I'm aware of the research and designs. I like AR speakers - but there are some important differences to your designs.
- In the two way models the cone tweeters were larger than modern 1" domes and designed to cross at lower frequencies, and on shallow slopes. Modern domes are not - especially metal domes which bark and shriek if you run them too low and too shallow.
- Internal wadding. AR used internal wadding - lots of it. Both my vintage AR speakers are well stuffed. This has nothing to do with the wooden construction and is intended to attenuate internal standing waves and reflections. The dense fibrous material also alters the driver damping.
- Changing the cabinet material will not eliminate internal standing waves or reflections.. It will display different resonant behaviour as a structure and that may or may not benefit from damping applied directly to the surfaces, but that is a different issue to internal wadding.
- The vast majority of Allison designs were not cubes. I can only recall one model.
The only shared thinking your designs have with these speakers is the lack of external filter on the bass driver. In fact, the above companies also used bespoke drivers for the job.
I am not talking about Acoustic Research he left them to set up his own company so he could put his acoustic matching designs into production, I quote :-
Roy Allison: Bending Boundary Effects
Before other people paid attention to the phenomenon, Roy Allison noticed that loudspeaker measurements taken in conventional home living rooms typically revealed a dip in power response in the 100–300Hz range. That was in the late 1960s, when Allison was VP for engineering and manufacturing at Acoustic Research. In 1972, after designing or supervising the design of nine models at AR, he left to begin an investigation of real-room speaker behavior. Next he teamed up with former AR president Abe Hoffman and two other colleagues from that company, Sumner Bennett and Frank Callahan, who had worked in sales and quality control, respectively. The quartet founded Allison Acoustics to build loudspeakers expressly designed to perform optimally where speakers were generally placed: in the home. The first of them, the Allison Model One, appeared exactly 30 years ago, at the end of 1974. Though the firm curtailed operations about 10 years ago, versions of three original Allison designs are now available from a reincarnated Allison Acoustics, which was later re-formed under new ownership.
AND
Everybody knew about standing waves, which tended to muddy the water and make these other effects very difficult to see. I did a great deal of empirical testing of my own and racked my brain, trying to figure out how to avoid this problem—and it was indeed a problem. Reflections from room surfaces can increase or decrease the power output of a woofer. Reflected energy increases the instantaneous density of the air in front of the woofer at very low frequencies. This provides an improved impedance match, and the efficiency of the woofer is thereby increased, along with the woofer's power output. At some higher frequency that depends on the distance or distances from the room surface or surfaces, the reflected energy goes out of phase with the woofer cone motion. That decreases the instantaneous density, and the woofer efficiency decreases. That's what causes the dip.
Now if the woofer is fairly close to one room surface and distant from others, in most home listening systems, power output in the range between 100 and 300Hz will drop about 1dB below what it would be without the nearby reflecting surface. At very low frequencies, there would be a 3dB increase in power output. That means, given maximum increase and maximum decrease, there's a total variation of 4dB. With the woofer equidistant from two intersecting surfaces, the dip is 3dB; factor in the maximum rise, in this case 6dB, and you have a 9dB variation. If it's equidistant from three surfaces that intersect at right angles, the dip would be a devastating 11dB and the maximum rise 9dB—a 20dB change over the bottom octaves. If the woofer is not on the line of symmetry, which is to say the same distance from all three surfaces, the dip is less severe but can still be significant. In home listening situations, I've found this reflected impedance typically causes variations from 5 to 12dB. If a tuner or receiver exhibited variations like this, it would be rejected out of hand.
The design of cabinets that get the woofer very close to one or more adjacent room surfaces. That changes the frequency range of the dip, because the closer the woofer is to a surface or to the point where surfaces intersect, the higher in frequency the dip occurs. In the case of a three-way system, it's possible to position the woofer so the dip is above its operating range, and to place the midrange driver far enough away from an intersection for the dip to occur below its range. In effect, that eliminates the problem.
This approach really isn't feasible with two-way systems, because the woofer has to handle frequencies high enough to put the destructive reflections within its range. But you can build a cabinet that has the woofer very close to one surface—the best place is on top—and then position that cabinet so distances to the other nearby room surfaces are staggered. Doing that creates mild dips that are spaced along the frequency axis. They aren't able to add in the nonlinear manner that they would if the distances between the woofer and all adjacent room surfaces were equal.
you have heard my speakers on at least three occasions and they are exact cubes internally and with no internal damping, did they sound bad 
has had a pair on loan but can't afford them, and loads of forum members have been here to hear them and they were at the show last week and at Whittlebury.
