Fender Rumble Club

[Deleted member 268085]

All y'all sold me. (don't want to lose that ol' Southern slang, vous tous )

First purchase: Studio 40 220v
Second purchase: 200 combo 220v
Third purchase: 210 cab

I managed to fit my GRAMMA v2 isolation pad in the shipment, so I have something great to stack my stack on!

Link Removed

 

[SoulReflection]

All y'all sold me. (don't want to lose that ol' Southern slang, vous tous )

First purchase: Studio 40 220v
Second purchase: 200 combo 220v
Third purchase: 210 cab

I managed to fit my GRAMMA v2 isolation pad in the shipment, so I have something great to stack my stack on!

Link Removed

View attachment 4403571

OK, so, after we gave you great advice on how to spend your money, the least you could do is give us an in-depth, hands-on review of this Lehle P-Split III .

 

[Deleted member 268085]

OK, so, after we gave you great advice on how to spend your money, the least you could do is give us an in-depth, hands-on review of this Lehle P-Split III .

Be happy to. Until then, I'll copy Lehle's description from the page I linked to. It's very comprehensive, and what sold me on the device in the first place. And yes, I'll post pictures of it wired into the system (bass input split to the Studio 40 and 200 combo instrument inputs).

From Lehle (pronounced "Layla" )
=======================
The LEHLE P-SPLIT III combines passive splitting with the highest possible signal fidelity.

Its applications range from splitting signals and eliminating hum, to balancing and reamplification along with any signal routing that requires a clean signal free from noise.

At its core is the high-end LEHLE TRANSFORMER HZ, which galvanically isolates the two outputs, eliminating any possibility of ground loops. The LEHLE TRANSFORMER HZ was specially designed for use with high-impedance signals but also splits low-impedance signals with uncompromising sound quality. The signal can be picked off either symmetrically or asymmetrically from the ISO output.

By using the phase inverter switch with gold-plated contacts you can flip the signal phase at the ISO output, preventing phase cancellation from impairing signal reproduction.

The classic application for the LEHLE P-SPLIT III is splitting an input signal to two outputs, enabling you to connect an instrument to two devices, which may, for example, be two amplifiers, or an amp and a mixer/recording unit (PC/DAW). Thanks to its ability to pick off the balanced signal on the ISO output, the LEHLE P-SPLIT III is also eminently suitable for use as a high-quality compact DI box for all types of signal.
Another useful application for the LEHLE P-SPLIT III is as a hum suppressor. Frequently background noise caused by ground loops occurs when two electronic devices are connected to each other. The LEHLE P-SPLIT III provides a simple, but extremely effective remedy when installed between the two units. Using the ISO output, the devices are galvanically isolated and background noise becomes a thing of the past.

You can even use the versatile LEHLE P-SPLIT III as a passive mono summing unit for a stereo signal by using the DIR output as second input.

And just in case you are looking for a power connection: the LEHLE P-SPLIT III performs all its functions without any need for a power supply.

 

[munkeyfish]

Ok to follow up on the speaker journey.

I replaced the speakers in the worst cab today. The Deltas are beefier in appearance and build. They add a couple/few pounds to the overall weight of the cab.

Sound wise:
Now keep in mine, these are fresh not broken in speakers in the least.
First impressions from playing each can side by side and alone.
The Deltas have more high end on tap. They also seem to have a little bit less boom and slightly less bottom. Not huge loss on bottom, for lack of better description, the bottom seems much tighter.
The original seem to be warmer. But I think that is because these speakers are brand new vs. Broken in speakers. The originals sound looser in the bottom with bigger boom and less top in. The Deltas also seem to have more mid range or tighter mid range if you will.
In short: they sound close to each other with the Deltas having a tighter low/mid and a bit more highs. For now. I'll know more in the weeks/months to come. As of right now, I'd say the fellow I spoke with at Eminence was right on as far as these being suitable replacement speakers.

 

[Black Out Jazz]

For Sale - Fender Rumble 25 Bass Guitar Amp

 

[aanthonya]

Works for me!!! A hair raising amount of volume - bassy, but boomy if not carefully eq'd....would live to hear others' experience.

