Bill Fitzmaurice

Yes, because the added cone displacement of a second cab gives a sensitivity boost.

Plug them in, play through them. We can't tell you what you'll think of them, only you can do that.

I've never used larger than 14 gauge. 16 gauge is sufficient with the short length of an amp to cab lead, but since I always have 14 gauge on hand for use with PA that's what I use.

A mic is better anyway, as it captures the same thing that you hear. But all is for naught if the guy behind the console doesn't know what he's doing. IME, which includes just about every top touring act of the last 20 years. most don't.

Not on Sky News. 🙄

Voltage sensitivity would be a wash. You'd gain 3dB from mutual coupling, but lose 3dB from the doubled impedance. You would still realize as mush as 6dB additional maximum output, but it would all be power derived, if the amp had the power available to give. True. Even in parallel the results would be unpredictable.

Google 'sarcasm'. In France it's Macron's fault, in Germany it's Scholz's fault, in Australia it's Albanese's fault. They don't blame Putin in Russia, on penalty of death or being conscripted (the same thing, actually), but the reality is that it is his fault everywhere. 😉

There's a fine line between raising prices enough to maintain a profit margin and raising them just enough to stay in business. Small entities like BB are more able to walk that line, not having either shareholders to placate nor a top heavy management to feed. As for profit, here also small entities tend to not have any. If times are good whatever may be left over after covering salaries and costs don't go to shareholder dividends or executive bonuses, they get reinvested into the business.

It's all Biden's fault. 😫 Oh, right, you're in the UK. It's all Johnson's fault. 🙄

+1. I alternately chuckle and roll my eyes when I see blokes saying how when they try an amp for the first time, be it on stage, at home or in a store, that they automatically put the EQ knobs at 12:00, because they want flat response, when the reality is that they've probably never heard truly flat response in their life. 🙄 Sir Paul, or is it Lord Paul now, still doesn't read music, and yet somehow he gets by. Neither did over 90% of the top musicians going back to the 1950s. I've worked with school trained musicians who could sight read, and their chops were as lifeless as ten year old flatwounds. IME you've either got music in your blood from birth or you don't.

I use a Jack Lite 12. I have a Jack Lite 15, it's only been used once at an outdoor gig. Indoors I don't need more than the 12. When I designed them I was after a similar tone to my favorite rig when I was touring in the '70s, the JBL 4560A, in a much smaller and lighter package. The 4560A was a monster, but in the days before PA support that's what you needed.

Coming up with a true FRFR cab isn't a problem for me, irrespective of budget. I don't use one because I don't want one.

True, larger drivers don't necessarily go lower, nor do smaller drivers necessarily go higher, as is all too commonly assumed. In a properly engineered multi-driver speaker that's not why larger and smaller drivers, each operating within their own frequency range, are used. Larger drivers are used to provide the necessary cone displacement to deliver the desired output levels in the lower frequencies, while smaller drivers are used in the mids and even smaller drivers in the highs to provide wide dispersion in those frequencies.

Yes, it does. The larger the cone the narrower the dispersion angle as you go higher in frequency. The cone size being too large is the reason for midrange and high frequency beaming. We don't notice it as much as do guitar speakers, because we have less high frequency content, but it's still there. If you're only listening to the cab on-axis the driver size doesn't make much difference, but most of your audience isn't on-axis. With fifteens they'll hear the tone change as they go across the sound field. The same applies when multiple drivers are placed side by side.

A tight fifteen could get you twenty. 😲

You'd think, but they persist. 🙄

The only way that happens is with PA gear. Bass amps and bass speakers have coloration. That's not the result of poor mechanical or electronic engineering, it's intentional. Truly flat response from a bass rig would be as appealing as truly flat beer.

Not everyone would agree with that assessment, myself for one.

Another identical 2x10 cab,vertically stacked. That's not a subjective opinion, it's objective scientific fact, and the science always works, whether you understand it or not. 😉

So long as the amp has a volume control no worries. Two salient points: First, if you're running at half perceived maximum volume an 800w amp won't be running 400w, it will be running 80w. Second, few speakers are able to take even half their rated power before they distort badly. When that happens turn it down. If it happens on a regular basis you don't need more power, you need another preferably identical cab.

Combos tend to be made with portability as their main goal, which means as small a loudspeaker enclosure as possible. That goes counter to Hoffman's Iron Law. If the size of your combo enclosure section is comparable to freestanding speakers then it's not likely that a separate head and speaker would be any better.

All of this is also well known, having been mathematically quantified by 1940. There's even software that will accurately map it out. For instance: https://www.comsol.com/acoustics-module

He could have saved a lot of time, work and wood by reading a book. Everything he 'discovered' and a lot more has been well known in the professional audio community since the 1950s. For instance: http://cyrille.pinton.free.fr/electroac/lectures_utiles/son/Olson.pdf And while he's identified how some changes in response occur he still doesn't know why.

There was no significant difference between the Fender bass and guitar amps of that era, other than reverb and vibrato. Their bass cabs weren't much different either, which was their main limitation of bass.