Fender Rumble Club

[G-Dog]

The video dORSY posted is spot on.

One thing that wasn't addressed in the video is the all noon setting on the Rumble 40 (Mark from the Talking Bass channel) is the tone Fender sculpted into the Rumble amps. The baked in sound is that of a mid scooped tone. This sounds great when playing solo, or if you're trying to sit in the background of the music, but at gigging levels this sound can turn to a muddy mess. Read the Fender Rumble 500 (& 40) Frequencies in the Rumble Wiki pages for an explanation of the tonal spectrum of these amps and why the 10, 2, 2, 10 o'clock settings (actual flat) work.

[Read the Fender Rumble 500 (& 40) Frequencies ... ] Which also are very close on the R100 and R200c. Because I can't easily access the tone controls once we start playing, "flat" allows me to make tweaks to my tone by making minor adjustments on the bass depending on the tune being played.

Right on, Jack and Gone. I believe those frequency curves (derived from an R500c & an R40) are relevant to all Rumbles (with the exception of the digital Stage & Studio) because they all share the same pre-amp (or very similar for R800h &R800c)!!! Hence their enshrinement in their own wiki for easy reference.

 

[toughluck]

I bought a used Rumble Studio 40 and it's awesome. I think I was wary of Fender for a while, but I have to admit it's really solid gear.

If I upgrade, it's probably going to be to Stage 800, unless Fender offers a 500+ W modeling head. I don't think there are any rumors concerning this possibility?

I'm surprised that Fender doesn't offer a dedicated dust cover for the Studio 40, especially since there's one for the large Rumbles and for almost every Mustang amp. Is there a dust cover you could recommend? (Available in Europe, I see some on Amazon, but they don't ship here.)

 

[G-Dog]

I bought a used Rumble Studio 40 and it's awesome. I think I was wary of Fender for a while, but I have to admit it's really solid gear.

If I upgrade, it's probably going to be to Stage 800, unless Fender offers a 500+ W modeling head. I don't think there are any rumors concerning this possibility?

I'm surprised that Fender doesn't offer a dedicated dust cover for the Studio 40, especially since there's one for the large Rumbles and for almost every Mustang amp. Is there a dust cover you could recommend? (Available in Europe, I see some on Amazon, but they don't ship here.)

Hey there, toughie! @toughluck, you are now member #1843 in the Fender Rumble Club. Congratulations and welcome to TalkBass in general and to The Club in particular. 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.

As a modeling Rumbler myself, I'd like to direct you to please use your Rumble LT25, Studio 40 & Stage 800 sub-thread for all such modeling questions and discussions in order to keep this main Club thread less confusing for the non-modeling Rumblers, please. You're right, there's no indication that Fender is considering a modeling amp head, even though it has been wished for here before.

Sorry, I don't know about European amp cover makers. Maybe your local music gear vendors could help?

How about telling us a bit about yourself, toughie, 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!
​

 

[John Stephen]

Which also are very close on the R100 and R200c. Because I can't easily access the tone controls once we start playing, "flat" allows me to make tweaks to my tone by making minor adjustments on the bass depending on the tune being played.

'Zackly...

 

[Giffro]

I bought a used Rumble Studio 40 and it's awesome. I think I was wary of Fender for a while, but I have to admit it's really solid gear.

If I upgrade, it's probably going to be to Stage 800, unless Fender offers a 500+ W modeling head. I don't think there are any rumors concerning this possibility?

I'm surprised that Fender doesn't offer a dedicated dust cover for the Studio 40, especially since there's one for the large Rumbles and for almost every Mustang amp. Is there a dust cover you could recommend? (Available in Europe, I see some on Amazon, but they don't ship here.)

There is an Aussie (Sydney NSW) manufacturer who sells through Ebay. Excellent well made covers and competitive prices...worth a look. I bought my Rumble25 cover from him for $80AUD. It equals the quality and fit of USA made covers and I'm very happy with mine. Check the link below.
Glove Amp Covers

 

[Miles_ONeal]

Question for everyone (and mods, please feel free to delete if I should make a new thread for this).

