This killer amp and cab are a dynamic duo, but each holds its own, too.
Recorded direct into Focusrite Saffire 6 interface into MacBook Pro using Logic.
Clip 1 - Fender Elite PJ, flat EQ, no enhancement.
Clip 2 - Fender American Standard Jazz, VRC at noon, slap riff.
0:00 - no EQ
0:10 - punch engaged
0:19 - punch and bright at 2 kHz
0:28 - punch and bright at 7 kHz
Clip 3 - Fender Elite PJ
0:00 - no EQ
0:09 - drive engaged at 9 o’clock
0:20 - drive dimed
RatingsBergantino Forté HPPros:Powerful and accurate reproduction of your instrument. Excellent tone-shaping features. Cons: Larger than most class-D amps. Street: $1.399 Bergantino Forté HP bergantino.com | Tones: Ease of Use: Build/Design: Value: |
Bergantino HG410 Pros:Detailed and responsive, with wide tonal projection. Superior portability. Cons: Expensive. Street: $1,599 Bergantino HG410 bergantino.com | Tones: Versatility: Build/Design: Value: |
When amp guru Jim Bergantino was diagnosed with cancer, he sought solace and inspiration at the workbench, where he created the Forté HP, which combines some of the popular features of his previous amps with a robust power section. For our review, Bergantino also provided an HG410, a unique take on the classic 4x10 speaker configuration.
Drive, He Said
While the Forté HP sports all of the features of the Forté (aux in, a variable ratio compressor, 4-band EQ, and a bright switch), it includes practical options from the flagship B|Amp as well as a few additional goodies. Variable high-pass and low-pass filters provide precise tonal tailoring, whether for taming the lows in a boomy room or mellowing out the transients for a warmer vibe. Vintage tone lovers will appreciate the drive section, as it delivers harmonic enhancement in lower settings and heavy grind when cranked.
To the right of the front panel, a trio of buttons offer on-the-fly EQ bumps and other operational functions. Tapping the punch button delivers a 4.5 dB boost at 100 Hz. Holding down the aforementioned button for three seconds toggles the DI pre/post setting. Bergantino expanded the functionality of the bright switch on the HP.
While it was fixed on the Forté at 6.5 kHz, the new amp offers a choice of +6 dB at 2 kHz or +8 dB at 7 kHz. These settings can be particularly handy for finger presence and pronounced string-popping. The third button is more than a mute function. Depressing this control changes the operational impedance from 4/8 ohms to 2 ohms. This feature expands the possibilities of speaker connection, maximizing the massive 1,200-watt class-D power amp.
Another cool feature is the front-panel USB port. This is used to connect a wireless Bluetooth footswitch or install firmware updates. It also comes in handy when you need to charge your phone. Rear panel highlights include a headphone out, tuner out, effects loop, and direct out. The components are housed in a stout aluminum chassis. Large rubber feet prevent the amp from unwanted vibrations, and the HP may also be rack mounted. (Ears sold separately.)
Bergantino’s new speaker cabinet, the HG410, adjusts the arrangement of its neodymium drivers to project in a wider sound field. While three of the speakers are forward-facing, the fourth driver is a rear-firing woofer. The punchy sealed cabinet is constructed of Italian poplar with birch baffles, and tips the scales at 47 pounds.
Sound Sculpting
I’ve relied on the Bergantino B|Amp and two HD112s as my rig of choice, so I was enthused to delve into the HP/HG combo. I played a Fender Elite PJ through the rig to assess its sonic possibilities. I also used the B|Amp, HD cabs, and various backline with Bergantino’s latest creations to listen for consistencies and differences. The first thing I noticed about the Forté HP was the way it presented every note with accuracy and authority—the result of an abundant, unflappable power amp. Never did the HP feel or sound like it was being overworked.
Shaping the sound of my instrument was simple, thanks to the intuitive layout. Once the gain stage and master volume were set, I could dial in the VRC compressor for a little extra tightness and punch, as well as dirty things up a bit with the drive control. Bergantino’s EQ section provided plenty of cut and boost, but it’s voiced to not significantly alter the character of the instrument. I enjoyed experimenting with the punch and bright buttons, enhancing the J pickup on the Fender Elite with extra burp and presence. I required very little from the EQ, since I used it as a subtle problem-solving tool for various live rooms.
