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Fender Rumble Club

#32,581
Home from the VFW gig. Gotta say, I love these 6:30 to 9:30 gigs a lot better than the 9 to 2 that I used to do. The 67 TBird into the R200c sounded terrific(I helped-a little), as usual. Nice place, nice people. Back there at the end of Feb. And we actually have a stage, a rarity in these parts.:thumbsup:
 
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#32,582
NBD and a new Rumble 115 to sit under my Rumble 410. It’s a good day!
117D9F00-046E-47EB-8EE2-B3185A3637DA.jpeg
AE048A2F-4803-4A18-8C49-FCDBB806477F.png
 
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#32,584
Any r100 combo users out there?

Here is my preferred setting I use often, generally in a jamming/rehearsal setting.

Sometimes I find my bass can sound a bit boomy or not enough of a ‘pinpoint’ sound at times, and my notes get lost in a bit of a bass/lo mid blur.

The strings are nearly dead on my bass and it’s a more warm sounding bass to begin with, so for a punchier sound, that has a well balanced tone with a nice pinpoint to stick out, I cut the bass slightly to 11-10 o’clock, lo mids to 9-10 o’clock, hi mids 1-3 o’clock and treble to 3-4 o’clock.

It’s got more of a pinpointed midrange so I can hear myself a little clearer in the mix, with just softening the bass but only a touch to keep it well balanced and just the right amount, and cut the lo mids most to remove some of the muddiness. Then there is a nice clearer treble to hear better and stick out more.

My bass is a lot more punchy, and I think this is a tone that you can really get away using in any context, u have the bass you need, the treble to hear yourself, and the midrange to sit in that right spot in the mix, in between supporting in the background, and leading up the front, and it works really well with my band.

I have the master at about 9-10 o’clock and gain up a bit more at around 11-12 o’clock to really fill up and enhance my settings, makes it really improve where it needs to (I often play around with the gain a bit depending on the master volume too) I had no idea how much a good gain structure really shapes things up!

Anyway, this is what I’ve been doing recently. Only small changes, as I normally have everything flat and gain and master at 9 o’clock, and it’s still on its way, and I’m still exploring settings and finding the right tones I need, but it has boosted my sound and been a small but great improvement to me.
 
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#32,585
RumbleMan3 said:
Any r100 combo users out there?

Here is my preferred setting I use often, generally in a jamming/rehearsal setting.

Sometimes I find my bass can sound a bit boomy or not enough of a ‘pinpoint’ sound at times, and my notes get lost in a bit of a bass/lo mid blur.

The strings are nearly dead on my bass and it’s a more warm sounding bass to begin with, so for a punchier sound, that has a well balanced tone with a nice pinpoint to stick out, I cut the bass slightly to 11-10 o’clock, lo mids to 9-10 o’clock, hi mids 1-3 o’clock and treble to 3-4 o’clock.

It’s got more of a pinpointed midrange so I can hear myself a little clearer in the mix, with just softening the bass but only a touch to keep it well balanced and just the right amount, and cut the lo mids most to remove some of the muddiness. Then there is a nice clearer treble to hear better and stick out more.

My bass is a lot more punchy, and I think this is a tone that you can really get away using in any context, u have the bass you need, the treble to hear yourself, and the midrange to sit in that right spot in the mix, in between supporting in the background, and leading up the front, and it works really well with my band.

I have the master at about 9-10 o’clock and gain up a bit more at around 11-12 o’clock to really fill up and enhance my settings, makes it really improve where it needs to (I often play around with the gain a bit depending on the master volume too) I had no idea how much a good gain structure really shapes things up!

Anyway, this is what I’ve been doing recently. Only small changes, as I normally have everything flat and gain and master at 9 o’clock, and it’s still on its way, and I’m still exploring settings and finding the right tones I need, but it has boosted my sound and been a small but great improvement to me.
Click to expand...
Those are pretty much the same settings I use on my 100c. And you're right, gain structure is a huge part of tone shaping especially when using the wonderful Rumble overdrive. Whenever I switch basses, the gain is usually the only adjustment I need to make.
 
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#32,586
Quick question here concerning the prior series Rumble combos (all black cosmetics ). Looking for a used combo to leave in our rehearsal studio, and there are several for sale here semi-locally for under $200. Which version is gonna be louder and better suited for 5-string? 350W 2x10 or the lower wattage 1x15 version? Don't have time to drive all over the 618, so just asked ahead :)
 
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#32,587
bryan gibson said:
Which version is gonna be louder
Click to expand...
Rumble 350 is going to be louder and has a semi-parametric midrange. Stock 10s tend to blow with extreme lows at high volume. Minor mods of proper cabinet damping/lining and upgraded Eminence drivers recommended.
bryan gibson said:
better suited for 5-string?
Click to expand...
The Rumble 150 is best for sheer depth. Has standard Rumble 4 band EQ. As teenager/bullet proof as they come. With minor mods of proper cabinet damping/lining and a Eminence Legend 154 driver will rock with the best of them. The major downside of all V2 (and V1) Rumbles is heavy weight due to MDF cabinet construction.
 
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#32,591
Kipp Harrington said:
Some people have stated that putting the 115 on top sounds better
Click to expand...
I'm one of them! :D
Kipp Harrington said:
for some reason
Click to expand...
because you can actually hear it on top. No ears in your ankles. I have found with the 410 on top all you hear is the 10s. The 115 on top will actually project more into the room and give you broader midrange dispersion.
 
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#32,594
Linnin said:
I'm one of them! :D

because you can actually hear it on top. No ears in your ankles. I have found with the 410 on top all you hear is the 10s. The 115 on top will actually project more into the room and give you broader midrange dispersion.
Click to expand...
High frequency sounds rise. Low frequency sounds don't.

Sopranos in front on the floor. Altos up and behind them. Tenors, baritones and basses above and behind the altos. All recorded into the same mics.
 
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#32,595
Deleted member 268085 said:
High frequency sounds rise. Low frequency sounds don't.

Sopranos in front on the floor. Altos up and behind them. Tenors, baritones and basses above and behind the altos. All recorded into the same mics.
Click to expand...
Hmm. So my R200c on top of the R112 cab is correct. Dumb luck on my part.
 
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#32,598
Kipp Harrington said:
Nice! I just tried it out last night and really liked it. Some people have stated that putting the 115 on top sounds better, for some reason. I guess I’ll gave to try that. Thanks for sharing the pics!
Click to expand...
The 115 sits under the 200c due to size and the 200c is a combo, of course. But, the 115 sits on top of the 410 all under the 500 head. This works great as well.
 
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