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Bergantino AE212 - Just Released

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#521
kevmoga said:
In looking at the amps in your profile, and this photo, I was curious about your thoughts on the cab in terms of tube vs. solid state/hybrid. Have you had a chance to do much in the way of A/B comparisons?
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Good question! So far, I've played the cabs with the Shuttle 9.0's, Aggie DB 750, Pope MPP-1/Stewart World 2.1 combo, and with Peavey VB tube amps. The Peavey's are capable of sounding pretty fast-and-clean (which is how I play them). In that regard, they may not be the best examples of typical tube tone.

To my ears, the cabinets bring out the quickness of the Shuttles, MPP-1 and VB-2, and more of the low-end bloom of the Aggie and VB-3 (although that can be tamed significantly with tone controls and vertical cabinet-stacking). Their great midrange voicing keeps these cabinets from losing focus with "scooped" amps, which, for me, makes them a great choice as a general, "one-size-fits-all" cabinet for the stuff I have to drive them.

Hope this helps answer your question a little!
 
#524
I've had mine for a while now and I like it! Done more than a few gigs with it already.

Been using mine with a NOS '64 Jazz bass, and a fender bassman 100 (one of the old ones - all tube).

Easy to move around, and the right size for a big gig, or a smaller gig. I was using a Berg NV412 (which I love). I feel like i might brign the 412 out for a very large outdoor venue, but other than that, I think the 212 can handle it all. Most bigger gigs will have PA support. For smaller rooms, the 212 is great. There are some smaller rooms I play where I would look like a jack ass if I brought in a 412, but the 212 is just right.

My main impression is that is sits in the mix very well. You hear it, but it doesn't stick out at all. Because of the rear ports, the low end can get away from you if you don't watch it, but not a huge issue. It blends right in - doesn't stick out. I can play a little harder, and it will cut through the mix... lay back, and I'm right back in.
 
#525
hennessybass said:
I've had mine for a while now and I like it! Done more than a few gigs with it already.

Been using mine with a NOS '64 Jazz bass, and a fender bassman 100 (one of the old ones - all tube).

Easy to move around, and the right size for a big gig, or a smaller gig. I was using a Berg NV412 (which I love). I feel like i might brign the 412 out for a very large outdoor venue, but other than that, I think the 212 can handle it all. Most bigger gigs will have PA support. For smaller rooms, the 212 is great. There are some smaller rooms I play where I would look like a jack ass if I brought in a 412, but the 212 is just right.

My main impression is that is sits in the mix very well. You hear it, but it doesn't stick out at all. Because of the rear ports, the low end can get away from you if you don't watch it, but not a huge issue. It blends right in - doesn't stick out. I can play a little harder, and it will cut through the mix... lay back, and I'm right back in.
Click to expand...

The big low end you are attributing to 'port location' is really nothing more than using a tube amp (big and bloomy down low) with a widely voiced, ported cab. The location of the ports don't really matter at all, but the 'tube versus wide, ported voiced cab' does. The NV line sounds tighter to you in the lows because it is (sealed cab).

No issues with 'boom' with this cab so far with me and my solid state heads.
 
#526
you are probably right. My jazz bass also seems to be really big and boomy on the low E string at particular places on the neck.

Come to think of it, it has not really been that much of a problem with the 212, but is more something that I have been hyper-aware of as of late.

My buddy made a recording with his Zoom H2 and some of the bass notes were taking off on it - could have been a number of things at play in that case. (no low cut, placement of the recorder, etc)

When I first got my bassman 100, I used it with a 2-1x15s set up. I couldn't even play the E string without the low end taking off!!

I like the more tight focused sound of a sealed cab, but went with the AE212 for all the other stuff it offered. Thought about having a LDS sealed 212 made, but went with the AE212.
 
#528
Musicman20 said:
Any more gig reports or views on the AE212? How is the finish holding out?
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The finish on the AE212 is identical to all the other AE's that have been out for years. Nothing new there. If you use the padded cover, it is absolutely fine. If you don't, it will nick up and chip up.

Sounding great. Will have mine on the first gig where I really have to push it hard on the 30th... that's the final test for me. At moderate volume, it sounds glorious with the F500 set flat... with maybe a very slight low end cut in problem rooms.
 
#530
Musicman20 said:
Have you had anymore luck with the RH450?

What Im hoping for is that the RH450 brings out a slightly more 'traditional' less grindy tone. More warm, fat, and punchy in the low mids...
Click to expand...

I just don't dig it with the AE212... too warm, too dark, a little 'loose' sounding down low. The LMII/III is much better with this cab IMO if you want to go a bit more old school. With the VLE, I can get the LMII to sound VERY similar to the RH450, but still have more of a tight, articulate tone if I need it. Just like with the HS line of Berg cabs IMO, the RH450 just sounds 'dull' to me. With the brighter, punchier AE410, the RH450 sounds great to me.... that warm and fat that you mention above, but still tight enough to not sound 'mushy' out on the gig.

Pure IMO there.

Edit: The RH450 sounds FANTASTIC with the original TecAmp s212. I sold one of the s212's to a TBer who uses an RH450 with a PBass with nickel rounds, and that was just fantastic... that aggressive upper mid response and tight low end of the original version of the s212 (and I assume the M212) just yin yanged perfectly with the warm, fat and 'polite up top' RH450... warm, growly PBass bliss there.... amazing sounding.
 
