Bill Fitzmaurice

Not just that. A noise gate works best when its after the pre-amp, to gate any noise contribution from the pre-amp.

I can't put it before the input to the amp, it's line level.

I use mine for effects, though the only 'effect' I have is a compressor/noise gate.

It's not going to blow them up, but they'll sound really bad. You, which means the band, need to invest in a good PA. The lack of it hurts all of you.

I'd have no problem with 200w and a 1x12 with no PA for that gig. You really need that much kit for a wedding band? Who are you covering? Sabbath?

I've never run more than 200w, and seldom more than one cab. Your amp's job is to carry the stage, carrying the room is the PA's job. That's where you should be considering an upgrade.

That's not a good idea. 1x15s don't necessarily go lower than 4x10s, 4x10s don't necessarily go higher than 1x15s. Even if they did power handing requirements go up as frequency goes down, so in this scenario the 115 is the weak link in the chain. Not true, on both counts. Cabs don't output watts, they output sound pressure, measured in decibels. There's no direct correlation between the electrical power handling capacity of a speaker and its decibel output. True, but that's not how you want to get more volume. For twice the volume it takes ten times the power. For that reason alone you need to get past watts, and learn about what really matters. The technical information on the Barefaced site is a good starting place.

A Tolex cover would fix that. In my long ago youth they came standard issue with Fender amps. I wonder if Acus offers one? Probably as a £100 option. 🙄

Robust enough. I estimate at least 95% of the better bass cabs today have plywood construction. +1, that's way more than a 1x10 combo is worth, irrespective of the DSP aspects.

Since it's out of production ask Celestion for the T/S specs and then search to see if there's anything comparable. The 32 ohm impedance will be the major problem.

The gap's not a problem at all. As for resonant stages, the cure is a parametric EQ with adjustable frequency and bandwidth that will allow you to cut back on the frequency that excites the stage resonance.

Don't believe everything you read, unless it's backed up by actual measured results...like this: http://ethanwiner.com/speaker_isolation.htm or this: https://billfitzmaurice.info/forum/viewtopic.php?f=10&t=19112

When drivers are placed horizontally dispersion suffers. Go for either a 210 or 212, keep the drivers vertically aligned. Get two if you need it for output.

This brings up two points. First, when someone's selling a really nice piece you have to question why. In this case it's because it was faulty. Second, never pay via a method that doesn't have buyer protection. The decision whether or not you're entitled to return it for a refund should be yours, not the sellers.

Old valve gear is the easiest to work on. Point to point wiring and easily accessible parts make working on them not unlike working on a vintage car. Modern amps are a PITA, just like modern cars. They're made with everything attached to circuit boards, including the pots and jacks, and getting those boards out to work on them can require removing every knob and nut on those pots and jacks. It can take over an hour to remove a board to replace a component, if you can replace the component at all. Often the cost of repair exceeds the cost to replace the amp. It took me an hour to even find the oil filter on my last car, while changing it required pulling off a tire. Things today are designed to have the lowest possible labor cost to build them, with no regard to how difficult and expensive that makes it to fix them.

No. All it does is to bypass the internal jumper. Some amps use a switching jack on the FX loop, which can over time get dirty or corroded. Using a jumper can shake loose dirt and/or remove corrosion, but so does just using cleaner on the jacks.

Maybe he doesn't have it in his parts bin, but neither G-K nor anyone else uses proprietary parts. Contact G-K, if they can't recommend a source at the very least they can tell you what's in there so you can track it down yourself.

Maybe, maybe not. At least half of what makes a valve amp sound like a valve amp is the valve power amp. Even emulators don't get it quite right, that's why valve amps still exist.

It's absolutely on topic. If you understand what's being said you realize how a 30 watt Ampeg B15 is still capable of doing the job, on any stage.

I measured Big & Rich and Montgomery Gentry at an average of 103dB at the FOH. Deep Purple was the same. Charlie Daniels came in at 104dB. Tim McGraw and Alice Cooper ran at 105dB. True, although most players are going to be pushing closer to 30w average with 120w peaks. Also consider that the FOH where I took measurements was some 25 meters from the stage. Reaching 110dB there would require some 135dB at one meter, well beyond that capability of almost any backline rig. That's why you size your personal rig to drive the stage, and let the PA drive the room. If all guitar players understood this you'd never see more than a 100w 1x12 guitar amp, and never suffer the result of volume wars.

One of my real world experiences was when a local 6500 seat outdoor amphitheater was on the verge of being shut down by the town due to noise complaints. Prior to contacting me they spent $25,000 with a 'professional' audio consulting firm, who did an analysis of how loud the levels in the surrounding neighborhoods would be based on the level at the FOH. They then installed a computerized SPL measuring system in the FOH, which would turn on a very prominent red light if the levels were exceeded. For the remainder of that concert season the red light seldom, if ever, came on. The complaints not only were not reduced, they increased, especially where the bass was concerned. Before the next season of concerts started they hired me to find out what was wrong. It took me all of five minutes to do so. I looked at their sound standard document and the system, and saw everything was reference to A-Weighting. Their measuring system would only read dBA. The acceptable level standard said that the level in the FOH could not exceed 110dB. On the A-Weighed scale it never did. I had them play some recorded music over the system at 100dBA. It was unbearably loud. I then showed them what my Z-Weighted meter read: 125dBZ. I then ran a 60Hz test tone through the system, which I measured at 100dBZ. Their measuring system reading was 75dBA. The next day their computer measuring system went into the bin, while I accepted a position as their sound level monitor, at $1k per concert. 😎 Real world measured results show that even 20dB of dynamic range is seldom exceeded. That I know from the 200 or so RTA's I took at said concert venue's concerts over a period of a few years. Interestingly that figure remained fairly constant no matter what the genre, save one: Metal. Metal acts tended to compress the content so heavily that they seldom had more than 10dB dynamic range. They also tended to be less loud on peaks, due to that compression. They might average 100dB at the FOH but seldom reached 110dB on peaks. OTOH I measured many country acts at 95dB average that would hit 115dB peaks.

Those levels are totally wrong, because they're A-Weighted. A-Weighting should only be used in industrial applications. It's useless with respect to music, as it doesn't measure bass. The primary power pass band with music is centered at 60-70Hz, which when measured with A-Weighting registers some 40dB lower than actual. You may safely add 20dB to those noise dose recommendations when the source is music measured with C or Z weighting.

Valve or SS, when you turn down the volume control on a passive bass you change the tone, because the pickups get loaded down by the relatively low impedance of the volume control, which affects the highs more than the lows. That doesn't happen with actives, as the pickups see a constant high impedance load by the on-board pre, while the volume control being placed on the pre output, which is low impedance, doesn't affect the tone. Wanting the ability to use the instrument volume control without affecting tone is why I went active long before you could buy active basses.

It looks like a guitar cab loaded with Celestion Greenbacks.

It is, and not just a little bit. But if you have a BF two 10 why pair it with this? That BF should handle every watt that your head can put out.