Downunderwonder

That's a dangerous assumption. Firstly we have no way of knowing how much low end the cab can really take. My 250w 4 ohm Trace amp could smash my 300w 8 ohm Trace cab no problem if too many lows were invoked. The manual even said so.

You are on the right track. Some heads indeed do colour things in the output section. Not many though and not any that I am aware of in the 250w arena. So, any number of 'right' heads up for selection. 130w @8ohm per 200w @4ohm head seems common. I wouldn't get too hung up on a few tens of watts. Speaker sensitivity is far more important when power is in limited supply. So long as your preamp gizmo isn't overdriving the ever loving pish out of the fx return you should get the very same signal upped in voltage out of the speakon. It would behoove you to include some high pass filtering in your preamp in case you have short circuited the one in the amp.

Not a great idea unless you can do it quietly as all that reverberation will play hell with the tuning of the guitars. Make sure your skinny stringers have intonated their guitars with themselves. Nothing worse than retuning a guitar to better suit another set of chords when it's the intonation that's out of whack in the first place.

Do you understand ohms? Then you should know that without some grounding in physics and mathematics it's a bit of a big deal. I certainly didn't understand cabinet ohms nearly as well before forums. I probably read the answer to someone else's 'please explain', or I might have been giving a half arsed answer and got corrected. I still don't understand how inductance of the coil plays into it. So have at it next time someone asks!

Give it a go. They will explain it another way that may well gel with you. Cab puts out sound waves. Low end energy travels out in all directions = omnidirectional. High frequencies get beamed by speakers toward the front. Very important concept. No reflective boundary = field ( of grass ). Walls reflect bass energy without absorbing much of it. ( The relative amount of bass that passes through compared with treble is a red herring) It's a lot easier to visualize sound as sines which plot pressure at a location over time. Overlay two sines that are identical but half a wavelength out of phase. Sum them at any point, you get zero. Ie they are cancelling one another out. A quarter wavelength is a distance. It is one quarter of the distance it takes a sound wave to complete compression and rarefraction before it is compressing again. V=fĹ Sound travelling two quarter wavelengths has travelled half a wavelength. A quarter wavelength cancellation is a thing you can look up also. It's past my bedtime. It would be well worth your time to get to grips with these concepts as you can head off problems before setting up in a new venue.

Give it a go. They will explain it another way that may well gel with you. Cab puts out sound waves. Low end energy travels out in all directions = omnidirectional. High frequencies get beamed by speakers toward the front. Very important concept. No reflective boundary = field ( of grass ). Walls reflect bass energy without absorbing much of it. ( The relative amount of bass that passes through compared with treble is a red herring) It's a lot easier to visualize sound as sines which plot pressure at a location over time. Overlay two sines that are identical but half a wavelength out of phase. Sum them at any point, you get zero. Ie they are cancelling one another out. A quarter wavelength is a distance. It is one quarter of the distance it takes a sound wave to complete compression and rarefraction before it is compressing again. V=fĹ Sound travelling two quarter wavelengths has travelled half a wavelength. A quarter wavelength cancellation is a thing you can look up also. It's past my bedtime. It would be well worth your time to get to grips with these concepts as you can head off problems before setting up in a new venue.

Give it a go. They will explain it another way that may well gel with you. Cab puts out sound waves. Low end energy travels out in all directions = omnidirectional. High frequencies get beamed by speakers toward the front. Very important concept. No reflective boundary = field ( of grass ). Walls reflect bass energy without absorbing much of it. ( The relative amount of bass that passes through compared with treble is a red herring) It's a lot easier to visualize sound as sines which plot pressure at a location over time. Overlay two sines that are identical but half a wavelength out of phase. Sum them at any point, you get zero. Ie they are cancelling one another out. A quarter wavelength is a distance. It is one quarter of the distance it takes a sound wave to complete compression and rarefraction before it is compressing again. V=fĹ Sound travelling two quarter wavelengths has travelled half a wavelength. A quarter wavelength cancellation is a thing you can look up also. It's past my bedtime. It would be well worth your time to get to grips with these concepts as you can head off problems before setting up in a new venue.

Not. Hence the irritation of the pregig announcements that have no value to the vast majority likewise unable to attend Podunk USA gigs in a thread for aftergig reports.

Jeez, I hope the maker doesn't get sued by that H joker that rhymes with ballbag. Good job keeping under the search bot radar.

That'll be one punchy mofo.

Sorry but your poker chip, as elegant as it is, gives the f hole conniptions and makes the chip uncomfortable. You could move it along a little and the symmetry would make both very happy.

Maple Road are playing at... on the ... of next month. Yeah, I'm booking flights right away.

And refuses to sing Sex is on Fire.

And if you turn down the input gain first before yanking the amp end out won't even get a pop.

Low frequencies are omnidirectional. When they hit walls they come back without losing much energy, so much so that we credit it with full energy. That return wave can be in phase well enough to reinforce the original wave when the source is close, or a half wavelength distant from the wall. But at 1/4 wavelength distance the return wave is fully out of phase and you get a cancellation. The original wave headed out from the speaker towards the wall and away from the wall. Having travelled 1/4 wavelength both ways, before rejoining the original, the reflection is half a wavelength delayed ie a cancellation. A bass cabinet in a corner gets all the bass energy focused into 1/2 the space of same cab set along a wall. Go outside and lose half your bass power to the catering area out the back. That's pretty dire! If you look up Allison Effect it will tell you more than you want to know.

'A' boom is tricky because it's right in the breadbox at 110hz but worth a crack. You probably have walls 6m apart, 2 wavelengths.

It's aluminum, which is heavy enough in that quantity.

Pull down 130hz in the PA to tame a boomy C.

"Feck, the feckin fecker's feckin fecked!". Shows it is in fact highly feckin versatile enough to cover exclamation adjective noun adverb and verb in the one sentence.

Lucky! A ceiling about that height makes an acoustic guitar bloom on every C chord. They will look right at the bass player to blame.

Bassy guitars.

Dad and the Gang.

If you are handy with a soldering iron it's pretty easy to make a power cable shorter. Snip out an over lay ie opposing short and long tails, and then trim overall length to suit. Don't forget your heat shrink. Doing it overlayed makes for only one piece of heat shrink required and a nice neat job.

I'd love a tonic jacket for gigs, if I could find one budgie style in the op shop before some other fashionista snaffles it.

As opposed to posts joining walls across the cabinet style bracing, BFM style.