Bill Fitzmaurice

If it's loaded with four 16 ohm speakers they may be wired to 4 ohms already.

You can use a bass cab for guitar but you won't get any crunch or compression, let alone anything close to woman tone out of it. The only way you'll get anything other than totally clean is with effects...unless you manage to score a '59 Bassman.

The additional output is roughly 3dB, which isn't massive. If the 210 isn't enough you're better off with another 210. The main advantage to adding a 110 would be the higher position of the 110, making it easier to hear the mids and highs, but you can accomplish that with a tilt back amp stand.

Wrong forum. This is the PA section.

Higher frequencies seldom come from ports at a significant level. About the only time that happens is when a rear mounted port is in back of a woofer, which would be rare, as a port would have to be very short to fit there. When there isn't a direct line of sight through the port to the cone higher frequencies won't come through the ports at high levels. For that matter low frequencies don't actually come through the ports. This goes to how ports work. The air mass within the port vibrates back and forth, the portion of that slug of air that meets the outside air acts like another speaker cone. Unlike a speaker cone it only vibrates at and near the tuned frequency, so the bandwidth of the frequencies it passes at a high level is quite small, on average no more than an octave.

In this case it won't matter by much. Since the woofers only operate up to 800Hz that places their center to center distance within the required 1 wavelength, which is 42cm at 800Hz. There is some loss of horizontal dispersion below 800Hz where the woofers operate, but not enough to be concerned about.

Correct. You want the upper midrange/high frequency elements vertical. With a conventional 210 the tens are the upper midrange/high frequency elements.

If you're not getting huge thumping bass that sounds like an approaching Godzilla or some kid in a ricer then you're doing something right. I've worked with plenty of sound men at the top of the food chain who didn't get it right, prime examples of the Peter Principle at work.

Gut thumping bass isn't the fault of the gear, it's the fault of the person running it. 😒

What matters is the positioning of the tweeters, not the woofers, so you'd stack them as shown in the picture.

What sold me on my BMW 328 GT was room for my golf clubs and my gear, along with rear seat room for adults, with no compromising of performance.

How many of those tests involved measuring the results? The mere fact that you knew the cabs were front or rear ported would have influenced your perception. http://seanolive.blogspot.com/2009/04/dishonesty-of-sighted-audio-product.html

What matters is the cab internal volume, not the specific dimensions. As to damping it's required on all the internal surfaces.

It does, but it doesn't matter. Low frequency projection is 360 degrees. That means rear ports project as much sound to the front as they do the back. By the same token front ports, and for that matter the cone, project as much sound to the back as they do the front. Dispersion only narrows to 180 degrees when the baffle width is one wavelength. At 100Hz that's 3.4 meters. At 50Hz it's 6.8 meters.

Consumers are as much to blame as marketeers in that. You can see examples of that with every post where someone comments about 'getting all the watts out of my amp'. Being professional musicians we should all have at least a rudimentary understanding of how the tools of our trade work, but sadly most do not. That could be excused when all we had to go by was manufacturer sales brochures, but that hasn't been the case for the last two decades. The truth is out there, a simple search will find it.

Yes, you may, assuming you've used speaker modeling software to make sure it's compatible with the cab you intend to use it in and will handle the power you intend to use, both thermally and mechanically. The OP did not do so, resulting in his unfortunate experience.

Egg boxes didn't absorb sound, they were used in radio stations and recording studios as diffusion devices. By scattering reflected sound waves they greatly reduced reverb and echo compared to flat surfaces. The shape became associated with improving acoustics, so when acoustical foam came along that shape was adopted. But foam lacks the density required to be an effective diffuser, so from that standpoint there's no advantage to the shape. Foam does absorb sound, with the rate of absorption and frequency to which it does so determined by its depth. Since the depth of the foam is less in the dimples it's less effective than foam with no dimples.

While on the topic most commercial acoustical foam is convoluted or pyramidal. That doesn't do a thing, it just looks like it will.

Which I alluded to previously. Most guitar drivers have very short xmax, so they'll go into high THD at low volume. Bass players may still want high THD, but not at low volume. Nonetheless most of us wouldn't want the other end of the spectrum, drivers with no midrange bump, typical of PA woofers. This Eminence 2512 strives for response similar to vintage drivers, but with much higher output, as opposed to the B&C 12NDL 76, which doesn't peak in the mids 10dB higher than in the midbass.

Ouch. Cabs should be fully lined, with foam or polyester batting, 25 to 50mm thick. Mattress topper foam is inexpensive, as is furniture upholstery batting. Don't bother with materials advertised for speaker cabs, they're more expensive but don't work any better. Adhere it with spray glue.

Nope. Buzzing may indicate bad transducers, or it could be buzzing at frequencies too high to hear through the speaker.

Not Eminence, for one. Back in the day there were no bass drivers, just musical instrument drivers. Bass and guitar cabs were loaded with the same drivers, so they both had similar coloration. As technology progressed bass drivers were made with lower resonance and longer excursion to better suit bass, but in order to preserve the midrange tone Eminence in particular maintained to the extent possible with the lower Fs and longer xmax a similar rising response in the mids, even with the advent of neo. LaVoce, a relative newcomer, has taken that philosophy to heart, with response very similar to Eminence in their bass drivers, which is a departure for a European company.

There are tonal nuances, especially those created by the speakers which include mechanical power compression, cone break up and THD, which can't be duplicated using a DI. If you want what's in the PA to come close to what's coming out of your rig only a mic will do. That doesn't mean the guy in the FOH can't screw it up anyway, but at least you've got chance of his getting it right.

It's probably not as little as it seems to be. A look at an equal loudness chart reveals why. If the system is at 100dB at 500Hz, where our hearing is most sensitive, it has to be at 110dB at 50Hz to sound flat. That's a 10x power difference between the subs and the mains. Even when flat the mains should always sound louder than the subs, because our perception of loudness lies in the mids, not the lows. If you turn off the mains the subs shouldn't sound as loud as the mains. If they do they're too loud. The presence of subs shouldn't be obvious. What should be obvious is what happens when you turn the subs off. In that case the subs aren't loud enough. Pretty much all recordings since 1990 were mixed using subs in the studio, so if switching off the subs makes no difference you're not hearing what's on the recording. To that end the better FOH guys will take two RTAs when setting up the system. One will be that of their preferred reference recording, taken at the channel strip, to see the frequency content of the recording. The other will be that of the system. They'll adjust the system EQ to approximate as closely as possible the source frequency content while compensating for the room response.

The top chart is the modeled response of a typical twelve loaded cab, but it's not accurate above 200Hz or so. That's because modeling software uses Thiele-Small specs, which are only accurate to 2 octaves or so above the driver resonant frquency, in this case around 50Hz. A measured response chart would show the sensitivity increasing above 200Hz, with useful (-10dB) response to at least 3kHz. You shouldn't run this speaker much below 40Hz, as while sensitivity is dropping excursion is rising. Amp designers usually put in a high pass filter for this reason. Mine doesn't, but it does have full EQ. I pull the 32Hz slider all the way down.