My favorite features—essentially for fitting in the mix—were the high-pass and low-pass filters. Whether it was a boomy honky-tonk in Nashville or a 2,000-seat theater on a cruise ship, these filters kept my tone focused and present onstage. Initially I was a bit skeptical about the footswitch. I felt it wasn’t a necessity and rarely use it with my B|Amp. That said, I found the redesigned footswitch for the HP a major improvement and a useful tool in live performances. For example, I was playing an R&B medley that contained Motown bass lines and Sly and the Family Stone slap passages. With a few quick stomps of the drive, punch, and bright buttons, I could quickly transform the PJ from Jamerson mode to funk machine.
Although I was pleased how well the Forté HP performed with other speaker cabinets, it shone when combined with the HG410. The pairing was super-clean, responsive, and handled a lot of power. The narrow, rectangular design was ergonomically fantastic, as I could lift and transport the cabinet easier thanany 4x10 I have ever used. What sealed the deal for me on the HP/HG duo happened during a blues jam in a medium-sized club—an extremely loud room where the musicians prefer to crank up the volume and bash out blues/rock tunes. The rig was placed in between a Fender Super Reverb and the drum set. I never ran a line to the house PA. After dialing in the Bergantino rig for the room, I stood back to listen to how the HP/HG fit within the ridiculously loud jammers. To my surprise, the sound was thick and present, revealing the tonal tendencies of all the jamming bassists. In fact, many musicians in the audience thought they were hearing the bass through the house system. I’ve never had a lightweight rig perform so well at high volumes, and the Bergantino Forté HP/HG410 did it effortlessly.
The Verdict
As I was wrapping up this review, I got some good news. Jim Bergantino announced he was cancer-free. The Forté HP is his passion project as well as a monster amp, with easy-to-use features and stout tone. Discerning bassists who expect maximum performance will appreciate its thoughtful design and seemingly unlimited headroom that delivers each note accurately. Pairing it with the HG410 makes a vicious combination, rewarding users with excellent tone-shaping features and a strong footprint within any ensemble. I can say with confidence the Forté HP is one of the best amps of the year, and the HG410 is one of the best 4x10s ever designed.
Nashville session and stage MVPs craft an aural wonderland with their genre-defying instrumental album, In Stereo.
Working from a shared language of elegance and grit, Nashville guitar domos Tom Bukovac and Guthrie Trapp have crafted In Stereo, an album that celebrates the transcendent power of instrumental music—its ability to transport listeners and to convey complex emotions without words.
In Stereo also honors Trapp and Bukovac’s friendship, which ignited when Trapp and Bukovac met over a decade ago at Nashville’s 12 South Taproom eatery and club—an after-hours musician’s hangout at the time. They also sometimes played casually at Bukovac’s now-gone used instrument shop, but when they’re onstage today—say at Trapp’s Monday night residency at Nashville’s Underdog, or at a special event like Billy Gibbons’ BMI Troubadour Award ceremony last year—their chemistry is obvious and combustible.
“Guthrie is very unpredictable, but for some reason our two styles seem to mix well.”—Tom Bukovac
“It’s like dancing with somebody,” Bukovac says about their creative partnership. “It is very easy and complementary. Guthrie is very unpredictable, but for some reason our two styles seem to mix well, although we play very differently.”
As Pepé Le Pew probably said, “Vive la différence.” While they’re both important figures in Nashville’s guitar culture as badass, in-demand session and live players, Trapp also points out that the foundation of their respective careers is on opposite swings of that pendulum. Bukovac’s reputation was built on his studio work. Besides his touring history, he’s played on over 1,200 albums including recordings by the Black Keys, Glen Campbell, Keith Urban, Stevie Nicks, Bob Seger, and Hermanos Gutiérrez. And Trapp considers himself mostly a stage guitarist. He emerged as a member of the Don Kelly Band, which has been a Lower Broadway proving ground for a host of Nashville 6-string hotshots, including Brent Mason, Johnny Hiland, and Redd Volkaert. In recent years, you may have seen him on the road with John Oates. It’s also possible you’ve heard Trapp on recordings by Rodney Crowell, Emmylou Harris, and Roseanne Cash, among others.But back to In Stereo. “This record is truly for the love of music and not giving a shit what anybody else is going to think about it,” relates Trapp, as he, Bukovac, and I sit and talk, and they noodle unplugged on a Danocaster and an ES-355, respectively, in the warm, instrument-filled surroundings of the Cabin Studio in East Nashville. The album was recorded there and at another studio, simply called the Studio, with Brandon Bell engineering.
