Fender Rumble Club

[bdplaid]

The discussion about expensive equipment:
I chased a 'sound in my head" for a long time and spent a lot of money doing it. I eventuality found a bass that would do it, but what was far more valuable were the lessons learned along the way:
1. Never buy something because "it's all I need." Buy the thing that you like. You will play it a lot more and have a lot better time.
2. If you don't buy the thing you like, you will eventually sell "the thing you need" because it just does not get the job done, and buy the thing you like anyway. Then you've wasted time and money. And had a fight with your equipment along the way.
3. Know that "the sound in your head" is transitory. It's like fashion; skinny jeans look awesome when you're 20, but the same jeans when you're 50 and you've become a pathetic weirdo.
4. The bass and cabinet are probably 80% of the sound. The amp matters, but not as much as the other two in combination. It's a system, and view it as such.
5. Be open to new bass sounds and how the different sounds work in different situations.

Here's how all this went for me:
I was chasing a sound forever that was akin to a cross between Stanley Clarke and the super-snappy Music Man sound. I can't tell you how many racks of equipment, basses and amps I bought trying to get it. I was never happy. Then I picked up Modulus Bass with Bartolini electronics and was done. I never tried one before because a) I had a weird misconception of what graphite sounds like, and b) I thought I couldn't afford one. But somehow I had managed to afford 2 Pedullas and an Alembic; go figure. Played the Modulus for several years, and then... I moved and joined a new band, and actually the move caused me to rethink a lot of my bass playing.

I stopped looking for the ultra-modern sound (which never sounds good in a mix, but awesome solo, IMO), stopped slapping, and went back to my roots of fingerstyle funk: I LOVE Rocco Prestia. Overnight, my sound wasn't about snap, but about punch. And I reconnected with a sound that has really sent me all of my career: That of Peter Mars Cowling from Pat Travers. Total P-bass on steroids. But try to get a sound that good every night, onstage. It ain't easy. It ain't easy even finding a bass that sounds that good to begin with. I went through basses and amps again, eventually settling on building my own basses. Of course, I could have just done what Mars had done: gotten vintage 70's P-basses, but There was the Devil's Own Trifecta: I refuse to pay those prices. And they don't all sound good. And I play 5-string.

(Bear with me, I'm coming to a finale.)

Ok, so I got the bass issue worked out (have a look at my avatar to see my ever-evolving P5), and while that was going on I needed to fix the amp situation. Definitely, no SVT in the future for this old man's back, so I had to find an alternative. I'm a devotee of the Class D amps, and I think I went though 10 amps and half as many cabs, knowing full well that the next step in the sound equation was the sound of the cab. I was looking for a combo. Then I found the Rumble 500.

My even trying out a Fender was a stretch, because I never liked Fender amps. And I always looked down on the Rumble series. I'm not even sure why I tried it out; I guess because it was a lightweight combo and I didn't like anything else out there. But man, I think I was plugged into it for 10 seconds when I heard what those speakers could do, and my wallet popped open like Beyonce's blouse on national TV. Didn't even try out the other Rumbles. And then was amazed at what the 500 combo could do, especially when paired with my single 15 cab.

I think what I'm getting at is, work hard to figure out what you want, be open to new ideas and products, and plug into equipment no matter your preconception or the price of the thing. Be open. And don't be afraid to work hard and save your shekels to get what you truly want. But I think being open to new stuff is why I'm so happy with the Rumble.

 

[Linnin]

My even trying out a Fender was a stretch, because I never liked Fender amps. And I always looked down on the Rumble series. I'm not even sure why I tried it out; I guess because it was a lightweight combo and I didn't like anything else out there. But man, I think I was plugged into it for 10 seconds when I heard what those speakers could do, and my wallet popped open like Beyonce's blouse on national TV.

Thanks for your entire post, bdplaid. I literally LOL'd several times. You strike a heartfelt cord when you say to keep your mind and your ears open. There is so much anti-Fender; anti-Rumble, and anti-F.M.I.C. sentiment that has to be overcome. Thank You For Your Honesty.

I am a man of very modest means and am more than happy to have the Fender Precision and Jazz basses that I own (one of each and that is all) and also the Fender Rumble amps (25; 75, & 350) that help me make some good music and a little money too. We all chase our dreams at whatever level we are on.

