Bill Fitzmaurice

It uses a coax version of the Eminence Delta Pro 15, so there's no reason to need 300 watts. 100 valve or 200 SS should suffice.

Clean is far more a matter of the speaker than the amp. Where amps are concerned 1% distortion is high. Where speakers are concerned 10% distortion is within the normal range. The cleanest amp in the world will still sound dirty with speakers that are dirty.

If you think that's bad get a load of this, and I do mean load: https://musysic.com/products/musysic-professional-4-channels-2x9600-watts-d-class-1u-power-amplifier-mu-d9600 😄

I wouldn't call my drummer of the last 35 years gentle. But he doesn't let his ego get in the way of his musicianship. None of the better drummers I've ever worked with, whether I was on stage or in the FOH, were pounders. That's a very long list, and where FOH is concerned includes some very familiar names, including Ringo.

Absolutely it's drums and guitars that threaten one's hearing. If you, or for that matter they, need protection they're playing too loud. I remember doing that. Back in the days when we didn't know the difference between good and loud we played good and loud! In our defense that was when PA support didn't exist. There's no excuse for it today. The backline carries the stage, the PA carries the room.

😄 I was in Baghdad while you were still in your dad's bag. I played in my first band in 1965. Some of the guys in my circle of musician friends back then were Steven Tallarico, Joe Perry and Tom Hamilton. Maybe you've heard of them? They wanted me to join them in 1970, but I was in college and didn't want to go full time as a touring musician at that point. After I got my degree I did.

If the bass on stage is so loud that you need ear protection it's too loud, period. Low frequencies don't cause harm the way high frequencies do. Taking that into account industrial noise ordinances use the A-weighted scale, which doesn't register low frequencies. There's also the matter of the bass usually being louder out front, where you don't have boundary reflection sourced cancellations that are usually present on club size stages.

It used to be that NL2 and NL4 weren't interchangeable, but Neutrik has been for a while. On that I'd only buy Neutrik. Knock-offs have been known to cause problems.

This raises the point of what pre (gain) and post (master) do. The gain knob sets the drive level. The higher it's set the greater the ability to get over-driven tones. The master sets the power amp level. The higher it's set the louder the amp goes. To get over-driven tone without excessive volume the gain is set high, the master set low. For the cleanest tones the gain is set low, the master set high. No law says you can't run the gain at full, or the master at full. You may do either, you may do neither, you may do both. Horses for courses. From a historical context the volume knob on vintage amps equated the gain knob on modern amps. The higher you set that the greater the ability to over-drive, but it was always accompanied with going louder. The master was added to allow one to crank the gain without cranking the volume. Setting the master at full takes it out of the circuit, giving the same topology as a vintage amp.

It was the stage lighting that made everyone's hair appear lighter, except Jerry.

So near, yet so far. They had separate arrays for every instrument, as well as the vocals. Today we accomplish the same result with just PA arrays. They didn't have floor monitors either, the PA arrays in back of them were their monitors. In order to prevent feedback they placed two mics close together, with one wired reverse polarity. The sound from the PA reaching both of them was cancelled out, so no feedback. Their vocals weren't cancelled, as they sang into only one mic of the pair. They had two of these systems, which leapfrogged each other from gig to gig. That got old fast, they abandoned it after only seven months of use.

That's not flat, it's full cut. Nor would you want the EQ flat, anymore than you'd want flat beer.

Eminence has a factory in China, so they may have been real Eminence. US made Eminence use components sourced from Asia, so Asian and American Eminence are built from the same parts.

And that's not the worst of it. Totally inadequate, unless you use eight of them. 😒

Your sound is 1/3 amp, 1/3 speaker, 1/3 room. Guitar players are relatively unaffected by room acoustics and the finer points of speaker placement, but knowing how room acoustics and speaker placement affect the result is critical for bass players.

Thermal power ratings are worthless, as are driver sizes. The only way to know how cabs compare on paper is with SPL charts and driver excursion specs, which are written with invisible ink, stored away in the deep recesses of Churchill's bunker, guarded by Agents of Shield. 🤥 Since the K212 is local go try it, along side the 210. Then you'll know for sure.

