Bill Fitzmaurice

The load on a woofer at 1600Hz is roughly 1/16th what it is at 100Hz, so dropping the crossover to 700Hz won't make an appreciable difference where that's concerned. The midrange dispersion angle of a twelve at 1600Hz is roughly half what it is at 700Hz, so from that standpoint the lower crossover is highly advantageous. They can only do that by using a compression driver capable of going to 700Hz.

I don't use Eminence Designer. I use WinISD 0.7 freeware for sealed and ported cabs.

Different drivers, different cabinets. different crossover frequency.

That's because at least half the result is based on the enclosure. Eminence can't give hard and fast numbers on the driver data sheet because they don't know what enclosure you're going to put the driver into. But you can figure it out, as least where Eminence is concerned. The data sheet SPL shows what the driver will do above roughly 200Hz. Go to the Cabinet Design pdf link on the driver catalog page. There you'll see the result below 200Hz in various cabinets. Ignore the charts above 200Hz in the cabinet design pdf. The charts are generated with speaker modeling software that's only accurate to 200Hz. Splice the pdf chart below 200Hz to the data sheet chart about 200Hz to see the full range result. That's the kind of chart that all speakers should have in their catalogs. The Eminence pdf also shows Maximum Acoustical and Maximum Input Power, which take into account both the thermal and mechanical limits, and Cone Displacement at full thermal power. The cone displacement chart is a bit deceiving, as it shows in grey how far the cone would travel if it was able to. What the grey line really shows is how much distortion rises as the cone tries to do what it cannot.

As long as you're getting educated: https://www.puremix.net/blog/musical-instruments.html

It wasn't QSC, they didn't make speakers 20 years ago. Maybe one of those other three letter companies, like JBL or EAW.

Since they're both from the same manufacturer and the twelve costs more than the ten it's a very safe bet than the drivers are similar save for size. The likelihood that the ten has as much or more displacement as the twelve is nil. If it did the ten inch driver would be a more expensive driver than the twelve, so the two cabs would be equally priced, and the ten would have a higher power rating as well. It doesn't. Like a ladies sewing circle there's lots of talk, but they don't actually say anything.

Is that range quantified by a measured SPL chart? If not you have no idea what the tolerance is. +/-3dB is one thing, +/-10dB is something else entirely.

While the LA12850 has an 800w thermal rating the 5mm xmax limits it to 300w through much of the critical midbass range. Watts alone don't tell you everything you need to know.

It depends on the two 1x12s and the two 1x10s. Like I said, nothing is ever equal. There are some tens that have as much, or even more, displacement as some twelves. The trick lies in finding out the displacement of the drivers you have and of those that you're contemplating. It's of far more consequence than watts, but manufacturers are loath to reveal it.

A twelve has 1.6 times the cone displacement as a ten. That translates to a difference in maximum SPL of about 5dB. Twice the displacement gives an increase in maximum SPL of 6dB, so a pair of tens could be slightly louder in maximum output than one twelve. But that's all else being equal, which it never is. Twice the volume is 10dB.

You need to find out what impedance your speaker is. If it's 4 ohms you can't add another to it. If it's 8 ohms you may.

The amp is 4 ohm rated? Or the speaker is 4 ohms?

Bad decision. Once again, it's not about watts. You've got a perfectly good amp, you just need a second speaker to get out of it what it can give. A second identical speaker will give you 6dB higher sensitivity. The result is the same as increasing power by a factor of four. It's not at all complicated, you just need to learn how gear works. Remember, you're the bass player. That makes you the smart one in the band. 😉

What's the sensitivity of the 610? What's the sensitivity of a pair of the Mesa 112? What's the displacement limited power handling of both? There is an answer to your question, but it needs hard data to calculate, which probably isn't available. I would imagine that a pair of the Mesa would handle 300w, and stacked vertically they wouldn't necessarily be too low, though I'd probably tilt the upper cab up to better hear the mids.

Unless you go to a horn loaded woofer, probably none. Getting more output isn't so much about watts as it is about speaker sensitivity. To get significantly more sensitivity you need to use two cabs, preferably identical. I can't say if you can get a matching cab for your existing cab.

Cars get a major bass response boost from Cabin Gain, also known as Pressure Vessel gain. So do headphones. It's the reason why they give good bass when tight to the ears but it disappears when they're pulled away.

A bit OT, but since you brought it up... It's not unusual for the low end of any sub or low frequency speaker to be hard to hear when standing close to it. Reflections off nearby walls and the ceiling create low frequency null zones. If you're standing in one of those null zones the bass will disappear. When you move away from the null zone the true output of the cab will be heard. This effect gave rise to the myth of wave propagation, that it takes a minimum distance from a source for the bass wave to be heard. But if that was true headphones wouldn't work, nor would car subwoofers.

I've dealt with literally hundreds of soundmen who have no idea what electric bass is supposed to sound like, and these weren't pub gig friends of the band, they were mixing for top tier international touring acts. IME the bad outnumber the really good FOH engineers by at least 4:1. Most of the better soundmen I've worked with are also recording engineers or bass players themselves. Many of them are both.

FRFR is what you want from a speaker if you use a modeling processor or amp to emulate the response of a variety of different speakers. The main benefit to that is if you're in the PA, which is ostensibly FRFR, and you feed it with the same signal. That way what's in the PA is the same as what's in your stage speaker...until a clueless sound man changes everything on your console channel to sound like what he likes instead of what you like.

It could, as thermal power is limited mainly by the gauge of the coil. However, as you pointed out, to realize 126dB at 62Hz would require an xmax in the vicinity of 25mm with at least 96dB sensitvity. There's no such thing as a driver with 25mm xmax that has 96dB sensitivity. A 25mm xmax driver might have 86dB sensitivity, reducing maximum SPL by 10dB. Phil is being kind to say that they're trying to deceive. I'm more inclined to call them as I sees them. They're peddling a load of BS. The combination of 126dB continuous (dB SPL @ 1m) with frequency response: 62 Hz – 20 kHz (±3dB) from an eight inch woofer loaded cabinet of that size is impossible to realize, by a very wide margin.

The demise of Hartke was predictable when it was taken over by Samson. It was only a matter of time before the bean counters ruined a good brand. It's similar to what happened to Ampeg with LOUD, and what will happen to Turbosound with Behringer.

https://billfitzmaurice.info/forum/

You need a break out panel. My assumption is that you don't know what that is. Go to my forum and ask there in the Pro Sound Setup section. This wiring may be Greek to you but not to the PA gurus on my site. It's how most of them run their rigs, because it is conventional with large touring systems..

+1. No matter what he was playing with and through Jaco always sounded like Jaco.