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Fender Rumble Club

#4,281
I finally ordered two sheets of 1/2" Sonic Barrier so I can actually line my Rumble 112's. I went through Amazon rather than Parts Express. A dollar less per sheet and half the shipping that Parts Express charges for about $8 less. Where are the sheets coming from? So glad you asked, why Parts Express of course! :roflmao:
 
#4,282
In the end, the 210 extension cab isn't doing what i want it to do. It adds a ton of depth, but I lose midrange in the bargain. So the 210 is going back.
For gigs where i need a second cab, I'll be using the combo's FX send to drive a second amp (probably a Rumble 500 head which I already have) into the beloved GK 115. I tried it out and it not only sounds great, but the total options are enormous.

It might have been a better idea not to buy the 210, but buy another complete 500 Combo and pair them. Much more options.
 
#4,286
Hey!!
Need a number please haven't officially did a gig yet with the Rumble 500 HD yet but I've played it with a couple of my current cabs and all I can say is wow.!
Read the manual and it stated 150w to 950 watts to operate typically.. I've played other heads with similar or even higher wattage ratings and I must say this has got to be the loudest 500 watt head I've ever played thru.. If fact I do have a custom cab from a maker we do really care for that much but when I placed my Rumble 500 atop the Accugroove clone cab that I've used for outdoor gigs I was floored!' I mean the gain was at 10 and the master at 12 and I had to turn down!!
What has Fender Done!!
 
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#4,287
Rapisme said:
Hey!!
Need a number please haven't officially did a gig yet with the Rumble 500 HD yet but I've played it with a couple of my current cabs and all I can say is wow.!
Read the manual and it stated 150w to 950 watts to operate typically.. I've played other heads with similar or even higher wattage ratings and I must say this has got to be the loudest 500 watt head I've ever played thru.. If fact I do have a custom cab from a maker we do really care for that much but when I placed my Rumble 500 atop the Accugroove clone cab that I've used for outdoor gigs I was floored!' I mean the gain was at 10 and the master at 12 and I had to turn down!!
What has Fender Done!!
Click to expand...
:laugh: LOL! :roflmao: Welcome to the Fender Rumble Club, Rapisme! :woot: You are member #369 :hyper:
:laugh: Rumbles Rock! :smug:
 
#4,288
Can I join? My new rig is a Fender TBP-1 preamp into a Crown XS500 into a Fender Rumble 115 V3 cab. Love it! And I can't believe how great that cab is, it's replacing an Ampeg 4x10 that weighed 3 times what this cab does and didn't sound near as good. Fender Rumble cabs rule, I'm saving up for a 2nd 115.
 
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#4,289
m2466d said:
Can I join? My new rig is a Fender TBP-1 preamp into a Crown XS500 into a Fender Rumble 115 V3 cab. Love it! And I can't believe how great that cab is, it's replacing an Ampeg 4x10 that weighed 3 times what this cab does and didn't sound near as good. Fender Rumble cabs rule, I'm saving up for a 2nd 115.
Click to expand...
But of course you can join my good man! Welcome to the Fender Rumble Club, m2466d :woot: You are member #370 :hyper: The new V3 Rumble 115 cabs have got the mojo for sure :bassist:
:D Rumbles Rule! :D
 
#4,290
Linnin, you seem to know a lot about these amps and amps in general, so I have a question. I have been playing bass for a while, but don't know too much about live sound. I have a 500 combo (which rules). If I were to be playing a show and using the XLR line out in the back for the soundman, how do I turn up the stage volume (from the amp) without affecting the line out? Is it the gain knob?...like I leave the gain knob alone and only touch the master for changing stage volume?

I realize this may be a newbie question, but gotta learn sometime...
 
#4,291
Linen: We've been through this i think, but thanks for clarification.

wow, that's high. so it's actually balanced high impedance. Methinks Fender is misleading making it XLR - as if it could go direct into a board over a long run, like to FOH, which it can't. so it's really just a line out. Being high impedance, it should have been 1/4". Making it XLR means one need an adapter to use it to drive a second amp.

This dovetails with Lizardskyball's question: The XLR out is not a DI (direct injection) to a soundman. It's a line out that responds to everything done on the front panel of the amp. I was thinking of using it to drive another amp, which is possible, but now harder than it needs to be because it's XLR. But using it to feed long runs is not useful, as they are typically 150 - 600 ohms, reason being low impedence doesn't pick up noise the way high impedance does.

FWIW, I'm using the FX send as a line out, which seems to work fine.
 
