Bill Fitzmaurice

The drivers Ampeg uses for the most part are inexpensive, more or less the equivalent of the Eminence Alpha series, those Barefaced uses are high end, more or less the equivalent of the Eminence Kappalite series. For that reason alone they won't sound alike. Barefaced also uses pretty much cutting edge technology, Ampeg hasn't made a significant change since the 1990s. Both approaches are valid, depending on what you're after.

What I really think wouldn't get pass the word censors. 🙄

Hogwash. Stamped frames aren't unique to Ampeg, and the frames don't move. As to the OP question, it's mainly the amp. Ampeg uses Eminence drivers in simple cabinet designs. That's not exactly unique to Ampeg. The drivers aren't unique either. As is the case with the vast majority of OEM drivers they're quite close to off the shelf retail drivers.

One advantage to having more power than the speakers can handle is clean headroom. Another good reason is because amp manufacturers tend to be, shall we say, optimistic in how much continuous power their amps can actually deliver. As for speaker power ratings, all speakers should have two sets of numbers, thermal and mechanical. Those companies that do provide mechanical power ratings are, unfortunately, very rare exceptions. Never forget that truth in advertising is an oxymoron, and always has been. The phrase 'caveat emptor', after all, was coined when Latin was still a living language.

Using identical 8 ohm drivers the 2x10 is 4 ohms and the 4x10 is 8 ohms. In that case 600w into the 2x10 could be some 6dB louder than 400w into the 4x10. That's because in the 2x10 each driver will be receiving 48 volts, in the 4x10 each driver will be receiving 28 volts. The 4x10 would equal the 2x10 if the drivers were all parallel wired, but that would take a 2 ohm capable amp. But this is academic, due to the displacement limited power handling of the drivers. Very few tens can take 300w, and those which can tend to be PA subs. Electric bass tens tend to be displacement limited to 100 watts, in which case you wouldn't be able to put 600w into the 2x10, and by dint of that the 4x10 would go louder.

That's weird. Amps parts resonating to specific notes tends not to happen with amps, as the parts are too small relative to the wavelengths involved. If it was mine I'd take it out of the case and remove the cover, then send it a signal from a sine wave generator, sweeping the frequency until the rattling is heard. Then I'd use high temperature silicone sealant to stabilize whatever is vibrating.

If you liked that consider this: If a man is walking through the woods and says something, and there's no woman there to hear him, is he still wrong?

With no change to the amp volume two speakers parallel wired get a 6dB increase over one. That's because the voltage into each speaker is the same as that into one. The effect is the same as it would be if you doubled the voltage into one speaker. If you double the power into one speaker that's 3dB, but when you double the voltage you quadruple the power.

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