I'm just trying to see if I got this right. So I sent the master maybe at 8:30, then dial in the tone that I like. When I get into rehearsals or on a bigger room, that's when I turn up the master? Basically, I'm treating the master to adjust for the room or so I could hear myself during rehearsals. Is that correct? I know I could test this too but thought I'd ask as well on how everyone is doing it. Thank you!

More or less. My approach:

1. Set the tone controls to flat (per the wiki instructions, not just noon)
2. Play with gain and master until I have as much gain as sounds like I want and the volume roughly ok.
3. Tweak the tone controls.
4. Tweak the master.

Then adjust the master as necessary for other rooms/situations, and tone controls if needed. You shouldn't have to mess with gain again unless you change what's hitting the amp's input.

 

[Miles_ONeal]

I bought a used Rumble Studio 40 and it's awesome. I think I was wary of Fender for a while, but I have to admit it's really solid gear.

If I upgrade, it's probably going to be to Stage 800, unless Fender offers a 500+ W modeling head. I don't think there are any rumors concerning this possibility?

I'm surprised that Fender doesn't offer a dedicated dust cover for the Studio 40, especially since there's one for the large Rumbles and for almost every Mustang amp. Is there a dust cover you could recommend? (Available in Europe, I see some on Amazon, but they don't ship here.)

Post in thread 'Fender Rumble Club'

Jan 30, 2023

My R100C covers arrived from Custom Amp Covers. They seem to be well made and fit the amps without being too snug or excessively floppy. The added side pockets are huge; they will easily contain power cords and connecting cables.
They quote shipping from Bulgaria. I’m guessing they bulk ship order lots here, where they get reshipped. The mailing label was generated from Braselton, GA. Postage was paid in DC. The shipment was from Bar Harbor, ME, through Braselton, to here (Austin, TX area), per USPS tracking. Not really puzzling, but you will find things a puzzle.

One amp in cover, one...

• Miles_ONeal

• 

I would contact them and see if the covers are made in Europe. The price quote had included shipping from Bulgaria.

 

[dORSY]

Set the tone controls to flat (per the wiki instructions, not just noon)

Exactly! But! Also it depends. If You like the Fender (c)/(tm) baked-in EQ curve, leave it at 12. It's not that drastic of a scoop thankfully. Works well with e.g. P basses and flatwound strings.

 

[ratdoc]

Exactly! But! Also it depends. If You like the Fender (c)/(tm) baked-in EQ curve, leave it at 12. It's not that drastic of a scoop thankfully. Works well with e.g. P basses and flatwound strings.

I agree. The 12 settings are much closer to what I want to hear than the "flat" settings we keep steering new people to.

 

[G-Dog]

More or less. My approach:

1. Set the tone controls to flat (per the wiki instructions, not just noon) ... ... ...

Exactly! But! Also it depends. If You like the Fender (c)/(tm) baked-in EQ curve, leave it at 12. It's not that drastic of a scoop thankfully. Works well with e.g. P basses and flatwound strings.

I agree. The 12 settings are much closer to what I want to hear than the "flat" settings we keep steering new people to.

Exactly! And that's why Fender puts them there and sells more bass amps than anybody else. The Actual Flat settings are just a reference point for starters, or comparison. The goal is to get the sound you want to hear.

 

[toughluck]

Post in thread 'Fender Rumble Club'

Jan 30, 2023

My R100C covers arrived from Custom Amp Covers. They seem to be well made and fit the amps without being too snug or excessively floppy. The added side pockets are huge; they will easily contain power cords and connecting cables.
They quote shipping from Bulgaria. I’m guessing they bulk ship order lots here, where they get reshipped. The mailing label was generated from Braselton, GA. Postage was paid in DC. The shipment was from Bar Harbor, ME, through Braselton, to here (Austin, TX area), per USPS tracking. Not really puzzling, but you will find things a puzzle.

One amp in cover, one...

• Miles_ONeal

• 

I would contact them and see if the covers are made in Europe. The price quote had included shipping from Bulgaria.

Yep, I found their site yesterday and I'll probably order from them at some point.

 

[KenB]

Exactly! And that's why Fender puts them there and sells more bass amps than anybody else. The Actual Flat settings are just a reference point for starters, or comparison. The goal is to get the sound you want to hear.

