Fender Rumble Club

[BlueP]

Sample of my rumble 200 in a small jazz group. Whilst it is just recorded live on my iPhone sitting on the music stand it gives a bit of insight into the sound. This is the first live outing I have used it and we played a short set at the opening of a small art exhibition, indoors

Settings : contour button on, low and mid highs dialled out, gain, bass, treble and volume at 12 o’clock. Ghs boomers, round wound.

Everyone was happy with it...

 

[Jughead6]

My 3 year old wanted me to build a rocket ship...

 

[G-Dog]

I don’t think it’s anything like that. I’m not aware of any trade and tariff negotiations that would have this effect, and - trust me - if anything like that happened, it would NOT pass unnoticed.

The Studio 40 and Stage 800 is listed as available on both Thomann and Gear4Music’s websites, but on request. The regular Rumble range is available.

I suspect that it’s more a case of the Stage and Studio models not having gained any real traction in Europe yet. They’re relatively new products over here, so I suspect that most online retailers are slightly on the fence as yet.

Thanks, JakobT. The guy in Denmark finally got his Rumble Studio 40.
.

 

[richwag]

Sample of my rumble 200 in a small jazz group. Whilst it is just recorded live on my iPhone sitting on the music stand it gives a bit of insight into the sound. This is the first live outing I have used it and we played a short set at the opening of a small art exhibition, indoors

Settings : contour button on, low and mid highs dialled out, gain, bass, treble and volume at 12 o’clock. Ghs boomers, round wound.

Everyone was happy with it...

That's a really scooped EQ. Do you normally play jazz and this how you'd normally EQ? (asking not criticizing).

Scoopiness just gets totally lost in my band. For me, it's bass cut, treble cut, boost mids, mild distortion.

 

[NDpeppers]

That's a really scooped EQ. Do you normally play jazz and this how you'd normally EQ? (asking not criticizing).

Scoopiness just gets totally lost in my band. For me, it's bass cut, treble cut, boost mids, mild distortion.

yes! For me, I love my midrange. Cant stand being lost in the mix....

 

[BlueP]

I find with saxophones that the scooped sits well.

My son is a professional bass player and embarking on sound engineering. He is now under way with a qualified engineer and he is now in his own session occasionally recording bands

He was recently explaining to me about some problems with low mids on bass guitars in a front of house mix and a studio mix

For my whole life I have stubbornly sat with all settings on flat

We went right over the rumble 200 together on both an American 2012 p and an American 2012 jazz

The 2012 p has a custom shop 62 pickup and it’s output is scooped

The Jazz has 60’s j pups and individually the pus are not scooped

Our impression is that low mids , with everything else rolled off on the rumble 200 on both guitars and across provide a tone range that is not very useable or attractive

The low mids, then when mixed in on a range of tone settings, to us, muddy the tone for want of a better word

The high mids however seem to provide a good tone option

The treble is a bit harsh with the p with guitar tone pots open, but surpringly for us, seemed good on the j with the tone pot open

In offering these comments, it’s just our perspective, my son has played in some pretty aggressive punk whilst I am more old school with 70’s

In later life I have mostly played blues type music and earlier this year hooked up with some jazz people

I have also shyed away from a scooped sound and have been strongly influenced by people and consensus on talkbass. To which I appreciate and respect

I also appreciate issues with being lost in the mix but I took the plunge to explore some different settings after initial discussions with my son

He has also listened and heard me play front if house and I have to say, I am now far from convinced about low mids

He also told me that in spite of what a lot of bass players may insist on, there are plenty of good foh people who wont hesitate to isolate and roll out low mids both live and in studio

I was surprised with all of that.. especially given how many bass players explain the importance of punch and sitting in the mix with emphasis on mids...

At the end of yesterday’s gig, I asked both the Sax players if they could hear the bass ok...they were a few feet in front of me and they said ‘ooh yeagh and it sounded good with presence..the feel the same in rehearsals... it’s hard to put words to, but it seems to carry with presence ands it’s smooth...

Whilst that is just one example in one room...and in that context...it has certainly and at least opened my ears and mind to spending more time on eq

Just lastly, with regard the rumble 200
We messed today with the overdrive and different eq again with low mids cut

We both felt The 200 is quite impressive with the overdrive

I play in a 70’s gig as well and whilst I have been shy on the overdrive it seems with bass and treble at 12 o’clock with low mids rolled off, high mids around 1, might be an option. Will see how that goes in a guitar band live.

Anyway, that’s just some stuff from me, i in no way intend it as a definitive statement of what is better as such, just some thoughts from experience and I am really liking the 200 combo.

I am not sure how the rumble 200 combo would go in a full on loud aggressive drum and guitar set up, such as metal or punk but it is certainly good at what it does for me

Ps, I find the p with the tone pot rolled back seems to refine things a bit on the rumble with the contour. And all of the above is with the tweeter off. Personally I find the tweeter a bit harsh on the p, it’s not too bad on the jazz bass...

