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Fender Rumble Club

#22,361
Gravedigger Dav said:
I don't think they made a 4x10 cab for the bassman in the 60s.

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Dav you may be right..It was a very big cab anyway and could have even been late 60's or early 70's and now I think about it could have been the really large 2x15 cab. Either way I couldnt get it into the boot (trunk) of my car and it was a large boot as well. I had a look at some Fender cabs of the 60's after your correction and the '69 Fender Bassman 2x15 looks just like the one.
Vintage late 1960s Fender Bassman 2x15" cabinet - JBL D140F, w/ cover
Hey Dav..my memory is pretty chronic these days as i'm 66 ya know loll..thanks for making me look it up..it really was a big beast though lol
 
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#22,362
Ohhhh, ever hear someone say don't worry what's in it, just eat it ? Equalizers can keep an engineer busy for long months. You look at their response graphs, you see peaks at the slider frequency and dips between ? You will see 3 or more db loss in those valleys. That can be 3 to 5 db less sound in those "holes". With a 31 band EQ and knowledge of the frequency of that missing note, you may be able to visualize how to adjust a small group of sliders to boost it back in. Untrained use could cause lost or boomy notes. The farther the sliders are from flat, the more pronounced the peaks and nodes get. Moving the entire group +- 10 or 15db could make the system response curve silly with the loss and gain across the span. So, it is best to not move those sliders too far from flat. When well done, a simple 3 band EQ may make a smoother overall response over the entire span.


3600 curve.jpg


Linnin said:
Don't feel bad, because a ton of folks are EQ challenged. They are clueless. Which is one of the reasons so many desire to be flat. A flat line = death. You want your bass to sound dead? Just go flat. For the rest of us there is EQ. Peaks & Valleys of beautifully colored sound! :woot: Another reason why Fender Rumbles are so popular is that they have been designed to sound good at 0 cut/boost. Set controls at noon for signature Fender tone. No you're not flat, but you will sound good! :bassist:

You want more high mids? You have a high mid control so crank that sucka! :smug:
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#22,363
Giffro said:
Dav you may be right..It was a very big cab anyway and could have even been late 60's or early 70's and now I think about it could have been the really large 2x15 cab. Either way I couldnt get it into the boot (trunk) of my car and it was a large boot as well. I had a look at some Fender cabs of the 60's after your correction and the '69 Fender Bassman 2x15 looks just like the one.
Vintage late 1960s Fender Bassman 2x15" cabinet - JBL D140F, w/ cover
Hey Dav..my memory is pretty chronic these days as i'm 66 ya know loll..thanks for making me look it up..it really was a big beast though lol
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I did find that late 50s/early 60s, there was a 4x10, but it was tweed and I think a combo.
 
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#22,366
Bubble said:
Ohhhh, ever hear someone say don't worry what's in it, just eat it ? Equalizers can keep an engineer busy for long months. You look at their response graphs, you see peaks at the slider frequency and dips between ? You will see 3 or more db loss in those valleys. That can be 3 to 5 db less sound in those "holes". With a 31 band EQ and knowledge of the frequency of that missing note, you may be able to visualize how to adjust a small group of sliders to boost it back in. Untrained use could cause lost or boomy notes. The farther the sliders are from flat, the more pronounced the peaks and nodes get. Moving the entire group +- 10 or 15db could make the system response curve silly with the loss and gain across the span. So, it is best to not move those sliders too far from flat. When well done, a simple 3 band EQ may make a smoother overall response over the entire span.


View attachment 2795013
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+1! i really like to know what the curves of the rumble eq section look like, not just the center frequencies!
 
#22,367
AREA said:
I just bought a second Rumble 350 Head. I could get it for a very reasonable Price. So i have one for the Rehearsals and one for Home. What gets really difficult, is to find another Rumble 112 Cab (V2). Does anybody know wich Neodym Drivers are buildt in these Cabs?
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Yes, they are custom tweaked designs based on the Eminence Deltalite II 2512 frame & motor.
Speaker Detail | Eminence Speaker
 
#22,368
I do a response check by trying each note on the fretboard one at a time and look for missing or boomy notes. I have been studying this out and think a complex equalizer is more like a tool for a sound engineer to set the system to the environmental acoustics and the musician may only need to adjust the simple bass mid treble to get that tone they want. The sound checks happen during setup before any audience is there. There will be some interaction but unless you stretch things to get that sound, you probably already have the general sound you like with your brand of instrument and amp. Get too far out from the environment settings and you could again, end up with a dead note where you wanted to get emotional during the performance. So you may want to be sure any complex equalizer stretching didn't cause that , before performing.

