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For me, I wanted to go back to a combo, so I settled on the 800. What cinched my decision were all the elements I look for: price, features, components, EQ function, power to (light)weight ratio, and confidence expressed in the sound and physical quality of the product (positive reviews/forum appreciation). Also, I bought it from a retailer with a generous return policy (Sweetwater).
As I did not have an opportunity to test drive it myself, I had to rely on the high possibility of the best decision I could make.
Probably, not what you were really asking, but maybe you can glean something from my ramblings.
As I did not have an opportunity to test drive it myself, I had to rely on the high possibility of the best decision I could make.
Probably, not what you were really asking, but maybe you can glean something from my ramblings.
I have an R40 and an R500.
The R500 is light, loud, and you can get a lot of tones out of it. It easily keeps up with a drummer and one guitarist. In fact, I seldom ever have it up halfway. With two guitars or a keyboard player in the mix, I have an R115 that I can use if needed, and boy does THAT impressive.
The R40 is great as a practice amp that I can take out and play acoustic things with, and I can take it to play when there's no drummer in the mix. Great for getting together with someone to toss around ideas and stuff.
Those are just some basic thoughts from one Rumbler.
Everyone probably has their own reasons for liking the Rumbles, Chet, but I'd daresay that most of them center around the following basic characteristics:
1. Great vintage sound, first and foremost. All the other reasons are fine, but any amp has gotta produce the tones, or it won't last. Bass amp basics 101. And to maintain this tone from small practice/beginner amps to more powerful/professional amps presents a choice for every application/venue. 
B. Lightweight portability previously unseen in such powerful bass amps, combos and cabs. Of course this appeals to weakening old coots like me, but lots of younger bassists go for it, too. Yeah, the old heavy gear sounds good, but after a while the weight gets to be a real drag, literally. Great sound with light weight like this used to be impossible!
♧. The value!! The bang for buck! The inexpensive cost is not insignificant to many a beginner and/or "frugal" bassist. To get such tone, such quality, such portability for such a price is simply unbelievable to many, but really appreciated by the true Rumblers. But even many of us who can afford anything we want love these amps!
B. Lightweight portability previously unseen in such powerful bass amps, combos and cabs. Of course this appeals to weakening old coots like me, but lots of younger bassists go for it, too. Yeah, the old heavy gear sounds good, but after a while the weight gets to be a real drag, literally. Great sound with light weight like this used to be impossible!
♧. The value!! The bang for buck! The inexpensive cost is not insignificant to many a beginner and/or "frugal" bassist. To get such tone, such quality, such portability for such a price is simply unbelievable to many, but really appreciated by the true Rumblers. But even many of us who can afford anything we want love these amps!
The unique combination of these basic characteristics have turned the bass amp market on its ear. Others have tried to copy it, but not with such success. No, not every bassist likes everything about them. But, for those of us that do love 'em so much, it's hard to contain our appreciation. And many others like one or two of these enough to join the rest of us here in The Club.
How about you, Chet. What do you think?
.
Question for you fellow Rumblers!
While I really like the tone of the Rumble, who can deny the B15-esque tone. While a B15 is way out of budget, the new SGT-DI pedal is getting rave reviews about how close it's tone is. Maybe worth a try!
The question is, should a pre-amp pedal like this go into the return loop on a Rumble or is it ok to run through the Rumble pre-amp and still get the desired B15-ish tone?
My 40c doesn't have the FX loop, so it means moving up the size range if the FX loop is the much better way to conserve what that pedal is trying to do.
Interested in your advice
While I really like the tone of the Rumble, who can deny the B15-esque tone. While a B15 is way out of budget, the new SGT-DI pedal is getting rave reviews about how close it's tone is. Maybe worth a try!
The question is, should a pre-amp pedal like this go into the return loop on a Rumble or is it ok to run through the Rumble pre-amp and still get the desired B15-ish tone?
My 40c doesn't have the FX loop, so it means moving up the size range if the FX loop is the much better way to conserve what that pedal is trying to do.
Interested in your advice
I have to admit, I did not go looking for a Rumble, the Rumble found me. I got it in an incredible package deal with VM Jazz bass.
I've since come to appreciate:
Portability - nice and light, reduces my trips to the stage with gear.
Sound - it sounds great. I always have PA support, so I'm not asking it to do any heavy lifting, but as stage monitor, I love it.
Tone features - 4-band EQ, plus 3 tone choices. And an overdrive! Nice and simple operation. And it sounds great set flat with a SansAmp doing the coloring, too.
