Bill Fitzmaurice

Search 'Hoffman's Iron Law'. If you're going to go small and low you it requires a lot of power, and drivers that can take it, both thermally and mechanically.

Speakons should not have a direction. There are amps and cabs that aren't wired as they should be, forcing that arrangement. Odd how even some engineers don't know how to read applications charts. Frustrating to say the least, but c'est la vie.

At low volume you're probably OK. It depends on the amp. Old Fenders would take anything you threw at them and kept coming back for more.

Black and Decker? There's a famous incident about Peter Walker showing up at an introduction of his latest Quad speaker without any cables. He went to the nearest hardware store and bought a couple of Black and Decker mains cords, cut the ends off, and put them in play. The audio press were impressed by the speakers, but some attributed the excellence of the sound to those orange cables of unknown origin. 🙄

Using only two poles of a four pole Speakon is common. You see it more in PA, but sometimes in amps. What's more common is two pole Speakon jacks on amps and speakers, used with four pole/four wire Speakon cables. You can use four pole cables with either two or four pole jacks, so if all the cables you carry are four pole you're not digging through the cable bin looking for a two pole cable.

They would have no problem with a 3 ohm load. They'd not be pleased with a 7 ohm load, but that's what the 8 ohm tap is for. The impedance rating for SS amps is the minimum you may use, with valves it's the maximum.

When the insulation in the cable melts the usual result is a short circuit. For an open circuit to occur the conductor would have to melt. That could happen, but long before the conductor melts it would create enough heat to melt the insulation and likely cause a short circuit. I've never seen an instrument cable used as a speaker cable suffer a melted conductor, but I've seen plenty with melted insulation. It's all Leo Fender's fault, for using the same jack for inputs and speaker outputs, because that was the less expensive option.

There are 115/410 combinations that would work well, as in a bi-amped rig with a long throw sub-driver 115 and a 410 loaded with guitar tens, but that's not what you see being used. Even that would be far from ideal, as it doesn't take four tens to match up well with one fifteen. One or two would be sufficient.

A valve amp is unaffected by a shorted output. For that matter Fender valve amps use a switched speaker jack that shorts the output so that the amp won't be damaged by what will hurt it, which is no load. That's why they don't work when you inadvertently plug in to the extension speaker jack rather than the speaker jack. SS amps that lack short circuit protection circuitry, which are rare, can blow output devices and more with a shorted output cable.

Actually it does. With no load on the high pass filter it can exhibit a very low impedance within its pass band, which can create problems. The safe way to remove a tweeter circuit is to disconnect the crossover entirely, wiring the woofers direct to the input jacks.

Since it was open back it was worthless for bass above bedroom or low studio levels. It was designated as Fender's bass amp only because it was the largest they made that year. The Concert guitar amp was essentially the same amp with tremolo, built on a newer chassis.

https://www.talkbass.com/threads/2x12-vs-two-1x12-cabs-pros-and-cons.1319015/

Assuming the same drivers, the same total internal volume, and the same port tuning in the case of a ported cab, this is a case where 1+1=2, pure and simple. What discussion on this simple concept could possibly take five pages I can't imagine, and life's too short for me to bother finding out. Arguing about minutiae ad infinitum is why I left Talkbass ten years ago.

The meaning of warmth isn't too difficult to imagine. The same for boom, or harsh. But when you get into the terms used by oddiophiles it's easy to be left in head scratching mode. I have no idea what they mean by 'air', other than that they have far too much of it between their ears. And of course there's 'fast bass'. WTF?? Did the bass player finish the song three bars before the rest of the band? 🙄

For most warmth is considered as a strong midrange with not a lot of low end, which is what I'd expect from his current arrangement.

Not in a Southern Baptist church service. The scene with James Brown as the pastor in 'The Blues Brothers' was pretty accurate. https://www.youtube.com/watch?v=PZpH9Khn0E0

Chances are you've reached what your cab is capable of putting out with your current amp. Power doesn't matter. What does matter is driver displacement and speaker sensitivity. The 6dB increase in voltage sensitivity from adding a second identical cab and the 6dB increase in maximum displacement limited output are the equivalent of quadrupling power if your 210 could handle it, the possibility of which is slim to none, and Slim just left town.

Two would give slightly less low end than one and the midbass would boom.

The BL12-200x are about as flat as you're going to get in that enclosure. What you call very warm I'd call a weak low end, as its response is -10dB at 55Hz. That's not the fault of the drivers, it's what you're going to get from a sealed enclosure that small. If what you're after is stronger lows you've got to go larger. If I had to use that enclosure I'd load it with one Eminence BP122. It would be -10dB at 36Hz, and one BP122 in that enclosure would be capable of more output than two BL12-200x.

The last matched head and cab I owned was a '65 Fender Bassman, which I bought new. That's how long it's been since matching was relevant, and back then it was hard to find separates sold as new anyway.

Modern speakers have rendered both the 300w valve amp and 8x10 configuration unnecessary. If you want to keep the Ampeg tone I'd look around for a V-4B.

That's normal, it happens in every room, and the smaller the room the greater the effect of boundary sourced cancellations. It's also the explanation why the bass can be louder in the back of a club than on stage. On stage the boundaries are close enough to the speaker and you for cancellations to occur, while even twenty feet out there are no cancellations. But this is something that happens in the bass and midbass, where there is no directional content. Dispersion only narrows in the mids and highs, typically above 300Hz.

That would be the way to do it, placing the full range drivers adjacent and the low passed drivers at the top and bottom of the stack.

It doesn't have balanced speaker outs, and while speaker outs are technically unbalanced they're never referred to as such. Both of those would be line level.

Quite right. Any time you have side by side sources they will suffer from destructive interference off-axis in the high frequencies and reduced dispersion in the mids. Barefaced gets around the destructive interference in the highs by removing the high frequency content from one side, but within the midrange frequencies where both sides are operating dispersion is still halved compared to a pure vertical line of drivers.