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New Bergantino Neo Line; Pt. 2

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#101
kringle77 said:
That video didn't sound the greatest but, it seemed like the pair of 1x12's had more of a tight low mid punch and was overall all more defined than the 2x12.
Click to expand...

+1 Their summary didn't really match what I was hearing. The additional low end push of the 212 resulted in the 112's sounding just a bit more mid defined to me, which is what you would expect when comparing a 212 and a 2 x 112 of similar design. Anyway, both sounded great, and very similar. This is also how another TBer described them when he did a direct A/B. Again, close enough, and slight EQ would most likely make them even more similar.

Jim did a nice voicing job, resulting in what seems like very little downside (other than cost) to allow for a modular rig that performs similarly to the larger cab. Nice!
 
#103
OK, Ken, you're off the hook. A CN212 made its way into my practice room today, and I have to say that, combined with the Blue Soul it's just about as tight as it gets. The sound is very reminiscent of my Heart-Rock/Quattro rig, now in the wind. I played it for a little while, and the bottom end is already starting to open up. The cab puts out whatever you give it.

I'm going to put some flats (first time in many years) on my Roscoe Beck V to see how it would work for my new country western gig. I was at BSD earlier today playing a 4-string (with difficulty) parts bass with flats, and it sounded really good. But no, I'm not going 4-string, so don't worry. About half the songs I'm learning have low Ds in them.

So, you were right. I like the rig.
 
#104
Munjibunga said:
I'm going to put some flats (first time in many years) on my Roscoe Beck V to see how it would work for my new country western gig.
Click to expand...

Some of my favorite strings on my Roscoe Beck V were the Fender nickel plated steel rounds. But if you feel the need to go flat, I guess I can't stop you...

I was at BSD earlier today playing a 4-string (with difficulty) parts bass with flats, and it sounded really good. But no, I'm not going 4-string, so don't worry. About half the songs I'm learning have low Ds in them.
Click to expand...

Ever heard of a D-tuner? :D

Seriously, it seems like I spend most of my gig-time on a 4-string with a drop-D, anymore. Will Lee is right. You can cover a lot with that setup.
 
#105
tombowlus said:
Some of my favorite strings on my Roscoe Beck V were the Fender nickel plated steel rounds. But if you feel the need to go flat, I guess I can't stop you...



Ever heard of a D-tuner? :D

Seriously, it seems like I spend most of my gig-time on a 4-string with a drop-D, anymore. Will Lee is right. You can cover a lot with that setup.
Click to expand...

I had TI PowerBass strings on the RBV, my favorite roundwounds. It's just that after playing that mongrel with flats today, I've got to give them a try. And as a guy with sixteen 5-string basses, why would I mess with a D-tuner? Nobody serious plays 4-strings any more - you know that. I'll be taking my UV70 strung with roundwounds along.
 
#106
Munjibunga said:
OK, Ken, you're off the hook. A CN212 made its way into my practice room today, and I have to say that, combined with the Blue Soul it's just about as tight as it gets. The sound is very reminiscent of my Heart-Rock/Quattro rig, now in the wind. I played it for a little while, and the bottom end is already starting to open up. The cab puts out whatever you give it.

I'm going to put some flats (first time in many years) on my Roscoe Beck V to see how it would work for my new country western gig. I was at BSD earlier today playing a 4-string (with difficulty) parts bass with flats, and it sounded really good. But no, I'm not going 4-string, so don't worry. About half the songs I'm learning have low Ds in them.

So, you were right. I like the rig.
Click to expand...

Yeah, KJ's clips of the Blue Soul & CN212 sounds really nice with good headphones...I can almost imagine how it sounds live.
 
#108
GRoberts said:
I am wondering if the magical tone of the Blue Soul translates as well Live as do some other heads such as the TH500.

Often, the sound that is so amazing and seductive alone is the sound that gets lost in the mix. (IME/IMO)
Click to expand...

You make a good point in general. However, the Blue Soul is not really scooped at all (that, as we all know, can get you into trouble). It is just VERY clean through the mids, and very widely voiced (goes way deep and way high).

That sort of tone profile will take a more hefty power amp than a more 'compressed' tonal footprint, and the Blue Soul has it. That tone profile will also 'test' a cab, and, to your point, you need a decent sized box (depending on the gig) to translate that wide frequency range in a live setting.