The ring circuit notwithstanding it's as I surmised, the available current at the outlet may be much higher than the lead being plugged into it can handle, so the lead is fused. The US isn't all that different. Most circuits have a 20 amp capacity, while the lead going to, say, a lamp is only 15 amp rated. But that much differential isn't enough to justify separate fusing of the lead. In theory very low current devices could use a smaller gauge lead, say 5 amp or less capable, but we don't see that. Even with a table lamp the smallest gauge lead tends to be 1mm.

The only logical explanation for why else is to provide a secondary level of protection. Assume that the mains outlet uses wire with a 20 amp capacity, connected to a 20 amp breaker at the service entrance. Now assume the wire from the outlet to the device is only 10 amp capable, but it's connected to a 20 amp device. That wire could overheat and short out or cause a fire long before the 20 amp breaker tripped. Happens all the time. Separately fusing the lead at its capacity removes that hazard.

GB doesn't?

Not many listings in the UK probably because not many made their way to the UK. You'll find some at www.reverb.com and www.ebay.com. For instance: https://www.ebay.com/itm/144982421038?chn=ps&_trkparms=ispr%3D1&amdata=enc%3A1QHX3XjvPTzWl_jZ2F_t1NQ61&norover=1&mkevt=1&mkrid=711-117182-37290-0&mkcid=2&mkscid=101&itemid=144982421038&targetid=1587262742097&device=c&mktype=pla&googleloc=9002322&poi=&campaignid=19894961968&mkgroupid=148855406073&rlsatarget=pla-1587262742097&abcId=9307911&merchantid=6296724&gclid=Cj0KCQjw98ujBhCgARIsAD7QeAiIFak5XPfAirUR05QyDvaH516mB5KUXgw-xxMFK3G1NPuTIbKoD08aAjkIEALw_wcB

The same point as listening to music and TV on my home theater speakers as opposed to headphones. I prefer the ambience that you can't get with phones. As for monitoring, I've been monitoring all of our instruments through my floor wedges since I had a console capable of doing so, with a single feed. We've never had the desire or need to use individual feeds. It might not work for you, but it works for us.

IMO the 'Everything through the PA with no backline' pendulum, as opposed to huge backline with PA for vocals only, has swung too far. I started downsizing the backline, upsizing the PA, back in the 80s, based on the premise that the backline need only be large enough to have sufficient stage volume to allow one to get their preferred tone and feel, while the room is driven by the PA. That means no 810s, no Marshall stacks. Not even Vox AC30. But it doesn't mean no amps. As in all things the best results are had when one practices moderation.

That's what it means, but for the most part it's not the case. By and large bass combos and inexpensive powered PA boxes use the same woofers. In boxes of similar size they'll have similar low end response. PA boxes tend to use better high frequency components, which allows a lower crossover frequency. That doesn't make response any wider. It does make for better off-axis dispersion in the mids. The main difference lies in the amp EQ voicing. Bass amps tend to have a lot of coloration, powered PAs don't. Most players prefer the coloration of bass amps. If they didn't it wouldn't be there.

They should be the same polarity, the standard is for the + input connector to be wired to the + driver lugs, but it's not guaranteed. Once upon a time, for reasons unknown, JBL had the black lug positive, the red lug negative, the opposite of convention.

Quite right. Impedance alone doesn't define how loud a cab will go. It has nothing to do with power. The reason a 4 ohm speaker will go louder than an identical 8 ohm speaker is excursion. An amp at the same settings will deliver the same voltage into both, but the excursion of the 4 ohm speaker will be longer, so it will be louder. The fly in the ointment is if the speakers are identical other than impedance. They almost never are. If you compare the T/S specs on the Eminence Kappa 15A and 15C, one of the very few drivers made in 4 and 8 ohm versions, the rest of the specs aren't the same. Even the DCR isn't doubled from the 4 ohm to 8 ohm versions, they're 3.68 and 5.22 ohms respectively. Most significantly, the xmax of the 4 ohm is 2.44mm, that of the 8ohm version 4mm. That being the case the 8 ohm can go significantly louder than the 4 ohm.