agedhorse

It serves as a control, because if statistically greater than 50-50 is the result, something else is going on. Yes, double-blind testing (including control testing) is an important part of moving technology and designs forward. This is how we rule in or out a particular aspect of a design being the cause/effect of what’s being investigated.

What if there is no difference between A and B?

It depends on the question being asked.

There is a very wide range of output levels that basses can output, which are also affected by setup and playing technique. Likewise, amp designers design amps to handle the wide range of levels in different ways. Some amps are designed with the ability to handle high input levels without overdriving, other amps are designed to overdrive more easily and some amps fall between these extremes. The Shuttles fall in the middle, it might be difficult to overdrive with a low level bass but is also able to handle very hot basses.

On the Shuttle series, the input LED senses input stage overload and also backs up by sensing the post EQ signal, but it's pretty hard to overdrive the eq unless you are doing something very outside the box. The output clip (or limit) LED senses the power amp stage through an adaptive algorithm, it indicates that the output tube overdrive circuit is operating (this begins to come into effect a couple of dB before clipping) and engages an adaptive limiting circuit that adds both compression and harmonics to the tone. There's about 6dB of compliance in this function before power amp clipping occurs. That's a 4:1 power ratio between threshold and clipping, which is quite a large range. Knowing this and the information contained in the manuals, you will better understand how to use the output limiting function. I have attached the manuals for your convenience. Shuttle 6.0 Owners Manual (rev. 3).pdf Shuttle 6.2 Owners Manual.pdf Streamliner 900 Owners Manual.pdf

This is not designed to be used as a crossover, though you could adopt two pedals to make one that is effectively a low pass and one that is effectively a high pass, each with its own eq. LR filter topolopy is not essential for crossovers, as it's essentially a similar topology as a lower Q Butterworth filter alignment. The bigger difference is that for constant power summing the filter's are specified at the -6dB point rather than the 3dB point. In practice, this simply slides the specified filter points apart to result in constant power summing at the crossover point (due to the voltage squared in the power equation). [edit for glaring typo]

Yes, LPF elements are used throughout audio circuit design. Not just for bandwidth limiting but also for stability management reasons.

A dual channel amp can in fact be used to describe a stereo amp and the other way around. It depends on the product.

IIR, the choices are 30Hz and 50Hz, the slope is 18dB/octave. For large bass reflex sub cabinets, the 30Hz HPF works well. For the other applications, 50Hz works well.

An amp properly designed to drive a 2 ohm load will be just as effective as an amp properly designed to drive a 4 ohm load into their respective loads.

Yes, that would work fine.

The preamp output must be -10dBu nominal then. The sensitivity difference between .775V and 1.16V is insignificant in this context. There are several versions of the SVP, it’s very possible that this is common with all SVP models.

Do you have the level controls all the way up on the power amp?

Unlikely that the tubes/valves have anything to do with the amp going into protect, the tubes/valves have nothing to do with the protect circuit. Most likely cause is an intermittent short in the speaker cable/connectors, a defect in the speaker/crossover like a damaged tweeter or a tweeter that was removed leaving the crossover filters in place, a poorly designed crossover, or serious power issues. The protection circuits are very comprehensive. I rarely see bad stock tubes/valves in the Streamliners, the parts were selected for low noise, low microphonics, middle of the road balanced tone and long life. They are very robust in that circuit and my calculations along with experience now that the amps are over 10 years old are that 7,500 - 10,000 hours is a very reasonable expectation. I have seen amps come through the factory service program with a LOT of hours and 50-75% tube life remaining. I generally recommend leaving stock tubes/valves alone in well engineered products, a lot of effort, evaluation criteria and math modeling/statistics go into the selection of parts used in products that have a long manufacturer's warranty... we (Genz Benz) typically warranted tubes/valves in our bass products for ~1 year and almost never had to replace any after the first 30 day infant mortality period (and even then it was rare). Mesa also warranties their tubes/valves longer than most companies at 6 months. The typical wattanty period for tubes is 30 - 90 days.

Both are quality pieces IMO, and with quality comes reliability.

If you like what the envelope filter does modulating the filter off of the subharmonic noise, that that's the way to do it.

I would place it before the compressor. That way the detector won’t key off of the low stuff you are filtering out.

Generally, early in the signal path has the most benefit with the fewest drawbacks.

Except that it's almost completely different.

I should trademark that saying, as well as "headroom isn't actually headroom if you are using it".

From memory, those are all the same speakers. How they are rated depends somewhat on their application and the products they are used in.

Correct, when cabinets are different the reactive loads can interact in less predictable ways. When this is done with identical drivers, like in a 210 cabinet using 2 x 4 ohm drivers in series, there is no problem. Not really. Even though the power to the two cabinets would be less, the gain due to coupling as well as at high output levels the reduction in power compression might make the two end up being quite close in practice (depending on the sensitivity of the cabinets of course).

Use the tiniest amount of D-5 possible. Less is more in this case.

It's not what I would call a preamp pedal, it's a filter-eq pedal.

Impedance balanced, or ground compensated outputs can be either depending on the designer's choice as well as the nominal calibration choices (including where an output level control may be set). That said, the maximum output level (for a given power supply) will be 6dB lower.