Just tried out my Fender Rumble 500 combo with 115 extension cab and Fender American Jazz Bass. The sound of the Rumbles is really nice! I think the 115 made a big difference in the tone.

 

[SoulReflection]

Just tried out my Fender Rumble 500 combo with 115 extension cab and Fender American Jazz Bass. The sound of the Rumbles is really nice! I think the 115 made a big difference in the tone. View attachment 4403908

Yeah for 1-15's!

 

[Black Out Jazz]

Just tried out my Fender Rumble 500 combo with 115 extension cab and Fender American Jazz Bass. The sound of the Rumbles is really nice! I think the 115 made a big difference in the tone. View attachment 4403908

Pretty bass.

 

[Steadfast]

Incinerating lost souls at my Mountain One Studio. All chained together. One way to move a mountain.

I discovered the true brown note. My shorts can testify to it.

 

[Gravedigger Dav]

Even though an extension cabinet is rarely needed, I prefer the sound of the 210 plus 115 at all volume levels. It's just that my band mates freak at the sight of "a stack" when they have tiny little guitar amps.

Sure they do, for their tiny little guitars.

 

[Steadfast]

I liquify drummers and guitarist. And one bango sob.

 

[Steadfast]

My solo rig:
Tiny but mighty

 

[sloppy_phil]

I have no pics to confirm its new home, but I can report back on the new Rumble 40, having now taken it for a spin at rehearsal.

It's definitely got the booty to hang with a drummer, that's for sure! Also stood up well to the keyboard player/band leader who is very accomplished at left hand bass doubling. The tone is super solid, and pretty transparent, if perhaps a touch unspectacular. Not sterile at all, but just not, like, mind blowing either. But that's fine; rehearsal isn't the time to get super in-the-weeds with tone, so really don't mind it doesn't quite have the guts I associate with playing tube amps.

One question, though; do these Rumbles have internal tweeters at all? I already had the highs cut from centre ever so slightly, but there was a somewhat noticeable crispy/clacky/string noise-y character I picked up on sometimes. I didn't really notice that at apartment volumes during the last week (if anything, the opposite was true; needed to occasionally engage the bright switch to get the sound to pop a bit), but it came through tonight. Not entirely unpleasant, just not *really* the clangy/crunchy high end I prefer to get. Probably a few K higher on the EQ scale than I usually go for. I'll have to experiment with cutting some more trebles with the EQ knobs and see if I can dial that out. A bit surprised there was that much treble on tap, I guess.

Overall, though, my first proper impression is that I'm very happy with the purchase! Big, useable tones in a really compact and super light package. Plus I'm breaking even on the purchase; the band leader is now taking my old, unused Fishman Loudbox Mini off my hands for the same price I got the Rumble. Score!

 

[Deleted member 268085]

I have no pics to confirm its new home, but I can report back on the new Rumble 40, having now taken it for a spin at rehearsal.

It's definitely got the booty to hang with a drummer, that's for sure! Also stood up well to the keyboard player/band leader who is very accomplished at left hand bass doubling. The tone is super solid, and pretty transparent, if perhaps a touch unspectacular. Not sterile at all, but just not, like, mind blowing either. But that's fine; rehearsal isn't the time to get super in-the-weeds with tone, so really don't mind it doesn't quite have the guts I associate with playing tube amps.

One question, though; do these Rumbles have internal tweeters at all? I already had the highs cut from centre ever so slightly, but there was a somewhat noticeable crispy/clacky/string noise-y character I picked up on sometimes. I didn't really notice that at apartment volumes during the last week (if anything, the opposite was true; needed to occasionally engage the bright switch to get the sound to pop a bit), but it came through tonight. Not entirely unpleasant, just not *really* the clangy/crunchy high end I prefer to get. Probably a few K higher on the EQ scale than I usually go for. I'll have to experiment with cutting some more trebles with the EQ knobs and see if I can dial that out. A bit surprised there was that much treble on tap, I guess.

