I’ve never played any 4x10 or 8x10 that I particularly liked. And certainly not as much as I like my 1x15 or bigger.
(I toured with Vox 1x18 and 4x12 for a long time)
But this ONE Epifani 6x10 just sounded really good.
No idea why. I still didn’t like their 4x10
And as I said, I only heard it in the room; never got to mic it to REALLY find out.
All of the bass profiles I’m using now live are of 1x15 or 4x12 cabs (one 12 close mic’ed)
That’s of course if you can actually (blind) HEAR those subtleties on the mic.
I think the differences in the character or individual speakers and speaker cabs have a lot more to do with liking one over another than the actual number of speakers.
I generally don’t like the sound of 10’s for bass guitar, for example, but I’ve heard a particular 6x10 that sounded terrific. And yet the same company’s 8x10 didn’t sound anywhere near as good.
THat doesn’t mean by any means mean I like 6x10’s better than 8x10’s in general. Just that this ONE cab and speaker combination was special.
Wow. I thought a 4x10 or a 2x10 was basically a staple for Bass cabs, with 1 x15 being a nice addition. And the 8x10s I encountered were AWESOME, though that may have more to do with the sheer power of it all. I'll defer to you though- If you fall I will catch you Time After Time!
In an era when he bass sound was only what came off the stage an 8x10 could make sense.
But once people mic ONE of those tens... meh
Yeah, 12s and 15s seem to be the "norm" these days.
I ran a Peavey 1810 bin (18" + 2 x 10") for a year, and that thing had plenty of welly, but no decent mids. I learned my lesson when I borrowed a 2x12 cab for an important gig, placed it upright on a chair, and realised I'd never sounded better. At last I could hear every damned note I played clearly; the Peavey bin had always sat on the floor, being the heavy thing it was.
If I were going to mic that Peavey, I know for sure the 18" would've sounded tubby (it just did), and the 10s really only delivered in the high end, so I'd have been forced to position the mic in a mid-way, "compromise" position, but even then I know those precious mids wouldn't have been there, at least not in a warm way.
Were I to have that time over again, I'd save my back and double my listening pleasure by going somewhere in between the "extremes" of that 1810.
That said, the head plays a role too, obviously, and my Peavey MkIV of the time, pricey as it was, was no Galien Kruger (the one I'd have loved to have used). They go cheap-as-chips these days, the 400 and 800RB. 30 years too late for me 'though! 
In my opinion that's the same issue with amps : the 50w amp will sound lighter than the 100w version of it, even in a Kemper profile, because of the headroom you lose.
And I prefer a 4x12 for profiling for the same reason, it's just more powerful, even if you only mic one speaker.
The only 2x12 I liked A LOT on a Kemper profile is a Mesa Roadwing 2x12 cab on a Deadlight studio's profile.
Display MoreYell at me a bit please, I think I need a couple of nice cabs...
... Like I need a hole in my head
Seems like I'm missing a lot of punch that I could get with some better low and low mid response.
I've been contemplating this for a while, so it would be great to get some opinions.
Would a 2x12" suffice? And by suffice, I mean would it be as good?
I saw some math that suggested it would be exactly as loud as a 1x12", it's just that perceived loudness would increase due to more coverage area and speakers. True or false?
I'm seriously thinking about pulling the trigger on a VHT 4x12 loaded with Celestion V30s. Should I pop a couple, or maybe three of those suckers out to replace with different speakers so that I would have a "cab for profiling"?
There's also the option of a V30 loaded Mesa Boogie Rectifier Cab. I think a couple of people are selling 2x12" recto cabs too. Better? Worse?
