Bill Fitzmaurice

The name 'Nashville' says it all. That's the home of country music, pedal steel is the instrument of country music. Peavey also made a Nashville 112 and Nashville combos, all for pedal steel.

The last time I saw ZZ Top they had twenty or so 1x12 combos. But that was to impress the kiddies. Billy and Dusty were actually using only two each. Then there's the matter of stage monitors. Touring acts have considerably more monitor power than club bands have for the main PA, so the stage levels are still substantial, even without backline speakers. Journey, for instance, had amps and backline speakers but they were out of sight back stage. They heard what the amps were doing through the monitors.

I've never cared for IEM or going amp less. I've always put everything through the PA, including the monitors. We've always played at comfortable stage levels, where we don't have to raise our voices to speak to each other. And what's key to that is never having a guitar player who uses more than a 1x12 combo. What people lose sight of is the original intent of IEM: being able to hear yourself over too high stage levels. IME when your stage levels are reasonable you don't need them.

You need to remove watts from the conversation. You're looking for more output, I get that, but of the half dozen or so factors that will give you that watts isn't one of them. You've already received some good advice, you should heed it.

Seeing as my golf club isn't open yet I have time. Plus I just went through just about every bass driver made to update recommendations for my designs, so I already have all the driver data I need on hand.

Obviously, or you wouldn't have asked the question. But more than a few of us here use it, some of us almost on a daily basis.

Anyone even moderately skilled using speaker modeling software can make a valid recommendation by reverse engineering the box. All they need is the precise internal dimensions. Conversely anyone who makes a recommendation without having done so should be ignored.

The only thoughts that matter are yours. 😉

If you have mains that go low or subs the problem is that they will reproduce what you may not want. Backline speakers don't go low. F3 on an SVT 8x10 is 58 Hz. The main components of electric bass should be the second and third harmonics. When you corrupt that by having the fundamental as loud or even louder than the harmonics the result sounds like a teenager driving past with his 5,000 quid sub in his 500 quid car. 🤔

High passing the vocal mikes is critical as otherwise they'll pick up unwanted low frequencies as well.

With guitar as well as bass low frequencies that you don't hear through a standard back line amp plus cab can be present when DI'd to the PA. High passing gets rid of them. If you could see the actual frequency response charts of guitar and bass amp cabs you'd be quite surprised, if not shocked. That's one reason why you can't find them.

It won't. For that matter it won't bother bass either. Better FOH engineers will high pass the bass channel at 60 to 80 Hz, to have the bass response in PA the same as that of back line speakers. I high pass guitar at 125 Hz. Strings don't create sub-harmonics. They have to be artificially generated.

I wouldn't go hopping on that band wagon. If loaded with premium 8 inch drivers the total cone displacement will be perhaps 1000cc. Four tens of equal quality would have 900cc of cone displacement, which is close enough to call it even. The response of the eights might be a bit better in the highs, but by placing them side by side much of that advantage is lost to comb filtering. That side by side placement also loses midrange off-axis response compared to vertically arrayed tens. Tens of equal quality will go lower than eights. A pair of two tens is a smaller arrangement, and you can leave one of them at home when you don't need both. IMO all things considered those considering one should reconsider.

Without knowing what the sub in question is this is all blind speculation.

The video is informative, but completely ignores wall loading subs, which is far more effective than placement in front of the stage, not only in terms of how well the subs will work but also because in most clubs center placement is impractical, if not impossible.

A line source projects an equally high wavefront, with the sound intensity at any single point of that wavefront only a portion of the whole. With a point source all of the intensity lies within the much shorter wavefront. That being the case even when a mic near the speaker is within the wavefront the lower intensity at the mic with a line versus point source reduces the potential for feedback.

The Bose configuration is intended to widen high frequency horizontal dispersion. They did it that way instead of the right way, which is to use tweeters rather than just midbasses alone. That's true of large arrays, 3 meters or more high. With shorter arrays the main benefit is the reduction of the vertical dispersion angle, especially in the high frequencies. This sends more energy to the audience where you want it, less to the floor and ceiling where you don't. The result is much cleaner sound, especially in acoustically poor environments, which is probably 95% of the clubs we play. Even a short array of tweeters only 40cm high can work much better than the typical point source horn used in most PA speakers.

It wasn't all that large, and that's one reason why it was horrible. There wasn't enough air space. It would have with a flat baffle, but not with the angling. Plus it wasn't ported, and it used guitar drivers. Fender didn't make a decent bass cab until the 1980s. I designed guitar cabs that are cross-fired inward and angled upward and they work very well, but with guitar cabs the air space doesn't matter.

De-coupling can work, but not for the reasons given by their proponents. Stages don't vibrate in response to being in contact with a cab. They vibrate in resonance with the acoustic output of a cab, which can then cause the cab to vibrate. In extreme but very rare cases that can result in a low frequency feedback loop. Isolation by and large doesn't do much, as it doesn't address the cause. What does work is a parametric EQ, to dial out the resonant frequencies, and lifting high enough to create a floor reflection null at the primary resonant frequency. Identifying the resonance used to be a matter of trial and error, but RTA apps make it easy. I have this one on my phone: https://play.google.com/store/apps/details?id=com.dom.audioanalyzer&pli=1

Gesundheit.

My preference is to hear what they hear. To each their own.

By all means don't forget the banjo, starting at 3:25. https://www.youtube.com/watch?v=yQhCtyHpVB0&t=124s

No stand required. Tilting the cab back does what you need. The top picture is a cab flat on the floor. The audience is within the arc where the mids and highs are audible, you're not. The bottom picture is tilted back. Both you and the audience are within the mids and highs dispersion arc.

I always wondered why the English were so hell bent on conquering Scotland. Sure, they had bagpipes, kilts and haggis, but otherwise what was the attraction? Scotch? Not that we were all that smart for acquiring Texas and Florida. That's come back to bite us in the arse big time. 😲

Lighter fluid and a match.