Overall, though, my first proper impression is that I'm very happy with the purchase! Big, useable tones in a really compact and super light package. Plus I'm breaking even on the purchase; the band leader is now taking my old, unused Fishman Loudbox Mini off my hands for the same price I got the Rumble. Score!

The 200/500/800 combos and the 115/210/410 speaker cabs have compression horn tweeters. Below that, no. Room acoustics, maybe? The combo tweeters are switchable between OFF and -6dB. The cab tweeters are switchable between OFF, -6dB and ON. Great for 6-string guitars and between-set music. Also good when playing a backing/practice track through them. Also, the Studio 40 has a tweeter. I'm between selling my 120v gear and waiting for my basses to show up from the States before rebuying 230v gear. Had to check Fender's specs.

 

[sloppy_phil]

The 200/500/800 combos and the 115/210/410 speaker cabs have compression horn tweeters. Below that, no. Room acoustics, maybe? The combo tweeters are switchable between OFF and -6dB. The cab tweeters are switchable between OFF, -6dB and ON. Great for 6-string guitars and between-set music. Also good when playing a backing/practice track through them. Also, the Studio 40 has a tweeter. I'm between selling my 120v gear and waiting for my basses to show up from the States before rebuying 230v gear. Had to check Fender's specs.

Interesting. Yes, perhaps the room. Anyways, I'll get a chance to experiment once I'm back next week. The amp lives there now (barring some rare exceptions)

 

[Black Out Jazz]

My old V2 R150 has a tweeter/switch.

 

[GonePlaid]

I have no pics to confirm its new home, but I can report back on the new Rumble 40, having now taken it for a spin at rehearsal.

It's definitely got the booty to hang with a drummer, that's for sure! Also stood up well to the keyboard player/band leader who is very accomplished at left hand bass doubling. The tone is super solid, and pretty transparent, if perhaps a touch unspectacular. Not sterile at all, but just not, like, mind blowing either. But that's fine; rehearsal isn't the time to get super in-the-weeds with tone, so really don't mind it doesn't quite have the guts I associate with playing tube amps.

One question, though; do these Rumbles have internal tweeters at all? I already had the highs cut from centre ever so slightly, but there was a somewhat noticeable crispy/clacky/string noise-y character I picked up on sometimes. I didn't really notice that at apartment volumes during the last week (if anything, the opposite was true; needed to occasionally engage the bright switch to get the sound to pop a bit), but it came through tonight. Not entirely unpleasant, just not *really* the clangy/crunchy high end I prefer to get. Probably a few K higher on the EQ scale than I usually go for. I'll have to experiment with cutting some more trebles with the EQ knobs and see if I can dial that out. A bit surprised there was that much treble on tap, I guess.

Overall, though, my first proper impression is that I'm very happy with the purchase! Big, useable tones in a really compact and super light package. Plus I'm breaking even on the purchase; the band leader is now taking my old, unused Fishman Loudbox Mini off my hands for the same price I got the Rumble. Score!

Remember that "FLAT" (clock)settings are BASS-10, LoMID-2, HiMID-2 Tr-10. That's my default setting then adjust for the room acoustics-and what works with your bass. I almost always use VINTAGE and will add BRIGHT for some 'presence' in a boomy room. Check out the Rumble Club WIKI for other suggestions. I was using my R40 last night with a 35 piece concert band playing string bass/tuba parts, GAIN and VOLUME @ 10.

 

[sloppy_phil]

Remember that "FLAT" (clock)settings are BASS-10, LoMID-2, HiMID-2 Tr-10. That's my default setting then adjust for the room acoustics-and what works with your bass. I almost always use VINTAGE and will add BRIGHT for some 'presence' in a boomy room. Check out the Rumble Club WIKI for other suggestions. I was using my R40 last night with a 35 piece concert band playing string bass/tuba parts, GAIN and VOLUME @ 10.

