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I guess there's a worry about crossover distortion. We treat crossovers as neutral things that just cut off the lows from one speaker and cut the highs from the other. In practice the cut off isn't instant and there are a range of frequencies when both speakers are operating. At the crossover point the theory is that both speakers are designed to be 3db down halving the power to each and tow halves make a whole. That's the theory in practice it's really hard to get the exact match and on a frequency plot even with the best hi fi speakers you can always see the crossover frequency as either a little dip or a little peak. In most speakers you can hear it too. This is compounded by phase changes, slight delays between the sound coming at you from one speaker and the other. This makes the sound cancel at some frequencies. There's a slight delay in the speakers moving with the big ones taking longer to get going, the crossover components cause their own phase changes and to add to that the speakers would need to have their centre's equal distances from your ears. Crossover design is really complex and even the best computer aided design only gets you so close. Sombody really needs to sit down and spend the hours/days remeasuring and tweaking to get it right. Digital active crossovers make it easier and we benfit from the move to active PA cabs. Various trade names like 'Firphase' indicate where the manufacturer has tried to tame all the phase related crossover distortion and used a bit of delay to time align the drivers. However I don't think this is so much of an issue in using subs. Our hearing is just so much less sensitive down there and although theoretically a bass singer could get down that far he would have so little fundamental content that I reqally don't think it would be noticed. Maybe a trained sound tech in ideal studio listening conditions would be able to hear something in the kick drum sound but not in the wilds of PA. A lot of the new stick PA systems crossover in the 300-1,000Hz range and do so quite successfully and have the advantage over the 2-3,000 Hz crossovers of conventional PA in that part of what they do. The OP doesn't need to worry he only has 100 or 120Hz to choose from.

Most of my gigs are deps these days. I wouldn't learn 30 tunes for 80 quid!

Anyone else tried it yet ? Mine came yesterday , mind blowing to start with , so many pre sets , so many effects , so many amps , so much you can do ............*%$£**&^%$££ ! Modern tech for an oldie like me ( using an iPad to set up ) after a hour or so , got a great sound AMPEG SVT into a Mesa RR215 IR into the front end of my old 1995 Peavey T-Max head with a 112 Epifani cab.......how close it sounds to the actual Ampeg amp / Mesa cab speaker I dont care , sounds great to me ! The unit has got to be returned for replacement though , the BT logo does not light up on the unit , even though BT is working . Pete

My drummer is absolutely amazing. Also read: a damn sight better than the last idiot we endured. He has a discerning ear, leads us where needed, gives awesome feedback especially to our singer whose confidence grows every rehearsal, and he is just grateful to be there with us sweating out his frustrations from the week. Top fella.

… use Dual Lock as the adhesive is acrylic based, not alien space snot that is on all Velcro. Dual Lock is made by reasonable people who know our pain of Velcro!

One thing which I think gets missed with all the “Barefaced 10s vs 12s” is the 10s actually go higher… They have been designed to have a more vintage tone, and for a lot of people work because they are more coloured like almost any other major bass cab out there. But they top out at 6kHz vs 4kHz with the 12s (unless you get tweeters involved of course). I feel I get more clack from the 10s than the 12s! So yes, I have both a Two10 and a Super Twin, and have simply created an EQ curve in my HX Effects to allow me to switch from one to the other without having to completely readjust anything else. The 12s are flatter across the spectrum so the EQ curve compensates for that. It’s not quite a smiley face, it’s more subtle than that and doesn’t add anything below 200Hz iirc, but it does take away some mids in the 800Hz-1.2kHz region and boost a little top end to compensate for the lower top end response. It doesn’t make the 12s sound like the 10s - that would be pointless as I may as well just have a bigger/extra 10 cab - but it softens up the flatter response to make it easier to switch between cabs within the same band context.

If that amp and cab isn’t loud enough then your band is too loud, even if it is a doom band. It should be plenty loud and then some.

I am glad I watched it but won't watch it again. They were a remarkable band with some incredible if slightly deviant energy. A Punk sensibility before Punk was a thing but I never liked Punk either so that's why they never hold my attention for long. Moon has ADHD written all over him. A band that was greater than the sum of it's already incredible parts. I respect them but don't really like them. I can see why many do, though.

Talk Talk - Talk Talk

Wait Your Turn - Rihanna

Don't Speak - No Doubt