Also, the vintage button is interesting... not sure where I sit with that yet....but am certainly, in recent experience warming to the contour function...

Ross

 

[LoveJackBruce]

It's my honor. Thanks for putting up with my humble dive bar gig photos.

Nothing like a dive bar. You can really crank it and jam!!!!!

 

[LoveJackBruce]

I find with saxophones that the scooped sits well.

My son is a professional bass player and embarking on sound engineering. He is now under way with a qualified engineer and he is now in his own session occasionally recording bands

He was recently explaining to me about some problems with low mids on bass guitars in a front of house mix and a studio mix

For my whole life I have stubbornly sat with all settings on flat

We went right over the rumble 200 together on both an American 2012 p and an American 2012 jazz

The 2012 p has a custom shop 62 pickup and it’s output is scooped

The Jazz has 60’s j pups and individually the pus are not scooped

Our impression is that low mids , with everything else rolled off on the rumble 200 on both guitars and across provide a tone range that is not very useable or attractive

The low mids, then when mixed in on a range of tone settings, to us, muddy the tone for want of a better word

The high mids however seem to provide a good tone option

The treble is a bit harsh with the p with guitar tone pots open, but surpringly for us, seemed good on the j with the tone pot open

In offering these comments, it’s just our perspective, my son has played in some pretty aggressive punk whilst I am more old school with 70’s

In later life I have mostly played blues type music and earlier this year hooked up with some jazz people

I have also shyed away from a scooped sound and have been strongly influenced by people and consensus on talkbass. To which I appreciate and respect

I also appreciate issues with being lost in the mix but I took the plunge to explore some different settings after initial discussions with my son

He has also listened and heard me play front if house and I have to say, I am now far from convinced about low mids

He also told me that in spite of what a lot of bass players may insist on, there are plenty of good foh people who wont hesitate to isolate and roll out low mids both live and in studio

I was surprised with all of that.. especially given how many bass players explain the importance of punch and sitting in the mix with emphasis on mids...

At the end of yesterday’s gig, I asked both the Sax players if they could hear the bass ok...they were a few feet in front of me and they said ‘ooh yeagh and it sounded good with presence..the feel the same in rehearsals... it’s hard to put words to, but it seems to carry with presence ands it’s smooth...

Whilst that is just one example in one room...and in that context...it has certainly and at least opened my ears and mind to spending more time on eq

Just lastly, with regard the rumble 200
We messed today with the overdrive and different eq again with low mids cut

We both felt The 200 is quite impressive with the overdrive

I play in a 70’s gig as well and whilst I have been shy on the overdrive it seems with bass and treble at 12 o’clock with low mids rolled off, high mids around 1, might be an option. Will see how that goes in a guitar band live.

Anyway, that’s just some stuff from me, i in no way intend it as a definitive statement of what is better as such, just some thoughts from experience and I am really liking the 200 combo.

I am not sure how the rumble 200 combo would go in a full on loud aggressive drum and guitar set up, such as metal or punk but it is certainly good at what it does for me

Ps, I find the p with the tone pot rolled back seems to refine things a bit on the rumble with the contour. And all of the above is with the tweeter off. Personally I find the tweeter a bit harsh on the p, it’s not too bad on the jazz bass...

Also, the vintage button is interesting... not sure where I sit with that yet....but am certainly, in recent experience warming to the contour function...

Ross

I love the Rumble Contour. For me, it really clears up and rounds out the tone. I push it in and add a little volume. Especially with my SG Standard. But the Ibanez as well.

 

[jfh2424]

I agree that mids in jazz is not that helpful. You generally don’t need to “push through” or fight to be heard in jazz. At least, that’s not my experience.

In rock though...I’ve found mids to be helpful.

That being said, everyone is different.

 

[LBS-bass]

I was told that the venue yesterday was a farmer's market, so I pictured a popup with a few acoustic guitarists and a tiny PA on dirt or a concrete slab. Tossed my Rumble 100 in the car and away we go.

This was the stage:

You can just barely see it to the left there in front of the orange pole.

However. It delivered. Soundman ran a line out, I cranked it so the band could hear and had plenty of sound. The only issue was that I hadn't thought to bring a stand for it, so there was some boominess with the low A. I managed to calm that down a bit during the second set by placing it on top of the bag I use to carry my cables, which had a couple of cables still in it that raised it by an inch or so. Not perfect, but better.

We only had a percussionist at this show. I might have been hard pressed to keep up with a full kit, but I still had some headroom with this configuration, so who knows?

 

[CallMeAl]

I agree that mids in jazz is not that helpful. You generally don’t need to “push through” or fight to be heard in jazz. At least, that’s not my experience.

In rock though...I’ve found mids to be helpful.

