Bill Fitzmaurice

You should aim them as the room demands, which is to cover the most listeners possible. That's listeners, not people. We've all played those rooms where far too many are more interested in their conversations than the music. When I played those rooms I aimed the PA where it would be most appreciated, at the dance floor.

Want to become an audiophile? First cut a small hole in one of your pants pockets, about a half inch across. Walk to the nearest toy store, buy a packet of marbles. Empty the packet into the pocket with the hole cut in it. Walk home. As you’re walking one by one the marbles will fall through the hole in your pocket. When you’ve lost all your marbles congratulations! You’re now an audiophile!

Bingo! I once had a guitar'd player who insisted on having his JBL loaded Fender Twin on the floor two feet in back of him. It sounded fine to him, but made the zone in the audience directly in front of him uninhabitable. I asked him why he didn't use the tilt back legs. He said it made the highs too loud. I then noted that placed flat it made the highs too loud in the audience. All that elicited was a blank stare. 🫢

Most cheap dB meters only have 'A' weighting. They don't measure bass. You need 'C' or 'Z' weighting. True, if it's lifted by a meter or more. Less than that and there's no loss of bottom end. If you don't tilt or lift it the highly directional mids critical for the perception of loudness are passing by your knees, which can't hear them, rather than by your ears, which can.

Mixed subs might not make a lot of difference to the sound, as it will end up being a blend of the sources. But due to the often wide differences in response between different subs it's a lot more difficult to get the best result when they're not matched. Looking at the SPL chart for the SWA1501, which is about as flat as the Matterhorn, I can see it being a challenge to get it to play nice with another sub. https://www.fullcompass.com/common/files/2965-SWA1501SpecSheet.pdf

Since the room affects everything in the PA you want to adjust the GEQ.

You wouldn't hear much, if any, difference if the tops aren't reproducing sufficient lows. However, they're still receiving the low frequency information, so the amps are producing low frequency power and the drivers are taking that power, which stresses both the amps and the drivers, while the THD of the tops will be higher than if high passed. You've got nothing to lose with high passing, and potentially much to gain with respect to amp and driver headroom and lower THD, so it should be done.

Knowledge is like good food and drink. It's best when shared. ☺️

One would be sufficient. ☺️

Steel is highly unlikely, tinned copper is common.

If not identical you can have one coasting while the other is stressed.

When the D140F was introduced front mounting was rarely use, so they didn't come with a gasket. IMO that driver pre-dates the cab, so it probably wasn't a factory installation. The fact that it was reconed adds to that opinion. In any event yes, you should clean it up and use a new gasket or 2mm neoprene gasket tape.

Don't. Spring connectors work by deforming the copper wire, which prevents it from vibrating out. If tinned it's too stiff to deform. I've been using spring connectors for at least 30 years, have yet to have the wire pull out. Victor Wooten lost all credibility when he started endorsing huge, and hugely expensive, power cables that don't do anything. I'm surprised he doesn't have a Shakti Stone atop his amp. Maybe they can't afford him? 😮

Neither do audiophools who spend a fortune on oversized cables that don't do anything other than depleting their bank accounts. 😉

It's far larger than the wire in the voice coils. 😎