 

[BigDBass]

The discussion about expensive equipment:
I chased a 'sound in my head" for a long time and spent a lot of money doing it. I eventuality found a bass that would do it, but what was far more valuable were the lessons learned along the way:
1. Never buy something because "it's all I need." Buy the thing that you like. You will play it a lot more and have a lot better time.
2. If you don't buy the thing you like, you will eventually sell "the thing you need" because it just does not get the job done, and buy the thing you like anyway. Then you've wasted time and money. And had a fight with your equipment along the way.
3. Know that "the sound in your head" is transitory. It's like fashion; skinny jeans look awesome when you're 20, but the same jeans when you're 50 and you've become a pathetic weirdo.
4. The bass and cabinet are probably 80% of the sound. The amp matters, but not as much as the other two in combination. It's a system, and view it as such.
5. Be open to new bass sounds and how the different sounds work in different situations.

Here's how all this went for me:
I was chasing a sound forever that was akin to a cross between Stanley Clarke and the super-snappy Music Man sound. I can't tell you how many racks of equipment, basses and amps I bought trying to get it. I was never happy. Then I picked up Modulus Bass with Bartolini electronics and was done. I never tried one before because a) I had a weird misconception of what graphite sounds like, and b) I thought I couldn't afford one. But somehow I had managed to afford 2 Pedullas and an Alembic; go figure. Played the Modulus for several years, and then... I moved and joined a new band, and actually the move caused me to rethink a lot of my bass playing.

I stopped looking for the ultra-modern sound (which never sounds good in a mix, but awesome solo, IMO), stopped slapping, and went back to my roots of fingerstyle funk: I LOVE Rocco Prestia. Overnight, my sound wasn't about snap, but about punch. And I reconnected with a sound that has really sent me all of my career: That of Peter Mars Cowling from Pat Travers. Total P-bass on steroids. But try to get a sound that good every night, onstage. It ain't easy. It ain't easy even finding a bass that sounds that good to begin with. I went through basses and amps again, eventually settling on building my own basses. Of course, I could have just done what Mars had done: gotten vintage 70's P-basses, but There was the Devil's Own Trifecta: I refuse to pay those prices. And they don't all sound good. And I play 5-string.

(Bear with me, I'm coming to a finale.)

Ok, so I got the bass issue worked out (have a look at my avatar to see my ever-evolving P5), and while that was going on I needed to fix the amp situation. Definitely, no SVT in the future for this old man's back, so I had to find an alternative. I'm a devotee of the Class D amps, and I think I went though 10 amps and half as many cabs, knowing full well that the next step in the sound equation was the sound of the cab. I was looking for a combo. Then I found the Rumble 500.

My even trying out a Fender was a stretch, because I never liked Fender amps. And I always looked down on the Rumble series. I'm not even sure why I tried it out; I guess because it was a lightweight combo and I didn't like anything else out there. But man, I think I was plugged into it for 10 seconds when I heard what those speakers could do, and my wallet popped open like Beyonce's blouse on national TV. Didn't even try out the other Rumbles. And then was amazed at what the 500 combo could do, especially when paired with my single 15 cab.

I think what I'm getting at is, work hard to figure out what you want, be open to new ideas and products, and plug into equipment no matter your preconception or the price of the thing. Be open. And don't be afraid to work hard and save your shekels to get what you truly want. But I think being open to new stuff is why I'm so happy with the Rumble.

One of my favorite TB posts ever right there. I relate to and appreciate all of it. Except the 5 strings thing.

 

[Big Hoss]

The discussion about expensive equipment:
I chased a 'sound in my head" for a long time and spent a lot of money doing it. I eventuality found a bass that would do it, but what was far more valuable were the lessons learned along the way:
1. Never buy something because "it's all I need." Buy the thing that you like. You will play it a lot more and have a lot better time.
2. If you don't buy the thing you like, you will eventually sell "the thing you need" because it just does not get the job done, and buy the thing you like anyway. Then you've wasted time and money. And had a fight with your equipment along the way.
3. Know that "the sound in your head" is transitory. It's like fashion; skinny jeans look awesome when you're 20, but the same jeans when you're 50 and you've become a pathetic weirdo.
4. The bass and cabinet are probably 80% of the sound. The amp matters, but not as much as the other two in combination. It's a system, and view it as such.
5. Be open to new bass sounds and how the different sounds work in different situations.