“When we started working on the album, it was very loose,” explains Bukovac. “I never wanted to bring in anything that was complete because the key is collaboration. So, I knew better than to come in with a complete song. And Guthrie didn’t do that either. We would just come in with a riff for an idea and then let the other guy finish it—and that’s the best way to do it.”
“It’s got enough humanity—real playing—mixed with the cinematic side of it.”—Tom BukovacAll of which helped make In Stereo’s 11 compositions seamless and diverse. The album opens with a minute-long ambient piece called “Where’s the Bluegrass Band,” which blends acoustic and electric guitars, feedback, and keyboards with generous delay and reverb—telegraphing that listeners should expect the unexpected. Of course, if you’ve been following their careers, including their estimable YouTube presence, you’re already expecting that, too. So, a soulful composition like “The Black Cloud,” which builds from a Beatles-esque melody to a muscular and emotive power ballad of sorts, comes as no surprise. “Desert Man” is more of a mindblower, with its dark-shaded tones and haunting melodies. “Cascade Park” is an unpredictable journey that begins with delay-drenched piano and leads to Trapp’s acoustic guitar, which evolves from contemplative melody to feral soloing. And “Bad Cat Serenade” and “Transition Logo Blues” balance the worlds of country and jazz fusion. Overall, the music is timeless, emotional, and exploratory, creating its own world, much as Ennio Morricone did with his classic film soundtracks.
Tom Bukovac's Gear for In Stereo
Tom Bukovac and his ’58 Les Paul sunburst—one of just a handful of guitars he used to record In Stereo.
Guitars
- 1958 Gibson Les Paul ’Burst
- 1962 Stratocaster
- Harmony acoustic rebuilt by James Burkette
- Jeff Senn Strat
Synth
- Roland XP-30
Amp
- Black-panel Fender Princeton
Effects
- Nobels ODR-1
- Strymon Brigadier dBucket Delay
Strings & Picks
- D’Addario NYXL’s (.010–.046)
- Fender Mediums
“It’s a lot to ask somebody to sit and listen to an instrumental record,” Bukovac offers, “so I was just trying to make sure—and I know Guthrie did the same—it doesn’t get boring. When I finally sat and listened to this thing in its entirety, which was many months after we actually recorded, I had forgotten what we’d even done. I was overwhelmed. I love that I never got bored. It moves along and has moments where it gets into sort of a trance, in a good way, but it never stays there too long. It’s got enough humanity—real playing—mixed with the cinematic side of it.”
Trapp picks up the thread: “If you’re in Nashville for a long time and you’re paying attention at all, you understand this is a song town. No matter how you slice it, it’s all about the vocal and the lyric and the song. So, it doesn’t matter if you’re making an avant-garde instrumental guitar record. That influence is pounded in your brain—how important it is to trim the fat and get down to the song. A song is a song. It doesn't matter if it’s instrumental or not. It’s a ‘Don’t get bogged down and get to the chorus’ kind of thing.”
“A song is a song. It doesn’t matter if it’s instrumental or not. It’s a ‘Don’t get bogged down and get to the chorus’ kind of thing.”—Guthrie Trapp
Which alludes to the sense of movement in all these compositions. “It’s very important that every section of a song delivers every transition,” Bukovac adds. “When you go into a new room, when you open that door, it’s got to be right. That’s what I think about records. And there’s a lot of shifting on this record. We go from one field to another, and were very concerned about making sure that each transition delivers.”
Guthrie Trapp's Gear for In Stereo
Guthrie Trapp recording with his Danocaster Single Cut, made by Nashville’s Dan Strain.
Guitar
- Dan Strain Danocaster Single Cut
Amps
- Kendrick The Rig 1x12 combo
- Black-panel Fender Princeton
Effects
- Strymon Brigadier dBucket Delay
- Strymon Lex
- Nobels ODR-1
- Xotic RC Booster
- T-Rex Tremster
- Boss TU Tuner
Strings & Picks
- D’Addario NYXL’s (.010–.046)
- Medium celluloid
That kind of thoughtful development—the set up and delivery of various compositional sections in songs—isn’t exactly a lost art, but it’s certainly rarer than in earlier decades. Listen to Elton John’s Goodbye Yellow Brick Road to hear how Davey Johnstone sets up verses, choruses, and bridges—or anything by David Gilmour—for reference. It’s also a goal best accomplished with a team of exceptional players, and, of course, Trapp and Bukovac enlisted some of Music City’s finest. The cast includes steel-guitar legend Paul Franklin, keyboardist Tim Lauer, bassists Steve Mackey and Jacob Lowery, and drummers Jordan Perlson and Lester Estelle.
“Don’t tell my mom, because of course we all want to make a living, but playing music that has integrity is at the top for me.”—Guthrie Trapp
“We recorded the basics—really, most of the tracks—live on the floor,” says Trapp.
“We kept a lot of the original throw-down/go-down solos,” Bukovac adds. “There were very few fixes and overdubs. One of the best moves we made was letting an outside person objectively sequence it, because you can get a little bit too inside your own thing. It’s like … if you’ve ever done a photo shoot, if you let somebody else choose the photo, it’s never going to be the one you’d choose, and it’s probably a better choice.” That task fell to Nick Govrik, another friend and engineer.
The terrain Bukovac and Trapp cover on their first album together is expansive and transporting—and packed with impressive melodies and guitar sounds.
The shipment of In Stereo’s vinyl arrived shortly before Trapp, Bukovac, and I talked, and while Bukovac released his first solo album, Plexi Soul, in 2021, and Trapp put out his releases Pick Peace and Life After Dark in 2012 and 2018, respectively, they seemed as excited to listen to it as teenagers in a garage band unveiling their debut single. That’s because, despite their standing and successes, playing guitar and making music is truly in their blood. What they play is a genuine expression of who they are, ripped from their DNA and presented to the world.
“Don’t tell my mom this, because of course we all want to make a living, but playing music that has integrity is at the top for me,” says Trapp. “These days, with AI and people worried or insecure about where the music business is going, and all these Instagram players who just are fixing everything with Pro Tools so they sound like they’re in a studio, I don’t worry because we’re not selling bullshit. We have 35 years of real experience between us, and when we do social media, we’re just reaching for a cell phone and posting it. It’s organic. That, to me, is a big difference. At the end of the day, I can sleep well knowing that I have earned the respect of the people that I respect the most. It’s just authentic music made for the very reason we got into this in the first place. We love it.”
YouTube It
Guthrie Trapp and Tom Bukovac practice their live chemistry together at Trapp’s standing Monday night gig at Nashville’s guitar-centric Underdog.
With built-in effects, headphone output, and AUX connectivity, these compact devices are designed to provide ultimate versatility for practice sessions at home or on stage.
Aguilar is introducing the amPlug3 Tone Hammer, a portable headphone amplifier inspired by the iconic Tone Hammer sound. Ideal for practicing anywhere, this compact device packs dual channel Clean and Drive modes for ultimate versatility. To help keep practice sessions inspiring, the unit includes reverb, chorus, and compression as built-in, onboard effects and a built-in rhythm feature to keep any players favorite basslines in time. Lastly, the amPlug3 features AUX connectivity to allow players to play along with tracks, or via a TRRS cable, record straight to a phone or laptop with ease. Whether at home, in the studio, or on the road, the amPlug3 Tone Hammer offers a convenient practice solution without compromising tone.
In addition to the amPlug 3 Tone Hammer, Aguilar has revamped their iconic Tone Hammer Preamp pedal. Built upon the original design that has become an essential tool for bass players seeking tone and flexibility. Incorporating customer feedback and refining key features, the new Tone Hammer Preamp offers enhanced drive functionality featuring an expanded gain range with a separate "drive" control for greater tonal precision, allowing users to refine their overdriven and clean tones independently. New Practice-friendly features include the addition of a headphone output and auxiliary input, allowing the pedal to double as the perfect practice companion at home or on the road. The updated, compact enclosure has a modern aesthetic, complementing the Tone Hammer series of amplifiers.
“We are thrilled to expand the Tone Hammer family with these new products,” said Jordan Cortese of Aguilar Amplification. “The reimagined Preamp/DI pedal and the all-new amPlug3 Tone Hammer provide bassists with even more options to achieve their perfect sound, whether they’re on stage or practicing on the move.”
Street Prices:
- Tone Hammer Preamp Pedal $299.99
- amPlug3 Tone hammer $59.99
Aguilar amPlug 3 Tone Hammer Bass Guitar Headphone Amplifier
amPlug 3 Tone Hammer Mini AmpWith buffered bypass and top-mounted jacks, this compact pedal is perfect for adding punch to your playing.
