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Hm the Fender Downtown Pedal doesn’t seem to have the Vintage knob. Doesn’t have the same tone shaping jobs at all.
So it is definitely not meant to mimic the Rumble sound.
So it is definitely not meant to mimic the Rumble sound.
Does the o/d still work as 'mute'?
I dunno if the Overdrive on the Downtown Express can also work as a mute, like on the Rumbles. The manual isn't that specific, but the knob descriptions look very similar. Also, the Rumble manual doesn't specify that either, so it's one of @alanloomis1980's super fan hacks, I guess.
However, the DE has a dedicated Mute button!.
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Well, hell. Where's the fun in that?I dunno if the Overdrive on the Downtown Express can also work as a mute, like on the Rumbles. The manual isn't that specific, but the knob descriptionslook very similar. Also, the Rumble manual doesn't specify that either, so it's one of @alanloomis1980's super fan hacks, I guess.
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Well, if the tone shaping buttons define the Rumble sound to you, I guess that's one way to look at it. Or, if the 4-band EQ is your definition of Rumble sound, it doesn't have that either. And the reviews say its Overdrive doesn't sound like the Rumble's OD.
It does have compressor controls! But the non-modeling Rumbles don't have that. And that dedicated Mute button is definitely non-Rumble-esque.
So, yeah, it's not exactly a Rumble preamp in a box. It's something else. But, can it work for you? Oh, well . . . .
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I would guess that the Rumble line is probably amongst the most sold bass amp lines in the world.
Are there stats about this?
Are there stats about this?
Nothing public that I recall seeing. Some publications do tgeir own "best selling" articles now and then, and seems Rumbles always figure prominently in them.
BTW, how many Rumbles do you have, John? Seems you've referred to a few models but, since you've never posted a pic and joined The Club, I can't recall just what you have. Come on, share a pic, or two?
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Right now, I’ve got two 100s, 500 and a 210. Here’s a couple of (not good) pics.
I would totally buy a Fender Rumble preamp pedal.
I was asking about the popularity of the line because they seem really popular to me. And if this is the case, I find it curious that Fender doesn’t seem to want to capitalize on this by selling a preamp pedal.
But you know...they run the company, not me. I guess there’s a reason why they are making that choice. I was wondering what their reason is. But I guess they are not in this thread to answer.
I was asking about the popularity of the line because they seem really popular to me. And if this is the case, I find it curious that Fender doesn’t seem to want to capitalize on this by selling a preamp pedal.
But you know...they run the company, not me. I guess there’s a reason why they are making that choice. I was wondering what their reason is. But I guess they are not in this thread to answer.
OK. I said I'd try this so here 'tis w/ a slight change:THUNDERBIRD>EHX Micro POG in, dry output>R200c efx send>R100 efx ret w/200c ext spkr out>R112 cab in; and Micro POG efx output >R40. Still get some of the dry signal into the R40, but no efx signal into the 200/100/112. Interesting experiment. Easy enuff to take the R40 along for the upper octave signal w/ the amp differently EQ'ed to taste. Could be stacked on the "bass's" amp[100 or 200]or on a separate tilt back stand. Just might try this next time we go out as a trio-assuming(A)we have gigs, and(2)I have room. The Rumbles sounded amazing as expected, w or w/o the R40. Pretty cool!I've been doin' some playin' but I use my "practice amp"(the Kasino)'cos A) it's always plugged in-the Rumbles are under their covers, and 2) it's LOUD and I can release some pent up frustrations. Been alternating between the Les Paul 5er and the THUNDERBIRD.
I considered the RumbleKat but wound up getting my Ibby AGB200. Which I like-a lot. But I've wondered about those. Maybe if one of the local stores had had one to try......Oh, well.
Since there's so much going on(yeah, right), maybe over the weekend I'll get offa my fazaza and try something I've been thinking about: R100 efx send>R200c efx ret w/ R200c ext spkr out >R112, + R40 separate for EHX Micro POG octave up effect. Mucho bottom plus dedicated upper octave amp when I stomp the button. I'm sure I'd never cart all that crap to a gig, but then again, what gig? Oh, yes. Mustn't forget the foot switch for the 'mute' "channel".