Not to be a troll, but I've wondered about the frequently-quoted advice on this thread for new users to start with the knobs in the calculated "true flat" setting, rather than "all-12s".
The advice is the same to users of all of the "normal" Rumble models, regardless of size/wattage.

I understand that the preamp sections of all of the Rumbles are identical in performance (I've verified this to my own satisfaction), but the various amp models sound NOTICEABLY different from each other when all settings are the same.

My R100 definitely has a different basic tone than my R200 (tweeter off). I have found that I can get my R100 to sound pretty close to my R200 (at least at "bedroom level" ) if I set the R100 EQ to 9 12 12 9, and increase the 100' s Master level by about 30 degrees of rotation.

I imagine that the R40 would sound even MORE different from the R200, all settings the same.

Of course, the amps would sound just as different from each other at the "all 12s" setting as well.

I understand that the advice to start with the "true flat" EQ is intended to simplify things for new users, by helping them to get used to the "flat" tone of their amp.
But what the heck do we mean by "flat"?

I've never seen any plots of the MEASURED frequency response of any of the Rumbles. I know the various cab/speaker combinations would measure very different, especially in the lowest range.

Has anyone ever seen a comparison of the actual frequency response of the Rumbles?

I have always understood that the reason Leo Fender and the engineers settled on the "scooped" EQ when developing the earlier classic amps was to compensate for the fact that the cabs/speakers had too much midrange output for the intended use.

I imagine the smaller Rumbles are pretty heavy in the mids!

Maybe that's why many folks (me included, with my JMJ and flats) think the baked-in scoop of the Rumbles sounds "right".

Thoughts?

Diving for cover...

 

[M-Mittlesteadt]

Not to be a troll, but I've wondered about the frequently-quoted advice on this thread for new users to start with the knobs in the calculated "true flat" setting, rather than "all-12s".
The advice is the same to users of all of the "normal" Rumble models, regardless of size/wattage.

I understand that the preamp sections of all of the Rumbles are identical in performance (I've verified this to my own satisfaction), but the various amp models sound NOTICEABLY different from each other when all settings are the same.

My R100 definitely has a different basic tone than my R200 (tweeter off). I have found that I can get my R100 to sound pretty close to my R200 (at least at "bedroom level" ) if I set the R100 EQ to 9 12 12 9, and increase the 100' s Master level by about 30 degrees of rotation.

I imagine that the R40 would sound even MORE different from the R200, all settings the same.

Of course, the amps would sound just as different from each other at the "all 12s" setting as well.

I understand that the advice to start with the "true flat" EQ is intended to simplify things for new users, by helping them to get used to the "flat" tone of their amp.
But what the heck do we mean by "flat"?

I've never seen any plots of the MEASURED frequency response of any of the Rumbles. I know the various cab/speaker combinations would measure very different, especially in the lowest range.

Has anyone ever seen a comparison of the actual frequency response of the Rumbles?

I have always understood that the reason Leo Fender and the engineers settled on the "scooped" EQ when developing the earlier classic amps was to compensate for the fact that the cabs/speakers had too much midrange output for the intended use.

I imagine the smaller Rumbles are pretty heavy in the mids!

Maybe that's why many folks (me included, with my JMJ and flats) think the baked-in scoop of the Rumbles sounds "right".

Thoughts?

Diving for cover...

Well, "flat" (or close to) is just a starting point to allow the player to boost or cut as needed.

Since Leo designed the Fender Precision bass to already have a "mid-boosted" tone, I guess it made sense to scoop those mids a bit on their amps to bring everything back to flat.

Regardless. I've never started out with any amp set flat at first. I just listen to my tone and adjust the controls on the amp until it sounds good to me. And it's going to sound different and be adjusted differently depending on each room I play in, who I'm playing with and how it sits in the mix onstage. Where the knobs end up I have no idea as I don't listen with my eyes.

 

[MadJack]

The basic all noon tone setting does actually sound pretty good, as long as you don't push the amp too hard. It sounds great solo and at normal practice levels. It sounds like a bass at these settings and at this level. Using these settings and pushing to gig levels can push the speakers and output module to distortion. The starting point at noon is already pushing the lows and highs, while cutting the mids. Being pushed already, pushing the volume levels causes the lows to breakup that much sooner.

