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Loudest, lowest 2x10?

It turns out they were using a small light bulb as the circuit breaker (for some esoteric reason), which was behind the speaker, so it looked like the speakers were glowing, and the only way to change the light bulb when I blew it was to take the speaker out, a somewhat tedious process.

incandescent light bulbs as tweeter protectors aren't all that esoteric - at least within the audio community, the practice is well known. To reproduce high frequencies, tweeters need to have light weight coils, which don't handle much power for any length of time. An incandescent light bulb has low resistance when cold, but if you drive a bunch of current throgh it, it's resistance goes up dramatically - in series with a tweeter, it's a good protection device. It turns down the power to your tweeter if you drive it hard, which means the frequency response changes, but most people find that preferable to blowing tweeters.

We used to use light bulbs in some speakers we made (we're no longer in that market), and to solve the "glow" problem, we painted them black, so the light didn't escape - at least at visible wavelengths.

The fact that you had to change a protection light bulb probably means they probably saved you the cost of changing a tweeter - even if it was a tough thing to do, you saved a bunch of money.
 
Bill Fitzmaurice designs DIY horn loaded cabs, mostly for pro audio use, but his Jack 210 rolls off at right around 50hz with good sensitivity. It's not linear and could stand an eq curve, but it's loudish, lowish, and pretty smallish.

If I were to do it again, I'd probably just make two 110 cabs, though.
 
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incandescent light bulbs as tweeter protectors aren't all that esoteric - at least within the audio community, the practice is well known. To reproduce high frequencies, tweeters need to have light weight coils, which don't handle much power for any length of time. An incandescent light bulb has low resistance when cold, but if you drive a bunch of current throgh it, it's resistance goes up dramatically - in series with a tweeter, it's a good protection device. It turns down the power to your tweeter if you drive it hard, which means the frequency response changes, but most people find that preferable to blowing tweeters.

We used to use light bulbs in some speakers we made (we're no longer in that market), and to solve the "glow" problem, we painted them black, so the light didn't escape - at least at visible wavelengths.

The fact that you had to change a protection light bulb probably means they probably saved you the cost of changing a tweeter - even if it was a tough thing to do, you saved a bunch of money.
Hey, thanks for the info on the light bulb circuit breaker. I do realize it was saving my tweeter, and heck, it was a simple automotive tail light bulb, so very inexpensive to replace. The only issue I really had was that in order to get at it, I had to remove the grill, about 8 screws, and then remove the speaker, another 6 or 8 screws, replace the bulb, and then put it all back together, and this was something that seemed to happen frequently, just from playing a full range bass signal (F bass BN4 with no distortion). I do think it's funny that Alex used to carry an electric screwdriver with him to gigs for this very reason. Why didn't I think of that?

In any case, I'm happy to hear that Andy has upgraded the circuit to something that won't require that amount of attention.
 
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I had the same criteria as a 5-string player. I needed solid lows similar to my old Ampeg SVT 410 HLF.
I went with 2x Markbass 102HF's. I don't tune below B, but I haven't noticed any farting out on the low notes like I've heard on some other cabs. Similarly, they're a lot clearer than my Ampeg was too, so I call that a win-win.

IMG_20201121_142525620.jpg
 
I had the same criteria as a 5-string player. I needed solid lows similar to my old Ampeg SVT 410 HLF.
I went with 2x Markbass 102HF's. I don't tune below B, but I haven't noticed any farting out on the low notes like I've heard on some other cabs. Similarly, they're a lot clearer than my Ampeg was too, so I call that a win-win.

View attachment 4089526
What's the amp on the Nemesis?
 
How about two 15's that will give you the boom and also give you top end clarity you can hear on the other side of the stage?

Bass Array 15-3 SLT - Genzler Amplification
0007_GENZLER_111319_0014.jpg

Plus, they have an angled baffle to aim at your ears and make a cool ark when stacked.
These Linearrays for the mids and highs are no gimmick.
Side.jpg

GENZLER_BA12-3SLT-3xSTACK-w-Bass.jpg


If you want 10's Genzler has a 4x10 that you can hear the highs on the other side of the stage and weighs only 55 pounds.
Bass Array 410-3 - Genzler Amplification
GENZLER_BA410-3.jpg
 
How about two 15's that will give you the boom and also give you top end clarity you can hear on the other side of the stage?

