Bill Fitzmaurice

Read this, it may help: https://billfitzmaurice.info/forum/viewtopic.php?f=10&t=19292

There's no such thing as a free lunch. When you bridge you double the minimum acceptable impedance load. Running 6 ohms with an 8 ohm rated amp may not be a problem, not as bad as running 4 ohms, but watch the heat.

Easy enough if you know what woofer is in the Glock, especially as a second cab wouldn't need a tweeter.

Mixing cabs is a crap shoot. No one can tell you what will work best with that cab, you really have to audition.

That depends on what it actually does. From a marketing standpoint a switch labeled deep or sub has value, but who knows what it actually does? The first piece of gear I had with a deep switch was a '65 Fender Bassman. One would naturally assume it was a low frequency boost. It was actually a high frequency cut.

Those aren't low or high pass filters, or shelving either. They're band pass filters, centered at 100 and 10kHz. A high pass with a 100Hz knee wouldn't be all that useful, nor would a low pass with a 10kHz knee. When I had a 3500 I ran a bit of boost with the 100Hz filter, a bit of cut with with the 10kHz. I had the 30Hz all the way down or close to it, then the 64Hz up by 6dB or so to compensate for the effect the 30Hz filter had in the 45-50Hz range. Having the 30Hz slider down effectively made it a high pass.

At last count 62,980,160 in the US. 🙄

Most do have high pass filtering, you're just not aware of it. It would be seen on a chart of the amp voicing, but like most technical details other than watts you can't get them.

Most of the noise is from the bass itself. A good amp won't contribute much, especially past the input stage. Whether a loop is better placed before or after EQ and tone controls is up for debate, there are valid arguments for both.

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.