I'm back in the club with a used Rumble 200 combo I just piked up 
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I'm back in the club with a used Rumble 200 combo I just pi[c]ked up
Well, that's very nice, peppy! I knew we hadn't seen you here in quite a while, but I didn't know you'd lost your Rumbles. Even so, one never really leaves The Club. Once a Rumbler, always a Rumbler, I say! But it's very good to see you back here.
Oh, and BTW, you're not the first to "leave" and come back. 
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My apologies for asking a question that I am sure has been asked before. I have searched the forums and found a lot of info, but not exactly what I am looking for, which is...
Does the Rumble 200 sound good at low levels for home practice?
I have a Roland Bass Cube 30 at home (which I love) and a 16 year old who is getting into playing my basses, so I am looking for an additional amp that will allow us to occasionally play together. That will be 95% of the new amps use. However, I want the option to take it over to a drummers house and work out the rhythm section, or play a house party should the occasion arise. I typically have access to an 800w rig in the rehearsal space.
I suppose a 100 would not be out of the question and, should I need more power, I could pick up another and daisy chain them for the occasion based on what I have read so far.
Any input would be appreciated and feel free to send me to the links where this has all been discussed before.
Does the Rumble 200 sound good at low levels for home practice?
I have a Roland Bass Cube 30 at home (which I love) and a 16 year old who is getting into playing my basses, so I am looking for an additional amp that will allow us to occasionally play together. That will be 95% of the new amps use. However, I want the option to take it over to a drummers house and work out the rhythm section, or play a house party should the occasion arise. I typically have access to an 800w rig in the rehearsal space.
I suppose a 100 would not be out of the question and, should I need more power, I could pick up another and daisy chain them for the occasion based on what I have read so far.
Any input would be appreciated and feel free to send me to the links where this has all been discussed before.
Hope this helps:
Or maybe this:
I had a Rumble 200 Combo and, even at low volume, I could not tame the 15" driver. At a volume I liked, the wife complained about the house shaking. The only way I could use it was with earphones.
I now have a Rumble 100 C and can get away with low volume. There is a difference between 12" and 15" drivers. The 100 still provides the headphone out and line out to a DAW, costs and weighs less and, I would not hesitate to add another one if I every play out. YMMV
Hi,
No experience with the 200. Bought and returned the 500, (not partial to 10's). Since I'm partial to 12's, and because I already had 100, I bought a second for a number of reasons. One, I like the sound from the 100, I just needed more power/speakers, two, it gives me scalability. For small gigs, just carry one, for larger gigs, carry two. Lastly, it gives me a backup. If one amp goes out at a gig, I either have the spare in the trunk or already wired up.
Lastly, the two amps easily cover surprisingly large venues:
The Moon is out tonight! Moon fretless that is! And the 800.
Arranging the pickup (or possible delivery, the seller is going out of his way) of a 210 cabinet to go with my Stage 800. Rumble indeed.
I think it does. I use it at home all the time, volume lower. It does shake my window frames, so I cut the bass a tiny bit and that stops it. But I have no issues using the 200 at home and it sounds great.
I picked up a Rumble 100 today. The 500 was too big and beyond what I could justify spending at this time. I am testing the 100c out at home.
Initial impressions: In my very small and cluttered studio, the Rumble 100 has a stronger fundamental and more "rumble" than my RB-110 but lacks detail in the the 500-2kHz range compared to the RB-110. It is almost shocking, the difference. The RB-110 allows a Jazz bass to be a baritone Strat and a Jazz bass. The Rumble says "nah, a Jazz bass is just a helluva Jazz bass". There is virtue in both approaches. The Rumble, with all tone controls at 12 o'clock, has much more brightness than the RB-110 but the RB-110 is in no ways "dark". The 100c, with all tone controls at 12 o'clock and no tone shaping, is quite U-shaped with its FR response. When I use a pick, I have to admit, the Rumble is really annoying. I will need to sort out how to tame that trait as I use a pick 80% of the time due to finger/hand orthopedic issues and my talent with a pick as a guitarist. The RB-110 says, "bring on the pick!" and Rock On!
I am leaning hard toward keeping the 100c. I am an Ampeg fan but appreciate the Rumble tones as a second strong sonic choice. I am, tentatively, a Rumble Club member.