This morning I realized the playing hall is sort of like a giant speaker cabinet. And the speaker cabinet is a box within a box.
Here is a pretty good intro to equalizers, Rane Constant Q equalizers. I sort of think operator adjustable Q would be useful for filling that awful ripple curve cheap 5 band EQ's make. Then it wouldn't be a cheap 5 band EQ. Maybe a better 5 band unit would have that curve smoothed out. Maybe a three or thirty band for me. The thirty centers allow for filling the holes. You have to study what you buy, and although complex, this view of Rane's point has lots of other equalizer lessons.
You don't get a degree for this but at least you may now know what a GEQ is.

[Invalid or Expired Link Removed]
 
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#22,369
Here's an advantage of the "low cost" Rumble amps and different cabinets, really of all brands. You can make a stack of several different amps and cabinets already set up for what sort of sound you are going to play. Maybe a R300 and 210 all set up for funky slap and another R300 and 115 all set for some deep bass, mic'd into the PA. A band with lots of money cold have more than two but still actually be affordable.
Then if you are a small band on a budget, a Rumble 300 or 500 on a 115 and 210 or 410, with a sound processor that has your presets. Looks like the 115 and 10 what ever could cover what the processor sends out.
I only have a lowly BP 90, it has several amp/cabinet emulators. Ok pretty low noise but sounds a little "thin".
Not bad for $100 and I can emulate lots of amp types somewhat closely.
 
#22,371
Interesting. I notice many on here have the 200W or higher. I recognize why. I'm using a Rumble100 which has served me well even playing a club, and the direct out is really good, can go straight to a PA through a board, while still getting output from your Rumble on stage.
In my case, being blind, I try to own gear I can carry. My bass and pedals go into the backpack gig bag, strap that on, pick up the amp in one hand and wave the white stick with the other. That makes this Fender Rumble really appealing. I can DI to anything I want, but even its 12" speaker makes more than enough noise for what I usually need. I totally get people saying not pushing it all the time, and I try and watch that. You can usually hear that in clipping.

You know what's different about these? They don't have the two inputs you used to see on bass amps; one mic level and one line level. We keys players used to push a rack of synthesizers into the line level input on a decent bass amp / set of cabs and for a lot of things, it would be as good as any keyboard amp. These days I'm primarily bass, so it doesn't matter. Especially with these newer effects loops in the back for putting pedals through. And I'm still thrilled about that John Lord-esque grunty grit.
And I'm still surprised the low B is nice and clean through it. I know the new 12" speakers are different now, but even at my last audition they were surprised when I was playing first and second position and crossing over to that low B, and it was strong and deep coming from a 12".
Not saying I wouldn't upgrade to a bigger one, but for me at least, the 100 is really a great size.

My only complaint, and it's a relatively minor one: I wish they had the newer tilt-back mechanism some amps have. I know I can get the amp wedge, probably will. I've played on some stages where too much of that sound's going into the floor unless it's put up on a chair or something.

Not sure I got a number either, but I am getting a lot out of this thread.
 
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#22,376
btmpancake said:
Man...the one on the left with the maple neck. I'm looking for that bass, What's the year and official color?
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This was my First P bass, i stumbled on it at a GC while out of town for work. It was the "Fender FSR American Special Nitro Satin Series Precision Bass Honey Burst", mines a 2014. I put a black pickguard on it for the 70's look, along with Fender Original 62 p-ups and a standard Gotoh bridge(203B-4). It has a great neck feel and sounds as good as it looks:).
BTW... dont overlook the Jazz, i've been favoring it lately, 1986 MIJ (fugijen) with nj4's drool
 
#22,378
FirewalZ said:
This was my First P bass, i stumbled on it at a GC while out of town for work. It was the "Fender FSR American Special Nitro Satin Series Precision Bass Honey Burst", mines a 2014. I put a black pickguard on it for the 70's look, along with Fender Original 62 p-ups and a standard Gotoh bridge(203B-4). It has a great neck feel and sounds as good as it looks:).
BTW... dont overlook the Jazz, i've been favoring it lately, 1986 MIJ (fugijen) with nj4's drool
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Ah yes; I think they might have discontinued that model, maybe that's why my search is futile, but I'll be watching-thanks alot for the info.
 

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