Bass Array 15-3 SLT - Genzler Amplification
View attachment 4239983
Plus, they have an angled baffle to aim at your ears and make a cool ark when stacked.
These Linearrays for the mids and highs are no gimmick.
View attachment 4239984
View attachment 4239985

If you want 10's Genzler has a 4x10 that you can hear the highs on the other side of the stage and weighs only 55 pounds.
Bass Array 410-3 - Genzler Amplification
View attachment 4239986

Before Covid, when we went to concerts, I saw many 'flying' speaker arrys that were much smaller and identical in shape to the Genzlers. Very modern and smart. This brings the upper cabinet to shoot straight into the bass player's face. When we have a chance to travel to the Lower 48 again I'm going to check these out.

I think Genzler also does 12's which a pair would be more than I'd ever need, but nice to have.

I'd get cabs that are light, project well and are loud. If you want grind, get a pedal.

My thoughts exactly. Small, powerful, and light. Nowadays you CAN have all three!
 
Stack your 1x15s on stolen milk crates and point the cabinets different directions to get better dispersion. You're welcome.

Spending $1000+ on new cabinets to avoid loading in four empty milk crates isn't "punk".

Sincerely, ex-punk
Are you sure you're an "ex-" punk? Because one guy lecturing another about what is or isn't punk is, ironically, about as punk as it gets...
 
Since most claims of "beaming" are supported by f = 2C/pi x D, the resulting "beaming frequency" (I am placing this in quotes intentionally" is about 700Hz for a 15" driver. In practice, the off axis response can often be an octave or more higher than this. The off axis response is generally taken as the -6dB point for ~constant power summing purposes when designing multi-driver cabinets (like a 215).

I used the Klippel example because that's one of the platforms that I use when developing or evaluating drivers, and how changes might impact the off axis response. I could have used LMS or AP, but much of the data I have is Klippel.

Using the Faital example, the -6dB point happens to be ~1kHz, but notice that the off axis rolloff slope parallels the slope of the on axis response starting at 1.5kHz rather than continuing at the earlier, steeper slope. This is a critical deviation from the predicted "purely piston" theory because of other factors such as cone material/shape and dust cap material/shape. These elements, just like whizzer cones, function as secondary radiators of higher frequencies. Otherwise, all 15" drivers would have exactly the same off axis rolloff (which obviously they do not).

This is exactly the principle behind the JBL D/K-130, with the aluminum dust cap bonded directly to the top of the bobbin, the aluminum dust cap serves as an effective secondary radiator which improves both on axis and off axis response. This is because the smaller dust cap effectively decreases the diameter of the radiating surface at higher frequencies. When the 15" diaphragm element and the smaller element are acoustically summed, the falling slope of the larger diaphragm is offset somewhat by the secondary radiator.

Here is an example of a 15" 2 way speaker system that is often used to determine summed polar response. I typically use between +/-30 degrees (60 degrees spread) or +/-45 degrees (90 degrees spread) depending on the application but you can see that this 15" driver is well within the -6dB point within this angle at 1kHz and actually ends up being close to 2kHz by the time the on axis and off axis patterns deviate.

My point is that blanket statements based purely on the simplistic theory don't necessarily apply when the entire picture and variables are included in the discussion.
Aged Horse - I've read this post a several times, and I still don't have a f-in clue as to what your talking about - ha, well, that's the beauty of the TB forum, you try and learn something new every day!
 
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What's the amp on the Nemesis?

Markbass Tube 800. It can easily power both my 210 cabs by itself, but having the Nemesis allows me to have 2 practice spots in the house. I've got my eye out for a MB 115 4-ohm cab so I can run my 2x 210's off of my MB Tube 800 and have the 115 on the bottom powered by the Nemesis RS 400 for an 'ultimate' setup. I haven't been able to find any MB 115 4-ohm cabs though, so not really sure if they ever made any.
 
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Out of idle curiosity, I looked at what else might be a 10" ballpark match for the F3 and SPL of the Faital driver in a Flat vented alignment.

The Faital wants 3.55 cubic feet, F3 at 49 Hz.
Pairs of Eminence Legend B102 and Deltalite-II 2510 have a similar F3 in 4.1 and 4.25 cubic feet, respectively.

If your principal concern is avoiding a directional response, you need a multi-way system.
A 6" driver becomes directional at a much higher frequency than the 15" one.

When heard from the audience position, there is a distinct difference in high frequency response on-axis vs off-axis. Get a wireless rig, and check it out for yourself. You may be fighting a non-problem.

Just a thought...
 
I used 2 Bag End D-10-XD with one tweeter disconnected. Stacked vertically. Drove them with a GK 1001 RB II. 500 watts at 8 ohms. Cabs in series. That was a really strong rig. I was playing with a stupid loud drummer at the time and had no trouble with it on stage. Having that top 10 up close to my head actually let me play a little quieter.

Those cabs aren't light but they are strong and they go deep. Basically it's half a fridge...
 
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