JohnDaBass

That is absolutely fabulous. Congratulations.

I am really pleased with my 2 Super Compacts which I have owned for a number of years. At a smallish gig 2 years ago one of the SCs just went silent. I was using just the one SC with a Fender Rumble 500 head and just at the end of the first 45min set the cab just stopped working. Emailed BF the following morning and a new driver arrived the following day. Swapped the driver and hey presto all good again. Great after sales support and customer service. I owned a One10 which was great for home use but after building a 10ins combo using one of @stevie and @Phil Starr cab designs I moved the One10 on as the combo cab just sounded better to my 70 year old ears ears. Two SCs with a Mesa D800 head is just sublime.

Isn't Pino from Pontypridd? Just 15 mins from Caaardiff

I have a 90's MIA Fender Jazz Deluxe with Lace Sensor Pups and Kubicki active pre. The Pups were very quiet (noiseless) had a very clean tonal response but had very low gain.The Kubicki pre had a passive mode which demonstrated the need for the active pre power boost. I replaced the Lacs Pups and preamp with DiMarzio Pups and @KiOgonloom, which had V T & 4 position switch offering neck,or bridge solo and both in series or parallel. I'm a fan of DiMarzio Split P Pups, very versatile tonal range with lots of power.

I had a Selmer T&B 50 mk3 bought on HP from Bells catalogue. Initially used with a DIY 1x12 Goodmans cab then with a Selmer Goliath 1x18 100w cab, absolutely fantastic tone with a Hagstrong Futurama bass. Most bassists moved up to the Selmer PA 100 when they needed more power. There was something special about the frequency ranges chosen for the pre on the PA 100, somehow a very full and rounded tone . Fantastic amps and very versatile, congratulations on finding and refurbishing the PA 100, I've still got a Selmer T&B 50 mk2 in the basement pacticently waiting for me to rebuild it. Enjoy your PA100.

I found that a single 10cm port worked best for me. Single hole to cut, easier to position on the the baffle and lots of vendor options.

I should have gone to SpecSavers 🤣🤣🤣

That looks fantastic, great amp with the addition of nearly ALL Ashdown cabs. I bet it would mate very nicely to a clean cab such as a Barefaced Super Compact. Please could someone enlighten me with regards to the 30w output from 4 x EL34? Back in the day Marshall, HiWatt, Selmer, Sound City, all produced 100w from 4 x EL34. Is it just the spec of the mains and output transformers that dictated the output power?

Great looking cab, well done @Pea Turgh. Did you use the same Fane speaker that @Phil Starr used?

Would my house jam micro combo qualify? It has a Faital rs140 6ins and has separate input.

John Birch built some fantastic guitars and basses in the late 60' and early 70's. He designed and made his own pick-up's which had 9(?) pole pieces. John also modified guitars and basses by adding his pick-up's and wiring. So the term "Birched" refers to the EBO having a Birch pick-up added at the bridge with the additional wiring. Slade used John Birch guitars or check out Dai Shell's John Birch SG on Sassafras YouTube vids.

Great little amps, I built one into a micro combo with a 6ins Faital driver.

So I fancied a small U-Bass and ordered a Harley Benton U-Bass Sadly the piezo bridge was defective with low level output from the E string so I returned it. And satisfied my Gas for a shorty bass by purchasing a Hofner 30ins scale, 24 fret neck, bass wood body, maple neck, hi-mass bridge, passive V&T and humbucker pickup. Sounds lovely, easy to play and sits just right on the sofa while playing along to CDs and videos. Do you think it's toooooo short😂

NBD Is it Short enough???***!!! So I fancied a small U-Bass and ordered a Harley Benton U-Bass. Sadly the piezo bridge was defective with low level output from the E string so I returned it. And satisfied my Gas for a shorty bass by purchasing a Hofner . 30ins scale, 24 fret neck, bass wood body, maple neck, hi-mass bridge, passive V&T and humbucker pickup. Sounds lovely, easy to play and sits just right on the sofa while playing along to CDs and videos. Do you think it's toooooo short😂

The Earl Haig club or Penarth are both good for me. Dates?

Agree totally with the above. Jess Loureiro '51 split is very authentic and versatile, but I would add Lindy Fralin '51 split 5% over wound to @kodiakblair 's list. It's a top notch Fender 51 tone without hum and with a very wide range of useful tones. (But pricey)

I use my Mesa D800 Subway through one or two Barefaced Super Compacts, sublime. The clarity of the BF Super Compacts deliver the full range of the Voicing control and handle the Deep switch with ease.

The days of vertically integrated producers has diluted over the last decades. Prevously, companies received rawe materials at the front end of the building and finished products popped out at the back end. Under one roof design, marketing, manufacturing and sales coexisted. Today most companies out source many elements of their processes with complex supply chains to meet their market demands. Companies concentrate their core competency in-house and leverage the economy of scale offered by contract manufacturers. Modern manufacturing processes of surface mounted devices and SOC devices require prohibitively high capital investment and most bass amp companies are unable to justify such a return on investment. Consequently they focus on design, sales and marketing. (Apple do not make any of their products companies like Foxconn manufacture for them). Bass amp companies drive hard bargains for the exfactory prices of their amps when out sourcing the whole amp build. Some amp companies assemble the key components and carry out final tests, package and shipping. Key components such as SMPS , power amps etc should be easily accessible for board swop out but the cost will naturally be higher than the cost of a line side sub-assembly. Individual packaging, shelf storage, handling, shipping, taxes, profit margin all inflate the component cost. BUT they should be available at reasonable prices to allow repair of the finished products either at a franchised repair centre OR competent repair person.

Alex at Barefaced has explained that the Two 10 has a filtering circuit to allow one of the 10s to be full range and the other 10 is filtered to reduce "comb filtering"(?). IIRC There's quite a bit of info on the website explaining how the BF Two 10 is superior to our brands 2x10s because of the inclusion of the filtering. Now I'm not sure if running the Two 12 and the One10t in close proximity will be effected by any comb filtering between the two cabs and be detrimental to the sound and performance. I'm sure the Technical Guys will chime in shortly to explain far better than me.