Carl Martin has introduced the Tone Tweaker, a 12dBboost pedal designed to unleash the full potential of your favorite gear. This subtle yet powerful booster pedal is built with an internal voltage booster that provides extra headroom and makes your beloved tube amp sound even better. It is perfect for cutting through the mix during solos and adding extra punch to your rhythm playing.
Tone Tweaker features an efficient 3-band equalizer, allowing you to fine-tune your sound with dedicated controls for Mid, Treble, and Bass. Whether you want to add warmth to your midrange, more sharpness to your treble, or extra depth to the low end, Tone Tweaker gives you the tools to shape your sound with exceptional effect – subtle yet powerful.
Key Features
- 12dB Boost: Instantly enhance your signal with a clean, transparent boost that preserves the integrity of your original tone.
- Internal Voltage Booster: Increases the amount of voltage sent into the pedal’s circuitry, providing extra headroom and boost.
- 3-Band Equalizer: Customize your sound with precise adjustments using the Mid, Treble, and Bass controls. It's far more powerful than you think.
- Buffered Bypass: Preserves signal strength and tone quality, ensuring your sound remains consistent even when the pedal is not engaged.
- Top-Mounted In/Out Jacks and Compact Design: Designed to take up minimal space on your pedalboard, with top-mounted jacks saving space and providing a cleaner setup.
You can purchase The Tone Tweaker for $149 directly from Carl Martin and, of course, also at leading music retailers worldwide.
For more information, please visit carlmartin.com.
Carl Martin Tone Tweaker | Simple and Effective - YouTube
The Alabama-born country-rockers bring some custom gear from their home state to the stage of Nashville’s Ryman.
Mobile, Alabama’s Red Clay Strays started out as a local cover band. In 2016, they officially formed as the Strays, adding a couple players to round out the five-person outfit. After a few years gigging around the state and some festival slots, the band hit it big in 2023 when their song “Wondering Why” went viral on TikTok. It climbed up the Billboard charts and landed the band a deal with RCA Records. That led to their Dave Cobb-produced second studio LP, Made by These Moments, which was released on July 26.
In September, the band made their debut at Nashville’s Ryman Auditorium on tour behind the record, and guitarists Drew Nix and Zach Rishel brought a beautiful stable of American-made 6-strings for the occasion. They gave PG’s John Bohlinger a tour of the goods.
Brought to you by D’Addario.Faylands from Fairhope
Both Nix and Rishel play Fayland guitars, made by Chris Fayland in Fairhope, Alabama. Nix gives a quick, Ricky Bobby-esque rundown of his Fayland T-style: “It’s good wood, it plays real good. I don’t know what to do with my hands.” He strings it with .010s.
Memphis-Made
For semi-hollow “squishiness,” Nix turns to this Gibson ES-339, made in Memphis. This and Nix’s other guitars, including his Fayland and his 2017 Les Paul Classic with PAF-style Geppetto pickups, carry striking, detailed straps made by Jon Wye.
Drew Nix's Amp
Nix tours with two “run of the mill, Guitar Center” Fender Twin Reverbs, which he switched to after “blowing up” Rishel’s Fender Hot Rod Deville. The Ryman gig was being recorded, so Nix had a second one on hand in case the first ran into any issues.
Nix’s Straightforward Board
Nix runs a Pedaltrain Metro 24 board, which is loaded with an Ernie Ball VP JR, Peterson Strobostomp, JHS Whitey Tighty, Browne Amplification Atom, JHS Morning Glory, Xotic EP Booster, Strymon El Capistan, and Strymon Flint.
Fairhope "Firebird"
Rishel loves his Faylands, too. He tours with a baby blue “Mark II” Fayland Strat, equipped with stainless-steel frets and a Tele-style bridge pickup. His Fayland “Firebird” Tele is even more of a stunner, with its candy-red finish and firebird decal. This one has a trio of Lollar pickups, and a traditional three-way Tele switching system. A button between the volume and tone knobs activates the middle pickup for Strat-style tones and modified switching.
A Fine Vintage Super Reverb
Rishel picked up this 1968 Fender Super Reverb from Carter Vintage Guitars in Nashville, which he calls “the best guitar shop in the world.”
Zach Rishel's Pedalboard
On his board, Rishel runs a TC Electronic Polytune 3, SRossFX Sun King, MXR Custom Badass Modified O.D., Greer Super Hornet, SRossFX Echo Flex, TC Electronic Hall of Fame, SRossFX Dual Roebuck, and Keeley Dark Side. It’s all powered by a Mooer Macro Power S8.