Bill Fitzmaurice

They're better than 1/4", but still never should have been used for speakers as they're too easily confused with mic and interconnect connectors.

Most likely only two are active. The only reason for three is if the associated speaker has multiple drivers and the amp has dual power amps separately powering them, with the third wire a common ground.

With respect to gold and silver, gold has less conductivity than copper, so it's not suited for wire. Any non-tarnishing metal coating of connectors is OK, as it's too thin to offer resistance. Silver has 10% higher conductivity than copper, which means copper need only be 10% larger or 10% shorter to give the same resistance. That makes silver a waste of money.

Theoretically current capacity can be a concern, but in the real world that only applies to mains cables. What matters with speakers is resistance. Even with a 6 metre cable keeping the resistance well less than 5% of the load impedance doesn't take a large cable, 18 gauge/1 mm will do with a 4 ohm speaker; the main benefit of going larger is durability. In PA use very long cables don't have as much of a problem with resistance as they do capacitance and inductance, which can cause high frequency losses. For this reason 15 metres is the practical limit for speaker cables. To that end major PA rigs keep the amps close to the speakers.

I should have been more clear. If the input device, like an active electric bass, provides 0dBv then the OdB mark would be the right position for the pot. If it provides -50dBv, as might be the case with a mic, then the -50dB mark would be the right position. This may help: https://radio.co/blog/differences-between-mic-level-and-line-level

It's adjusting the input sensitivity to match the dBv output of the source. All input pots do, but seldom do you see it shown that way.

'It's not the size of you pencil that counts, it's how you write your signature.' - John Hancock, 1776.

No. You can't even go by size, at least where the insulation is concerned. http://www.roger-russell.com/wire/wire.htm#misleading

You're never going to get a good bass result with pole mounted PA boxes. They lack the boundary reinforcement provided by being close to the floor, they don't get the boundary reinforcement provided by being close to the rear wall, they may even have bass cancellations from the bounce off the wall and off the floor. You need a cab for the low frequencies that can be placed on the floor close to the rear wall, be it a sub or your own bass cab.

The only way to know for sure without buying drivers is to use speaker modeling software to model both what's in there already and proposed replacements. The replacements are easy, most have the required Thiele-Small specs available. That's probably not the case with the Fender driver. With only 100 watts there may be no improvement to be had.

Depending on the size of the room putting them in more than one corner, even in four corners, may give the best result. The only way to be sure is via trial and error, though software like REW (roomeqwizard) makes it much easier.

On the 6dB lift from being on the floor speaker response is a half-space result. If the baffle is less than a wavelength in dimension, which below 100Hz is a minimum of 3.4 metres, the speaker must be on the floor for half-space loading. Where wall and corner loading are concerned the additional sensitivity gained means you can use less power and/or a smaller sub for the same result, but of far more significance doing so eliminates the potential for boundary reflection cancellations as much as 24dB deep where the sub is a quarter wavelength from said boundaries.

You should high pass subs, at their lower corner frequency. That's typically between 30 and 40Hz.

It's OK, we knew what he meant. ☺️ The best FOH mixers in pro-touring sound high pass the bass channel between 60 and 80Hz, so the bass sounds like a bass and not a 30 ton dump truck dropping a load. There's still bass content in the subs, but not so much that it drowns out everything else.

True, but it's all about the wavelengths. The shorter the wavelengths the less the power alley effect. Having the mains at least two wavelengths apart at 100Hz is only some 7 metres, while at 200Hz it's only some 3.5 metres. Since the bulk of the content from mains lies above 200Hz to the extent that power alley exists it doesn't matter all that much. It's a different story with subs, where all of the content lies below 100Hz. Also true, but when the space is that small chances are you either don't need subs or you only need one.

Some basic sub placement notes: While it’s customary with PA to have speakers to either side of the stage that’s usually not the best way to place subs. Subs work best when they’re placed either close together for mutual coupling, or spread very wide to cover large areas. The basic rule is to have them either less than a quarter-wavelength apart or more than two wavelengths apart for their pass band, which for 40 to 100 Hz means less than 1 metre or more than 20 metres. Boundary loading should be used whenever it’s practical to do so. Having subs next to a wall gets you 6dB of additional sensitivity, putting them in a corner an extra 12dB. In most cases you’ll have best results aiming the subs towards the wall or corner from about 30cm away from the boundary. The long wavelengths from subs are omnidirectional and cannot be directionally located, so there's no need to have them near the mains or even near the stage. Yes, subs to the left and right with mains on poles above them is convenient. But more often than not that gives the worst possible result. https://www.fulcrum-acoustic.com/wp-content/uploads/2019/10/3_The-Subwoofer-Power-Alley-1.pdf

IME when a room is so small that sub placement is an issue you don't need subs. Good quality ten or twelve inch mains shouldn't have any problems, as they should always be high passed no lower than 80Hz. As for central placement of subs, that should very seldom be employed anyway. The beauty of omnidirectionality is that subs can be placed out of the way.

Without the Thiele-Small parameters one can't offer an objective opinion.

+1. Good gear is an investment in your future.

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.