It does everything I'm asking it to do.
I've since come to appreciate:
Portability - nice and light, reduces my trips to the stage with gear.
Sound - it sounds great. I always have PA support, so I'm not asking it to do any heavy lifting, but as stage monitor, I love it.
Tone features - 4-band EQ, plus 3 tone choices. And an overdrive! Nice and simple operation. And it sounds great set flat with a SansAmp doing the coloring, too.
It does everything I'm asking it to do.
For me the Rumble all about convenience. 20 years ago I switched from a 4x10 cab and rack case to a smaller Mesa Boogie combo (that I still have) to make load in easier and take up less space on stage. Figured if I needed more oomph I could run through the PA. These days I'm back with a band and wanted something lighter than that 51 lb Boogie, at least for our rehearsals.
Rumble 800C is 22 pounds lighter, so it's an easy 1-hand carry. Used it on a gig and it did great, so it's my #1 now. I can find a tone I like on almost any amp, and found a good setting on the Rumble pretty quickly.
For me the Rumble is: put it down - plug it in - play. No muss no fuss no bother. That's probably my highest praise for music gear, something that gets out of the way and lets the music happen.
Rumble 800C is 22 pounds lighter, so it's an easy 1-hand carry. Used it on a gig and it did great, so it's my #1 now. I can find a tone I like on almost any amp, and found a good setting on the Rumble pretty quickly.
For me the Rumble is: put it down - plug it in - play. No muss no fuss no bother. That's probably my highest praise for music gear, something that gets out of the way and lets the music happen.
Although it will work either way, this is a great excuse to add a 100 to your collection because the FX Return is the "proper way to do it".Question for you fellow Rumblers!
While I really like the tone of the Rumble, who can deny the B15-esque tone. While a B15 is way out of budget, the new SGT-DI pedal is getting rave reviews about how close it's tone is. Maybe worth a try!
The question is, should a pre-amp pedal like this go into the return loop on a Rumble or is it ok to run through the Rumble pre-amp and still get the desired B15-ish tone?
My 40c doesn't have the FX loop, so it means moving up the size range if the FX loop is the much better way to conserve what that pedal is trying to do.
Interested in your advice
Love my 800 combo however - when I run a Wampler Ego mini compressor straight into the amp I get too much hiss for my taste. Any suggestions?
While going via the instrument input will work, it’s likely that you will experience some sound coloration doing so. Exactly how much and how important it is, only you can decide. Going via the effects loop will bypass the preamp altogether, and therefore produce the cleanest result. YMM, as always, V.Question for you fellow Rumblers!
While I really like the tone of the Rumble, who can deny the B15-esque tone. While a B15 is way out of budget, the new SGT-DI pedal is getting rave reviews about how close it's tone is. Maybe worth a try!
The question is, should a pre-amp pedal like this go into the return loop on a Rumble or is it ok to run through the Rumble pre-amp and still get the desired B15-ish tone?
My 40c doesn't have the FX loop, so it means moving up the size range if the FX loop is the much better way to conserve what that pedal is trying to do.
Interested in your advice
Tadly, sir, I never heard that! Maybe the used ones didn't always have a bag, but ... ... :
In the replies, no one knew where to get just the Fender amp head bag.
? !?
.
I was going off a sample of one.
Mine didn’t come with one, but it was used.
Traded my Rumble 500 for a MarkBass Little Mark IV 210 combo. Im happy with the results. Im still in oath my trusty Rumble 40.
Rumble on!!
Rumble on!!
How's the tone difference? I've heard good things about MB but a consistent theme seems to be that the sound is a bit "sterile". Rumble has a fairly distinct character. How are you finding the change?
The low end seems to be less restricted. Some people describe the Rumble sound as boxy I agree but also consider that a part of their charm.
They both are less hifi sounding compared to the GK I had.
I’m pleased with both.
Sounds great with my StingRays.
They both are less hifi sounding compared to the GK I had.
I’m pleased with both.
Sounds great with my StingRays.
Others have hit most of the points, esp. G-Dog. I’ll note that while it provides killer vintage sound, it can do a lot more than that.
An R100 will handle a small venue just great by itself. I like chaining two of them, but that’s because the two 12s just sound even better than one. Sound value, size, weight[1], value, loudness; they’re just great, versatile amps.
[1] my pedal board and case weigh more than an R100. Not everyone’s would, but mine does.
I like Markbass stuff; the minimark in 2x6 format was my "when you want warmth" amp for awhile.
