Bill Fitzmaurice

Both GB and Norway use the same 230v 50Hz power. The problem is probably the difference in the socket/plug pins.

I did, from 1965-1972. I could see using one today in the studio, or for small club gigs, but that's all. As far as vintage valve gear is concerned the Ampeg V4B is considerably better.

A watt is a watt. What differs with valves is that they can naturally compress the signal peaks, subjectively making them seem louder. You can accomplish the same thing more or less with SS using a compressor, but since that occurs before the power output stage rather than in the power output stage the effect isn't quite the same.

That only works if you have a method of attenuating the amp output, with a device like a Power Soak. You wouldn't do that with any SS amp, since the mechanics of how tubes and SS distort are very different. As for the Dark Glass, what's shown inside the dotted lines is in essence a distortion pedal.

That depends on where it's low passed. I suspect Alex did so fairly high, to eliminate comb filtering. Typically it would be done where the center to center distance of the drivers is one wavelength. With two tens that's in the vicinity of 1.1kHz. If it's done at too low a frequency the lost midrange output could be problematic. It would affect personal monitoring, as the driver that's full range should be as high as possible. The boundary reinforcement off the wall shouldn't be affected.

Yes. The dispersion angle in the mids is inversely proportional to the width of the radiating area. As shown that area is twice what it would be when rotated 90 degrees. Boundary reinforcement from the floor happens when the lowermost driver is less than 1/4 wavelength away. At 200Hz that's 1.4 feet. At 100Hz it's 2.8 feet. There are instances where raising it more than 2 feet or so can be beneficial, as in the case of a boomy cab or stage where you want the lows augmented but not the midbass that produces boom. These rules also apply to boundary reinforcement off the wall behind the cab. Very often what makes for the best sound is the same thing that makes for the best real estate: location, location, and location.

You should always turn the cab up tall. It doubles the midrange dispersion angle.

That does not appear to be Eminence. Most Eminence bass drivers have a large pole piece vent in the magnet and/or an extended bump of the back plate.

Looks good, but rotate the 2x10 to place the drivers vertically. Both you and the audience will hear it better.

With a bit of ingenuity you can find a method of securing the head. In my case I attached two inch high feet to the front edge of the amp that hang down far enough to hook over the front of the cab. Where hearing what you're doing is concerned, especially on a tight stage, tilt back is even more effective than lifting.

This, or something similar: https://www.amazon.com/Fender-099-1832-003-Amplifier-Stand-Large/dp/B00LJY4886/ref=zg_bs_11973191_5/138-0471784-6307153?pd_rd_i=B0891LCND5&th=1

I very much doubt that happened in shipping, if it had the grille would have been bent. Have them re-coned. Once pulled they should be identifiable.

Ampeg is conservative with their power ratings. Where farting out is concerned that happens when the drivers run out of excursion. There are many tens rated at 250w that have no more excursion capability than the 100w rated Ampeg ten. +1. The 410 is the poster child of how not to build a bass cab, as neither you nor the audience will hear it anywhere near as well as those same four tens vertically stacked in a pair of 210 cabs.

That's not necessarily a bad thing, as you can tame too much low end by pulling down the low end EQ.

It depends on the twelve. One that will do this job isn't going to be had on the cheap, nor will it deliver good lows when stuffed in a too small enclosure, especially when said enclosure is up on a pole in front of the stage as is required for PA, which means it won't get ground plane or rear wall low frequency reinforcement. That results in as much as a 12dB reduction in low frequency output compared to on or close to the floor and close to the rear wall. 12dB is the difference between one twelve and four twelves. The concept of boundary reinforcement, like Hoffman's Iron Law, should be just as familiar to bass players as are the notes E-A-B-D.

They don't provide adequate specs to draw a conclusion from, but I doubt they're going to do the job without subs at other than coffee house levels.

Google 'Hoffman's Iron Law', though it should be something every bass player is very familiar with. If it's going to be small and it's going to go low then it can't have high sensitivity. One can get around low sensitivity with enough power, and premium drivers that can make use of it, but that removes 'budget' from the conversation.

I've never used a pedal, never needed or wanted one. I had a raft of them when I played guitar, but with bass all the effects I needed were my hands.

He used to do that, and a lot of other things with varying degrees of success, but he's been running a conventional Ampeg setup since at least 2011, when I last saw him.

If this is just to make use of a box and a driver you have on hand without any expectation of a great result then use plywood per above. But otherwise I wouldn't do it unless loudspeaker modeling software reveals that the box and driver are a good match.

I have no idea. It's not like Alex to create terms of out thin air. I'd ask him.

Yes. There is no difference, a volt is a volt. The question is whether or not you need to bridge to realize enough voltage swing to get full output from the speaker. If you don't then there's nothing to be gained with bridging.

Cone excursion. When impedance is halved excursion is doubled for a given voltage swing. When it's doubled excursion is halved for a given voltage swing. One cannot say x watts will result in y decibels, or that x watts will result in y millimeters of excursion. Those equations do not exist. One can say that x volts into z ohms will result in y decibels, or that x volts into z ohms will result in y millimeters of excursion.

When you double the voltage swing into a speaker the cone excursion increase is the same as what occurs with four times the power. That's what leads to mechanical damage. Yes. You're not considering impedance. Engineers seldom look at power, we look at voltage and current, the former with respect to the capability of speakers, the latter with respect to the capability of amps. Power is an attempt to simplify the equation, but in truth it just further muddies things.

Voltage swing is what determines cone excursion, which determines volume. Power is what you advertise to convince people to buy your product.