Recorded with Yamaha BB1025X using PreSonus FireStudio and PreSonus Studio One 3.
Clip 1: Octabass placed before Bass Big Muff. Normal volume at 2 o’clock, tone at 1 o’clock, octave at noon, range switched to low.
Clip 2: Normal volume at noon, tone at 11 o’clock, octave at 10 o’clock, range switched to high.
RatingsQuilter Labs Bass Block 802Pros:Compact. Sounds great. Plays well with others. Cons: An XLR out might make engineers happier. Street: $699 Quilter Labs Bass Block 802 quilterlabs.com | Tones:  Ease of Use: Build/Design: Value: |
Quilter Labs BassDock 12 Pros:Tight sounding cab. Ingenious amp chamber. Cons: Shaving off a couple of pounds would have been nice. Street: $549 Quilter Labs BassDock 12 quilterlabs.com | Tones: Versatility: Build/Design:  Value: |
Quilter Labs has a solid history of building great-sounding class-D amps that somehow capture tube characteristics, and in turn, have made their presence known on big stages the world over. The company’s innovation continues with the introduction of two new bass products we had the opportunity to check out: the Bass Block 802 and the BassDock 12.
Not Granny’s Quilt
The Bass Block 802 is a step up from Quilter’s 800 model, which is a no-frills class-D amp built for basic bass-universe domination. The 802 takes this platform a step or two higher with more user-friendly features and more control over the overall bass signal and path.
The first thing I noticed about the Bass Block 802 is the weight. At a scant 3 3/4 pounds, this little guy has a lot going for it. The Bass Block 802 offers 800 watts (at 4 ohms) of class-D power, and its front panel houses a 4-band EQ, effects loop, and a 3-way passive/active/mute toggle switch. There’s also a line-out jack that’s switchable between a post-master headphone out for silent practice or a pre-master out when playing live. Quilter designed the line out to work with a TRS cable (essentially the same connection as an XLR) in the pre position, and did so with the intention of working better with their cabs.
The back panel of the Bass Block 802 is very straightforward. There is a locking IEC power cord, which can be helpful in preventing accidental unseating. There are a pair of dual Speakon combo jacks, which are compatible with just about every bass cab out there, and an XLR in. (Remember: The balanced 1/4" line out is on the front panel.) The amp also features a redesigned fan for quieter use.
It seems that a lot of small bass amps are running with similar features these days, relying on the tone to really set the amp apart, which is why we’re here, right? Moving air and having a few knobs just won’t cut it anymore. Quilter’s guitar-tone reputation is far-reaching, and I looked forward to hearing if the same could be said for the 802.
New Kid on the Block
I plugged a passive ’60s Fender Jazz bass into the Bass Block 802, which was paired with the Quilter BassDock 12. I set the four EQ controls to noon and got to work. With the EQ flat, my bass sounded great through the amp, which provided a true representation of the Jazz. Although I wouldn’t normally totally dime out an amplifier, I went loud with the Quilter combination, and the amp and cab really held their own with the gain at ten. There was very little breakup at this setting, which is a testament to an improved signal-to-noise ratio.
I was able to shape my Jazz into a variety of tonally different and exciting landscapes with the 802’s 4-band EQ. The low and high EQs (labeled “depth” and “snap,” respectively) offer 15 dB of cut or boost, while the middle EQs (“woof” and “bark”) provide 10 dB of cut or boost. The depth control is just that, with the control set for 100 Hz. This 100 Hz dial is the magical control for engineers, since cutting this will help clean up a muddy bass signal in a mix. Small cuts and boosts with the depth control were quite useful without even moving any of the other EQ controls from flat. In fact, I found just enough bump and bite simultaneously to make this a “forever” setting.
When I was running down the other EQ controls, I was impressed with not only the clarity and tone, but also the overall usefulness of how each frequency paired with the initial tone of the amp. The typical smiley face EQ (boosting 100 Hz and 2k, while rolling off 300 Hz and 1k) gave my bass a lot of sparkle and just the right amount of low end, also making this setting one of my favorites.
I also went the opposite tonal direction by rolling off the depth and snap controls to about 10 o’clock, and boosting the woof (300 Hz) and bark (1k) dials to about 3 o’clock. This setting added a great mid bite to the tone without being overbearing or harsh. If you need to cut through a mix, this is where you’ll want to be.
Dock and Roll
When is a combo amp notreally a combo amp? Well, when the amp can be lifted away from its home to be used in other applications. Picture this: The BassDock 12 is a brilliant way to store and transport your class-D micro head (it’s not just limited to Quilter). With a simple screw-turn, the amp can be removed and taken wherever needed. To be able to carry a studio-quality preamp with you for recording, rehearsing, or practicing is a huge selling point of this setup.
But don’t let the innovative design of the BassDock 12 trick you into thinking it’s the main selling point. The BassDock 12 is a powerful cabinet that offers both a compact footprint and earth-rumbling goodness. And this cab—which boasts a 12" Eminence speaker and Eminence horn—has the same build quality of the Bass Block 802. It clocks in around 37 pounds, so it is a bit weightier than some other 1x12 cabs out there. I liked the overall tone of the cabinet, which allowed the bass to be represented well while moving a lot of air. I would have liked to have seen a Speakon connector in addition to the 1/4" jack, but this is just personal preference.
