Downunderwonder

Diff'r'nt strokes don't impact markets much.

Yep. There are good reasons for doing it per Doddy. You can also play about with it but surely start there.

Micro heads don't need no stinkin' great 19'' rack box adding kilos to the combo. The only reason there were any 19'' rackable combo amps is it was a quick and dirty way to put out a product with little to no extra design and production effort. 19'' too big. Mini rack too small. Every man for himself with amp boxes then! 19'' racks pretty much gone dodo so now most manufacturers don't even offer rack ear options for their heads. Game over.

Please describe in detail your technique.

Salvage the drivers and make two half sized 210 cabs for them. Way less work than stripping rat fur and get the sonic advantages of a vertical 410 tower.

I think I would do a lot worse with only one hand on the saw!

The messed up two extra guitar strings preclude me from playing much more than basic guitar chords so I don't bother with the skinny string other. If you put a gun to my head or I get drunk enough I will still scratch out a solo on a spare violin. Bass hooked me while I was a violin player in my highschool jazz combo. Damn, the coolest thing I ever heard to this day when the guitar player showed up with a bass instead! Fast forward my O.E and I'm back home at a blues bar and dang, I NEED to take up the bass. So I did. Helluva mind f going from strings in 5ths to strings in 4ths but I overcame. A little less adding the 5th string. Ymmv.

At school I was pretty hopeless in the workshop classes, ''all thumbs''. Later I did evening engineering shop classes as part of my degree and barely passed those too. It was only when thrust into working in an actual engineering workshop that I got a handle on paying attention to the little details that result in not making a hash of the job. Learning enought to solder a few wires is a thousand times easier than welding galvanised pipe with stick electrodes. Give it a go!

Soldering is only tricky if you don't know what you are doing and solder away making a mess until you kill it by fire or sucessfully join part A to part B. YouTube can teach you and then you wonder why you ever thought it was tricky.

I think if you're going to go to all the trouble of making a cab you probably want it to be the best sounding cab it can be, without spending so much on the parts that you could just buy a GK. 60 squid seems reasonable enough.

Nice looking plywood.

Fairly 'reliable' at around about 2/3 of the total nominal impedance rating for a driver in a cab. If you measure DCR, the driver impedance in cab is going to be the next rounded off common figure on the larger side of your DCR. Eg, DCR is 5.8ohm, '8 ohm' driver. I don't know how well that works for OP's PA cabs with crossovers and compression drivers hooked up.

I'd be surprised if it isn't a 12ax7 / ECC83, but it will be printed on the circuit board for good measure.

''Engineering Sample'' = mates rates on the 'prototype' materials? Bloody good show.

Lots of jibberjabber about strength. Stiffness is as much related to shape, as the strength of the material.

Only enough watts to keep you happy without straining the 15.

Everything Subway since he was hired at Mesa. Before that Mesa were apparently quite ok with a bit of a mismatching response between cabs of a line. One cab even had an abysmal mismatch of 410 and 115 in the same box.

This man's advice is never to be ignored.

When I properly biamped my 115 and 210 there was a distinct improvement in the clarity of my tone. Powering them from one amp still sounded ok so that is what I proceeded to do. Carrying all the biamping gear was too much work. The improved tone indicates that the maths is correct. My spine is also correct.

Don't forget all the analog distortions and chorus pedals that invert the signal along the way. Blending those back with a clean signal can less than intelligible.

The problem with parallel blends is the phase of the signal in one chain can end up out of whack with the clean(er) channel. You wind up sounding like muppet on stage with a giant bass rig competing with the PA.

I think you might be exaggerating a little. I got my Trace rig in 96 when I was on $20 an hour. That would have been roughly double the minimum wage back then. Iirc I paid around 3k for 250w SMX and 1518 cab = 300 hours at min wage. (Forgot about ''youth rates'' back in the day. Would've been about $5 an hour so 600 hours. Ouch. No kids buying Trace amps.) It worked for rock in bars but we had to have the guitarist with the 50w Marshall stack to pull his head in.

You got it a police auction after they recovered it in a gang house raid after they had burgled a studio that had it as a spare on the shelf and never wrote down the serial number.

I couldn't tell you how many buttons I ripped off shirts by clutching my 1518 Trace cab to my chest and snagging the button in the button snagging grill.