Initial impressions: In my very small and cluttered studio, the Rumble 100 has a stronger fundamental and more "rumble" than my RB-110 but lacks detail in the the 500-2kHz range compared to the RB-110. It is almost shocking, the difference. The RB-110 allows a Jazz bass to be a baritone Strat and a Jazz bass. The Rumble says "nah, a Jazz bass is just a helluva Jazz bass". There is virtue in both approaches. The Rumble, with all tone controls at 12 o'clock, has much more brightness than the RB-110 but the RB-110 is in no ways "dark". The 100c, with all tone controls at 12 o'clock and no tone shaping, is quite U-shaped with its FR response. When I use a pick, I have to admit, the Rumble is really annoying. I will need to sort out how to tame that trait as I use a pick 80% of the time due to finger/hand orthopedic issues and my talent with a pick as a guitarist. The RB-110 says, "bring on the pick!" and Rock On!
I am leaning hard toward keeping the 100c. I am an Ampeg fan but appreciate the Rumble tones as a second strong sonic choice. I am, tentatively, a Rumble Club member.
I picked up a Rumble 100 today. The 500 was too big and beyond what I could justify spending at this time. I am testing the 100c out at home.
Initial impressions: In my very small and cluttered studio, the Rumble 100 has a stronger fundamental and more "rumble" than my RB-110 but lacks detail in the the 500-2kHz range compared to the RB-110. It is almost shocking, the difference. The RB-110 allows a Jazz bass to be a baritone Strat and a Jazz bass. The Rumble says "nah, a Jazz bass is just a helluva Jazz bass". There is virtue in both approaches. The Rumble, with all tone controls at 12 o'clock, has much more brightness than the RB-110 but the RB-110 is in no ways "dark". The 100c, with all tone controls at 12 o'clock and no tone shaping, is quite U-shaped with its FR response. When I use a pick, I have to admit, the Rumble is really annoying. I will need to sort out how to tame that trait as I use a pick 80% of the time due to finger/hand orthopedic issues and my talent with a pick as a guitarist. The RB-110 says, "bring on the pick!" and Rock On!
I am leaning hard toward keeping the 100c. I am an Ampeg fan but appreciate the Rumble tones as a second strong sonic choice. I am, tentatively, a Rumble Club member.
As G-Dog and others will likely point out, all tone controls at 12 o'clock is not flat on the Rumble. Try setting the tone controls at 10/2/2/10. Also, check out the Rumble Club Wiki page (link in G-Dog's signature block a few posts above yours). You'll find a tone og info there.
I picked up a Rumble 100 today. The 500 was too big and beyond what I could justify spending at this time. I am testing the 100c out at home.
Initial impressions: In my very small and cluttered studio, the Rumble 100 has a stronger fundamental and more "rumble" than my RB-110 but lacks detail in the the 500-2kHz range compared to the RB-110. It is almost shocking, the difference. The RB-110 allows a Jazz bass to be a baritone Strat and a Jazz bass. The Rumble says "nah, a Jazz bass is just a helluva Jazz bass". There is virtue in both approaches. The Rumble, with all tone controls at 12 o'clock, has much more brightness than the RB-110 but the RB-110 is in no ways "dark". The 100c, with all tone controls at 12 o'clock and no tone shaping, is quite U-shaped with its FR response. When I use a pick, I have to admit, the Rumble is really annoying. I will need to sort out how to tame that trait as I use a pick 80% of the time due to finger/hand orthopedic issues and my talent with a pick as a guitarist. The RB-110 says, "bring on the pick!" and Rock On!
I am leaning hard toward keeping the 100c. I am an Ampeg fan but appreciate the Rumble tones as a second strong sonic choice. I am, tentatively, a Rumble Club member.
Thanks for the tip. I don't want a "flat" response, I want great snarly tone that does well with a pick. There is still lots of potential that I have not yet realized with the 100c. I just need to get it trained.
I picked up a Rumble 100 today. The 500 was too big and beyond what I could justify spending at this time. I am testing the 100c out at home.
Initial impressions: In my very small and cluttered studio, the Rumble 100 has a stronger fundamental and more "rumble" than my RB-110 but lacks detail in the the 500-2kHz range compared to the RB-110. It is almost shocking, the difference. The RB-110 allows a Jazz bass to be a baritone Strat and a Jazz bass. The Rumble says "nah, a Jazz bass is just a helluva Jazz bass". There is virtue in both approaches. The Rumble, with all tone controls at 12 o'clock, has much more brightness than the RB-110 but the RB-110 is in no ways "dark". The 100c, with all tone controls at 12 o'clock and no tone shaping, is quite U-shaped with its FR response. When I use a pick, I have to admit, the Rumble is really annoying. I will need to sort out how to tame that trait as I use a pick 80% of the time due to finger/hand orthopedic issues and my talent with a pick as a guitarist. The RB-110 says, "bring on the pick!" and Rock On!
