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The only difference is in the voice coil impedance. Otherwise the woofers are identical in construction. Any perceived differences in tone will be due to differences between the cabinets themselves and their porting. Fender Rumble Woofer Talk
Good to know! I presume 16 ohm in the 2x10 and 8 ohm in the 4x10? I also presume they are sonically similar, too?
No need to be presumptuous. Read the article, and flood your brain with genuine Fender Rumble Knowledge.
The write up that was quoted stated the 2x10 had two 16 ohm speakers in parallel, so the load seen is 8 ohm.
X2 210's will get you the full 500 watts from the Rumble 500 head, and I don't believe the 410 will. You will also get better dispersion with 4 vertical 10's
Well, I would, but I recently picked up a used Ampeg 8x10 cab. I want to give it a fair shot, and initial impressions are that it sounds great and obviously doesn't need much power to get loud. That said, it rolls off the fundamental low end a little early due to the sealed design. If I don't love it after a few gigs, I'll consider flipping it for the Rumble 4x10 pair.
My catch is I already own the Rumble 2x10 pair and wonder what I would gain other than a few decibels and pounds with a pair of the 4x10s. The 2x10 pair handles 700 watts RMS and the 4x10 pair handles 1000 watts RMS, but Fender doesn't list the efficiency specs. Folklore around these parts leads me to believe the vertical 2x10 would win due to lack of phase cancellation, but double the drivers... is double the drivers and would certainly be louder, or at least have more headroom at the same volume. Also, the Rumble 4x10s are still light for a 4x10 and have pop out casters, to boot.
Bear in mind this is all conjecture at the moment, but it makes me wonder if I would actually have anything to gain by moving up to the 4x10s. Thoughts?
Are you playing a lot of outdoor stages or similar venues with giant stages where you need a large amount of stage volume in conjunction with FOH support? I think that is the scenario where 8x10s really shine, and in this situation, the comb filtering is not really a concern as the audience will be hearing primarily the FOH sound. If you are intending to play smaller venues where the audience will be hearing the speakers directly, then not only do you need a lot less stage volume, but the comb filtering becomes more of an issue as there will be dead spots in the room with traditional 4x10 or 8x10 setups. For these smaller shows, it seems like the Rumble 500 with two 210s should be fine, as FOH support will be necessary if the room is big enough to warrant more volume than that can provide. The way I see it, the on-stage volume of the bass amp should never be loud enough to drown out the kick on the drums, and it seems like anything more than the 500 plus two 210s would be more than enough to drown out the kick on all but the largest stages. Also, FOH support should be used if the venue needs more volume than the acoustic drum set provides.
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Plus the Ampeg 810 takes eq well. ..so simply adding some lows will easily put back in some of those rolled off lows that the sealed cab may lack. I'd imagine the Rumble would sound great thru the 810E
That said, ... your 2 Rumble 210s stacked vertically would do most any gig I'd come across
That said, ... your 2 Rumble 210s stacked vertically would do most any gig I'd come across
All good points. We always have full FOH support, but we do a mix of indoor and outdoor gig settings (large weddings, corporate events, occasionally outdoor festivals). In some cases, the audience gets a 50/50 split of stage sound and PA due to their proximity to us, and in others it leans towards the PA more. Drums are always mic’d up, too.
Good to hear as I’ve been paranoid about boosting the lows at stage volume on the cab and blowing a driver. I powered the 8x10 with my Rumble 500 at the last gig and had the master close to noon and could tell that the drivers had some breakup happening (not clipping or bottoming out, more of a musical distortion). Usually I set the bass on the amp flat or even roll it down a hair in boomy rooms with ported cabs.
Burn it.
The BIG gain is moving twice as much air. Driver specs & efficiency would be identical. Cabinet coupling effect would be very nearly the same. Stacked Rumble 410 cabinets are visually stunning and massively impressive. For outside gigs they would be your rig of choice.
Mo Rumble Is Mo Betta But with a cabinet that big I'd start a forest fire.
The BIG gain is moving twice as much air. Driver specs & efficiency would be identical. Cabinet coupling effect would be very nearly the same. Stacked Rumble 410 cabinets are visually stunning and massively impressive. For outside gigs they would be your rig of choice.
No doubts there, for sure. I'll have some evaluating to do before next year's string of back-to-back gigs pick up again but it's an option I won't rule out. Given the good track record I've had with the Rumble 2x10 pair this past year of ownership, the 4x10s are appealing, especially at their price point/weight.
There was only one release and that was in 2009. Ultra-Expensive. Barrels personally selected by Master Distiller Jimmy Russell from a well known (to him) sweet spot in one of the older warehouses. Jimmy started work at Wild Turkey the same year I was born. 1954. He won't quit until the day he dies. I've met him several times years ago, and he's a real hoot as you might imagine. His son, Eddie, does all the nuts ' n' bolts running of the distillery now while his dad has all the fun, and that's just the way it should be.
There was only one release and that was in 2009. Ultra-Expensive. Barrels personally selected by Master Distiller Jimmy Russell from a well known (to him) sweet spot in one of the older warehouses. Jimmy started work at Wild Turkey the same year I was born. 1954. He won't quit until the day he dies. I've met him several times years ago, and he's a real hoot as you might imagine. His son, Eddie, does all the nuts ' n' bolts running of the distillery now while his dad has all the fun, and that's just the way it should be.
Do you know if they added any dyes or if that is the natural color. I would have a hard time even opening that bottle. I'd just want to stare into its dreamy amber tones.
Looks like it went for $130/bottle. A 15 year should probably be more like $80ish a bottle, all else being equal, which of course it never is.
That is the all natural color from aging in a charred white oak barrel. New make whiskey goes into the barrel as clear as water. The barrels must be white oak and are deeply charred inside. Underneath the char is a layer of caramelized sugars called the 'red layer'. During maturation the whiskey interacts with the red layer and travels in and out with the temperature inside the warehouse. Hot as hell in the summer forces the whiskey into the red layer. The whiskey then contracts in cold weather bringing the color and sugars with it. Do this many times, and there is the result. Every barrel is an individual so there are plenty of variables to include what warehouse and what floor and even what rick the barrel is aging. The dry charred wooden staves of the barrel are very thirsty and sucks up a good portion of the whiskey. This is called 'The Devil's Cut'. Over the years of maturation quite a bit of whiskey evaporates through the staves, and this is called 'The Angles Share'. After 14 years you'd be very fortunate to find the barrels half full. I'm an optimist when it comes to good bourbon. Cheers!
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