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I'm not personally familiar with the CN212 you mention, but my two GK Neo 112-iis never had any trouble keeping up with my relatively loud rock band with my GK 700RB-ii. None whatsoever, and I never had to push them close to their limits.
I considered it my "any gig with PA support rig". Obviously you'll need more if you're playing an outdoors amphitheater or other very large venue without support (something I've never had to do), but for what I'd consider the most likely use cases, two 12s should have no issue IMO.
I considered it my "any gig with PA support rig". Obviously you'll need more if you're playing an outdoors amphitheater or other very large venue without support (something I've never had to do), but for what I'd consider the most likely use cases, two 12s should have no issue IMO.
Depends entirely on how loud the rest of the band is. What is the guitarist using? I've posted before that 200 watts and a 2x10 was always enough for any gig I ever played, going through the PA for bigger venues and outdoors. But I've been lucky to play in bands that weren't stupid loud. If the other guys are all about how LOUD they are, then the 2x12 may not cut it. And you should definitely also invest in earplugs.
I use a gk 212 in smaller bar settings with a loud rock band and it does ok, mostly because I'm less than five feet from the speaker most of the night. I also use this cab for other pick up gigs in smaller settings. The key for it working is smaller stages where you aren't that far from it.
On bigger stages, where you are farther from your amp, say 20-30 feet, it will quickly run out of gas and it needs another cab to compete with the rest of the noise on stage.
On bigger stages, where you are farther from your amp, say 20-30 feet, it will quickly run out of gas and it needs another cab to compete with the rest of the noise on stage.
20-30'? Man, the type of venue that allows for that better (and likely does) utilize a professional monitoring system. If you're 30' from your cab, how far away are you from the guitarist's on the other side of the drums? Seems to me like that type of gig would actually call for a lowest-stage-volume-possible approach to best let the FOH and monitoring system do their thing.
That's obviously bigger than any stage I've ever personally come across, but even in my experience with what I'd consider large sized stages (thinking like 25'x60') that's the approach that's been used.
Haha, I'm used to playing on stages that are like 8x10!
The guitar player sometimes tells me I'm too loud... It's only Rock and Roll but I like it... 
Doug Parent
Supporting Member
Depends on the venue and the band. There are certain situations where a compact CN212 does not cut the mustard. That cab is tight and punchy but the low end is more Jennifer Anniston vs. Jennifer Lopez if you know what I mean.
The CN and HDN series 212 cabs are really cool but the HD Series with ceramic magnet drivers maintain their composure a little better under high stress. I use a third 112 into the 212 mix when it starts getting hella loud.
The CN and HDN series 212 cabs are really cool but the HD Series with ceramic magnet drivers maintain their composure a little better under high stress. I use a third 112 into the 212 mix when it starts getting hella loud.
Compared to what?
What are you using now that isn't loud enough?
Do you have PA support?
Loud enough on stage, or out front?
If you are going from a 15, or from a 2x10, then a 2x12 may be a little louder assuming SPL numbers are the same.
If the SPL numbers on the Berg are less, then you're loosing ground.
If you're going from a single 10 then yes it will be louder, but will it be loud enough?
You are not only competing with the guitar, but the drums, the room, and yourself.
That last part refers to how you EQ your rig.
For loud rock, I'd get want an amp and cab that will compete by themselves. Then I'd add another cab so you're not running out of headroom.
I'm using a 4x10 at the moment, but it can't quite handle the b-string at high volume..
These are the stages I was referring to. I have toured with bigger acts, ( Miranda Lambert, Lee Brice, etc) and these stages are better suited to in ear monitoring, and a better backline. As an opening act on tour with some pretty big national acts, you don't always get your full time to ring in wedges or side fills, and having a solid backline was very useful to hear myself over the thunder of the foh.
When we headlined, we ran in ear monitoring, and I didn't even run a backline, except to shape the sound via a mic on the cab and my effect rack.
Now that I'm off the road, I'm still working Reginal acts, and I don't play they typical dive bar unless I'm subbing with bands and having fun.
This is a current project I'm working with, and the typical size of stage I'm playing on. In this case we aren't running in ear monitoring (yet, should be in about six months). And the house pa has a line of wedges across the front, which can end up being a sonic mess with a busy complex mix, as we have.
Generally, stages are about 10-20 feet deep, and at least 30 feet wide. In this case, I'm using a 212 and a 410 cab stacked. The extra speakers help open up my sweet spot and area I can hear comfortably on stage. As you can see, the bass and guitar stacks are quite a ways away. Here I'm competing with the front line of wedges, which pretty much have the lead vox blaring so she can be everywhere on stage and hear herself.
Again, once we go to in ear monitoring, the amp/speaker only becomes a sound modeling device, and not used to push the sound on stage.
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A fearless 212 will allow you to keep up into the threshold of pain at the end of a 20' cord. Last friday the meter was saying 107 db at the board about 50' from the band. I wasn't mic'd and as usual, all you ever see out of that box is the woofers twitching once in a while. I have never seen those cones jump.
buldog5151bass
Kibble, milkbones, and P Basses. And redheads.
Two 12s - almost as loud 4 10s, almost as small and light as 2 10s. If your gig needs more than a decent 212, you need ear plugs.
MDBass
Supporting Member
- Nov 7, 2012
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Agreed on all fronts.
Except, depending on the maker (Greenboy, Barefaced, LDS, etc), the 212 will actually be significantly louder than a commercial 410.
I don't have any experience with the CN212, but the LDS 15/6 I use absolutely buries any 410 I've ever owned or played through, including Aguilar, Ampeg, GK, Avatar, Mesa, Hartke, Carvin...I think that's it
Jim at Bergantino makes great stuff, unless the band is stupid loud or you're trying to carry a large room without PA support I'd imagine it'd work great.
Loud scenario... I am thinking at least one guitarist with 100-120 tube head. Say Dual Rectifier into a 2x12 or 4x12 plus a hard-hitting drummer.
Generally I like to have double whatever the guitarist has. Part of the reason is just the psychological effect it has on the guitarist. In the volume war I like my guitarist to feel intimidated.
IMO a quality 410 or 212 can tend to keep up.
Also- Just depends how you dial it too. I get more mileage (and IMO better stage sound) when I dial in midrange and low mids instead of boomy lows.
Generally I like to have double whatever the guitarist has. Part of the reason is just the psychological effect it has on the guitarist. In the volume war I like my guitarist to feel intimidated.
IMO a quality 410 or 212 can tend to keep up.
Also- Just depends how you dial it too. I get more mileage (and IMO better stage sound) when I dial in midrange and low mids instead of boomy lows.
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