I am leaning hard toward keeping the 100c. I am an Ampeg fan but appreciate the Rumble tones as a second strong sonic choice. I am, tentatively, a Rumble Club member.
こんにちは, Aki. @Akiyama, you are now member #1645 in the Fender Rumble Club. Congratulations and welcome. Please put that number in your TalkBass Signature for safe keeping. Then make yourself at home here and on your Rumble Club Wiki page, the repository of all Rumbling wisdom and knowledge.
RL is right, EQ all at noon is not flat. See the Rumble 500 Frequencies "Flat" (All 12 O'Clock) wiki section for the freq curve there, with true flat (10, 2, 2, 10) shown right below it. There are also many tone settings shared in the Rumble TONE POOL section, too.
So, Akiy, how about telling us a bit about yourself, such as your bass experience in general and your Rumble journey in particular? You'll fit right in here since we have all kinds. But we all love to ... ... ...
Rumble On!
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Thanks, @G-Dog! A full history/background will come later. Very short version: I am a keyboardist/guitarist that, presently, only does solo song-writing/score-writing for personal interest and school dance/theater scores at home. I took up bass guitar because my pieces lacked "soul" in the bass region. (I am quite competent writing synth bass lines. But, they started being too...boring, TBH). The other reason was that my hands were not tolerating my guitar work with bends and complex chords but could tolerate bass guitar playing. To be continued...
I have tried both the Rumble 100 and 200 in my home recording studio. With an SM57, the 100 was the clear winner. If you add in the line out at the same time, you get a great recording.Thanks, @G-Dog! A full history/background will come later. Very short version: I am a keyboardist/guitarist that, presently, only does solo song-writing/score-writing for personal interest and school dance/theater scores at home. I took up bass guitar because my pieces lacked "soul" in the bass region. (I am quite competent writing synth bass lines. But, they started being too...boring, TBH). The other reason was that my hands were not tolerating my guitar work with bends and complex chords but could tolerate bass guitar playing. To be continued...
Okay, so I am a bumble-brained dunce. Somehow, the Contour switch was turned on yesterday. No wonder the Rumble 100c sounded like a U-shaped FR response. I guess my ears still work. My brain, well...
I would like to share my Rampaging Rhino Tone™ setting: Gain at 2:30, No buttons engaged. All EQ at 12 o'clock except Treble at 10. Now the next important part: Fender Jazz bass with the middle pickup dimed. Start with the bridge pickup dimed. Hit an open A note and sustain. While the A note is sustaining, dial down the bridge pickup until you hear the Jazz scoop shift in frequency response. Then use a Jim Dunlop PureTone .73 pick. Pick between the middle and bridge pickups slight closer to the bridge. Add a bit of the edge of the pick when picking. Use up and down strokes. Viola! Rampaging Rhino Tone™! Rock on!
Question to the Rumble Club, what Rumble is Mio using in this clip?
I would like to share my Rampaging Rhino Tone™ setting: Gain at 2:30, No buttons engaged. All EQ at 12 o'clock except Treble at 10. Now the next important part: Fender Jazz bass with the middle pickup dimed. Start with the bridge pickup dimed. Hit an open A note and sustain. While the A note is sustaining, dial down the bridge pickup until you hear the Jazz scoop shift in frequency response. Then use a Jim Dunlop PureTone .73 pick. Pick between the middle and bridge pickups slight closer to the bridge. Add a bit of the edge of the pick when picking. Use up and down strokes. Viola! Rampaging Rhino Tone™! Rock on!
Question to the Rumble Club, what Rumble is Mio using in this clip?
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Okay, so I am a bumble-brained dunce. Somehow, the Contour switch was turned on yesterday. No wonder the Rumble 100c sounded like a U-shaped FR response. I guess my ears still work. My brain, well...
I would like to share my Rampaging Rhino Tone™ setting: Gain at 2:30, No buttons engaged. All EQ at 12 o'clock except Treble at 10. Now the next important part: Fender Jazz bass with the middle pickup dimed. Start with the bridge pickup dimed. Hit an open A note and sustain. While the A note is sustaining, dial down the bridge pickup until you hear the Jazz scoop shift in frequency response. Then use a Jim Dunlop PureTone .73 pick. Pick between the middle and bridge pickups slight closer to the bridge. Add a bit of the edge of the pick when picking. Use up and down strokes. Viola! Rampaging Rhino Tone™! Rock on!
Question to the Rumble Club, what Rumble is Mio using in this clip?
This is no big deal...I can make any amp sound like crap
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