You can take a tuba and make it half size... but it is no longer a tuba. It is then a baritone horn.
Long wavelengths take long horns to reproduce them... IF you are going to build a horn speaker. No matter how you fold, bend, or mutilate, them, roll them up into a ball, bass horns are still BIG. There is no other way, bass horns are big, physics being what it is and all that.
Many compromise on horn systems by using mid and tweeter horns, and bass reflex bass cabs. This can give great bass with cabinets in the 3 - 5 cubic feet range. My personal experience is that you don't really get smooth low bass from anything less than a 12" woofer. I like 15" woofers in 4.5 - 6 cft cabinets... most of the good 15's end up in ported boxes.
But that rear loaded horn is not a bad design. I had sent those (and other) plans to a fellow, and he built the Mogales 18" version which is even bigger. He is quite pleased with it.
The scoop is used by some bass guitarists, and it works fine for that. But it is used a lot for large outdoor PA systems. They place a bunch of them side by side, or stack four, the bottom two upside down, so that all four mouths are together. These are also used in clubs and on stage as part of PA systems. You can stack a mid horn and tweeter on top.
I have photos from a company who has these as part of a fine home stereo type speaker, the Air Partner (upside down scoop) and Air Scout. Another home stereo application of the scoop design is the BK-16 kit on page 63 of the current Madisound catalog. This is a small design with a more complex, long channel in the upper section, and they use a flat panel (as I describe further down) in the mouth of the horn.
http://www.madisound.com/cgi-bin/index.cgi?keywords=BK-16
http://www.madisound.com/cgi-bin/index.cgi?cart_id=5971460.10783&pid=1895
For the "scoop" designs it is NOT, repeat NOT necessary to put that curved ply section in the bottom of the mouth. It is neat looking, but a real pain to make. You can do as well acoustically with a flat panel put there at a 45 degree angle. Believe me, at those frequencies there is no auduble difference. In the third drawing below I have sketched in a gray line to show the substitute piece I use when making these.
The curved bottom piece is formed by first gluing in a piece of 1/4" ply and pushing it into a curve, lots of glue and screwing it into place with drywall screws. After that has driec, a second piece is laid on top of it using contact cement on both pieces. Some guys drill a few holes in the back and bottom and inject expanding foam in the airspace under the curved baffle.
The "scoop" or "rear loaded horn" is interesting in that it is a horn, but also a "transmission line". Undamped transmission lines have an up and down frequency response... looks like a sine wave. For the lowest frequencies the rear wave emerging from the horn mouth is in phase with the woofer's front wave. Other frequences are out of phase and cause a dip on response. So the trick with a transmission line is to "stuff the line" with sound absorbing material... long fiber wool, fiberglass (LAST RESORT), or my favorite, dacron poly fiberfill. This damping acts like a low pass filter. If you can kill off the higher out of phase frequencies, allowing only those lowest in phase notes, you can have all of the advantages and none of the disadvantages of the transmission line.
At still higher frequencies, the horn is not acting at all. The higher frequencies come from the front of the foward firing woofer.
So, stuff that section behind the woofer, the upward leading channel, and part of the downward channel leading to the mouth of the horn. You can make it stay up there with some staples, out of sight.
I'll attach a side view of a "rear loaded" or "scoop" cabinet. Aka JBL 4350, Eminence Scoop, Fane Scoop, and many other names. Who really invented the "scoop"? I don't know.
1st picture, the JBL 4350
Second picture will show up as a line drawing even though it looks black below.
Note the third picture has the diagonal drawn in.