(my usual crystal clear photo) Rube Goldberg would be proud.Big advantage of living alone: nobody bitc......,er, complains about amps in the middle of the living room.
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Wow, that sounds like a lotta sound. Thunderous, I'm guessing. Do you have the MicroPOG set for an octave up, or an octave down?
Up. It's a setting I use when we're a trio. Fills up the sound when the guitarist solos. Sounds like bass/guitar in unison.
FWIW, today's settings: R200, G-12, buttons-out, Bs-10, LM-2, HM-2, Tr-10, V-10. Potential of 300W>1x15+2x12. Also the R40, 1x10, not in chain: G-12, buttons-out, Bs-9, L+HM-2+, Tr -12, V-12.
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Attaboy, John! @jfh2424, you are now member #1211 in the Fender Rumble Club. Glad to have you officially with us, at last. I trust you already know your way around The Club and The Wiki?
How about a whole Rumble family pic, the next chance you get? You know, like GonePlaid's pic here. But always remember to. . . .
Rumble On!
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Fender has, indeed, lurked here in The Club in the past, as evidenced by a member who had a backchannel connection. In fact, the Pre/Post switch on the Rumble 800 HD, and its Master not affecting the XLR Out level, have both been attributed to Fender "listening to Rumble owners".
But, though they do not engage here directly, there is no reason to think that they no longer read our humble musings. Alas, our somewhat less than humble calls for a Rumble 212 cab, and a Rumble Club 400 modeling combo, a Rumble Stage 800 head and various other pedals and things have gone unanswered.
But, you can never tell what the future may hold!
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H everyone. This is my first post here on talkbass . . . and indeed on the rumble club! I have an incoming Rumble 200 combo. I'll be using it for the music room I've setup for my hard rock trio. I'm actually the singer/guitarist (I know, I know... mea culpa), but decided to buy a decent and portable bass rig for my small music room. And I also bought a shortscale bass (Ibanez TMB30 based on recommendations here) to learn how to play myself. I'm really excited to play bass!
Here's my question. I am aware that to increase SPL, I should add an extension cab, as it adds speakers, and it also raises the combo nearer to ear level. I was open to the Rumble 112, 115, or 210 cabs... but I almost always buy used, and they're hard to come by at this time when everything needs to be shipped.
I live in Canada, so there aren't as many shipped options as in the US at a reasonable price. However, we do have Long & Mcquade ... and Traynor! I just came across a killer deal for a Traynor 112 neo cab. The dimensions are ideal for me, better than any Rumble ext cab in terms of how it would work in my space. I know that the matching drivers scenario would dictate that I go for the 115, but originally the Rumble 112 was recommended by Fender, and others have used the 210... so, can I really be making a colossal mistake here? And if it sounds bad, I have also read here that the comb filtering might only occur in a live scenario at a certain distance from the stage as it mixes with the PA? Is that correct?
Here's my question. I am aware that to increase SPL, I should add an extension cab, as it adds speakers, and it also raises the combo nearer to ear level. I was open to the Rumble 112, 115, or 210 cabs... but I almost always buy used, and they're hard to come by at this time when everything needs to be shipped.
I live in Canada, so there aren't as many shipped options as in the US at a reasonable price. However, we do have Long & Mcquade ... and Traynor! I just came across a killer deal for a Traynor 112 neo cab. The dimensions are ideal for me, better than any Rumble ext cab in terms of how it would work in my space. I know that the matching drivers scenario would dictate that I go for the 115, but originally the Rumble 112 was recommended by Fender, and others have used the 210... so, can I really be making a colossal mistake here? And if it sounds bad, I have also read here that the comb filtering might only occur in a live scenario at a certain distance from the stage as it mixes with the PA? Is that correct?
Uh, because they’re in the business of selling amps?
Why would they issue something as a pedal that might kill their primary market?
Seems a beyond simple decision to me. Look up “cross-elasticity”.
The R200c is 140W through the internal 15", adding an 8ohm cab gives you the full 200(capability). I have a R112 and when I use both-rarely-it gets the combo up where I can hear it better but also makes it fuller at whatever level the volume is set. The mixed driver police are unlikely to hunt you down so even if ya wanna mix makes, you should be fine, remembering it's gotta be an 8ohm cab.
