Bill Fitzmaurice

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.

The sound of the accordion, which is only surpassed by the bagpipes as hand held cacophony devices. BTW, it was the Irish who invented the pipes as vermin repellent. After the Scots brought the gift of the game of golf to the Irish the Irish returned the favor by giving the bagpipe to the Scots. The Scots didn't know it was a joke. 🤪

I've played every genre except polka, it's never influenced my gear choices.

What's that? Never heard of it. But then I've only been playing since 1965. 😉 Only when lifted at least 70cm, and even then the change could be for the better, it can reduce boom.

If that's what a symphony player had can you imagine Ian Anderson's system? 🤑

FWIW time was my band had all the volume we needed using a Fender Dual Showman Reverb 100w head into two JBL 4560A clones that I built. Vocals only, but with our backline we got by big time. My bass cab, 'The Hulk', would have made Entwistle envious. Three fifteens in a rear loaded folded horn that stood nearly two meters high. It made people run in fear for their lives with only a 50 watt Bassman head. Good times. ☺️

They play fast and loose with SPL as well, using not only peak but quoting it in the midrange where it's highest. They also ignore thermal and mechanical power compression. 😒

My assumption is that you have one, and that you like it. That's all well and good. But it's not loaded with premium long excursion drivers, and the 71Hz -3dB is underwhelming. The above mentioned Ampeg sells for 700 quid. The BF Super Compact is another 150, but that may be money well spent when it has the same capability as the much larger Ampeg. As for not wanting to spend much without question that means used. Another advantage to that is being able to try it, as one should only consider buying from a seller within easy driving distance.

Don't fall into that trap. Sound levels aren't measured in watts, they're measured in decibels, and there's no direct correlation between them. A 4 ohm cab may give slightly better results than 8 ohm, but just as watts don't tell the entire story neither do ohms. The potential issue with a 4 ohm cab is that it leaves no option to use two of them unless you have a 2 ohm capable amp. I gig with a 1x12. But that's my 112, and they're not all created equal. 😉 My point is you can't know the result just from watts, or ohms, or the size and number of drivers. I always take a test drive before buying a car. It should be the same with a cab.

There's your price for fuel too. When it spiked here coincident with our recession in 2008 large SUVs were selling at 30% and better discounts, and small cars became popular. As soon as the fuel prices went down vehicle sizes went up. The rage among idiots now is pickup trucks that are sprung so high it requires a ladder to get into them. Why I don't know, ground clearance is still dictated by how far the differential sits off the ground, but I suspect it's compensation for a certain physical...shortcoming. 😲

I would hope so. On this side of the pond the SUV has practically replaced the sedan, even though they have the same passenger space, while pickup trucks with size inversely proportional to the owner's IQ are the norm. The dumbing down of America is officially complete.