The Verdict
The role of the bass amp has been moving and shaking the past few years. Not that long ago it was big amps and lots of speakers before trends moved to automated digital DIs, and then the class-D amps showed up and gave us restored hope that we can have amps onstage again. Independently, the Bass Block 802 and the BassDock 12 are both fine pieces of gear. If you have a cab you like, then grab the Bass Block 802 and move some masses. It’s feature-packed, sounds great, and is easy on your load in. If you have a micro amp you dig and it can fit in the dock of the BassDock 12, then pair them up and get rocking. Or, you could get really efficient and grab the pair, which are simply made for each other.
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.
Recorded direct using PreSonus FireStudio and PreSonus Studio One 3.
Clip 1: Passive Fender P: Low end and high mids boosted on amp. Pure switch engaged/disengaged intermittently.
Clip 2: Active Yamaha BB734A with bass and highs slightly boosted on amp.
RatingsONE800Pros:Excellent tone and excellent features in a compact housing. Cons: Oh, those lights. Street: $799 GR Bass ONE800 grbass.com | Tones: Ease of Use: Build/Design: Value: |
GR 212 Pros:Tight, efficient cabinet. Cons: It’s a little large, as is the logo. Street: $949 GR Bass GR 212 grbass.com | Tones: Versatility: Build/Design: Value: |
Shopping malls, paddleboats, pianos, and Ferrari automobiles are all Italian creations. Just try to think of our world had these inventions been limited to the confines of Italy’s borders! While the brand GR Bass is not as notable as Ferrari, musician and engineer Gianfranco Rizzi’s amps have been used by discerning players in Europe since his Italy-based company’s inception in 2015. They’re now available in the U.S., so we tested the Bass ONE800 head paired with a GR 212 cab.
Potenza dei Bassi
The ONE800 has a streamlined appearance and conservative weight at about 5 pounds, keeping it well within the backpack club of compact bass heads. The controls are plentiful and powerful, with a full compliment of EQ adjustability to really fine-tune tone.
The layout is pretty straightforward, with a few treats thrown in for good measure. All the usual refinements are in place, including dials for gain, 4-band EQ, and master out. GR has included frequency switches for mid-lows (185 Hz, 375 Hz, 800 Hz) and mid-highs (600 Hz, 1,200 Hz, 1,800 Hz). There are deep and bright switches that will boost the signal +5 dB at 50 Hz and +6 dB at 9.6k, respectively. I also appreciate the easily accessible aux-in, 1/8" headphone jack and dedicated headphone volume control, and the mute switch, for true silent practice.
Around back, the necessities are in place, with an XLR out (pre- and post-EQ selectable), effects send and return, and dual Speakon connectors. The kicker is a 9V power supply at 300 mA that can power four to five pedals. This is great for players who don’t use a ton of outboard gear, and because the ONE800 also boasts an onboard tuner, there’s room for one more stomp!
The matching GR 212 bass cabinet supplied for the review proved to be a good compliment to the ONE800. The ported cab brings 700 watts at 4 ohms, which is plenty of power with which to work. It’s not super light, at 44 pounds, but it’s not overly cumbersome, either. In addition to the pair of proprietary 12" neodymium speakers, there is a 1" tweeter with a volume control.
Bright Lights, Big Tone
I used both a Yamaha BB734A in active mode and a ’78 Fender P for this review. Starting with the BB, I set all the amp’s EQ controls flat, where the bass sounded pretty nice. I then dialed up some sweetness by bumping the lows and low mids (with the frequency set at 185 Hz), and went for the deep and bright switches simultaneously. The tones soared. I had bump, articulation, and shimmer all at the same time, and then I had a little fun.
There is one control I intentionally left out of my initial description of the front panel. Smack dab in the middle of the ONE800 is the itty-bitty “pure” switch, which is a preamp EQ bypass switch. On paper this control doesn’t sound very exciting, but with a true (aka pure) translation of our tone to A/B against, we can see how the amp is helping or hurting it. (It should be mentioned that the pure switch has an indicator light so strong it could probably help you read your charts.) While I liked my “pure” tone, it also reinforced that the amp was taking my tone to the next level—like a sweet aural exciter with a ton of volume.
The P bass loved to swim with this amp and cab combo as well. The ONE800 gave my P life and energy without coloring the tone. Again, the amp is like an aural exciter: You hear your bass, but on stun. And after running through as many genres as I could think of with the P, I felt that most any style of music would be at home with this amp/cab combo, which overall was clean sounding, tonally efficient, and had power to spare.
In all my years of writing, I never thought I’d dedicate a paragraph to the lights on an amplifier, but here we are. The row of 24 LED lights at the top of the control panel are functional and somewhat useful, but, like the aforementioned indicator light for the pure switch, they are also eye-numbingly bright. By pressing the LED button, one can engage the onboard tuner mode, scroll through four different VU meter settings, or, for more conservative players, turn the light show off. (One VU setting reminded me of KITT from Knight Rider.)
The LED switch also allows access to a fantastic noise-cancelling function. When pressed for eight seconds, the amp will switch to “studio” mode. (Repeating the process will jump back to “live” mode.) Studio mode turns off the cooling fan for quieter performance when recording, but the fan will still kick on automatically after several hours to keep the amp from overheating.
The Verdict
The ONE800 impressed. The tone is great. The EQ is great. The layout, features, and the size are all great. The tones from the amp are arguably more modern, so don’t look for tube color here, but this amp/cab combo is beastly in power and tone nonetheless. I’d happily take this rig to any gig, and the amp is compact enough to bring into a studio setting without hassle. GR Bass may not be a household name in the U.S. yet, but with offerings like this, the stateside bassists might have some new things to talk about.
Watch the Review Demo:
