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Fender Rumble Club

#57,722
trseal said:
So here's my 2 cents on a couple of your questions.

I use or have used the ivory-colored "chicken head" knobs (available from Fender.com and a several after-market outlets--if you go after-market, get the smaller ones and pass on the bushings. They are not needed and don't fit) and the black "witch hat" knobs, both of which I like much better than the stock Rumble knobs. The chicken heads have a retro look and have the added benefit of at-a-glance visual of the settings. The one downside is any 2 adjacent knobs can conflict with one another's beak/tail. The black witch hats have a different retro vibe and look good but are not particularly user-friendly for identifying setting readily due to the location of the knobs on the Rumbles.

The noise you speak of-- If you're referring a hi-ish freq buzzing seemingly emanating from the speaker face, that has been a subject of much discussion in the past and has led to many warranty replacements. I believe I have discovered the source of said "buzzing" and have satisfactorily remedied the problem on one of my own Rumbles.

On the horn where the wires are connected, the little "manifold" (?) (I don't know what you call it...) the wires connect to is attached by a stamped rivet. If that isn't stamped tight enough, that piece can vibrate on the rivet and create that annoying buzz. I used a silicone goop from a tube and sparingly packed it around that rivet so that the wire harness/manifold, whatever, is now insulated and sort of rubber-mounted, if you will, and no longer vibrates. My experience was solved.

That, of course, was AFTER making sure all screws around the drivers and on the cabinet were tight.

Tim
Click to expand...
My Rumble was making an annoying buzz when I played a low A. Turned out to be the A string resonating on a nearby acoustic guitar.
 
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#57,726
I've definitely decided to keep my newly purchase rumble 500.

The more I play it and the drivers break in, the deeper and louder the bottom gets.

It's not quite enough for my more bass heavy tones though. I mean, it will do it, but the drivers sound a little more stressed than I'd like.

So I'm considering adding a second cab since more drivers = less work for the same volume.

Which cab has the deepest, most round bottom end?

The 210, 410 or 115?

I was just going to add another 210, but I didn't read anything about a tweeter on the 210 cab and I definitely want one if I'm adding another cab..
 
#57,727
Drop1 said:
... ... I tried to emulate the original curve amd it sounded , not bad. A little scooped and a little bright but not bad. I could see it catching people's attention on the showroom floor set like that. ... ... ...
Click to expand...


By "original curve" do you mean our older "all 12 O'Clock" curve like this:

Rumble 12oclock Graph.jpg

It's my understanding that is the somewhat traditional "Fender sound" intentionally set that way as the detented default settings, as most manufacturers have their own traditional default sound settings. That's why the actual flat settings of approximately 10/2/2/10 are off from the 12 O'Clock detents.

Rumble Flat Response Graph.jpg

Drop1 said:
It's not super far off. The original gragh just makes it look exaggerated. There is a 4 or 5 db dip ~ 500HZ.
Click to expand...


To me, there is something about these smooth curves that also accentuates the amplitudes better than your jagged-looking curves and makes the EQ points easier, for me at least, to see. Is there some way you could "smooth out" your curves? Is that because you use a pink noise instead of a swept tone?
.​
 
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#57,728
G-Dog said:
By "original curve" do you mean our older "all 12 O'Clock" curve like this:


It's my understanding that is the somewhat traditional "Fender sound" intentionally set that way as the detented default settings, as most manufacturers have their own traditional default sound settings. That's why the actual flat settings of approximately 10/2/2/10 are off from the 12 O'Clock detents.





To me, there is something about these smooth curves that also accentuates the amplitudes better than your jagged-looking curves and makes the EQ points easier, for me at least, to see. Is there some way you could "smooth out" your curves? Is that because you use a pink noise instead of a swept tone?
.​
Click to expand...
Hey! They said there'd be no sweeping.:rolleyes:
 
#57,729
G-Dog said:
By "original curve" do you mean our older "all 12 O'Clock" curve like this:


It's my understanding that is the somewhat traditional "Fender sound" intentionally set that way as the detented default settings, as most manufacturers have their own traditional default sound settings. That's why the actual flat settings of approximately 10/2/2/10 are off from the 12 O'Clock detents.





To me, there is something about these smooth curves that also accentuates the amplitudes better than your jagged-looking curves and makes the EQ points easier, for me at least, to see. Is there some way you could "smooth out" your curves? Is that because you use a pink noise instead of a swept tone?
.​
Click to expand...
I wmet back and changed the smoothing and increased the scaling . There is about a 5 to 6 db dip at almost exactly 500hz I'm my measurements so it's not far off. The difference could be in the source material. I don't know if they used pink noise or sweeps amd I ca tell ya, not all pink noise is created equally. It should be. It's a mathematical formula that dictates what pink noise should be, but ive seen pink noise vary quite a bit across frequencies.

So it's about what n what.

I found that the easiest way to get the signal truly flat was to use an external single eq band at 500hz with a q about 2 ..

There is still something bothering me though.
The 10/2/210 bass mid treble settings may get close to setting the amp flat, but thats kinda pointless.

What these guys need to know is how to set the cab flat "acoustically.

I dont have my mics right now, but when I get them back, I'll tske the cab outside and amd fond the settings that get the whole system flat acoustically.
I'll post those graphs and settings as soon as I can..

Knowing flat on an amp is useful for use with diffenet cabs, but setting the amp flat on a combo isn't near as valuable as knowing acoustically flat.

Once the have acoustically falt settings, it will make dialing in rooms much easier. Right now they can wait set the amp relatively flat but have no idea what the actual sound is doing. Setting the amo flat may be just be making things worse.

I dont think so though. Settings the amp flat sounds pretty flat so I'm thinking the cab is pretty neutral, but I will find out for sure. :)
 
#57,730
GonePlaid said:
Well, we're at the PSL American Legion Saturday night. It's one of 2 rooms we play that justifies schlepping the 200c. So I will. Gonna try not using the VINTAGE for once. Hafta turn up the GAIN and MASTER a bit, but I'll get over it.;) Besides: it's one little button to push if I'm not satisfied-with the sound, that is.:rolleyes:
1967 Gibson NR TBird>2015 Rumble 200c=sa-weet. :bassist:Wheeeee!

EDIT/ADDENDUM: tweeter OFF! I don't run the cd player through the amp anymore
Click to expand...
UPDATE: Had to f---* with a coupla settings as the night wore on(I can't get to the amp while we're playing w/o causing a substantial delay between songs), but finally 'got it right' by the third set. Just minor adjustments. As expected, I used BRIGHT for "presence" 'cos the room swallows up highs.(The tweeter adds an annoying-and unwanted-distortion as mentioned in the 'book of words'). I've never liked the amp's sound with it on. And I didn't use the one on the R112 cab when I had it.
It was kinda fun playing through the 200c, but the 100 is enuff for the room and is easier to move. I mean, I had the GAIN and MASTER both ~9-10 and it was pumping out plenty o' bass. Besides, it's only a difference of 40W between them. The next 5 gigs will be through the R100.:thumbsup:
*ool
 
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#57,731
Drop1 said:
I wmet back and changed the smoothing and increased the scaling . There is about a 5 to 6 db dip at almost exactly 500hz I'm my measurements so it's not far off. The difference could be in the source material. I don't know if they used pink noise or sweeps amd I ca tell ya, not all pink noise is created equally. It should be. It's a mathematical formula that dictates what pink noise should be, but ive seen pink noise vary quite a bit across frequencies.

So it's about what n what.

I found that the easiest way to get the signal truly flat was to use an external single eq band at 500hz with a q about 2 ..

There is still something bothering me though.
The 10/2/210 bass mid treble settings may get close to setting the amp flat, but thats kinda pointless.

What these guys need to know is how to set the cab flat "acoustically.

I dont have my mics right now, but when I get them back, I'll tske the cab outside and amd fond the settings that get the whole system flat acoustically.
I'll post those graphs and settings as soon as I can..

Knowing flat on an amp is useful for use with diffenet cabs, but setting the amp flat on a combo isn't near as valuable as knowing acoustically flat.

Once the have acoustically falt settings, it will make dialing in rooms much easier. Right now they can wait set the amp relatively flat but have no idea what the actual sound is doing. Setting the amo flat may be just be making things worse.

I dont think so though. Settings the amp flat sounds pretty flat so I'm thinking the cab is pretty neutral, but I will find out for sure. :)
Click to expand...
IDK about how others use 'flat', but for me it's dialing out a totally baked-in tone to achieve the tone I want the bass to put forth. I could prolly live with 12/12/12/12, but I don't think it would portray the sound I want out front. I know what settings on my "who" bass give me the tone(s) I want. For most of our songs(tone @ 7), ballads(t-5), raucous R&R(t-10). All easy minor tweaks to the tone knob. I'm still getting used to the BLEND knob on the "what" bass, but I'm getting close.
 
