Bill Fitzmaurice

Give them a low ball offer then redo the Tolex yourself. I try before buying.

That's where the voltage and amperage ratings come in. Most wire is rated at 600V. A 1kV amp into a 4 ohm load is 63v. 14 gauge wire is rated at 15A. Said 1kV into 4 ohms is 16A. However, those ratings are for constant full voltage and current. Amps never run at constant full voltage and current. Even 50% duty cycle would be unusual.

There's only one case where that makes sense, that's when you have a 2x that's 8 ohms and a 4x that's 4 ohms, with all six drivers being identical, and the amp is rated for 2 ohm operation. Otherwise go with the one cab that gives the better results.

Kid stuff. When in college my bassplayer (I was lead guitarist, sorry...) asked me to design him a no holds barred cab to house three fifteens. I modified the Jensen Imperial folded horn to fit them. It stood some 6 feet tall, 3 feet wide, 2 feet deep. He made it from 1 inch MDF. We never knew how much it weighed but it took all five of us to lift it in and out of his van. We named it 'The Hulk'. 🫢 Entwistle would have been envious.

Exactly that. All else being equal, although it never is, four tens have 6dB higher sensitivity than two tens. That's equivalent to a four fold power increase. It's more complicated when the drivers and enclosure tunings aren't identical, and they're not all parallel wired, but for the most part adding drivers alone without adding power will still go louder.

Perhaps. Since the lows from your own speaker radiate omnidirectionally they should not be in the monitors. The mids and highs are directional, so they should be in the monitors. For that reason the bass feed to monitors should be high passed at the transition frequency to directional, around 250 Hz.

"If it sounds good it is good." -Duke Ellington

20,000 mAh sounds impressive except mAh stands for milliampere-hour. That means a more sensible/honest rating is 2 Ah. That well may be compatible, but you want to be sure of it, and that the USB cable is rated for at least that.

Because both amp and speaker ratings are written by marketing departments, not engineering departments. Watts sell gear, amperes and volts don't. Wire capacity ratings come from engineering departments.

I would think that putting a mic in front of a double bass wouldn't work well, if at all.

That's why the cabs have two jacks. Make sure the impedance load isn't too low for the amp.

Close enough, side by side you wouldn't be able to tell the difference.

Blue Aran has them listed but with a long lead time for whatever reason.

That cab as it turns out has roughly 50 Hz tuning, which is pretty much ideal. It's a bit small in size, frequency response is better with one driver than with two, but that's pretty common with cabs designed before the advent of Thiele/Small modeling. A moderately priced driver that works well in it is the Lavoce WXF 15.400. The cab being small it won't deliver massive lows without a considerable amount of bass EQ. but between their 400w thermal capacity and 6mm excursion a pair of them will work very well, far better than any vintage driver would have, including the JBL E140.

If anything the laser beam highs from guitar cabs mean they're what needs the most to be in the PA, both out front and in monitors. For all their fussing over gear they tend not to understand how it works very well. No one needs more than a 1x12 combo. But somehow far too many of them think it's still 1965 and they need rigs capable of filling Wembley with no PA.

Not necessarily. Running instruments through the PA in small to medium rooms isn't about volume, it's about dispersion. No matter how loud the drummer plays the higher frequencies will always be coming from his kit and won't fill the room. The same applies to all the instruments. Where levels and balance are concerned leave that to your sound man, because he can hear what's out front, you can't. Most of the time my sound man is me, so the only way I can gauge what's out front is to have that same mix in the monitors. If I didn't have them I'd have nothing to go by. I just high pass them at 150-200Hz to keep the mud out. If you do it right you're unaware of what the PA out front is doing while on stage it sounds just like a good studio session. On the subject of drummers and big monitors, in one of the worst examples I've ever heard the drummer had a 2x18 monitor right next to him so he could feel his kick drum. The trouble was with every kick it fed back though the mains and the ringing boom masked everything else. The sound man was clearly an idiot, having no idea as to what was happening or how to fix it. I left halfway through the show, unable to handle it any longer. Now one could say that wouldn't happen with an experienced drummer who had a clue, but it was Max Weinberg. I'd say it's a safe bet that Bruce's crew does a better job. ☺️

All I need is the exact internal dimensions, preferable as a top view cutaway.

In this case it's not so simple, as the ports are tapered. Basic ported box speaker modeling software can't account for that. You can do it with a more sophisticated tool, like HornResp or Akabak, but they require a high degree of expertise. However I do happen to have that high degree of expertise, and my rate is reasonable. Free. ☺️

I can't imagine not having it.

Not necessarily. If you see aluminum domes they were probably JBL. When Sunn first came out with the 200S one thing that made them better than the rest was JBL drivers as standard, rather than as optional. But that also made them expensive, as JBL cost two to three times what others, like Eminence, did. I still remember buying JBL E-140 for $75 USD in 1970. That would be $700 today. In the early 70s Sunn went to the far less expensive Eminence in most of their cabs, but still offered JBL as upgrades.

Square magnets and small domes were characteristic of early Eminence drivers.

They were pretty good bass reflex cabs. Not folded horns as they claimed, but bass reflex with tapered ports, a seat of the pants design, as there was no folded horn or bass reflex design software then and the designers, Norm (of The Kingsmen) and Conrad Sundholm weren't trained in speaker design. The drivers were Eminence rather than the JBL they used in the earlier 200S and 2000S. Driver sizes are approximate, so it's not unusual to need to do some work on the baffle to get replacements to fit.

Thanks. BTW, the columns I used were Shure Vocal Masters. They were too tall to work well as monitors, which I fixed by cutting them in half. That gave us four of them, so there were no dead spots on the stage. This was 1973-74, when monitors were still almost unheard of, so we were quite pleased to have them. I'm not saying I invented them by any means, but I'd never seen monitors used in clubs prior to that. They came about because the band had the Shures when I joined, while I brought along the JBL 4550 copies that I had built, so it was either figure out a use for the Shures or leave them in the van.

No problem at all, I used to do this when touring in the '70s. Since our gigs were usually a full week I used to hang them in front of the band if there was available rigging.

If my sound is dull or flat it's time to change strings. ☺️