Here's how all this went for me:
I was chasing a sound forever that was akin to a cross between Stanley Clarke and the super-snappy Music Man sound. I can't tell you how many racks of equipment, basses and amps I bought trying to get it. I was never happy. Then I picked up Modulus Bass with Bartolini electronics and was done. I never tried one before because a) I had a weird misconception of what graphite sounds like, and b) I thought I couldn't afford one. But somehow I had managed to afford 2 Pedullas and an Alembic; go figure. Played the Modulus for several years, and then... I moved and joined a new band, and actually the move caused me to rethink a lot of my bass playing.

I stopped looking for the ultra-modern sound (which never sounds good in a mix, but awesome solo, IMO), stopped slapping, and went back to my roots of fingerstyle funk: I LOVE Rocco Prestia. Overnight, my sound wasn't about snap, but about punch. And I reconnected with a sound that has really sent me all of my career: That of Peter Mars Cowling from Pat Travers. Total P-bass on steroids. But try to get a sound that good every night, onstage. It ain't easy. It ain't easy even finding a bass that sounds that good to begin with. I went through basses and amps again, eventually settling on building my own basses. Of course, I could have just done what Mars had done: gotten vintage 70's P-basses, but There was the Devil's Own Trifecta: I refuse to pay those prices. And they don't all sound good. And I play 5-string.

(Bear with me, I'm coming to a finale.)

Ok, so I got the bass issue worked out (have a look at my avatar to see my ever-evolving P5), and while that was going on I needed to fix the amp situation. Definitely, no SVT in the future for this old man's back, so I had to find an alternative. I'm a devotee of the Class D amps, and I think I went though 10 amps and half as many cabs, knowing full well that the next step in the sound equation was the sound of the cab. I was looking for a combo. Then I found the Rumble 500.

My even trying out a Fender was a stretch, because I never liked Fender amps. And I always looked down on the Rumble series. I'm not even sure why I tried it out; I guess because it was a lightweight combo and I didn't like anything else out there. But man, I think I was plugged into it for 10 seconds when I heard what those speakers could do, and my wallet popped open like Beyonce's blouse on national TV. Didn't even try out the other Rumbles. And then was amazed at what the 500 combo could do, especially when paired with my single 15 cab.

I think what I'm getting at is, work hard to figure out what you want, be open to new ideas and products, and plug into equipment no matter your preconception or the price of the thing. Be open. And don't be afraid to work hard and save your shekels to get what you truly want. But I think being open to new stuff is why I'm so happy with the Rumble.

Thank you for a well thought eloquent post on a very obviously concerning topic for so many.

 

[bdplaid]

Thanks guys for the kind words.
And don't go thinking I've got deep pockets either; I'm a little bit of a wheeler dealer, but am a cheap barstard at my core. I lost money on every one of these deals, but it's not like I bought everything new or kept all of it either. If it doesn't work, it goes to ebay or is traded in to finance the next shenanigan.

Another comment about the Rumble: My eyes were first opened to them when they were back on V2. I was trying out a bass in Sam Ash and just happened to plug into a 350W 210. Damned if it didn't sound really good! But at the time, I wasn't into combos, and it was less power and far more weight than I wanted. And I still thought they were "part timers" amps. I was a snob, what can I say? I was shown the light, however, and thankfully so. Over the weekend I played through another guy's rig which was a honking big SWR with single cab that had two 10s, a 15 and something else in there. Sounded good, but i stack the Rumble 500 up against it any day.

And about my cheapness: My Jazz is a Squier Affinity, very much hot rodded. Why? It has the best neck of any Jazz I've ever played, including the 1965 Jazz I had that I sold for $200 before the vintage nonsense hit. One of my fave P-basses is a $99 special from GC's used bin, modded, and very excellent.

Point is, try everything, learn what can be fixed and what can be modded. Look at my sig!

I hope these new Rumbles hold up; I still have my long-term doubts as they're so inexpensive, but whatev, as the man who fell off the roof was heard to say at every floor on his way down, "So far so good!"

