Dood

For Prog fans who love things in groups of 7.. 7/4 time (Not many knew that)

The distributor is Audio Distribution Group who are also in the UK. I know one of the partners and have to say, I'm filled with confidence in him taking on distribution. Good things to come I am sure.

Thankfully, I'm broke, so I can only look lol.

Just had an email through so I hot footed off to the Bergantino website to see more. I have to say I really love the @Bergantino Audio amplification. I've been so pleased with the B|Amp and I have a few Berg' cabinets too. B|Amp for example uses a set of profiles to tune the amplifer/speaker combination to get the best out of them (not a million miles away from PA DSP) which I think is brilliant, a real game changer. Anyway, THIS looks superb! Parallel compression, HPF, tons of power on tap (It will run down to 2 ohms too) - what's not to love? https://bergantino.com/fortehp/ Special Features Built-in parallel compression Drive Circuits: “Pick Two” – Choose from O/D, Soft clip “purr” to massive, mix shredding distortion, and all out Fuzz, via software downloads. Variable Low-Pass (VLPF) and Variable High-Pass (VHPF) filters, critical for precise tone shaping and taming of the most challenging gigging environments. Additional Features 4-Band Tone Controls: Bass: +/-10db @65hz, Lo-Mid:+/-10db @250hz, Hi-Mid: +/-10db @ 1khz, Treble: +/-10db @ 3.5khz Bright Switch: Selectable between 2 khz @ +6db and 7 khz @ +8db Auxiliary Input and Headphone Jack: for personal monitor and practice Bluetooth Foot-Switchable features including Drive, Effect, Bright, and Mute Software Upgradable via front USB port Rack Mountable with optional rack ears Effects send and return loop Studio quality Direct Output: software selectable Pre or Post EQ UPS – Universal power supply 115VAC – 240VAC 50/60Hz Power Section: 600W @ 8 ohms, 1200W RMS @ 4-Ohms, 1200W RMS @ 2-Ohms Dimensions: 13.25”W x 8.375”D x 3.75”H Weight: 6.4 lbs. https://bergantino.com/product/hg412-loudspeaker/ Description HG412 4-12” Sealed design, 4-12” Neodymium Magnet Woofers (one in the rear to create a 3-dimensional sound field) The big brother to the HG310 and HG410, the HG412 has a sealed cabinet design for immediate and accurate bass response. Additionally, the high quality, reference tweeter reaches those airy and transparent highs, along with a rear-firing woofer that creates a three-dimensional sound field. It is available in black Bronco Tolex with the Bergantino gold logo. All internal components within each Bergantino Audio Systems’ products are designed with the highest quality and dependability for an accurate, distinct sound. No “off-the-shelf” parts are ever used. Woofers with neodymium magnet materials are used for the low frequency section of the HG series cabinets, creating a very clear sound with a punchy low-end, sweet midrange and reduced weight. The HG series cabinets utilize a High Intelligible Compression Driver mated to a Constant Directivity Horn to ensure consistent coverage from the lowest to highest notes. The HG412 provides true, big cab performance with a medium-sized form factor, coming in at only 64 pounds! This cab can handle the biggest stages around the world without breaking a sweat. Due to its innovative, rear-firing driver, the player is enveloped in bass tone when he or she stands directly in front of their rig. This concept provides multiple pathways of sound to the player’s ear, again, leading to the 3-dimentional soundscape. One of the side benefits is NOT having to engage in volume wars because one can more easily hear and feel the bass signal. Your sound tech will certainly appreciate this approach. The proprietary drivers are unique and specially designed to give the player a tight, quick and accurate response. This, in turn, rewards the bassist with visceral feedback – once reserved for the biggest of cabinets – until now. The HG412 will easily blow any “refrigerator-sized” cabinet away. It is truly an all-out assault on your senses. If you want to produce top level bass tone and FEEL it as well, the HG412 is your solution. Specs Include: Woofer: 4-12” Neodymium Magnet Woofers (one in the rear to create a 3- dimensional sound field) Tweeter: High Intelligibility Compression Driver w/ Constant Directivity Horn Cabinet Design: Sealed Cabinet Material: Lightweight Italian Poplar w/Baltic Birch Baffle Cabinet Covering: Black Bronco Tolex Impedance: 4-ohms Power Handling: 1000 W RMS Crossover: Custom Phase-Coherent Crossover w/ Tweeter Control Frequency Response: 42hZ – 15KhZ Sensitivity: 104 db @ 2.83v /1-meter Dimensions: 33” H x 18-1/2”W x 15”D Weight: 64 lbs

The OP suggests it's a standard P bass, so I guess less likely though a very useable idea. Also unlikely for this kinda band, but the bassist could have a MIDI pickup installed in the bass requiring a second output.

