stevie

This is a very good summary of the stacking options available. Classic theory tells us that you should keep drivers as close together as possible, especially when they are reproducing the same frequencies. However, I suspect that a lot of players might be more concerned about having the grille badge sideways or upside-down when using one of these configurations. Although normal vertical stacking of tweetered cabs isn't ideal because of comb filtering, it doesn't seem to be a problem in practice as long as the cabs are tonally similar.

My overall preference is for the plastic ones because they offer more protection for the corners and allow for easy stacking (in both portrait and landscape formats). There are some horrible plastic ones which look cheap, but I think the small, chevron types can look very smart. To answer your question, @Ed_S, I certainly wouldn't avoid metal corners and rubber feet, and I can understand your preference.

Modern plastic feet/corners are quite tough, but subjected to enough force, they will crack. What may not be immediately obvious is that, by deforming, they act like a crumple zone to protect the cabinet corner - and they're cheap and easy to replace. Because they're more rigid, metal corners transmit most of the force through to the corner.

duplicate post

duplicate post

No problem at all acoustically, although you'll need to find a way of stopping your amp from falling off the top of the cab.

John's not suggesting running high frequency drivers without any attentuation (obviously!). He's questioning the point of having an L-pad attenuator in the system at all. I had a three-way bass cab at one time with L-pads on the midrange driver and tweeter. I couldn't for the life of me figure out the best setting by ear and had to carry out measurements to find out what was happening. I ended up with something like twenty-to on the mids and quarter past on the HF. Many people assume that 12 o'clock is flat, but it rarely is. IMO, the best solution is for the manufacturer to set a fixed attentuation level that balances the bass/mid and HF.

The Veyron is very good and exceptional value for money. Performance is in line with the popular lightweight heads from Markbass, Aguilar, Ashdown etc., all of which I've owned. I've no direct experience of EBS or Eich, but if you're using it as a backup, you can't go wrong.

Yes. I did a bit of digging and that's what I found for the 1516.

Oops! Sorry, @SimonK. My mistake.

You can't go wrong with either SB Acoustics or Scan-Speak.

As stated elsewhere, the clue that the seller doesn't know what they're doing lies in the inadequately sized port. If the OP just wants four Trace 10-inch drivers, there's a set currently on Ebay for £60.

This is absolutely right - but only if the manufacturer has implemented the crossover properly so that each driver is operating in its own frequency band. I don't know for sure, but I believe all the drivers are run full range except for the tweeter.

Are you sure it extended the frequency response, or could it have just induced peaking, which might have sounded like it did?

It's probably a similar idea to what Scan-Speak have done with their slit cones, where they slice the paper cones and glue them back together again to control cone resonance. Here's the reponse of one of their seven-inch drivers showing how they've controlled serious cone break up until about 5kHz. Notice how smooth the off-axis response is right up to 7kHz.