 

[Big Hoss]

I should have elaborated more in my last post but I hate typing on the phone. I couldn't agree more with the misperception of Fender amps and the Rumble series in particular. My prior experience with Fender amps has been all at Guitar Center. A Bassman head that wouldn't power up, and a Rumble 100 that had the red light in the ports, and rat fur covering that rattled like a boom stereo equipped 83 Cutlass Supreme... I wasn't leaning toward them, that is until I tried one...

More correctly several. I tried a 100, a 200 and a 500. The 100 would have been a nice replacement with a HUGE weight savings to my Crate BX-100, but I wanted more, even with the radically better voicing, i wanted more speaker surface area, more power, more, well ability to grow if I needed or wanted...

I see a lot of negativity toward Fender overall, and the Rumlbes catch a good bit of it, and it is so completely unfair. I looked at just about every combo amp under a grand I could find in the 200 - 500 watt range, and even some lower wattage, that I could audition, and the Rumlbe was the stand out at least considering what I want to sound like..

A button pushed in or out, a knob rotated this way or that, and the sound in my head comes out of the speakers and in to my ears... My multi effects pedal now is pretty much useless aside from usage as a tuner, that's really it...

And as far as bargains go, I understand my 500 was bought with a 20% discount deal from MF (my wife and BIL bought it for a Christmas gift) and I got my cab / cable ordered and on their way for $310.00, add the $30.00 foot switch to the mix, and I have a 500 watt 4x10 or 2x10 rig depending on the need, with foot switchable overdrive, for what, $740.00 had I been the one to pay the full bill...

And it's funny. I could be wrong on this, but I don't hear of serious reliability problems with Fender amps like you do with most notable Ampeg with their Portaflex series, among others... I have no in the gut feeling this is going to be a reliability problem... I suspect the design and process they are using in manufacturing is well established which is why they put the rather substantial warranty behind it...

As far as Fender / Squier basses, I have an itch, not a huge one, but an itch none the less for a Squier James Johnston Jazz Bass. Not because I give two rips about James Johnston but because I want a Lake Placid Blue Jazz with a color matched headstock... I could go with a Squier or Fender PJ bass to make potential future BLs happy with "He plays a Fender" thing... But I am very partial to my Ibanez Soungears... I do want the Jazz though because a Jazz with a Jazz pickup at both the bridge and neck positions has a very different sound than just the jazz pickup at the bridge position...

 

[Shadows Bass]

Wow I like this forum - lots of passion for the Rumble product. I had a V1 100 for 8 years, it travelled from Australia to the UK with me and back again, it was my main amp for countless gigs and jams in both countries and never let me down once and I only sold it because I've now got a V3 100 to save my poor old back. Sure, I have a much bigger rig just for the odd big gig, but I'm sure that my V3 100 will serve me very well. I am convinced that Fender quality is every bit as good as any other manufacturer out there - just treat your equipment with respect and it will serve you well.

 

[Bent77]

Wow I like this forum - lots of passion for the Rumble product. I had a V1 100 for 8 years, it travelled from Australia to the UK with me and back again, it was my main amp for countless gigs and jams in both countries and never let me down once and I only sold it because I've now got a V3 100 to save my poor old back. Sure, I have a much bigger rig just for the odd big gig, but I'm sure that my V3 100 will serve me very well. I am convinced that Fender quality is every bit as good as any other manufacturer out there - just treat your equipment with respect and it will serve you well.

Awesome. That old V1 goes to prove the point that the rumor of the Rumble series amps being toys is unfounded.

The Rumble amps have been bad mouthed a lot since their inception for this, but I have not seen anything to be concerned.

However, I will share my experience amp shopping, something I rarely do. When I first re-entered bass playing several years back, I outgrew the little 20w Acoustic amp I started with. Aside from me overtaxing the little bugger trying to overcome Leadfoot Louie the drummer, it was a great little amp. Far better than what the rumors on here would have you believe.

I traded the 20 in for a new amp when the time came. My mind was set on one of those 15" combos from a highly touted brand. Every one o those I played either sounded bad or had some major electrical malfunction. All the other combo amps in my price range sounded better than the big name brand.

