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Guitar Player - what are you doing here, I guess bass players can have hobbies - ONLY KIDDING!!!!!!
Learning bass!!!
I have to work my rear off to work 1-2 nights a week, but in my area there are virtually NO bassists, so I can get WAY more jobs by also playing bass [but I wanted to do it right and learn it as its own instrument - everyone can pick out the "guitar player playing bass" when its done poorly]
^^^This^^^ I also find the most egregious critics have very obviously never even plugged into a Fender Rumble much less auditioned one with an open mind.When folks are critical of the Rumble tone, the biggest complaint I see is that they think they are muddy or boomy sounding. Upon further questioning, its usually revealed that they set all the controls at noon and compared with other amps on the floor with the same settings
^^^Agreed^^^ As often as gain structure and subtractive EQ has been discussed, some just don't get it. You can lead a bass player to knowledge, but you can't make him think.Than I tell them..."you know you can actually turn the knobs the other way"
The best way to replace the 8" woofer in your Rumble 25 is to replace the entire unit with a Rumble 40. Unless you are a competent craftsman with a woodshop and just so happen to have a decent 10" woofer just laying around, the effort and additional expense would be better served by moving up to the Rumble 40.
Great man - sounds like a good plan. It is also the same in Acworth Ga - to many guitar players and not enough bass players. I played guitar or tried for about 2 months 40 something years ago and have been at the bass since.
Good luck and keep the bottom going - like Jaco said, "women and the rhythm section first".
As I’ve said before, we don’t need to overthink this. If it sounds good, it is good. And to be quite frank, I don’t really think that Rumbles need defending. They’re more than strong enough to stand on their own merits. We’re often leaping to the defense of Fender, but there’s really no need. Rumbles are really very good, but we must acknowledge that some bass players have other needs, which is fine. Rumbles are good enough for us, and if other bass players want other things, why should we care?
However, no one seems to think a mid bump is character
or is there such an amp?
I can almost understand that a bass player in a band context wouldn't want to have glaring mids, but it boggles my mind that guitar amps are scooped as well.
So the vocalist is the only one allowed in the mid-range?
Mids is a big area.
Hey @dawhatthevid - You asked how the overdrive effected the lows and highs. You were quite right it cuts both, I had to set the controls to get a flat(ish) response as in previous post so trace makes sense, it's for indication purposes only really but is a reasonable indicator. Blue trace is 'flattened' using tone controls, red trace when engaging the overdrive.
Hope you find this interesting
Attachments
View attachment 2873742
Hey @dawhatthevid - You asked how the overdrive effected the lows and highs. You were quite right it cuts both, I had to set the controls to get a flat(ish) response as in previous post so trace makes sense, it's for indication purposes only really but is a reasonable indicator. Blue trace is 'flattened' using tone controls, red trace when engaging the overdrive.
Hope you find this interesting
Interesting. What were your overdrive settings for this case?
The overdrive level at 12 o'clock and drive at 8 o'clock. Turning up the drive further caused a problem with measuring due to the distortion. I could crank it further to see if there's a change but my suspicion is it probably won't. I'll try it.. If there's any dramatic change I'll put it here.
A typical 'James' tone stack looks something like this.
More likely used in Hi-Fi gear.
I actually installed the Tone Stack Calculator a couple of weeks ago, which is why I was complaining that guitar amps are also scooped.
I still have it installed, but got bored with how everything is scooped.
(only exceptions are James, E-Series, and Bench)
(only exceptions are James, E-Series, and Bench)
There is a reason they are all scooped - guitar pickups, if heard in their natural state, are so midrange that almost little else is heard. So when people say something like a Marshall is "mid heavy" its really just less scooped than others.
The golden rule - if it sounds good, then it IS good.
The golden rule - if it sounds good, then it IS good.
Is that the same reason why (almost all) bass amps are scooped a little?
yeah . It's the degree of bass n treble boost when the controls are at 12 o'clock
Hello, fellow Rumblers!
I just came into a piece of totally useless but Rumble-related information.
Warning: No-one in their right mind would do this mod, which involves putting a $225 driver into a $300 100 watt combo. I'm sure there are more affordable options out there...
Still, the results are interesting:
A friend gifted me a surplus 300 watt, 8 ohm Celestion BN12 300S.
Celestion refers to it as being good for slap bass, but I think this is some sort of inside joke.
It has a thin pressed steel basket, short-throw suspension, and an extremely low XMax. There's no real bottom end, and virtually flat response from about 60-80Hz out to about 4.5K with no presence peak.
It's not really a bass or a guitar speaker in conventional terms. The only place I see them recommended is by Quilter, as a heavy-duty option for jazz guitarists.
I wasn't quite sure what to do with it, but thought the neutral mids and bandpassed frequency response might make it useful for modelled guitar amps and effects. Kind of like the physical equivalent of a cab simulator...
I couldn't test it out properly, because my open-back tweed 1x12 is out on loan at the moment. Instead, I dropped it into my v3 Rumble 100.
The amp has already been modded with a tilt-back foot, and a sealed, lined, and braced cab.
First impressions:
However, that's not the end of the story.
As I turned up the bass control, the low end started sounding better, without hurting the mids. Eventually, I dimed it, with everything else flat.
Bingo- the low B now sounds convincing, and the amp sounds punchier than it did with the stock Eminence. The low end is in perfect balance with the rest of the spectrum, and the vintage and contour buttons are more useful.
This is literally the best tone I've ever had out of a Fender combo amp.
Plus, the Neo driver makes this thing even lighter.
I always warn people about mismatching random cabs and drivers, but this experiment has worked out pretty well.
I just came into a piece of totally useless but Rumble-related information.
Warning: No-one in their right mind would do this mod, which involves putting a $225 driver into a $300 100 watt combo. I'm sure there are more affordable options out there...
Still, the results are interesting:
A friend gifted me a surplus 300 watt, 8 ohm Celestion BN12 300S.
Celestion refers to it as being good for slap bass, but I think this is some sort of inside joke.
It has a thin pressed steel basket, short-throw suspension, and an extremely low XMax. There's no real bottom end, and virtually flat response from about 60-80Hz out to about 4.5K with no presence peak.
It's not really a bass or a guitar speaker in conventional terms. The only place I see them recommended is by Quilter, as a heavy-duty option for jazz guitarists.
I wasn't quite sure what to do with it, but thought the neutral mids and bandpassed frequency response might make it useful for modelled guitar amps and effects. Kind of like the physical equivalent of a cab simulator...
I couldn't test it out properly, because my open-back tweed 1x12 is out on loan at the moment. Instead, I dropped it into my v3 Rumble 100.
The amp has already been modded with a tilt-back foot, and a sealed, lined, and braced cab.
First impressions:
- The last traces of the low-mid boom are gone.
- The upper mids and treble have opened up nicely. It sounds more natural than adding a tweeter.
- The baked-in vintage character is gone, but can be recovered by rolling off the upper mids and treble.
- The amp is louder.
- Unfortunately, the low end is also gone. Even the low E sounds hollow and unconvincing.
However, that's not the end of the story.
As I turned up the bass control, the low end started sounding better, without hurting the mids. Eventually, I dimed it, with everything else flat.
Bingo- the low B now sounds convincing, and the amp sounds punchier than it did with the stock Eminence. The low end is in perfect balance with the rest of the spectrum, and the vintage and contour buttons are more useful.
This is literally the best tone I've ever had out of a Fender combo amp.
Plus, the Neo driver makes this thing even lighter.
I always warn people about mismatching random cabs and drivers, but this experiment has worked out pretty well.
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