During the 60's and 70's I used a variety of Bass amps. Most were head and cab combinations with only a couple older style combos. Into the mid 80's I exclusively ran a Peavey MKIV head and 1820 cab (2x10" Scorpions and 1x18" Black Widow) till approx 2017. From that date (2017) I purchased lighter weight gear because of age related spinal issues requiring me to use lightweight equipment, so I opted for a Fender Rumble 500 Combo (2x10" drivers) and extension Fender Rumble 115 (1x15"driver) cab.
Over the years Ive mainly used 10", 12", 15", and 18" drivers, so basically the full gamut of usual speaker sizes available to bass players.
I know i'm likely about to open a can of worms amongst non-combo and combo owners collectively..its been discussed before here on TB over the years so lets give it another airing lol
Through-out my musical career one thing has always stayed constant with me regarding how I transported my speaker cabs.
I thought since I carted my gear and own either sedan cars or station wagon style cars or have also used the bands van, I have always transported my cabs FACE DOWN.
Logically I had always had it mind that the speaker cone excursion (cone movement as it would be when playing) should always be mimmicked even during transportation (bumpy roads etc) to avoid a cone (voice coil) being bumped into the magnet gap if laid FACE UP.
It does make me wonder if this method of transporting my speaker cabs or combos has avoided me ever blowing a speaker. In 50 years or more of loud playing I never have blown a speaker where I have read examples of musicians getting to a gig and finding a cab with a blown speaker where it was perfectly good before transporting the cab face up.
To my mind it made sense to transport my cabs in the boot (trunk) of my sedan or back of my station wagon FACE DOWN on a blanket so any rough road bumps transferred to the speaker would duplicate how the speaker was designed to move, thus reducing the cone being "pushed" back into the magnet gap if carted with the cab on it's back and the speaker facing UP. Of course this same thing could occur if playing excessive volume and the cone excursion caused the voice coil to shoot back into the gap and remain there...causing an unresponsive speaker as the voice coil heated up and "got stuck".
Maybe the transportation orientation has nothing to do with my good fortune of never blowing a speaker as other muso's have carted their cabs (obviously secured against movement) face up, face down, on-side, or standing upright..who knows but it does make one think. Was it good luck or common sense?
Over the years Ive mainly used 10", 12", 15", and 18" drivers, so basically the full gamut of usual speaker sizes available to bass players.
I know i'm likely about to open a can of worms amongst non-combo and combo owners collectively..its been discussed before here on TB over the years so lets give it another airing lol
Through-out my musical career one thing has always stayed constant with me regarding how I transported my speaker cabs.
I thought since I carted my gear and own either sedan cars or station wagon style cars or have also used the bands van, I have always transported my cabs FACE DOWN.
Logically I had always had it mind that the speaker cone excursion (cone movement as it would be when playing) should always be mimmicked even during transportation (bumpy roads etc) to avoid a cone (voice coil) being bumped into the magnet gap if laid FACE UP.
It does make me wonder if this method of transporting my speaker cabs or combos has avoided me ever blowing a speaker. In 50 years or more of loud playing I never have blown a speaker where I have read examples of musicians getting to a gig and finding a cab with a blown speaker where it was perfectly good before transporting the cab face up.
To my mind it made sense to transport my cabs in the boot (trunk) of my sedan or back of my station wagon FACE DOWN on a blanket so any rough road bumps transferred to the speaker would duplicate how the speaker was designed to move, thus reducing the cone being "pushed" back into the magnet gap if carted with the cab on it's back and the speaker facing UP. Of course this same thing could occur if playing excessive volume and the cone excursion caused the voice coil to shoot back into the gap and remain there...causing an unresponsive speaker as the voice coil heated up and "got stuck".
Maybe the transportation orientation has nothing to do with my good fortune of never blowing a speaker as other muso's have carted their cabs (obviously secured against movement) face up, face down, on-side, or standing upright..who knows but it does make one think. Was it good luck or common sense?
The Rumble 100 has 3 of the 4 L's. Light, loud and low price. It just doesn't go real low, but for smaller gigs, stage monitor when you have pa support and practices where you can't park a bigger rig. It's perfect for many of us. It looks good and at a crowded gig you can sit on it on break, (I rarely do that). I have the R25 for home practice and for trio use, run my octave up into it.
I read about transporting cabinets face down in a magazine back in the 80s, and they talked about all the things you're mentioning there. I moved mine like that, too, and like you I never had a blown speaker. I don't think it's a coincidence.
