Funny this topic should come up from a reply of mine: the guitarist and I in my current live gig both run cabs on either side of the stage. When I first saw him performing as a duo with the drummer, he ran an EVH 5150/Matamp 4x12 on one side and an Orange Rockerverb/Orange 4x12 on the other. When I joined up, I started using a Peavey 215D on one side and Peavey 212 on the other, both powered by my Peavey Mark IV head and made possible by a 20’ speaker cable. While ridiculous, especially in this day and age, it looks and sounds huge, and everyone likes hearing everyone else relatively clearly. As my own project gets off ground, I might utilize a scaled-down version of this approach with relatively lightweight 1x15s on either side and a Class-D-powered head.
The ones that most come to mind are the guitar player from my most successful old band, and one of his friends who eventually became somewhat known as a smooth jazz guy. John had a stereo ADA power amp going to a pair of 1x12 cabs that he'd had made. Each 1x12 would sit on one of my 4x10 Hartke cabs (This WAS the ate 80s) The thing that makes those 1x12s funny in my memory is that the guy who built them had them all done as naked wood and asked John what he wanted them covered in. John said to make them look like the most generic, forgettable, ordinary cabs the maker could think of, so that no one would ever try to steal them. He put the black fuzzy-furry covering we now call "rat fur" on them and somehow attained a pair of Crate badges to put on them, so the LOOKED like Crate 1x12s, but were actually custom made units.
Pete's most memorable cabs were made by a guy called D.L Monsuen. He had a pair of 4x10s that could be broken all the way down to the individual speakers. So the bottom two 10s had a closed back. The top two had an open back, but came with an insertable wooden plate to make them effectively closed backs just like the bottoms. They could be used mono, left/right stereo, top/bottom stereo, or if you had the stuff and wanted to, as four individual speakers. He had two of those cabs made. But he almost never took the second one on gigs because it was overkill. The wiring and jack setups on those were baffling to normal people. And occasionally to me, as well. My favorite set up he used them for was both 4x10s set to top/bottom stereo, on either side of the riser. One side had a head going to the open back side of each cab. The other side had a head going to both closed back sides. I can't swear. But I think I remember it being a Fender to one and a Vox to the other.
And if stereo wasn't enough, I used to occasionally jam with a guy named Craig, who had the most wildly excessive rig in the history of the universe. He had a pedal board about the size of my bass case, that went to three different combo amps. But the last section of the effects monstrosity was a pair of Morley Stereo Volume/Pan pedals. So by using his feet, he could effective blend between the amps. So he had a Fender for clean (Deluxe Reverb, I think.) a Groove Tubes Soul-O for crunchy, and a Mesa/Boogie for leads. Craig was also the guy who came to jams with the guitars that I most covet more than a decade later. You will hear me mention both the most awesome SG, ever ( I think I've mentioned it in this thread already.) and the coolest ES type, ever. The SG in question was basically just like your usual 61RI, except the wood was different. It was White Limba, the stuff Gibson usually called Korina. The ES-Artist was basically like a Gibson Lucille in sunburst, without all the extra bling. It also had different electronics, I think designed by Robert Moog. I'm not often a Gibson guy, on guitar or bass. But both of those were sweeeeeeeeet to play. Craig had more money than he needed, something I'm not familiar with. But he had the coolest rigs. The only thing they were missing was restraint.
Can't help really with recommendations, though as I haven't looked at that market range in a very long time. Perhaps something Yamaha or Alvarez?
