Bill Fitzmaurice

That's about 60L tuned to 55Hz. The LaVoce is fine with that. The Pulse is not.

Tracking down noise is easy. Download a sine wave generator program or app, play it through the rig, slowly sweep the sine wave tone starting at 50Hz.

8 minutes ago, Balcro said:

It looks as if Bill Fitzmaurice has found a really useful speaker. THe LAVOCE is  £120 from bluearan.co.uk.

I've been an Eminence endorser for 25 years but post-Covid their prices have skyrocketed. LaVoce has supplanted them in the mid price range.

20 minutes ago, BigRedX said:

 

The volume has been given as 90 litres earlier in the thread.

Considering the OP converted it from an air head to a pure cab I'd want it confirmed by him. In any event it's not the 200L that the Pulse 15 requires to eliminate a midbass hump in a ported enclosure. Because of its high Qes/Qts I'd only use the Pulse 15 in a sealed cab.

The Pulse 15 is best suited for use in a very large box, at least 200 liters. In a box the size of yours, or what I think is the size of yours as you haven't posted it, it's going to be boomy. My preference for a reasonably priced fifteen for average size ported cabs is the LaVoce WXF 15.400. It's not boomy, and it has higher sensitivity and mechanical power capacity than the Pulse 15.

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. 

3 hours ago, chris_b said:

Bands like ZZ Top have been ampless on stage for years. IMO the lack of "soul" and not "feeling it" etc comes from the players being out of their comfort zone and letting that affect them.

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.

5 hours ago, ProjeKtWEREWOLF said:

I've just found a k series 4x10 for £180. Hmmmm. 600w at 8 ohms.

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.

40 minutes ago, TRBboy said:

 

I've never used speaker modelling software and have no idea where to start with it unfortunately.

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.

Quote

The main benefit of a line array is that they throw sound very effectively, so those furthest from them hear clearly.

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.

1 hour ago, bremen said:

Fender did a 4x12 with angled speakers, as Mr Paul says it was huge.

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

37 minutes ago, Baloney Balderdash said:

 kazoo

Gesundheit.

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