I like the sound of the bass. It has a plaintive feel to it that fits the mood of the song.
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the mp3 shouldn't be a problem. I hear it just fine, but then my computer was made after 1990.
I have an etch-a-sketch. Made In Ohio!the mp3 shouldn't be a problem. I hear it just fine, but then my computer was made after 1990.
You're right no doubt, does it turn the drive (sound) off completely when in total CCW position (aand drive button on)?
I suppose I find it not quite as easy to use as the Bassman one.
I DO have to experiment/ practice more on it.
Thanx
Just send me a 45
How do you counter the volume creep with that? In my 9 days of owning a Rumble (lol) I've been using the OD's level to volume balance between clean and dirty. So I just naturally assumed it was volume and not blend.
Well? Is this how to load it from soundcrap? I mean cloud?
That is a minor problem. You do have to monkey with both to keep the volume consistent. I know it isn't the best, but you can achieve it. It takes a little work, but you can get it set so that the volumes with OD on and off are about the same.
No doubt the bassman is easier. The trick is balancing the gain and level settings to get a consistent volume with OD off or on.
And the V2 Rumbles were easier yet with a dedicated blend and no gain. Super easy to dial it in and have the same volume on or off. Sounded smoother to ear too if you wanted that 60's tube grind.
That works. You need to investigate having someone else mix.
That's why you need to hire a pro. The drum mix could be better for starters. Sounds like a machine to me. Bass should be as loud as the drums in the loudest passages. That way you can back off and still have some dynamics and be heard. When B.B. King used to cut loose with a lead, he was as loud or louder than the entire band put together. You are not now nor never will be B.B. King. Back off that sax. You should be out front by two or three decibels during a lead break, but not 10 (twice as loud), and not all the damn time. Try that.
I have a Zoom modeling bass pedal that has essentialy become an expensive tuner since I got the Rumble 800.
My question is...if I run the XLR out of the bass pedal, I won't be getting my tone from my amp, but will instead be getting my tone from the pedal itself, correct? So I would just need to run the XLR from the output on the Rumble 800 to get my tone from the amp going through the PA, right? I actually think it has a pre and post XLR outputs on the back of the Rumble 800. At least that's what I think it is...pre and post. Thanks for the info. I believe I ran the XLR out of the pre output last gig. I've played 3 or 4 gigs with the 800 and have yet to turn it up louder than 11 o'clock on the master volume. There are a few different programs that have a great tone to me. #30 is the SVT rig program. It has a very warm tube sound that is pretty darned close to an SVT. I also like #21 and #22. #21 is a Bassman 300 "Fat" tone, with enhanced lows. #22 is a standard Bassman 300 and also has a pretty nice warm tone also. The other one is the SWR Red Face amp tone. Don't recall the # on that one, but it has some really nice deep tones, and the highs are enhanced. It sounds great with a pick! Anyway, wondering what other bass programs people like on the Rumble Studio 40 or Stage 800.
up Up UP! The thing is a pro will be constantly making small adjustments as needed throughout the entire mixdown process. It's an art in and of itself. I am not such an artist.
Correctamundo! Ditch the ZOOM and sell it for whatever you can get out of it as you don't need it anymore. That's exactly what I intend to do with my B3. On both the Stage 800 and Studio 40 you can have it three ways (that's nice, right?) Post EQ+Effects XLR straight to the board. Pre everything XLR out straight to the board or, three (and this is the biggie no one else has) Post EQ & FX and stereo XLR out straight to the board!
The Master volume has no effect on the XLR sends, so it's life in the fast lane for sure. 
Thanks! I am not a pro or artist. But, necessity is causing me to have to learn to be the best I can be. So, I appreciate your thoughts as I plod through this journey.
I am accustomed to bringing my sax to a session, doing my thing and leaving. This is a whole new ball of wax--in fact, I find myself without adequate time to record the bass and sax. By the time I get to recording them last--they are always a single take--like it or leave it. But--I may take the time to remix Investigate and maybe I can get your input.