#4,292
Lizardskyball said:
Linnin, you seem to know a lot about these amps and amps in general, so I have a question. I have been playing bass for a while, but don't know too much about live sound. I have a 500 combo (which rules). If I were to be playing a show and using the XLR line out in the back for the soundman, how do I turn up the stage volume (from the amp) without affecting the line out? Is it the gain knob?...like I leave the gain knob alone and only touch the master for changing stage volume?

I realize this may be a newbie question, but gotta learn sometime...
Click to expand...
That's a perfectly fine question. First of all the line out is post everything, so whatever tone or volume changes you make effect the signal to the board. Also your signal goes through some very nifty speaker cabinet simulation circuitry on it's way to the line out. It's good stuff. Some people don't like that, and plenty of others do. You get to choose whether you do or don't. All reports on the line out in live usage here at our club have been fairly positive for the most part. You do want your FOH bass sound to be the tone you've worked and striven for, and not some dry toneless pre everything DI out. I am older than dirt and much prefer a well mic'd woofer. Good bass mics cost a whole lot more than a simple mic cable from your amp to the sound board. As long as you don't go wildly jacking your volume around you'll be just fine. Remember it's the sound man's job to make adjustments as needed. They do it for guitarists that are constantly jacking their levels all over creation with this or that pedal or violently twisting their volume knob to 11. There is no reason why you don't deserve the very same professional attention. You might not get it, but you still deserve it.
 
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#4,293
Lizardskyball said:
Linnin, you seem to know a lot about these amps and amps in general, so I have a question. I have been playing bass for a while, but don't know too much about live sound. I have a 500 combo (which rules). If I were to be playing a show and using the XLR line out in the back for the soundman, how do I turn up the stage volume (from the amp) without affecting the line out? Is it the gain knob?...like I leave the gain knob alone and only touch the master for changing stage volume?

I realize this may be a newbie question, but gotta learn sometime...
Click to expand...

I run the xlr out to FOH. I run the gain at 9 and master at 11 or 12. I use the combo with a 1x15 ext. cab. This works well for me, it gives the sound guy what he needs and I still have what I need.
 
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#4,297
The line out sounds really nice and I have had no noise issues with my Rumble 100. Yes, the master volume on the amp will change the signal, but it seems to have "leeway" if that makes sense. The change coming out of the speaker on the amp seems much larger than the change sent through the line out. So, set up/soundcheck etc. and get your stage volume in the ballpark (which you should be doing anyway as to not destroy the vocal mixes for the singers). Then if you need to turn up/down a bit during the show, no worries.
 
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#4,299
Linnin said:
That's a perfectly fine question. First of all the line out is post everything, so whatever tone or volume changes you make effect the signal to the board. Also your signal goes through some very nifty speaker cabinet simulation circuitry on it's way to the line out. It's good stuff. Some people don't like that, and plenty of others do. You get to choose whether you do or don't. All reports on the line out in live usage here at our club have been fairly positive for the most part. You do want your FOH bass sound to be the tone you've worked and striven for, and not some dry toneless pre everything DI out. I am older than dirt and much prefer a well mic'd woofer. Good bass mics cost a whole lot more than a simple mic cable from your amp to the sound board. As long as you don't go wildly jacking your volume around you'll be just fine. Remember it's the sound man's job to make adjustments as needed. They do it for guitarists that are constantly jacking their levels all over creation with this or that pedal or violently twisting their volume knob to 11. There is no reason why you don't deserve the very same professional attention. You might not get it, but you still deserve it.
Click to expand...
Cool, thanks for the reply. I suppose I was asking that question under the assumption that the soundman would not be too attentive/supportive of me changing the volume of my signal to FOH. I don't really plan on making any huge volume changes in the middle of a show, but I just wanted to know how it worked.
 
#4,300
Lizardskyball said:
Cool, thanks for the reply. I suppose I was asking that question under the assumption that the soundman would not be too attentive/supportive of me changing the volume of my signal to FOH. I don't really plan on making any huge volume changes in the middle of a show, but I just wanted to know how it worked.
Click to expand...
Why are we bass players the only ones who think like this? Guitar players - who are miked and change volume all the time - keyboard players - who are miked and/or direct and change volume via a pedal all the time, and drummers - who are miked and have a huge dynamic range with their playing, none of these ever worry about what signal level the soundman is getting. It's because soundmen all too often try to DI us to make less work for themselves. And we get a sterile, crappy sound in the bargain.
I bought the 500 combo because the WHOLE amp - speakers as well as amp - sound good, The soundman can damned well mic it. And truth be told, the good ones don't mind a bit.
 
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