Haha, yeah the classic Fender tone-stack! My Orange Terror is the exact same way (despite the markings on the amp suggesting otherwise!). There's no chance the amp would sound "flat" in the slightest if I were actually EQ it that way. Even with the highs set to just under 5 (that centre detent), it's too much sizzly/crispy top end. Cranking it is pretty much out of the question (for me, anyways), and I'm scared to consider how anaemic the tone would be if I dropped all the mids out, too.

 

[G-Dog]

Remember that [Rumble] "FLAT" (clock) settings are BASS-10, LoMID-2, HiMID-2 Tr-10. That's my default setting, then adjust for the room acoustics-and what works with your bass. I almost always use VINTAGE and will add BRIGHT for some 'presence' in a boomy room. Check out the Rumble Club WIKI for other suggestions. I was using my R40 last night with a 35 piece concert band[!!] playing string bass/tuba parts, GAIN and VOLUME @ 10 [o'clock].

Wow! Wee! Goner!! Thank you for that amazingly informative post!

And the Rumble 40 with your Big Band?!?! You must have had PA support, right? And don't give me your usual "what's that?" answer, either. Didn't you previously use your R200 for that? What made you think the R40 would be enough? Or had you tried the R100 before and found it to be more than enough, too? Nosy, ... uh, that is, ... enquiring minds wanna know. ​

Haha, yeah the classic Fender tone-stack! My Orange Terror is the exact same way (despite the markings on the amp suggesting otherwise!). There's no chance the amp would sound "flat" in the slightest if I were actually EQ it that way. Even with the highs set to just under 5 (that centre detent) [not clock setting], it's too much sizzly/crispy top end. Cranking it is pretty much out of the question (for me, anyways), and I'm scared to consider how anaemic the tone would be if I dropped all the mids out, too.

Cool, slop!

Looks to me that, even with the markings, the Terror knobs would also benefit greatly from using the clock settings descriptions, too. Yeah, the eleven(!) markings fit 0-10 non-clock descriptions (with detent at 5) alright, but they also fit 7 o'clock to 5 o'clock (with detent at 12 noon), as well. Just a thought.

Oh, BTW, you're not one of them young'uns that only uses digital clocks and can't read a clock with hands, are ya? Reminds me of my now 47 year old stepson who caused quite a stir in his classroon about 40 years ago when he answered all his "standard" clock (with hands) test questions with digital clock reading answers!
.​

 

[GonePlaid]

Wow! Wee! Goner!! Thank you for that amazingly informative post!

And the Rumble 40 with your Big Band?!?! You must have had PA support, right? And don't give me your usual "what's that?" answer, either. Didn't you previously use your R200 for that? What made you think the R40 would be enough? Or had you tried the R100 before and found it to be more than enough, too? Nosy, ... uh, that is, ... enquiring minds wanna know. ​

Cool, slop!

Looks to me that, even with the markings, the Terror knobs would also benefit greatly from using the clock settings descriptions, too. Yeah, the eleven(!) markings fit 0-10 non-clock descriptions (with detent at 5) alright, but they also fit 7 o'clock to 5 o'clock (with detent at 12 noon), as well. Just a thought.

Oh, BTW, you're not one of them young'uns that only uses digital clocks and can't read a clock with hands, are ya? Reminds me of my now 47 year old stepson who caused quite a stir in his classroon about 40 years ago when he answered all his clock reading test questions with digital clock readings!
.​

I used to use the Bassman 25 with the concert band, but the R40 is half the weight. It was plenty. Remember, the rest of the band- 6 clarinets, 2 flutes, ~6 trumpets, 2 trombones, 1 euphonium, 2 bassoons, 2 bass clarinets, 1 alto clarinet, 2 alto saxes, 1 tenor sax, 2 tubas, 2-3 percussionists, and 1 French horn are acoustic(we're missing a few people-health concerns). I don't need to be loud, just reinforce the low end. I've found the R40 to be quite sufficient for rehearsals and concerts. There's no PA except for announcements during concerts.
Same goes for the big band in rehearsal. In performances, I use either the R100 or 200c depending on room size.
I always play softer than necessary at a 'first time' situation. I'd rather have someone ask "can you turn up a little?", than yell "TURN THAT EFFING THING DOWN!"