Bill Fitzmaurice

Seems like a good idea, but our hearing isn't linear with respect to power. It's logarithmic, requiring ten times the power to sound twice as loud. That's why logarithmic taper pots are used for volume controls. They may not be linear, but they sound linear.

In that case...there's Powersoft if you've won the lottery. Otherwise just search. Just be sure it's full range, not a low passed sub amp. Sub amps are very inexpensive, as they don't need low THD specs and other attributes because they don't operate where they're an issue. IMO a better option is to make the cab an airhead, with an integrated space for a rack mount amp that are abundant.

Not that I know of. Those I'm familiar with don't have a pre-amp and tone controls that are suitable. You'd still need that in a separate package or pedal.

Even worse, multiple sources playing low frequencies may cancel each other. Besides, what you don't need from monitors is lows. You need mids and highs, especially if your backline isn't aimed at your ears and the mids and highs from it are passing you by below the belt.

You can find third party sources for manuals for most amps. Google ' *** amplifier manual'.

It depends on where the lamp is wired to the circuit. Clipping can take place at every stage of amplification, from the input to the output. The manual should say. In general minimal clipping takes place when the master is on full, with the pre volume low.

The only people with any interest in your rig are other bass players. 😉

Aside from an old spare for emergency use, which of course I've never had a need for, I've never had more than one amp. You'd think I'd have a shed full of speakers too, but I don't. I've never had more than two on hand, most of the time only one. I've never owned more than one bass at a time either. The one I have now I made 25 years ago. I'm comfortable with what I have.

He may, he may not. When I do my initial sound check in a smaller room without major PA support I do it from out on the dance floor, adjusting my volume and tone for the best result there. Whatever that ends up sounding like on stage I live with.

Functionally a send and an active DI should be essentially the same. They may differ in whether they're pre or post EQ. The amp block diagram would reveal that.

At the very least either lift the cab or tilt it back to aim the drivers as close as possible to your ears. One of the reasons why the 8x10 gets so much love is its height allows you to hear the mids and highs.

Google 'boundary sourced low frequency cancellation'. You get it when you're close to boundaries. It goes away when you move away from them.

That. The cone area of a five inch cone, Sd, is around 100 square cm. Four of them is around 400 square cm. An average twelve is 530 square cm. Just as significant is the excursion limit, xmax, which combines with Sd to give displacement, Vd. Vd defines how loud a driver may go. An average five inch Vd is 50cc, making it 200cc for four. An average twelve Vd is 300cc, a high end twelve Vd is 500cc. There are a number of other factors which impact how low a five can go. They can go as low as larger drivers, but to do so they sacrifice sensitivity, which means less output per watt of input. I'm a big fan of fives myself, in the right context, which IME is as a midrange driver used in conjunction with a larger woofer.

You need sufficient gauge to handle the current without overheating and not cause voltage drop. At 1 meter it doesn't take much. Wire gauges are typically used in the same locales that use inches and feet, mm where they use metric, for the same reason. This is a must read if you don't know anything about cables. It's aimed mainly at the hi-fi crowd, as they tend to be more easily scammed by cable mountebanks than professional musicians, but the physics still apply. http://www.roger-russell.com/wire/wire.htm

I have no issue with buying rather than making your own, even though it's a ten minute job. But at least buy something that's reasonably priced, twenty quid tops. The reliability factor is determined by the quality of the connectors. Those I linked from Blue Aran are as good as it gets.

That's an insane price for a one meter cable. As for all the claims they make, they're piffle, the entire lot. A pair of these, along with a meter of zip cord from a local hardware store, is all you need. https://www.bluearan.co.uk/index.php?id=NEUNL4FX Just be sure to get Neutrik, not an imitation. The knock-offs have been known to cause problems. You're a bass player. You're supposed to be the smart one in the band. 🙄

When you've got four identical woofers sharing the same airspace you're not going to get a significant difference in response from each pair even if you were to bi-amp them, let alone dual amp.

The BN10-200X is displacement limited to 120 watts, so a 500w/8 ohm amp would have no problem driving four of them to maximum output. If you can't find one rated for 2 ohms rewire them to series/parallel for 8 ohms. BTW, you didn't bi-amp if you didn't have an electronic crossover. You were dual amping.

You might not need as much power as you think, nor dual heads. I may be able to confirm it knowing what drivers you have.

Actually it's small, low and sensitive. Money does enter the equation, as longer xmax drivers capable of going low in small boxes tend to be more expensive, but they still can't get around the sensitivity, so to go loud requires more power, which means a more expensive amp as well.

That has nothing to do with the magnet material. A higher Fs and other factors give the BN300S higher sensitivity in the mids, but also result in less low frequency extension. One of the highest sensitivity drivers ever made was JBL D130, which had an AlNico magnet. It also had very poor low frequency response, but that was an acceptable trade off in 1948, when 25 watt amps were state of the art. It was also designed some 17 years before the advent the Thiele/Small specs. Only after that did designers realize that the main way to get higher sensitivity, more magnetic flux, doesn't increase sensitivity linearly across the full audio spectrum. It tilts it to the mids and highs. Where electric bass is concerned you want to compare sensitivity where it matters most, 50 to 80Hz. You can't do that with manufacturer data sheet charts, as they are measured with the driver mounted in a wall, and don't show the results in an enclosure. You need to use speaker modeling software to do that.

Chances are you can't find one, not that it matters. Cab ratings are thermal, and next to meaningless. What matters is the mechanical displacement, how much air the driver cones can move without creating high distortion or suffering physical damage. You can find out the displacement if you know what drivers are being used and have their Thiele/Small specs, but cab manufacturers are loathe to reveal that. Barefaced does, with good reason. They boast as much displacement as anyone, more than most. It's the main reason why they're held in such high regard. https://barefacedaudio.com/pages/how-speakers-move-air-volume-displacement

K12H-200TC If the xmax spec is 2mm they have more headroom than most guitar drivers, the Greenback is 0.7mm, but the rest of the specs if similar to the K12H-200TC aren't well suited to guitar. I'd be very wary, as even the BN-12 300S has only 2.5mm xmax.

My concern about the K12T-200 is xmax. I can't find specs on it, but the K12H-200TC xmax is only 2mm. That's half what I'd consider the minimum acceptable. It results in a real world mechanical power limit of 25 watts. One can only speculate if the K12T-200 xmax is that short, but given the age of it and knowing Celestion came very late to the party where real bass specific drivers are concerned I wouldn't want to assume otherwise.

IMHO those who have that attitude have no idea what a 'pure' tone is and would be shocked to see the measured response of their rig. No component has flat response, starting with the bass, ending with the room where it's being played. If tone controls weren't meant to be used they wouldn't be there.