That being said, everyone is different.

I just discovered how much I like the contour button! I use it for my bluegrass /country band, makes for a nice warm, round sound. I could totally use it for a jazz combo too- in fact I was just talking to a singer about some jazz gigs, and glad I now have that in my toolbox.

But I still like the mids for rock and roll. As I get more familiar with the Rumble, I find I can get pretty darn close to the classic Ampeg sound, and mids is where it’s at! Really scratches the itch when I get GAS-y

 

[amoodymule]

But I still like the mids for rock and roll. As I get more familiar with the Rumble, I find I can get pretty darn close to the classic Ampeg sound, and mids is where it’s at! Really scratches the itch when I get GAS-y

I play in a southern rock band with the r200c, and a few months ago, the guitarist said the same thing, "you got a great Ampeg sound going there"

...I wasn't trying, as I have never played thru an Ampeg

Just tweekin' the amp to what I feel sounds good in the band mix

 

[amoodymule]

I've got a question, I play in another band at my house and my r200c is at the other bands rehearsal room many miles away, so...

I have read where you can go out of the effects loop to another loop for the 1st amps controls and its tones, my r40c has no effects loop, so the question is this...

Can I just go from the direct out to the amp I want to use as a power amp?
The r40c is not loud enough for the drummer I'm playing with, and this is the part Rumble set up at my home rehearsal space.

I would like to have the Rumble sound thru this configuration, about to try it here in a few hrs, thanks for any answers as to why I couldn't

...the bottom cab is BXR combo converted to just a cab, it kicks some good low end

 

[Cyborg]

I've owned other Rumble amps in the past and a currently a Rumble 40. I picked up the Stage 800 last week.

 

[CallMeAl]

I've owned other Rumble amps in the past and a currently a Rumble 40. I picked up the Stage 800 last week.

View attachment 3545434

Is that the famous guilt-bass? Nothing wrong with that! Hope you’re enjoying it

 

[CallMeAl]

I've got a question, I play in another band at my house and my r200c is at the other bands rehearsal room many miles away, so...

I have read where you can go out of the effects loop to another loop for the 1st amps controls and its tones, my r40c has no effects loop, so the question is this...

Can I just go from the direct out to the amp I want to use as a power amp?
The r40c is not loud enough for the drummer I'm playing with, and this is the part Rumble set up at my home rehearsal space.
View attachment 3545405

I would like to have the Rumble sound thru this configuration, about to try it here in a few hrs, thanks for any answers as to why I couldn't

...the bottom cab is BXR combo converted to just a cab, it kicks some good low end

Paging @JakobT !
He’s done a 100c into a 40c. Can’t remember the exact signal path, it’s here somewhere in the club....

 

[Cyborg]

Is that the famous guilt-bass? Nothing wrong with that! Hope you’re enjoying it

That's the famous guilt bass! Although I usually play 5 strings, this things begs to be played.

As for my guilt, it just ended up slightly shifting to the 5-string I bought before right before the 4-string. I think I'm sending it back to get it in Aqua Sparkle as well.

 

[JakobT]

I've got a question, I play in another band at my house and my r200c is at the other bands rehearsal room many miles away, so...

I have read where you can go out of the effects loop to another loop for the 1st amps controls and its tones, my r40c has no effects loop, so the question is this...

Can I just go from the direct out to the amp I want to use as a power amp?
The r40c is not loud enough for the drummer I'm playing with, and this is the part Rumble set up at my home rehearsal space.
View attachment 3545405

I would like to have the Rumble sound thru this configuration, about to try it here in a few hrs, thanks for any answers as to why I couldn't

...the bottom cab is BXR combo converted to just a cab, it kicks some good low end

You use the input jack instead. Here is the link to my original post detailing how it was done:

Fender Rumble Club

Shoutout to @alanloomis1980 for bringing your post to my attention!

 

[G-Dog]

You use the input jack instead. Here is the link to my original post detailing how it was done:

Fender Rumble Club

Shoutout to @alanloomis1980 for bringing your post to my attention!

Exactly so! There is also this Rumble Talk, linked on the Rumble Wiki, where a Fender insider said using the input jack is OK (no risk of damage).
.

 

[amoodymule]

Thanks "JakobT" and "G-Dog", I have skimmed the Wiki page and lost my train of thought, ha!

So I just finished an experiment of my own, and these are my findings concerning the r40c not having a effects loop (my main concern was having sound coming from the combo, not that it would be a bad thing)

So, I 1st just ran the Direct out to the input of the Carvin, yep, worked just fine, combo speaker still makin' its sounds, all good.

Then, I put a 1/8" to 1/4" conversion jack in the headphone out jack, the combo silent and still worked fine,

then...

I ran them both ways, one at a time of coarse, into the return of the Carvin amp, yep, it worked just fine, I'm happy