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Discussion in 'Amps and Cabs [BG]' started by BumbleB, Mar 25, 2013.
Gotta love that “vintage” button!
Gotta love it, that vintage button with the overdrive at 11 is the bees balls! Always want to crank it up and ruin the gig lol
I got a Rumble 500 V3 head two weeks ago, and I love the thing. It's a nice counterpart to the various GKs and Ampegs I own.
I bought it used and the washer and nut were missing from the input jack. I called Fender to ask about the dimensions, so that I could easily match them at a hardware store, and Justin Gaudet simply mailed me replacements. (I know, they cost next to nothing, but still... nice customer service.)
I have a question: I play only passive basses, but will probably use the Rumble when I'm the house bassist at open mics. Some of the guest players will surely have active basses. I'm unaccustomed to not having a clipping light next to the gain knob (as on my Ampeg Rocketbass combo) or an input pad switch (as on my GKs). I've been keeping the gain on the Rumble low -- at around 9:00 -- because I like REALLY subtle overdrive (when I even use it), and the gain level seems to affect the overdrive capability. Where do you active bass people like set the gain?? Do you simply listen for clipping and adjust bass and amp accordingly?
Active basses are not all alike, just like passive basses don't all have the same level of output.
A passive bass, like a G&L SB-1, could overdrive the input.
A active/passive bass like my Ibanez Premium, in active mode doesn't have enough output to overdrive a gain setting of only 9 o'clock, unless the EQ knobs were really boosted.
I absolutely love my 200c!
Same here both my Am.Std Precision or my, '86 Peavey Foundation sound great through my 200C. Just added the vintage button = 1 happy bassist .
The gain does directly affect the level of overdrive. However, Rumbles work a little different than most people who’ve used other amps are used to.
First of all, Fender’s built-in Delta-Comp limiter makes it very difficult to clip the signal at all. That’s why the Rumbles have no clip light - it just doesn’t serve a useful function. That also means that listening for signal clipping doesn’t really work with Rumbles.
The Gain knob basically works as a variable input pad. That makes the Rumble perfect for players with active basses, as you can adjust the incoming signal in as you like, and not have to settle for a -10db input. The Rumble will work fine even when the gain knob is set to zero. I play a mix of active and passive basses, and usually keep my gain setting at 9 o’clock and lower.
The overdrive control consists of two knobs, Drive and Level. Drive sets the distortion level (this will vary with the amount of gain set), and Level controls the volume of the effect, allowing you to align it with the master volume to avoid any jump in volume when Overdrive is engaged.
All this makes the Overdrive on the Rumbles extremely simple to use. You don’t have to worry about clipping, just plug your bass in, turn on Overdrive, adjust Gain, Drive and Level to taste, and play. Easy as that.
JakobT, that's a very good explanation. Thank you!
EXcellent! That is now the latest Rumble Talk linked on the wiki page. Thanks for the clear and succinct description, @JakobT.
I would agree that it's very simple, once you understand it. Unfortunately, I've read many posters who buy, try (slightly), complain (either too subtle or too harsh), then return it for something else! They don't want to learn anything different from what they think they already know. And I haven't had this concise explanation in mind to be able to help.
I play both active and passive basses and have learned intuitively, and by ear, how to set the OD for the bass, and for the song, and for the volume level, on my R500c and/or Bassman 500. So, when asked, my answer comes out too complex. Now I know where to find this next time it's needed!
I think you're on to something there! The Rumbles are all about not gigging with heavy, bulky head + cabs! I've never used in ear monitors, so can't help you with that part. But, if you have, I'd say, go for it!
However, I have been considering getting the Rumble Studio 40 and sending FX Send(s) to one or two more powerful amp(s)'s FX Return(s). Actually, that would probably just be temporary, since it's just way more complicated than simply getting the Rumble Stage 800.
You need a Rumble-in-a-box pedal
Hello dear friends of the Rumble Club, I apologize for my absence for the past couple weeks but I have been getting busy with school and all that jazz. I will now be back to answer questions about my lovely Rumble 800 and maybe even share some original music I’ve been writing for my music teacher. Anyways, hope all is well in everyone’s lives and have a good night [11pm Atlantic here].
I'm looking to add a Marshall VBA400 to my collection. Right now I have a Rumble 200c with a Rumble 115. As well I've got an Ampeg SVT Classic. The reason for the Marshall is to have a monster back up to the SVT. However, I'm very interested in the Rumble 800 combo. Maybe add a 410 Neo to it. Since the Rumble has such amazing tone, I'm thinking the 800 would do anything the Marshall would. Any thoughts?
Thank you for those kind words.
I also initially had trouble understanding how the overdrive worked, and how the Gain and Level settings affected the signal. Most other amps work somewhat differently, so it's perhaps no wonder people sometimes are a little puzzled and/or unable to get the sound they want, especially as the controls are labeled in a similar manner to other amps. This might actually be part of the reason why some give up on the Rumble series unneccessarily, as you suggested. With a little perseverance they might have gotten great results, and I'm very happy if my post in a small way may help current and future users get the best out of their Rumbles.
another question from a new guy - the XLR output on the v3's seems to be post EVERYTHING, including gain and even master volume... first, is that correct? second, doesn't that make it difficult for the person at the soundboard to keep balanced? or, could it actually help at the soundboard as long as the bassist has the volume (using the rumble as a monitor here) set properly to begin with, then adjusts volume to remain consistent when changing effects?
Post-everything...except the power amp.
If everything in the audio chain is gain-staged properly, FOH shouldn't have any trouble.
Maybe no trouble with volume, but FOH guys aren't necessarily happy when they are forced to work with the EQ you're using onstage. (As is the case with the Rumble.) Having a DI box handy is recommended.
Good question. Yes, the XLR out is post everything. It will bother the sound man if you are making adjustments to EQ or volume while you are playing. If you are a "set it and forget it" kind of guy, it should make no difference.
The bottom line I get from my experience, and the posts linked here, is that Master Volume changes are less than feared, sometimes not even noticed, and the post EQ is often appreciated by veteran soundmen.
Fender Rumble XLR Out Volume Levels links
Thank you, @Lovep! This looks more like the Stage & Studio than what Fender shows on their website!!!
RUMBLE™ 210 BLK/BLK
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