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#57,732
Drop1 said:
Those knobs would definitely do. Have a link
Click to expand...
There’s also a section on Mods in the wiki with several knobs listed.
https://www.talkbass.com/wiki/fender-rumble-club/#33-fender-rumble-modifications

I thought maybe the various grill cloth mods would be there as well, but I only saw a couple, both black (and sounded like one was just spray-painted?). Here’s another one:
https://www.talkbass.com/threads/fender-rumble-club.1118826/page-2829#post-28188682
And the how-to details:
https://www.talkbass.com/threads/fender-rumble-club.1118826/page-2830#post-28200496
 
#57,734
#57,735
GonePlaid said:
IDK about how others use 'flat', but for me it's dialing out a totally baked-in tone to achieve the tone I want the bass to put forth. I could prolly live with 12/12/12/12, but I don't think it would portray the sound I want out front. I know what settings on my "who" bass give me the tone(s) I want. For most of our songs(tone @ 7), ballads(t-5), raucous R&R(t-10). All easy minor tweaks to the tone knob. I'm still getting used to the BLEND knob on the "what" bass, but I'm getting close.
Click to expand...


Several users have reported that the Actual Flat settings do sound flatter than the all 12 o'clock settings to them, as well, and they like to use that as a starting point to adjust for different rooms using their ears. :thumbsup:
.
 
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#57,736
seadragon said:
There’s also a section on Mods in the wiki with several knobs listed.
the Rumble Artwork - Continued section

I thought maybe the various grill cloth mods would be there as well, but I only saw a couple, both black (and sounded like one was just spray-painted?). Here’s another one:
https://www.talkbass.com/wiki/fender-rumble-club/#33-fender-rumble-modifications
And the how-to details:
https://www.talkbass.com/threads/fender-rumble-club.1118826/page-2829#post-28188682
Click to expand...

seadragon said:
Found a few more, searching this thread specifically for fabric brought up the most results:
https://www.talkbass.com/threads/fender-rumble-club.1118826/page-2830#post-28200496

https://www.talkbass.com/posts/28149029/

https://www.talkbass.com/posts/25714518/

https://www.talkbass.com/posts/22759668/

https://www.talkbass.com/posts/26597457/
Click to expand...


Cool, dragon lady! You are correct that at least one silver Rumble grille cloth was spray painted black by an anonymous Rumbler (right, @iagtrplyr?). :thumbsup:

There are also several examples of different cloths used in https://www.talkbass.com/posts/20449314/ of the Wiki. But relatively few give the source of their materials, which are readily available from most sewing and crafts stores. ;)
.
 
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#57,737
G-Dog said:
Several users have reported that the Actual Flat settings do sound flatter than the all 12 o'clock settings to them, as well, and they like to use that as a starting point to adjust for different rooms using their ears. :thumbsup:
.
Click to expand...
I 100% agree those setting do sound more flat. All at noon sounds little scooped. No doubt.

What I am going to do is measure the actual acoustical response and see what it takes to get that flat. Knowing acoustic flat is even more useful.

Nothing wrong with what yall are doing at all. I just like to know exactly what acoustislly flat it on my rigs.
 
#57,738
GonePlaid said:
I can't find any of this anywhere(Kasino grill cloth).
IMG_0215.jpg IMG_0192.jpg
Click to expand...


You're right, Goner, I haven't found that distinctive cloth anywhere, either!

B-but, ... uh, ... I, uh, thought, uh, you was goner use yer Ka$ino grille cloth to cover yer Rumbles to make Rum$inos, and then get a big hunka Fender cloth to make yer Ka$ino into a Ka$umble? No? :confused:
.
 
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#57,739
Drop1 said:
I 100% agree those setting do sound more flat. All at noon sounds little scooped. No doubt.

What I am going to do is measure the actual acoustical response and see what it takes to get that flat. Knowing acoustic flat is even more useful.

Nothing wrong with what yall are doing at all. I just like to know exactly what acoustislly flat it on my rigs.
Click to expand...


What's the difference between "sounding flat" and "acoustically flat"? Do you mean that "acoustically flat" could be even different settings from our approx. 10/2/2/10 (actually 10/1:30/2/9:30), assuming nothing has changed in production? I believe our old Actual Flat settings were found by adjusting the EQ knobs while on the o-scope to get the flattest graph without regard to hearing judgements. How will yours differ in methodology?
.
 

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