agedhorse

Agreed. Due to our size, we obviously have a significant system in place to track both the source and composition of the woods used in cabinet construction, in many cases this is not true and you get what you get (buyer beware). We use so much of these products that it's also in our interest to be sure that we are receiving what we are paying for. CNC grade materials have different composition tolerances, the core plies are more uniform and the face plies have a guaranteed minimum thickness. The plies are usually thinner and there are more of them too, resulting in less warp and twist. For high volume precision production, this is critical because the reference for the cutter is off of the top surface of the material and if the thickness varies, this affects the depths of dados and rabbits, plus any other joints (like lock-miters) the cabinet may employ. The cabinet shop can go through more than a hundred (4' x 8' equiv.) sheets of plywood in a single day, it's not practical to struggle with pieces that don't quite fit together. The advantage of CNC grades is uniformity (thickness, glue lines and lack of voids), the primary disadvantage is cost... but the end result is that it costs less to assemble and finish using CNC grade so in the end the cabinet is a much better product for not much more money. The accuracy for CNC parts milled in production is typically between +/- 1/64" and +/- 1/32" resulting in cabinets that have tight, square joints. As you can guess, for the finger joints used in some of our natural finish guitar cabinets, this is essential or the parts simply won't go together. Here's an video that shows cabinet production:

I've used a large amount (and in tens of thousands of board-feet) Italian Poplar (CNC grade mostly) for many years, haven't had any issues with softness or structural properties.

To be clear, most Italian Poplar is FSC certified: https://fsc.org/en/newsfeed/fsc-italy-publishes-national-forest-stewardship-standard

This is SOMETIMES done on pro audio amps specifically for bi-amp applications, it's important to recognize when this is done (it's always specified on the back panel legend around the jack) It's not a good idea for general bass guitar applications, a few manufacturers do stupid (non-conforming) things with pin 2+/-, and there are also (just) a couple of manufacturers that use NL2 jacks which will not accept an NL4 plug. The NL2 or NL4 splitter cable is the best solution for this with no downside (other than if you forget your cable)

I see a fair number of problems caused by knock-off Chinese SpeakOn plugs. Sometimes they can damage the mating jack, resulting in costly repairs.

Heavily weighted with lead perhaps?

Yup, and assuming that the comparison results using A weighting are "good enough" can result in incorrect, inaccurate (by a mile) conclusions. When somebody bases their opinions as "fact" because of meaningless data, yet they believe with all their hearts that it's uncontroversially true, that's getting awfully close to the definition of blind faith IME.

I don't recommend it, the tuning is quite different on the Walkabout. If you do try it, de-rate the Subway driver to about 250-300 watts RMS or you could damage it.

Yes, and many of these parts are becoming difficult (or impossible) to source because the manufacturers are discontinuing them. 4 ohms is what I would recommend as a safe minimum load.

No, it’s real world performance definition specifications. The old way of defining Xmax would often result in THD numbers even greater. There are also speakers designed for increased THD numbers (and specific ~ratios of the harmonics) for coloration or texture purposes. This is seen sometimes in the bass world (think older Ampeg SVT 10” drivers) but also very often in the guitar world). Regarding amps, you might be surprised at the THD numbers that are generated within the preamps of many popular bass amps, 5% is common, and when overdrive effects are used, that number can quickly jump to over 20%. How an amp is used should go hand in hand with how it’s specified.

Very early on, they were ok at 2 ohms but we had a difficult time getting consistent MOSFETs and through 2 changes of manufacturer it became obvious that they were struggling with the process as well. This resulted in higher than acceptable failure rates into 2 ohms, so we discontinued the 2 ohm acceptable rating. Because these amps are quite expensive to repair (and difficult to get parts) , I would not recommend 2 ohm operation on any of the MOSFET amps. The Subway amps however, are fine with 2 ohms, using the 2 ohm mode switch on the back.

In a bass/guitar amp, depending on the player’s gain structure and intent, a great deal of design effort is placed on the non-line as aspects of the amplification. This means intentionally developing distortion components (spectrum of fundamental to the multiple harmonics), alterations to the dynamic response transfer function, and how entering into and out of these non-linear regions is handled by the design elements. This makes specifying power versus THD difficult because there are multiple curves overlapped that describe this behavior. Good designs sound good to players and delivers the required power under the conditions each player uses.

Some in fact do.

Marketing departments certainly like this, but apparently many players do feel that an amp's more powerful that way too. As players mature, they tend to grasp the benefit of linearizing the rotation and scaling of the range of the control though.

A simplistic explanation wouldn’t be accurate. It IS complicated.