I've had very good luck on the gig with the AE212 and the Blue Soul, and have had it out with the CN212 and its even better (by better, not necessarily better sounding, but more punchy and fat in the mids).

That being said, IMO it really does impart a 'modern' tone to any bass you use it with. I've describe that as 'sucking the vintage out of a vintage instrument'. It does nothing for me with my P Bass. Dig it with my Alleva J though, although as you can kind of hear on the clip, it is more 'big and smooth and articulate' than 'grindy'. Again, makes my A-C 70's style J sound a bit like my previously owned Fodera. That isn't bad, in and of itself, it just 'is what it is':):)


Edit: I can imagine that Munji's Sadowsky UV70 (which is a very modern take on a J Bass, assuming he has the stock HC pickups) will sound awesome with this rig. With is Fodera's... forget about it! Off the hook!
 
#110
KJung said:
Thanks! It is a glorious tone for that sort of 'unforgiving roundwound' sort of clarity thing!
Click to expand...

I also think the pairing would allow for some EQ sculpting (if you so desire) to get a wide variety of tones.

I tend to avoid passive basses because I dial in my basic tone using the amp and if the situation calls for it, just tweak a bit on my bass (3-band). Usually just a little with the bass control, but for some songs roll off some of the highs.

Edit: to clarify -- IMO: this pairing seems to be a REALLY good place to start from to get a lot of great tones via EQ changes, hand positions, plucking methods, & different basses!

I'm thinking the Puma 900 might even work for me as well or better (different flavor of good), but I'd have to check them both out.
 
#114
kringle77 said:
That video didn't sound the greatest but, it seemed like the pair of 1x12's had more of a tight low mid punch and was overall all more defined than the 2x12.
Click to expand...
Chris, I agree that the 2x112 sounded more balanced than the 212.

I hear many saying that the two are more similar than different; but, that video sounds otherwise. No doubt EQ can get both close. The 2x112 stack just sounds inherently more balanced.
 
#116
I'll admit it. I am part of the "shoulda, woulda, coulda police". I wish that jim had aligned the woofers vertically. For me, it really effects the tone both on and off axis. I've using several different cabs lately and it is something you notice when doing direct comparisons.
 
#117
kringle77 said:
I'll admit it. I am part of the "shoulda, woulda, coulda police". I wish that jim had aligned the woofers vertically. For me, it really effects the tone both on and off axis. I've using several different cabs lately and it is something you notice when doing direct comparisons.
Click to expand...

Seriously?

Could you please elaborate on what you are hearing and describe how Jim's design "really effects the tone" for you? thanks :)
 
#118
kringle77 said:
I'll admit it. I am part of the "shoulda, woulda, coulda police". I wish that jim had aligned the woofers vertically. For me, it really effects the tone both on and off axis. I've using several different cabs lately and it is something you notice when doing direct comparisons.
Click to expand...

For my uses, in a band setting, I'm not going to hear any difference, but the slight staggering Jim has, does make the cab a bit more compact & easier to haul around.
 
#120
KJung said:
You make a good point in general. However, the Blue Soul is not really scooped at all (that, as we all know, can get you into trouble). It is just VERY clean through the mids, and very widely voiced (goes way deep and way high).

That sort of tone profile will take a more hefty power amp than a more 'compressed' tonal footprint, and the Blue Soul has it. That tone profile will also 'test' a cab, and, to your point, you need a decent sized box (depending on the gig) to translate that wide frequency range in a live setting.

I've had very good luck on the gig with the AE212 and the Blue Soul, and have had it out with the CN212 and its even better (by better, not necessarily better sounding, but more punchy and fat in the mids).

That being said, IMO it really does impart a 'modern' tone to any bass you use it with. I've describe that as 'sucking the vintage out of a vintage instrument'. It does nothing for me with my P Bass. Dig it with my Alleva J though, although as you can kind of hear on the clip, it is more 'big and smooth and articulate' than 'grindy'. Again, makes my A-C 70's style J sound a bit like my previously owned Fodera. That isn't bad, in and of itself, it just 'is what it is':):)


Edit: I can imagine that Munji's Sadowsky UV70 (which is a very modern take on a J Bass, assuming he has the stock HC pickups) will sound awesome with this rig. With is Fodera's... forget about it! Off the hook!
Click to expand...

I still have the HC pickups in it, but not the preamp - that's now a Flex Core. But it does sound great.
 
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