Bill Fitzmaurice

That's about 60L tuned to 55Hz. The LaVoce is fine with that. The Pulse is not. Tracking down noise is easy. Download a sine wave generator program or app, play it through the rig, slowly sweep the sine wave tone starting at 50Hz.

I've been an Eminence endorser for 25 years but post-Covid their prices have skyrocketed. LaVoce has supplanted them in the mid price range.

Considering the OP converted it from an air head to a pure cab I'd want it confirmed by him. In any event it's not the 200L that the Pulse 15 requires to eliminate a midbass hump in a ported enclosure. Because of its high Qes/Qts I'd only use the Pulse 15 in a sealed cab.

The Pulse 15 is best suited for use in a very large box, at least 200 liters. In a box the size of yours, or what I think is the size of yours as you haven't posted it, it's going to be boomy. My preference for a reasonably priced fifteen for average size ported cabs is the LaVoce WXF 15.400. It's not boomy, and it has higher sensitivity and mechanical power capacity than the Pulse 15.

The name 'Nashville' says it all. That's the home of country music, pedal steel is the instrument of country music. Peavey also made a Nashville 112 and Nashville combos, all for pedal steel.

The last time I saw ZZ Top they had twenty or so 1x12 combos. But that was to impress the kiddies. Billy and Dusty were actually using only two each. Then there's the matter of stage monitors. Touring acts have considerably more monitor power than club bands have for the main PA, so the stage levels are still substantial, even without backline speakers. Journey, for instance, had amps and backline speakers but they were out of sight back stage. They heard what the amps were doing through the monitors.

I've never cared for IEM or going amp less. I've always put everything through the PA, including the monitors. We've always played at comfortable stage levels, where we don't have to raise our voices to speak to each other. And what's key to that is never having a guitar player who uses more than a 1x12 combo. What people lose sight of is the original intent of IEM: being able to hear yourself over too high stage levels. IME when your stage levels are reasonable you don't need them.

You need to remove watts from the conversation. You're looking for more output, I get that, but of the half dozen or so factors that will give you that watts isn't one of them. You've already received some good advice, you should heed it.

Seeing as my golf club isn't open yet I have time. Plus I just went through just about every bass driver made to update recommendations for my designs, so I already have all the driver data I need on hand.

Obviously, or you wouldn't have asked the question. But more than a few of us here use it, some of us almost on a daily basis.

Anyone even moderately skilled using speaker modeling software can make a valid recommendation by reverse engineering the box. All they need is the precise internal dimensions. Conversely anyone who makes a recommendation without having done so should be ignored.

The only thoughts that matter are yours. 😉

If you have mains that go low or subs the problem is that they will reproduce what you may not want. Backline speakers don't go low. F3 on an SVT 8x10 is 58 Hz. The main components of electric bass should be the second and third harmonics. When you corrupt that by having the fundamental as loud or even louder than the harmonics the result sounds like a teenager driving past with his 5,000 quid sub in his 500 quid car. 🤔

High passing the vocal mikes is critical as otherwise they'll pick up unwanted low frequencies as well.

With guitar as well as bass low frequencies that you don't hear through a standard back line amp plus cab can be present when DI'd to the PA. High passing gets rid of them. If you could see the actual frequency response charts of guitar and bass amp cabs you'd be quite surprised, if not shocked. That's one reason why you can't find them.