Downunderwonder

Generally you won't hear HPF in action until things get well loud or you overdo the frequency selection. For whatever volume you are playing at you can raise the HPF until it sounds thin and then back it off. Some rooms are overly lush down in the low end. I can wind up at 80hz with a bass cut.

Not your ears. When you pump up 30hz what you end up hearing from most cabs is distortion coming in at 60hz.

I think the loop is mains to singer's mic, because the stage is cramped, so robbing Patsy to pay Pete is a wash. They want to lower the overall volume so they can turn down the PA and keep the mic gain. The only way that works is with drummer playing ball. Drummer must be either deaf or hasn't got the vocal in his IEM mix. Having him blazing away to his own IEM mix is the beginning of the problems.

I think the Brits would acknowledge Irish lyricism is more acute.

In a pub the mix should be infinitely better with no drum mics and no IEM for the drummer but give him a monitor with the FOH mix and tell him to play to that. Let him work up a sweat pumping his kick and it will sap his enthusiasm for smashing the bejesus out of the rest. He will want the monitor turned up and up. You can probably wind up with the PA off and just thr sub still running. Been there done that. Surprisingly not as rough as guts out front as you would think. Other option. Put him out front so he can play to the PA. Again no IEM no mics. The punters will be all over him to cool his jets.

It has a wonderful post EQ DI by all accounts. You don't get volume control on stage without giving soundman a heads up to ride your fader, so need to get that sorted early.

Those look to either having had a cosmetic refurb or a very sheltered life.

https://www.basschat.co.uk/topic/471088-diy-250w-combo/ The whole story on an amp inside a cabinet being safe from overheating.

A very simple solution to intrusive fan noise at home is put the amp in a box with the knobs poking through. Peace of mind air gaps so no chance of heat building up inside. Bigger brains than mine convinced me the through panel conduction radiation of a sealed box is enough to keep the inside temperature rise unbelievably small. As you please.

Multimeter DC ohm resistance across the driver is roughly 3/4 of the averaged cabinet acoustic impedance seen by an amp. So don't let a 6ohm DCR on an 8 ohm cab scare you.

The conversation towards meeting some folks for a jam has a better chance at success with a 310 stack on your application.

An 8 ohm 210 would be a mishmash of drivers that would not be appreciably louder than the 310 stack. They would only be getting a half share of power each in the 210. Tonally there would be no idea what is going to eventuate until tested. Stick to te 310 plan. But for home use I can't see the need.

Sounds like you didn't cut your mids and highs enough and had too much compression going on. A full range cab requires severe EQ to make it sound vintage.

That's a lot of faith in the switching jack if you ask me.

Major sensitivity advantage over the little BF.

Zilla 212 open backed guitar cab?

Cigar!

No cigar. OP needs a female USB or USB-C panel mount with male USB-C plug on cable to go to the battery on the other side of the panel.

I could swear there's a Bflat in that riff the YouTube guy ripped out with his AI.

"Gigging experience a plus". Ya think?

I don't think any amp is safe on a pedalboard. Spillage happens.

Sounds dodgy as hell. I would not be plugging two amps into that as described, on pain of smoking both.

Yes. But when they play it any old how it runs into the traditional bass part not in a good way. The challenge is to play a bass riff that invokes the original with almost no notes in their original positions.

Where do you live? There's bound to be a BC neighbour who will give you a demo.

Mustang can be played with any guitar strum. Handy as most singtardists can't be bothered copping the famous versions. Leaves bass having to improvise a a new riff also. Quite fun if you are into that sort of thing.