#532
Musicman20 said:
Ah, thats a shame. I use the RH450 the most out of all my amps.

Perhaps the HT112ER setup would suit it more? But then with the EX we are talking a fair bit more money :(
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That's quite a bit worse to my ear... the HT112ER is even further away from 'bright and punchy'. I really haven't heard the RH450 sound much better out of anything than a couple of RS210's.... those cabs are voiced just perfectly for a warm, fat, but not flubby low end, and an organic, smooth top end that is not dull. Fantastic cabs, and very low priced.

Doesn't mean you won't like it though... we all have different tastes. I think I have a clip of the HT112ER with the RH450 on my Youtube site... can't remember.
 
#533
I actually do have a clip up of that head with the HT112ER. It surely doesn't sound 'bad', just IMO not as good as most other combinations to my ear. Again, that doesn't mean that it won't sound really good to you, depending on what tone you are looking for.

[Invalid or Expired Link Removed]
 
#535
DLM said:
I will probably need to decide on a new cab soon and would like to read up on any other gig reviews of the AE212.

Please post up!

Thanks.
Click to expand...

I've only had mine about a month and don't use is for all my gigs, but I've been a very happy guy. I pair mine with either a Genz Benz shuttle 9, or a Markbass LM800. I've been using Jim's stuff for almost ten years and it never lets me down.
 
#536
DLM said:
I will probably need to decide on a new cab soon and would like to read up on any other gig reviews of the AE212.

Please post up!

Thanks.
Click to expand...

I played a gig for Seattle Children's Hospital last weekend. My seven-piece pop/funk/rock band played in a very large ballroom for a well-heeled group of doners who had come to party!

We had our FOH and Monitor engineers with us (we make a little less, but the setup and tear down are much easier, and the after-party starts earlier).

I used both AE212's stacked vertically with a Mike Pope MPP-1 and a Stewart World 2.1 in stereo mode (650-ish watts at 4 ohms per side). I played my #2 Sadowsky (ultra vintage j5) with fresh strings.

I loved my stage sound. Crisp and clean, with mega-punch. When you drive the AE212's, you can still get a 410-like growl -- it just occurs at a lower frequency. The engineers told me that my sound killed! (They've said that before, but they were pretty excited about the bass sound at this gig).

We were supposed to be done by midnight -- we played until 1:20am (I'm not sure how many encores we played). The Bergantino's weren't the only reason the crowd wouldn't let us quit, but they were definitely part of it. :D

Tear-down was pretty easy too!

- Greg
 
#537
That sounds like a great experience. One AE212 would be enough for most gigs but two of them with 1300 watts to carry a large ballroom... :bassist::D:smug:

One question I have with the rear-ported AE212 is how its sound would be affected by being walled in by a bunch of equipment? This might not be a factor on gigs but in a crowded practice room (9" of wall clearance and somewhat obstructed at the sides) would there be a problem with the sound?
 
#538
gregbackstrom said:
I played a gig for Seattle Children's Hospital last weekend. My seven-piece pop/funk/rock band played in a very large ballroom for a well-heeled group of doners who had come to party!

We had our FOH and Monitor engineers with us (we make a little less, but the setup and tear down are much easier, and the after-party starts earlier).

I used both AE212's stacked vertically with a Mike Pope MPP-1 and a Stewart World 2.1 in stereo mode (650-ish watts at 4 ohms per side). I played my #2 Sadowsky (ultra vintage j5) with fresh strings.

I loved my stage sound. Crisp and clean, with mega-punch. When you drive the AE212's, you can still get a 410-like growl -- it just occurs at a lower frequency. The engineers told me that my sound killed! (They've said that before, but they were pretty excited about the bass sound at this gig).

We were supposed to be done by midnight -- we played until 1:20am (I'm not sure how many encores we played). The Bergantino's weren't the only reason the crowd wouldn't let us quit, but they were definitely part of it. :D

Tear-down was pretty easy too!

- Greg
Click to expand...

Bet that was kickin' it!!!

That MPP-1 is quite the tool isn't it?
I have a recording of Paul Tidwell running through one that sounds awesome.
 
#539
5StringPocket said:
That sounds like a great experience. One AE212 would be enough for most gigs but two of them with 1300 watts to carry a large ballroom... :bassist::D:smug:

One question I have with the rear-ported AE212 is how its sound would be affected by being walled in by a bunch of equipment? This might not be a factor on gigs but in a crowded practice room (9" of wall clearance and somewhat obstructed at the sides) would there be a problem with the sound?
Click to expand...

Good question! I used Acme Low B2's for several years, so I know not to stick rear ported cabs against the wall. As long as you have a few inches between the wall and your cabs, you should be okay! (I don't think side-clearance matters much.)

- Greg
 
#540
lo-freq said:
Bet that was kickin' it!!!

That MPP-1 is quite the tool isn't it?
I have a recording of Paul Tidwell running through one that sounds awesome.
Click to expand...

The MPP-1 is amazing. One "aha moment" for me was when I realized how much better the MPP-1 did with the dynamics from my EHX Bass MicroSynthesizer than most of my other amps. It's much harder to overload the initial gain stage of the Pope preamp than virtually any other amp. And the tone is different -- much more nuanced than with less capable pre's! It's like I have infinite headroom! Amazing!

- Greg
 
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