So I "settled" on the 150w Fender combo. By settled I mean, Fender amps are just toys. I beat that thing. I ran it full tilt more than once. I did finally stretch the cone enough I couldnt push the volume past 50% without some odd noises. Sold it to some kid in a punk band for what I paid for it. Honestly should have dropped an Eminence in it and kept trucking.

So i moved on to a head & cab set up. Tried all the major players. Once again I was disheartened by some of the big name brands. At the time, no V3 Fenders were in stores or in stock. I bought a Hartke LH1000 head and AK410. Both very good products.

What i can tell you is I was surprised when I finally did get a 500w V3 head, just how awesome it sounds through that cab. Stunning.

All said and done I know this. The next amp and or cabinet i buy will be a Fender.

 

[Big Hoss]

Just checked my MF order. They shipped and gave me a tracking number. For the 1/4 to speakon cable... The cab is still processing..

 

[Bent77]

Just checked my MF order. They shipped and gave me a tracking number. For the 1/4 to speakon cable... The cab is still processing..

Don't you hate that

 

[Big Hoss]

Good thing I am not needing it for a gig this weekend right?

 

[BigDBass]

Didn't realize until my gig last night (which got delayed until 11:45PM start time ) that the Rumble 500 head doesn't have speakon out! Oops. Thankfully I still had a 1/4" to 1/4" cable in my gear bag.

 

[Big Hoss]

That could have been bad... Yeah the no speakon out from the head / combo is the one spot on my Rumble 500 combo I am not thrilled about. But it is something I can work with, I would just prefer a speakon out... I don't like the idea of instrument cable and speaker cable sharing a similar connectxor.

 

[JonW]

The discussion about expensive equipment:
I chased a 'sound in my head" for a long time and spent a lot of money doing it. I eventuality found a bass that would do it, but what was far more valuable were the lessons learned along the way:
1. Never buy something because "it's all I need." Buy the thing that you like. You will play it a lot more and have a lot better time.
2. If you don't buy the thing you like, you will eventually sell "the thing you need" because it just does not get the job done, and buy the thing you like anyway. Then you've wasted time and money. And had a fight with your equipment along the way.
3. Know that "the sound in your head" is transitory. It's like fashion; skinny jeans look awesome when you're 20, but the same jeans when you're 50 and you've become a pathetic weirdo.
4. The bass and cabinet are probably 80% of the sound. The amp matters, but not as much as the other two in combination. It's a system, and view it as such.
5. Be open to new bass sounds and how the different sounds work in different situations.

Here's how all this went for me:
I was chasing a sound forever that was akin to a cross between Stanley Clarke and the super-snappy Music Man sound. I can't tell you how many racks of equipment, basses and amps I bought trying to get it. I was never happy. Then I picked up Modulus Bass with Bartolini electronics and was done. I never tried one before because a) I had a weird misconception of what graphite sounds like, and b) I thought I couldn't afford one. But somehow I had managed to afford 2 Pedullas and an Alembic; go figure. Played the Modulus for several years, and then... I moved and joined a new band, and actually the move caused me to rethink a lot of my bass playing.

I stopped looking for the ultra-modern sound (which never sounds good in a mix, but awesome solo, IMO), stopped slapping, and went back to my roots of fingerstyle funk: I LOVE Rocco Prestia. Overnight, my sound wasn't about snap, but about punch. And I reconnected with a sound that has really sent me all of my career: That of Peter Mars Cowling from Pat Travers. Total P-bass on steroids. But try to get a sound that good every night, onstage. It ain't easy. It ain't easy even finding a bass that sounds that good to begin with. I went through basses and amps again, eventually settling on building my own basses. Of course, I could have just done what Mars had done: gotten vintage 70's P-basses, but There was the Devil's Own Trifecta: I refuse to pay those prices. And they don't all sound good. And I play 5-string.

(Bear with me, I'm coming to a finale.)

Ok, so I got the bass issue worked out (have a look at my avatar to see my ever-evolving P5), and while that was going on I needed to fix the amp situation. Definitely, no SVT in the future for this old man's back, so I had to find an alternative. I'm a devotee of the Class D amps, and I think I went though 10 amps and half as many cabs, knowing full well that the next step in the sound equation was the sound of the cab. I was looking for a combo. Then I found the Rumble 500.

