The problem with lens performance behind a dome is that it's quite easy to see if it works acceptably well but not so easy to see if it works perfectly. To this end I have five different manufacturer's housings and ports that I have collected over the years, which until recently were all used with 35mm film and the same 20mm Nikon lens. All were acceptably sharp. In that combination however, I can categorically state that the unlikely winner for edge to edge sharpness was the Sea & Sea with its large acrylic port.
Since I went digital, I have bought housings and dome ports from three different manufacturers and used them with Nikon 12-24, 10.5. 16 (FX) and 10-17 Tokina. Two were glass and one is acrylic. Again all are acceptably sharp but the winner by far is the Sea & Sea optical glass port in conjunction with the cheapo Tokina.
In fact I have just returned from Bali with the D700/16 and am off to BVI and have decided to take my D200/10-17 combination instead.
I guess that small manufacturers don't have the resources to really get things perfect and a degree of luck comes into play.
I see a lot of contributor's material that comes into the office that is very soft at the edges and blame that on the use of compact domes.
Small businesses sometimes take risks that larger businesses would not. Some years ago I queried the fact that the dome port of my Subal rotated too easily after one flood and one near flood. I checked my spare O-rings and found that I had a set of slightly differently sizes but nobody seemed to be able to say which were correct. I took them to DEMA where I showed them to Rolf of Subal and was shocked to be told that the British distributor supplied his own (blue) O-rings and that they were not of the correct gauge!