Bill Fitzmaurice

Longer throw, via the speakers being in the nearfield condition so the level drops by 3dB per doubling of distance rather than 6dB, only occurs when the line is at least three wavelengths high. That's easy enough at 5kHz or higher, not so much at 100 Hz, where three wavelengths is about ten meters. Wider horizontal dispersion, twice as wide above roughly 300 Hz, is the main advantage with other than Grateful Dead Wall of Sound back lines.

You will, because it puts drivers closer to your ear level. It's one reason why 810s are so popular.

To put that into context for the same output level you need at least twice the cone displacement with bass as you do with guitar. To realize twice the displacement requires double the voltage swing, which is four times the power. You may need as much as four times the displacement, which is four times the voltage swing, which is sixteen times the power.

Surface area by itself means next to nothing. What matters is area x excursion, ie., displacement. BF lists it, Ashdown doesn't. In any event you're not going to get anywhere near what the BF you have is capable of with 30 watts. 300 would be more appropriate.

Attenuation is likely required, but using series resistors, which is what it appears to be, is the wrong way to do it. An LPad is the right way, be it variable or using a fixed value with series/parallel resistors, just as using an NPE cap as a basic high pass filter is the wrong way to divide the frequencies and provide proper protection for the tweeter. Where the enclosure is concerned you can get a decent result with that driver, but because of the massive Vas not from 95L. 200L with 35Hz Fb is pretty good, but as the OP already has the box in hand that's probably not an option.

Looks the same to me, other than the paint. If the OP's was an OEM that might explain it, as OEM very often left out cosmetic touches.

I can't help, it's not familiar.

The values of the resistors don't matter, you don't want to use them. As mentioned a crossover splits the frequencies to highs and lows. That capacitor isn't a crossover, it's a high pass filter, a very poor one at that. TBH I wouldn't bother with the tweeter, unless for some reason you feel the need for it. A fifteen doesn't reach high enough to be used with a tweeter of that sort. If you want improved upper midrange/lower high frequency response and dispersion a sealed back 6.5 inch will work far better...with a real crossover, of course. You can find full specs on the woofer here. The page is in French, but that doesn't affect the T/S parameter abbreviations. https://petoindominique.fr/php/mysql_thiele_seul.php?hp=5054

By and large a pair of 100mm ports would be good with a pair of tens, but port velocity goes up as driver excursion goes up, so you need a lot more area with 8mm xmax drivers than you do with 4mm xmax drivers. I model the box at the voltage that reaches xmax within the speaker passband and adjust the port dimensions as required to keep velocity no more than 20m/s. I never use pre-made ports anyway. Some recommend no more than 17m/s, but it's not like you're constantly hitting xmax. If you are you've got the wrong speaker/drivers.

The number of ports doesn't matter, only the total area. I routinely use four corner ports, as they also brace the top, bottom, baffle and sides. That said 100l is huge for two tens. Two twelves would be more appropriate.

This was common in the days before 3 wire mains cables were used, which insure that all devices are properly grounded. But it usually presented a problem only if one was holding a guitar and touching the mic. Just holding a mic should never present a problem. Even if the mic body is receiving current she would have to be a path to ground to feel anything. Have you had someone else hold the mic to see if they feel it?

With regard to modeling software it only predicts response within the region of pure pistonic response, which is roughly to two octaves above the driver Fs. To see what happens above that use the SPL chart on the driver data sheet, which is not influenced by the cabinet. I can't comment on the Eminence software, as I've never used it. For direct radiating speakers I use WinISD 0.7.

Behringer has of course acquired many brands, giving it legal access to many designs. Go back to the 1990s and they blatantly copied other companies gear, like Mackie and Roland, without the benefit of owning those companies. They're still at it, the Klon Centaur pedal being one example. Not that plagiarism in the gear business is unusual. Jim Marshall copied Fender circuits, and there are innumerable clones of Strats, Les Pauls, P Basses and J Basses. Behringer was a bit different, as at one time it seemed that everything they made was a copy.

Only with valve power stage. SS outputs have a minimum load, but no maximum. Valves have a maximum load, but no minimum. Many valve amps incorporate a switched output jack that will short circuit the output when nothing is plugged in, to prevent damage in that event.

Make the internal volume and port area and length the same as the original box. Wire the drivers series/parallel, use whatever type jack is on your other cab.

SS amps don't need a load, valves do.

Behringer has good designs, if not original, so for the most part they work well. But they keep the cost down by using cheap hardware.

BTW, all the pots on your amp and bass should be cleaned once in a while. Otherwise dust inside can scratch the resistive track and once you do that replacement is the only option.

It needs cleaning, with this or the equivalent. https://www.crcindustries.com/qd-electronic-cleaner/

+1. The original SVT had drivers with 1mm xmax. That's why it took sixteen of them to handle the SVT head. You can find ads from 1969 showing the SVT head with two SVT 810 cabs. As driver technology improved the need for that many drivers lessened. Today you can find tens that are the equal of eight of the original SVT drivers.

Without specs you can't model the result to compare them. However, at 1.8mm xmax the Delta 10B (B stands for 16 ohm) was not a bass driver. It was intended for PA tops that weren't run much below 100 Hz.

Being closer to the floor doesn't attenuate highs, it just makes them harder to hear, being more directional than low frequencies. You get the best results with the cab aimed at your head.

By and large 50Hz tuning will give the best results with the average driver. Premium drivers may work better with 40-45 Hz tuning, but these aren't premium.

The main issue with the Beta 10 isn't tone, it's the paltry 3mm xmax. That limits it mechanically to 30 watts or so. That wasn't so bad when it came out some 30 years ago, but it's not up to today's standards. This also could have been built on the BP102 motor, where xmax is a far better 6.2mm. No way of knowing, really, unless you have a friend with a Klippel analyzer.

Eminence generally will not give out specs on OEM drivers. Chances are that's a 16 ohm version of the Beta 10. Measuring them yourself isn't difficult, but you need the necessary gear.