My even trying out a Fender was a stretch, because I never liked Fender amps. And I always looked down on the Rumble series. I'm not even sure why I tried it out; I guess because it was a lightweight combo and I didn't like anything else out there. But man, I think I was plugged into it for 10 seconds when I heard what those speakers could do, and my wallet popped open like Beyonce's blouse on national TV. Didn't even try out the other Rumbles. And then was amazed at what the 500 combo could do, especially when paired with my single 15 cab.

I think what I'm getting at is, work hard to figure out what you want, be open to new ideas and products, and plug into equipment no matter your preconception or the price of the thing. Be open. And don't be afraid to work hard and save your shekels to get what you truly want. But I think being open to new stuff is why I'm so happy with the Rumble.

That's an excellent post! Thanks for the useful perspectives. Hmmm. Yeah, I have a sound in my head that I'd like to find. It's very hifi, clean, crisp highs, tight lows, lots of low extension, not scooped, but generally flat frequency response. That's why I have been thinking about the Greenboy route. But it's expensive.

One of the reasons that I did not like the Ampeg 1x15 combo was that it sounded too colored. The Rumble 200, by contrast, was much less colored to my ears.

I do have several guitars. But only one guitar amp. And I'm really happy with that amp. I sometimes think about getting another guitar amp. But that's more for variety and curiosity. And the thought usually passes before I actually buy anything. If I could only have one guitar amp, it's what I already have. So getting something good there has probably saved me from buying several other amps along the way.

Try to go the same route with a bass amp? I could go Rumble 500 for now. It's cheap and may keep me perfectly happy. The Greenboy route would be roughly 4 times the cost. all told. Would I be happier? And like you say, would I *stay* happy with it? Hmmm... Thanks again for the thoughts.

 

[crucislancer]

Just checked my MF order. They shipped and gave me a tracking number. For the 1/4 to speakon cable... The cab is still processing..

I had something similar happen early last week when placing an order through Fender. I purchased a new case and a vintage bridge through the website, and thought that they would just ship both of them together. Nope! They shipped the case through Fed Ex ground and the bridge through Fed Ex Smart Post. Tracking says I will get the case tomorrow or Tuesday and the bridge on Thursday. I didn't have to pay shipping, but I thought that was odd none the less.

 

[Linnin]

I could go Rumble 500 for now. It's cheap and may keep me perfectly happy.

May the happiness of a Fender Rumble be yours.

 

[Bent77]

I had something similar happen early last week when placing an order through Fender. I purchased a new case and a vintage bridge through the website, and thought that they would just ship both of them together. Nope! They shipped the case through Fed Ex ground and the bridge through Fed Ex Smart Post. Tracking says I will get the case tomorrow or Tuesday and the bridge on Thursday. I didn't have to pay shipping, but I thought that was odd none the less.

Likely due to the fact that they charge by volume for fast freight

 

[crucislancer]

Likely due to the fact that they charge by volume for fast freight

UPS and Fed Ex both charge "weight or measure". A case would be charged based on measure, the bridge would most likely be charged based on weight, depending on how it's packaged. Anyways, if it costs (for example) $20 bucks to ship the case, and $5 to ship the bridge, why not put the bridge in the case and ship both for $20, because the case will still be charged based on measure because the extra pound won't overcome the measurement charge? In the grand scheme of things, it's a drop in the bucket for Fender, but I always combine as much as possible when shipping.

 

[jumblemind]

UPS and Fed Ex both charge "weight or measure". A case would be charged based on measure, the bridge would most likely be charged based on weight, depending on how it's packaged. Anyways, if it costs (for example) $20 bucks to ship the case, and $5 to ship the bridge, why not put the bridge in the case and ship both for $20, because the case will still be charged based on measure because the extra pound won't overcome the measurement charge? In the grand scheme of things, it's a drop in the bucket for Fender, but I always combine as much as possible when shipping.

They could be coming from completely different warehouses/distribution centers.

 

[jumblemind]

Didn't realize until my gig last night (which got delayed until 11:45PM start time ) that the Rumble 500 head doesn't have speakon out! Oops. Thankfully I still had a 1/4" to 1/4" cable in my gear bag.

This surprised me, too. I thought the benefits of speakon connectors were well established at this point. Oh well, getting rid of the speakon-to-speakon cable in my bag will actually free up some space.