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Just had to say that after doing around 5 or 6 gigs with my Rumble 500 combo I'm very very pleased.
I initially struggled with on stage volume the first gig but tilting it back slightly improved things ( bear in mind this is after using a Shuttle 9 and Uber 4x10 for a few years ) but buying a fold flat table that sits around waist height and slapping the combo on it's side was total win !!!. Never heard all my horrible playing so clear,I better sharpen up...
After last nights gig I asked the drummer and guitarist to give me their honest opinion on the Rumble so far and they both gave it the big thumbs up,said it sounds great and keep using it.
The only slight adjustment needed was a little more bass in the FOH as I'm am not pumping half as much volume off the stage now.
As mentioned I use a Zoom B3 (with SVT sim enabled ) and get great tone FOH regardless of stage rig, and can run the Rumble with all the EQ untouched post sim and it rocks.
Also don't miss lugging the twice as heavy 4x10 at all when I can carry the Rumble in with one hand and hear myself just as well if not better.
I initially struggled with on stage volume the first gig but tilting it back slightly improved things ( bear in mind this is after using a Shuttle 9 and Uber 4x10 for a few years ) but buying a fold flat table that sits around waist height and slapping the combo on it's side was total win !!!. Never heard all my horrible playing so clear,I better sharpen up...
After last nights gig I asked the drummer and guitarist to give me their honest opinion on the Rumble so far and they both gave it the big thumbs up,said it sounds great and keep using it.
The only slight adjustment needed was a little more bass in the FOH as I'm am not pumping half as much volume off the stage now.
As mentioned I use a Zoom B3 (with SVT sim enabled ) and get great tone FOH regardless of stage rig, and can run the Rumble with all the EQ untouched post sim and it rocks.
Also don't miss lugging the twice as heavy 4x10 at all when I can carry the Rumble in with one hand and hear myself just as well if not better.
Welcome to the Fender Rumble Club, Ancient of Days!
You are member #265 
That's quite a nice rig you've got there!
I'm sure it sounds fabulous 
Rumbles Rock! 
Thanks for that working bass player's gig report, pinz
Nothing is better than the positive first hand testimony of professional musicians.
Rumble On! 
That makes me feel really good about my gig on the first...it will be the first time I get to use the 500 combo in a live setting and I'd be lying if I said I wasn't a tad nervous. I'm coming from using a SWR WorkingPro with the WorkingPro 4x10 and everything you said in your post made me feel better! Haha thanks, pinz!!!
Ha cheers,and I know exactly how your feeling but I'm sure you will get what you need from the 500 combo.Even it it takes a wee bit of experimentation.
I found eventually using very little gain and more master on the combo suits me and my P bass as the Zoom is doing all I want tone/eq wise.
Summer and the wedding season has started down here and we have a ton of gigs booked ahead so my Rumble will see lots of use in the next 6 months.
And thanks Linnin for the kind words,but if it wasn't for this thread I would never have considered another combo after previous rotten experiences. I was over combo's tbh but not now.
Jazz bass 100% front pickup and 90% rear pickup and Tone 100% on. Check it out on the V3 100 and let me know what you think. Sounds pretty amazing in the band mix. Haven't used this setting DI'd to the PA yet though.
No buttons pushed in
No buttons pushed in
Now I have a Rumble 500 amp and 410 that I will be using onstage.
The DI is effected by the volume knob.
Sometimes I need some control.
Is this an alternative?
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If the XLR out isn't good enough for you, I'd get a good quality mic and mic the cab. I want my bass to sound like it does coming out of my amp, and a DI defeats your tone.
Just to throw an argument out there....
If there's an issue with the di being post volume, etc for an individual that may want to tweak knobs on stage... Would that not still be an issue with a mic?
If there's an issue with the di being post volume, etc for an individual that may want to tweak knobs on stage... Would that not still be an issue with a mic?
Another thing to think about is the fact that the Input Gain is in the signal path before the FX Send and Return. So if you happen to run the Input Gain very high you could easily overload the front end of the pedals in the FX loop. It's the first amp that I've had that is designed this way.
It depends on what you're after.
If you're using the overdrive circuit on the Rumble, and want EXACTLY what you're hearing to go to FOH, then you'll need to mic the cab. Of course, a mic is automatically post-everything, so why not just use the Rumble's line out?
Anyway, some venues and sound people are amenable to mic'd cabs, others will give you the stinkeye. This depends on how well they know you, how much time there is for sound check, whether you're playing upscale venues or dives, and a host of other factors.
If you like clean tones and trust the sound guy to EQ your bass for the PA, then a straight DI box will do the trick. It also makes a nice backup, when you you can't use your mic.
The middle ground between the two extremes, is a "colour DI". Tech 21 has long been the mainstay in this area. There's the BDDI, the Para Driver, the VT Bass in various configurations including the new VTBDI... These give you gain, EQ, and the ability to add some hair to your direct feed. They're not perfect replacements for a mic'd cab or the Rumble line out, but thousands have pros depend on them, and you see them everywhere from dives to stadiums.
In the $100 and under bracket, I prefer a passive DI, with the Radial Pro DI being my favourite. If you have reasons to prefer an active DI, then you should plan to spend more in order to get something decent. Any good store should be willing to let you take some DI's into the PA store for a taste test. It's better to use your own ears, than to listen to some old fart on the internet...
The only Jazz I have around the house has Duncan QP's and an aftermarket preamp, so it's maybe not a fair test. But with the onboard preamp set flat, your settings sound too scooped to work with the bands that I play in. I tried it with my Dingwall in it's "Jazz setting" (both pickups in parallel, tone control wide open), and got the same impression.
I like what you're doing with the upper mids and treble, but I would cut the bass some, and boost the low mids to compensate.
Mind you, I mostly play crowded stages, and need a tight, narrow bandwidth in order to find space in the mix. If you play in a power trio, those settings might fill things out nicely.
Thank you! On stage it seemed to have tighter bass response by cutting the low mids and boosting the bass.
