet or bedliner type materials must be used. Since it is manufactured in large boards cabs cab be constructed to lots of different depths.

Recommendation:
MDF cabs are okay and affordable but not quite as durable as a well made Plywood or Solid Wood cab. It is much better than particle board in all respects. 

 

Hardwood Plywood

Sours: http://carlscustomamps.com/speaker-cabs-part-1-speaker-and-amp-cabinet-materials-what-is-best-and-what-matters
What is the best speaker cabinet material?

About This Listing

This beautiful 1x12" Speaker cabinet is made against the normal trend of warping plywood boxes in fake leather, and instead relishes the natural shine of a solid wood body. Made of 3/4in thick furniture grade Pine with a dark walnut finish, and two coats of poly, you are guaranteed a great sound with any speaker. This cab is crafted to be a piece of furniture, and not just a plywood box.

Features:
  -Ready to go out of the box! Just bolt your speaker into place, attach the leads, and Jam!
  -Pre-cut 12" hole for standard guitar speakers
  -high quality 1/4" switch craft jack with speaker wires
  -2 layers of protective coating
  -recessed front panel to prevent mesh from flapping
  - Black painted front panel to hide contrast from your speaker and the wood
  -2/3 closed back to increase low end, and still give a "big" sound
  -made furniture grade pine. I can also do oak or cherry upon request!
  -made to the same dimensions as the Fender Hot Rod Deluxe amp so that you can stack them.
  -If you would prefer a different height or length, I can easily revise the design!
  -I can do almost any stain color of your choice for no extra charge!

*Does not include a speaker

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Sours: https://reverb.com/item/2786598-natural-wood-guitar-speaker-cabinet-1x12-custom-built

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