That's pretty much it actually yes. I do gig lots on some good sized stages at times too, but as yet, my 20Ft leads have more than sufficed and haven't felt that they get in the way. My basses are active, so I'm not struggling with long cables and my IEM mix comes from a device next to my pedal board, so the cables start and end at the same place. I am yet to have our super @obbm build me a single IEM cable carrying both instrument and stereo IEM signal, but as I say, I'm not having any problems with getting tangled up even with two wires hanging off my bass. I've actually made a little clip (well bodged!!) that the IEM cable hangs off so that I can easily disconnect the headphone cable leaving both the instrument and IEM feed together. One less wireless means that I don't have to worry about venue interference or making sure channels are available. We also have a lot of Wifi on our stage too which can be a cause for concern. Also two less latency inducing devices in the signal path too!

I have two leads round my strap and this is exactly my reason. It's one less noisy wireless to worry about ha ha!!

Check out my Guitar Interactive Review! Tonally it is brilliant. It may do way more than you need, I don't know - but, I use the same Positive Grid "engine" in my studio every day and the sounds have appeared on professional releases. It's easily up there with the likes of Helix, Kemper and AxeFX. I really love the user interface when using the PG Mini plugged in to an iPad or desktop.

Yes! Awesome! It was totally my intention! For really loud environments, I've upgraded to the H4n Pro which can handle 140 dB. The H5 and H6 can both take the clip on 140db microphones (which replaces the ball type in the video above) so also a possibility.

Congratulations! That's awesome!

EXCELLENT! Exactly my intention - video 2 is even better and I've worked with pro musicians who have said this has been a revelation! Drummers seem to love it the most, especially if you are monitoring in stereo.

Video is back!

Uploading footage now, will be available here: https://youtu.be/gzPfeOPGe0Q

Video? oh goodness! It has gone hasn’t it! let me sort that. i actually have a great follow up to record too!

Mine went back in the cupboard when I grabbed my Helix, but unlike other pedals I did not sell it. It's aways going to be a pedal to hold on to as it can do so much more than just it's default settings. As it has a crossover on board, I have in the past used it as a 'preshape' equaliser!

Yes indeed, exactly what I did with mine when I had them done too. They will often get you to do this too if you are going to be singing with IEMs in.

The scale length is to suit the fan-fret instruments, so take that in to consideration when purchasing. They are really good strings manufactured by D'Addario, so you know the QC is very high.

Eventually my logo (and avatar) will become T-Shirts. Ok, so I've only had a few dozen orders, but I like it! My Signature pic hopefully explains it!

Thank you I really appreciate that. it's been a week from hell, so this was a nice lift.

I will certainly drop some video links in later, but off the top of my head the latest squeeze is a band called VOLA. I also love everything that a chap called David Maxim Micic produces, especially the BILO EPs. Not a new album, but I still smile every time I listen to Audioplastik’s “In The Head Of A Maniac”. I know the band very well which makes the album even better I will also have to add the 2018 release from Ostura called “The Room”. Yeah that’s a blatant plug, I know.. but honestly I’m still amazed that it was possible to pull off this album. I’ll do a post about it later in this thread, but even if you don’t like the genre it’s still an incredible feat of production no denying!

I think it is worth adding that although I have clearly said “you can” it doesn’t mean we should ALL the time! It’s not gonna wash at The Dog And Duck! I am sort of specifically talking about much, much larger stages with a higher audience capacity venue. Thought I should add that for clarity before I’m shot down he he

I too have experimented. Not at a gig mind, a rehearsal. I added our band’s 800W active sub to my 300watt 2x10 set up, but the gain setting actually couldn’t for some reason be dialled back far enough. Every note had the most beautiful low end punch (in the gut) with no distortion at all.. but that was all anyone could hear in the room 😂😂😂😂😂😂

Any PA we haven't worked with before will get our tech spec so they know what gear we use. It's my job to liaise with them from a technical standpoint. I prefer to speak directly on the phone if I can't meet in person. At the gig, for me on my own, firstly I give the engineer a line check. I'll tell them what my loudest sounds are and I will demonstrate them. I will give short sharp transients and longer sustained notes to begin with to set up channel gain. Then I will play a bunch of different lines in loops of say 4 bars or so with my core tone. They hopefully will already know that I have a few effects that I use too and thus when the engineer is happy I'll give those a zoom through. Basically though, a good engineer will clearly communicate what they need from you. A bad one will grunt in to his foldback mic, or worse gesture at you from his darkened cell at the other end of the venue. So far, I'm pleased to say that only minimal EQ tweaking and a small amount of compression gets added on the desk for my bass sound. Everything else is already on my effects board.

Likewise! I've no idea why I am even in this conversation as my pairs of subs are in my IEMs! No amps or physical monitors anywhere near me on stage ha ha! No backline, just my little pedal board and my IEM mixer in front of me. I love letting FOH do it's job properly.