Based on what I see here, and off the top of my head, knowing what I do now - and if I had a custom fabricated seat as you do here…
First, I would mount them directly to the metal seat tray (not with the rubber sandwiched between the puck and seat); the only noise I hear is from the heavier puck when I have the gain cranked to max - the puck moving inside its ‘chamber’. That’s not going away but of course you can turn it all down when noise may be a factor (room-dogs, spouse, neighbors that just don’t understand).
And if I had your seat tray here’s what I would try first:
This all assumes 1 amp and one sound card:
Having the larger puck forward should allow you to feel the stall in your thighs; I have a BK2 puck (left over from the original kit - the amp as I wrote about only lasted about 1-2 months). My small puck is right below my arse. My office chair has very limited mounting options. None in fact, that’s why I had to fabricate an aluminium plate as show in the article.
It seems that the smaller pucks don’t have enough mass to really feel much Stall/G but they are plenty for everything else. The larger one is the one I notice when the stall, for instance, is deep.
Having only one ‘path’ (sound card and amp) it seems you have to ‘tune’ your rig based on the transducer and/or gain level on each channel (left and right). My amp is mono so ‘puck tuning’ was the only way to go.
The WAV files can be played with a little too (I use Audacity - if not familiar let me know and I’ll show you how to create effect sounds with it)
This is my setup right now:
the BK2 puck and the smaller ones below the arse can’t be felt individually (I can’t tell where the ‘sensation’ is coming from) for higher freq fx. But the BK2 puck can be felt under my thighs in a stall, increasing as the stall increases. You wouldn’t think I’d feel it under the thighs as the BK2 is actually ‘connected’ on the post, in line with the plate/smaller pucks. But somehow it is. That’s why I’d think with your seat mounting one with a bit more mass under the thighs might prove better for stall/G. Just a WAG.
Some options for the larger mass pucks:
BK Mini LFE
I have this one and it is a tad ‘finicky’ - it shuts down if it gets too hot/overworked. Have to adjust the gain from the amp to keep this from happening. And it is the one you hear ‘clacking’ in the YT video I uploaded when things are really ‘rockin’.
This one (as linked to in the article) is interesting to me:
MQB-1 Earthquake transducer and mount
I can’t find the spec sheet on it at the moment…it’s either 0.6 pounds or 1 pound; it’s freq. response is lower: 15 - 50hz . AND they make one that’s even larger, with a freq. response from 5 - 40hz (Q10Q)
These of course cost more: MQB-1 is about $130 on Amazon (odd that is is listed significantly cheaper on Amazon than on the Earthquake site), the Q10B is $550!!!
My DaytonAudio pucks don’t pick up anything below about 10-15hz, I think. So, you can see that, when limited to one sound card & amp, you can ‘tune’ the rig via the pucks: a lower freq. response one for some fx and higher freq. response pucks for ‘transient’ fx.
Now, you’d have to change the G/Stall WAV files (assuming those are the ones we want to isolate) to be in a range below your general purpose pucks. Audacity lets you do this…dang, I’m getting curious-er and curious-er by the minute
A stereo amp with an equalizer on each channel might allow you to segregate things more, if they make such a thing (I don’t know). I used Voice Meter Banana to try and tweak things (one sound card system and mono); it kinda helped but ultimately not well enough to justify running VMB every time.