Downunderwonder

The death zone is 4 to 8ft from the walls. If it's booming next to the wall bring it out from the wall or get to HPF town.

The drummer's rehearsal space is wonderful, a little too wonderful so I have to tweak up the HPFand turn down the low bass to settle it down. Perfect. Then I set up somewhere else and wonder why it sounds thin.

Note edit of previous post.

I'm sure the exact harmony choices are less important than the way it crisscrosses phase with the rhythms and melody playing it's own little tune all the while.

That is one nifty bassline. I hope that's what you were playing!

Bill tried to set you straight. In more layman's terms, about the only thing that is linear in the whole operation is the numbers 1 to 10 on the amp dial. SPL is on a log scale to 'match' with voltage and make graphs possible to fit on paper. It also dovetails with how we hear changes in SPL. If you know anything about power, it varies with the square of the voltage. Decidedly non linear! While the heat remains under control you can get 3dB extra volume each time you double the power. A very non linear 1w 2w 4w 8w 16 32 64 128 256..... 512.. silence. Rules of thumb might have changed a little in the modern high power woofer game but it used to be that around half the rated power through put was where they would start to get warm and go 'non linear' not that they were ever linear in the first place. OP's 800w cabs will do very well with 480w each.

Eat your vegetables! I'd say your cab probably rolls off in response right where you are comfortable so you don't hear any difference. That's fine until push comes to shove and bit more trim comes in handy, either to save the speakers or right the tone. Our ears gain low end sensitivity at higher relative volumes. Or you might get a different gig where a deep blue sea of low end fundamental isn't what's wanted. A good experiment is to set up with the HPF off and the right amount of bass EQ. Then put in a little too much bass EQ but now bring up the HPF. That's often a different kind of good when you have limited EQ control. Not sure you don't have parametric filters up the wazoo on your flash amp though.

You've got the idea then. Backing it off until it sounds good again is a great way to get set. Should you crank something else up you won't be sending wobbly distortion. If you hear wobbly distortion or an excess of low end you can up the HPF a tad.

You must be besotted with it, besides the fret situation? I'd sell it as is and buy a fretted one.

Messages plural? Singer and guitar hero. Anyone else?

For a very long time my gear was worth more than my car! I didn't even have a car for a bit. Stuff is sort of not really safe in cars around here. Every now again there is a spate of kid burglaries on vehicles. They think it's kids because they take the cash and phones and leave expensive tools and the cards. I think a choice bass or amp would be gone on the wrong night. The old 215 would probably be fine.

If I need backing tracks I play them through cans quietly and the bass quietly through the amp. It all hits my ears mixed just fine.

Tech21 make the VT based 500w just for you.

If I would rather leave gear overnight unsecured I sometimes cart out the old stuff in preference to setting up twice. One time I left my 80's 215 outside where anyone with a good back could have thrown it in their car and made off with it all afternoon.

The amp supposedly does 480w per cab channel with 8 ohms per channel. That's your lot. It would be pretty well equivalent to a BigTwin with a 1000W amp. That's got to be crazy loud enough for most people! Even one channel 800w split to two cabs I doubt you could hear a whole lot of difference because each cab will be making almost all the noise with the first 300w it gets. Unless you have too many and try to use all of them all at the same time, or too few.

Actually the damage is all permanent, just incremental. If you are lucky you go deaf. If you are unlucky you go deaf with permanent tinnitus accompaniment. Pick the other door labelled earplugs.

I took 'girly notes' to mean the high pitched ones up the neck.

From the side it looks like a trapezoidal wedge.

The LPF section begs to be after your fx. That way you won't be sending any clipped highs that give conniptions to any tweeters in your rig or the PA.

And OP is currently catching a case of tinnitus while using same! The mind boggles!

Usually it is one of two reasons and/or a conspiracy of sorts between the two. Guitards. Drummers. Guitar player wants to hear himself louder than everything else but with the cab down on the floor he is missing a lot of the screeching and howling great tone so cranks it. And/Or he's getting his tone from 50 or 100 watts worth of power tubes into 412. One way or the other he's tens of times louder than needs be if he just had one 12 and 5 or ten watts and aimed it at his own head with a mic to feed the PA. Drummers like to hear their kit and it is easy to make it hard to hear with a Marshall stack right by their right ear. So smash n bash becomes the order of the day with super large tight drum heads and massive cymbals. The feedback loop of drums and guitars makes for an argument over who started it and who is too too loudest. That's why I suggested having drummer balance with vocals before adding bass, then guitars.

Somehow I posted in the wrong thread, Edit, and got the syntax all backwards and opposite ie wrong, now fixed!

I can draw some more but the original became kindling when I sold the cab.

This works when you have the power. Typical guitard will complain it guts the lows out of his precious tone. In actual fact this is the tone he is blasting into the room that is missing his ears when the cab is on the floor.

If you are getting ringing that means you are sustaining damage every time you play with those guys. Must be stupid loud to do that through plugs. You best hop to getting your custom IEM molds made and get some over ear muffs to bolster the plugs in the meantime. See if you can get the guitards to stand opposite side of the room their rigs at next rehearsal. Start with the drummer and the vocals, add bass, then bring in guitars at sensible volume.