The Bergantino Forte HP or HP2

[funkybassgroove]

If you love it then stick with it, sound is subjective but all I can say is that for me the sign of a good amp is, you feel connected to the instrument/strings. Where every note is delivered with a full, rounded tone that you feel. Not many class D amps do it but most transformer based amps do, valve or not. I have owned pretty much all of the modern class d amps over the last 7 or 8 years, but I've settled on the HP2 and also an old Genz Benz Streamline that has the Groove tube upgrade, that's an awesome amp and probably a whole new thread

 

[Pep]

I'm finally finished buying amps and cabinets as I believe I have is the ideal set-ups for any gig.
1) Bergantino Forte D and Acme Low B1 for small gigs.
2) Bergantino Forte D and a Greenboy fEARless F112 for small to medium gigs.
3) Bergantino Forte HP2 and two Greenboy fEARless F112s.

 

[Dp1363]

I'm looking for an additional amp. I currently have a MB D800+ and a MB D800. I was considering the Berg HP2, but the price seems a bit steep.

 

[Pep]

I'm looking for an additional amp. I currently have a MB D800+ and a MB D800. I was considering the Berg HP2, but the price seems a bit steep.

Just remember that the Mesa and Bergantino are totally different animals. The Bergantino models are worth every cent. I had a Mesa WD800 and loved it, but sold it after buying and playing through the Bergantino Forte D. Similar wattage but it was much more articulate, defined and punchy.

 

[funkybassgroove]

Totally different amps and sound, mesa classic tone only, Bergantino, whatever you want but always more direct in the mix. Good or bad is your personal choice

 

[Jazzdogg]

this is such a refreshing response to read.

it seems all amp makers have the goal of reaching the "tube amp" sound when truthfully - they're just apples and oranges. i love an svt or bassman, but i like a genzler 800, mesa subway, and specially bergantino HP way more for my every day use.

it seems a lot of the amp makers are promoting great sounding class D amps as "tube like" when they're not, to people who think they love tube amps but have never owned one.

Comments from an old fool:

I grew up playing in the sixties, through tube amps made in the sixties by Vox, Fender, and Ampeg. I transitioned to solid state amps in the late seventies, and have gigged nothing but solid state amps for more than 40 years because of the size and weight of tube amps. I still own the Fender and Ampeg, but they stay at home.

When I think about my experience playing through amps from the sixties through today, it's the feel as much as the sound that I remember most fondly when I think about tube amps. The dynamic, touch-sensitive, interactivity of those old tube amps has been very hard to achieve with other amps.

My experience listening to others playing through tube amps leads me to conclude that, to me, the feel of playing through a well-made tube amp is at least as important as the sound.

With a good tube amp, I feel as though I am interacting with both my bass and my amp.
With a good solid state amp, I feel as though I am interacting with my bass, with the amp merely processing the resulting sound; it still sounds good, but it feels uninvolved in the touch, feel, and development of the sounds created.

 

[Pep]

Comments from an old fool:

I grew up playing in the sixties, through tube amps made in the sixties by Vox, Fender, and Ampeg. I transitioned to solid state amps in the late seventies, and have gigged nothing but solid state amps for more than 40 years because of the size and weight of tube amps. I still own the Fender and Ampeg, but they stay at home.

When I think about my experience playing through amps from the sixties through today, it's the feel as much as the sound that I remember most fondly when I think about tube amps. The dynamic, touch-sensitive, interactivity of those old tube amps has been very hard to achieve with other amps.

My experience listening to others playing through tube amps leads me to conclude that, to me, the feel of playing through a well-made tube amp is at least as important as the sound.

With a good tube amp, I feel as though I am interacting with both my bass and my amp.
With a good solid state amp, I feel as though I am interacting with my bass, with the amp merely processing the resulting sound; it still sounds good, but it feels uninvolved in the touch, feel, and development of the sounds created.

Your not an old fool, Jazzdogg. You just know what you like and feel most comfortable with. I can appreciate that completyely.

 

[Jim Bergantino]

Comments from an old fool:

I grew up playing in the sixties, through tube amps made in the sixties by Vox, Fender, and Ampeg. I transitioned to solid state amps in the late seventies, and have gigged nothing but solid state amps for more than 40 years because of the size and weight of tube amps. I still own the Fender and Ampeg, but they stay at home.

When I think about my experience playing through amps from the sixties through today, it's the feel as much as the sound that I remember most fondly when I think about tube amps. The dynamic, touch-sensitive, interactivity of those old tube amps has been very hard to achieve with other amps.

My experience listening to others playing through tube amps leads me to conclude that, to me, the feel of playing through a well-made tube amp is at least as important as the sound.

With a good tube amp, I feel as though I am interacting with both my bass and my amp.
With a good solid state amp, I feel as though I am interacting with my bass, with the amp merely processing the resulting sound; it still sounds good, but it feels uninvolved in the touch, feel, and development of the sounds created.

This is a great post and I also often use the term "feel" when describing the differences between neo and ceramic speakers, especially when driven into their non linear regions. This is typically the area (non linear) that most highlights the differences between various technologies, IMO.