Bill Fitzmaurice

You can't leave half a 210 at home when you only need a 110.

They're quite good. They don't have the thermal capacity of the Deltalites but they have what really matters, xmax. At 5.2mm the 2012 has more output capability than the 2512 with 4.9mm. I run a 2012 in my personal JackLite 12 cab and it does the job nicely, while weighing almost nothing.

Doubling the cab count gets you 6dB of additional sensitivity/maximum output, which is the equivalent of increasing power by a factor of four. The higher power output from the amp when the impedance load is halved doesn't result in the increased output, it's just a byproduct of the process. Putting the second cab atop the first makes the mids and highs more easily heard, which also increases the perceived loudness. If that's not enough then a better amp can be tried. While the 500w rating of the neo Rumble 112 is so much fluff it's loaded with a Basslite 2012, which has a real world mechanical capacity of 150w. A pair of them could handle a lot more amp than the TC the OP has.

Meters always measure DC resistance, which is on average 20% lower than impedance. It takes a much more complicated tool to measure impedance.

The reason for using an FRFR speaker is to remove speaker coloration from the equation, not to have overall flat response. Then the only tone shaping is done by the amp. In theory if you provide that tone shaped signal to the PA via a DI, which must be either in the amp post EQ or driven by the amp output, the sound in the PA will be the same as that from the stage. In theory, because it requires that the EQ at the console be left flat, that the PA subs aren't boosted in level, and that the in room response be the same in the audience as it is on stage. It's one of those ideas that seems to make sense but very seldom proves to actually work, because sound engineers are seldom if ever content to leave things alone. You may think that your tone is your business, but they tend to think that it's theirs.

Sadly you didn't get my drift. 😁

Since you have a driver that can't be used and a speaker that can't be used you've got nothing to lose by trying it.

Well this thread is a disappointment. I thought basshead56 might actually be Tal Wilkenfeld. 😄

Yeah, but audiophools are nuts. These are the same guys who believe in all the nonsense debunked here: https://www.skeptic.com/eskeptic/10-01-06#feature True Hi-Fi makes no alterations to the sound. With recordings that's a good thing, as all of the EQ and other effects required to get the desired result have been applied in the studio. IMO electric bass requires alteration to the original signal, via EQ and speaker coloration and if you care for it effects, to give the best result. Even if the bass was recorded straight to the desk in the studio the chances of it not being EQ'd and compressed in mixdown are slim to none.

200 honest watts is sufficient. Finding honest specs is the problem. No matter how much power the amp has your average PA twelve inch speaker won't take much more than 50 watts before distortion sets in, so 200 watts gives plenty of headroom. That opens a different can of worms, one you've already been made aware of. I still stand by my rule that you only get one chance to do it right the first time.

Ask ten people what makes an amp hi-fi and you'll get twelve answers. Besides, the amp is only half the equation. Speakers that have no coloration are rare. There are some that are so colored that pretty much any amp will sound the same through them. I wouldn't worry about how any amp or speaker might be classified and just use what sounds good.

A vented cab should be lined with an inch or two of damping. If sealed it should be totally filled.

Where the circuitry is concerned Behringer is perfectly OK. Where they cheap out is on connectors, both external jacks and internal ribbon connectors, so they're not as physically durable as many more expensive options.

There will be times when you won't want to bother, but I'd approach it with the attitude that it's better to have the capability and not need it than to need the capability and not have it. That mainly falls on the mixer.

Maybe that's why you're still playing small pub gigs? 🤔 I get what you're saying, it is a lot more work to run everything in the PA. I've done so since the 1980s because no matter how small or large the venue I want to sound as good as possible. As for sound checking I hardly do any. Auto EQ sets up the system to the room in a matter of seconds, and since I can see what's happening with the board even with the mains power amps off I'm not bothering patrons either. The only thing I spend much time on is the monitors, as I know if they're right the FOH will be right too.

When mixing from the stage I run the same mix in my monitors as out front, so I can hear if something is off. I also have a mixer with full LED output level metering on every channel, so what I might not hear I can see.

They have in common Eminence drivers that don't have long excursion capability. If you go to something like Barefaced that has long excursion drivers you can get the same output from a smaller box using half the driver count. But, and there's always a but, the tone and timbre that shorter excursion drivers contribute to the result isn't going to be there. Whether or not that works for you is 100% subjective. We all do, it's unavoidable, even among those who know better. http://seanolive.blogspot.com/2009/04/dishonesty-of-sighted-audio-product.html

Having different phases isn't a real issue. Having outlets with different ground potentials is. If correctly wired you don't see that, but wherever electricity exists Murphy's Law is in full effect.

For that price as already mentioned used makes a lot more sense than new. Even if 12 channels pushes the budget envelope the saying 'buy once, cry once' applies.

Rookie mistake, though you see plenty of old timers dong it too. Everything should go into the PA. It's not about volume, it's about dispersion of the mids and highs. Every amp, including yours, has limited midrange and high frequency dispersion. Highpass all the instrument channels at 100 to 125Hz. This means buying a mixer with at least twelve channels. If you try to save money with a six or eight channel mixer you'll either lose money by having to replace it early on or lose functionality by not having enough channels.

What's often described as 'punch' is distortion when the driver runs out of excursion. Vintage drivers had that in spades, as they had short xmax and ran out of excursion at low volume levels. Modern drivers have longer xmax, so they can go louder with less distortion. If you like the sound of short xmax drivers you're most likely to find them in the least expensive cabs. You're least likely to find neo drivers with short xmax, as neo isn't used in low end drivers, being more expensive than ceramic.

Foam or polyester batting would add maybe a quarter of a pound.

Pedals are for guitards.

It's not neo magnets. Eminence for one designed their neos to sound as close as possible to their ceramics. A lot of factors influence the sound, but magnet material isn't one of them. However, any new drivers will tend to be brighter sounding than very old drivers. That's because new drivers have tight suspensions, which soften with time and use.

It's just a matter of having the right tools, and he who dies with the most tools wins. 😉