Bill Fitzmaurice

Whatever the noise is coming from it can't rattle unless it's being vibrated. The source of that vibration would likely be the cab, which would only vibrate if insufficiently braced inside. I'd fix that, because cab panels that vibrate result in a loss of acoustical output. If you want to settle for fixing the symptom rather than the cause a piece of yoga mat foam between the cab and amp should do the trick.

If there is a typo I don't see it, but that could be a forest and trees situation. I can clarify anything that doesn't seem right.

What causes a driver to create sound is cone excursion. What causes cone excursion is volts. A SS amp will deliver the same voltage into any load impedance. When you double the number of drivers parallel wired the voltage pushing each remains constant, the excursion of the drivers remains constant, but the cone area is doubled. That gives a 6dB increase. so long as the drivers are placed less than 1 wavelength apart, which insures that their outputs combine fully. Amps do have a limit to how much current they may deliver. Current also doubles each time the driver count is doubled when parallel wired, so you do have to wire multiple drivers so that their impedance isn't too low, causing current flow to be too high.

No, because watts don't matter. Volts, sensitivity and decibels do. I'll spare the math, but the two will go louder than the one.

SS has no need for a standby to reduce voltage inrush. The voltage inrush with the power supply for the pre-amp tubes would be insignificant. What prompted Fender to employ the standby switch was their use of high power output tubes, like the 6L6, with pretty much the least expensive power supply caps they could find that would work in the circuit.

The original reason for the standby switch was to protect the power supply capacitors from getting an over voltage before the tubes were warmed up. That was a concern when it came into use in the 1950s, when caps were expensive and switches were cheap. Caps are much less expensive today, so the problem that the switch addresses pretty much doesn't exist today.

A case of Chateauneuf du Pape will suffice.

Use an LPad, installed between the high pass filter and the tweeter.

I recommend the Eminence BGH25-8, as it's made for electric bass, not PA. I can't recommend any off the shelf crossover. I specify a 4th order 2kHz high pass with this driver, but it's very much DIY. Assuming your woofers are parallel wired this would be the low pass filter for them:

Isn't SubZero what Geddy Lee used on his last tour?

Unless the BF One10 is particularly anemic in the lows, which I doubt, the best bet if one isn't adequate is to add another.

Mutual coupling is when two or more speakers are less than 1 wavelength apart, assuring no destructive interference when their outputs combine. That's easy at 100Hz where a wavelength is 3.4 meters, not so much at 2kHz, where a wavelength is 17cm. Floor boundary reinforcement is when a speaker is less than 1/4 wavelength off the floor. Reducing its effect in the boomy midbass, in the vicinity of 150Hz, can be realized by lifting the speaker about 60cm. Mechanical coupling does not exist, being the fabrication of those wishing to sell you something to either accentuate or prevent it.

I nicked mine from a hotel.

When I needed to lift a cab I used a luggage rack, like those here: https://www.webstaurantstore.com/lancaster-table-seating-folding-chrome-luggage-rack/407RP1507.html?utm_source=google&utm_medium=cpc&utm_campaign=GoogleShopping&gclid=Cj0KCQjwwuD7BRDBARIsAK_5YhX9kjxtgPca0Fum2WVE3vCjQomdY0O3621hTEHhE48gqldgFNG3_T0aAuo_EALw_wcB

You wold need some method of high passing the tops in any event, assuming they don't have it built in.

You might not destroy it but it won't give the results that a real subwoofer will. Depending on what you have for tops its response may go only slightly lower, if at all.

Horizontal placement halves the angle of horizontal dispersion in the mids, and causes comb filtering in the highs. That's why the PA cluster array went the way of the dinosaurs, replaced by line arrays. However, this isn't audible to you, because you're too close to the cab. It won't be noticeable to the audience either if you're in the PA. It's a far greater concern with guitar than bass, since guitar is all mids and highs. If Leo Fender would have had training in acoustics and known this then from day one his amps with multiple speakers would have placed them vertical, with the dimensions of the heads configured accordingly. But Leo wasn't an acoustical engineer, he was a machinist. At that he excelled, but where speaker technology was concerned he winged it

Low xmax is why the Fridge was invented. It was loaded with guitar drivers that had around 1mm xmax. Today there are tens with 8mm xmax, so one of those could equal the low frequency output of a '69 SVT. The trade offs for very long xmax tend to be lower sensitivity and reduced midrange response, so all things considered a pair of modern tens with 4 to 5 mm xmax would be the better option. I use tens with 8mm xmax, but only in subwoofers.

The 10G40 is a nice driver, but only if it's compatible with the cabinet it's going into. Watts and inches barely scratch the surface of matching driver to cabinet.

The main advantage to higher power handling when not accompanied with a commensurate increase in xmax is resistance to abuse. Xmax tends to be more important as far as maximum low frequency output is concerned. That said, there are a lot of other factors that are significant as well. When you use software modeling software to see exactly what a driver will do you don't compare two or three specifications, you compare sixteen or more.

Where low frequencies are concerned the limiting factor far more often than not isn't the thermal power rating, it's the excursion limit, xmax. As a for instance, the Celestion BN10-300X has a 300 watt thermal rating, but with 4mm xmax it won't go any louder than the S2010, which also has 4mm xmax.

It's only 5kOhms because it's a line level mixer, so it usually deals with keyboard outputs of 600 ohms or less. 10kOhms would be the minimum to use with passives, with more being better. When I think of a mini-mixer it's more along the lines of the Mackie Mix 8.

It's the rare mixer that would have too low an input impedance to use with a passive bass; inadequate gain is more likely. However, whatever the OP has for his backing track source could have a very low output impedance, 600 ohms or less, and that would be a major problem using a passive bass with a passive splitter.

As have I. When it's encased within a BMW it's a moot point. 😊

In 55 years of playing I've never used any effects. I get a variety of tones, but they're sourced in technique, not electronics. What I can't get with my fingers I don't care about. I play six string as well, and for that I have a rack full of effects, because you can't duplicate time based effects with technique. Different jobs, different tools.