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Fender Rumble Club

Thanks, I do just that. I often place it on top of another spare cab, such as the Ashdown. It's OK most of the time. But drums too heavy in the mix, when we do our crap recordings on someones phone etc. Just curious to try at gig, better to have more than needed, than other way round.

If that other cab is a bass cab and 8ohm, try hooking it up....
 
Besides the 8 ohm impedance of an external cab, you need to be sure it's rated to handle at least 250 continuous watts, or RMS watts. More would be better.

How much will a different cab color the sound? Dunno. Depends on too many unknowns. How much different does a different breakfast cereal taste than the usual? It's all about taste, in the end.

500 watts continuous would be better. Each cab could see up to 500w at any given time. Just an FYI. Not saying they will, but they could.

??? How does that work???

Speaker failure is the main way it can happen. A repair man explained to me a long time ago, I forget the other reasons. But the idea of having a cab to handle the full wattage has stuck for that reason. And I'll remember in about an hour after I post this.....

Probably due to transient program power peaks.

If one cabinet or driver fails, the remaining Impedance will rise, thus saving your rig from being over-powered. If you've got two cabinets at 4 Ohms & one fails, you're now at 8 Ohms & the remaining cabinet receives only half the power of a 4 Ohm setup.

Yeah, I would thnk any failure scenario would fall into the short time, or transient, category where the program watts rating would be sufficient, no? Surely there's already some safety facto built-in to the ratings?

In that scenario, the program watts rating for all the current Fender Rumble cabs are sufficient for the full 500. Although the 112 and 115 are not rated sufficiently to take the 350 watts continuous as single cabs to the 500 head.

Taken from Rumble Summary Info on wiki page:
PSX_20190122_124259.jpg
 
Thank you @Kipp Harrington, that's very kind of you to say. GHS Pressurewounds haven't changed, so it doesn't matter how dated my review becomes it is still just as fresh and accurate as the day I wrote it.

The same can be said of my review of GHS Precision Flats except that GHS has tweaked the E string to make it better straight out of the pack. Don't worry about your nut slots as the stock Fender nut can accommodate a much heavier 55-110 set without any modification.
Hey Linnin... quick question for you:

Since I have fresh sets of GHS Pressurewounds and Precision Flats, I’m debating on which ones to put on my new 60s J bass. Which would you go with? Thanks!
 
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I had the same experience.

I can stream music over Bluetooth, but I cannot use the Tone App at the same time. I suppose that's a technical limitation with Bluetooth more than anything. But I really don't need to modify presets while I'm playing anyway, but it would have been nice to be able to select presets from the app while streaming.

So far I am liking it, I need to figure out what I want to do for my own presets, or try to figure out how to re-create the ones I like that are in my Line6 BassPOD XT.

Hey, also, I need a Rumble club member number! Where do I sign up!?!
Welcome Rumbler #1026! Consider yourself signed up. Rumble on!
 
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.
Do you have the Vintage button engaged? That really warms up the tone.
 
Groovy, and welcome to the Fender Rumble Club @Billyears IV if you aren't already a member.

A-OK

You won't know until you try it. Nothing worse in my experience than mismatched 10s although you could luck out and find a complementary 210 cabinet of another brand. You might be better off with a 115. 15s have a broader midrange dispersion than a pair of 10s and they each move about the same amount of air. I think you'd have better luck finding a complementary 115 cabinet. The Rumble 115 is known to be stellar in that regard. Good hunting!
@Billyear IV is 1016.