Another thing to consider, your ears hear the mid frequencies better. Frequencies like the human voice. I forget the audio effect that as volume increases, your ears hear more of the lows and highs. This is in part why at practice levels you want to push the lows and high more, so you get a sense of volume, without having the actual volume.

Another thing to note, the bass sits in it's own frequency range amongst the other instruments. Running too much low end and you disappear into the mix. Focus on the midrange and you fill in the open frequency range. This chart by Sweetwater shows the breakdown of frequencies instrument occupy. The snare is about the closest in the bass midrange frequency. Notice, the higher ranges of the Sub range and lower Low-frequency range are reached by many instruments. Going for these lows only, can cause you to be lost in the mix. Pushing more of the Mid-range "Growl" will help you sit better in the mix.

The spectrum graphs are in the Fender Rumble 500 (& 40) Frequencies Wiki Page, but I'll repost them here for reference. Note, these were measured initially on a R500's effects loop, before the output or speakers and have been verified by others, including on the R40, through the DI. See the linked Wiki page for more details.

Rumble 500 "Flat" (All 12 o'clock) Frequencies*​

Rumble 500 Actual Flat Frequencies​

Bass, Low Mid, High Mid, Treble Clock Knob Settings at 10, 1:30, 2, 9:30 (Simplified to 10, 2, 2, 10.)

This doesn't mean you have to start here. It's just a recommended starting point. Your genre and taste may dictate a different starting point and final setting. This is a general recommended starting point.

As I've said in previous posts, the all noon does sound good to me for cleans. I prefer the 10, 2, 2, 10 based setting. It just sounds more natural to me. Most of what I play is in the slight breakup to moderately dirty and the Rumble just doesn't quite fill that range to my ears. My mainstay amp is another brand that is more mid prominent and does the light to moderate dirt perfectly for me. This does not mean I dislike the Rumbles, but rather they hold a sweet spot in their own range of tones.

 

[G-Dog]

Not to be a troll, but ... ... ...

Not at all, Ken! Sincere discussion should be very welcome here. I'm no technician, but I'll try my best to explain "my understanding" of this topic to you (and others reading along), while remaining open to more technical corrections that may be offered.​

... ... ... I've wondered about the frequently-quoted advice on this thread for new users to start with the knobs in the calculated "true flat" setting, rather than "all-12s". The advice is the same to users of all of the "normal" Rumble models, regardless of size/wattage. ... ... ...

First, Terminology There's nothing calculated about the 10-2-2-10 true flat settings which are approximated, for easy memory sake, from the actually measured 10-1:30-2-9:30 settings as presented in your Rumble Frequencies Wiki page. Note that "quotes" are used in referring to "all-12s flat", because their measured signal response curve really isn't very flat. "Quotes" are not used for the true flat settings because they are as close as most of us can easily & reasonably get to an actually flat signal response curve. ​

... ... ... I understand that the preamp sections of all of the Rumbles are identical in performance (I've verified this to my own satisfaction), but the various amp models sound NOTICEABLY different from each other when all settings are the same.

My R100 definitely has a different basic tone than my R200 (tweeter off). I have found that I can get my R100 to sound pretty close to my R200 (at least at "bedroom level" ) if I set the R100 EQ to 9 12 12 9, and increase the 100' s Master level by about 30 degrees of rotation.

I imagine that the R40 would sound even MORE different from the R200, all settings the same.

Of course, the amps would sound just as different from each other at the "all 12s" setting as well. ... ... ...

Second, Methodology Of course different speaker sizes (& numbers), cabinet sizes & power amps will all contribute to different sounding waves being audibly produced. That's why all of the wiki graphs are made from signals taken electronically, not audibly, from after the pre-amp and before the power amps, speaker(s) and cabinets, in order to minimize the variables and give more comparable results in the various configurations of actual flat, all-12s, minimum & maximum EQ settings and the effects of each preset voicing button turned on. ​

... ... ... I understand that the advice to start with the "true flat" EQ is intended to simplify things for new users, by helping them to get used to the "flat" tone of their amp. But what the heck do we mean by "flat"? ... ... ...

In this context flat means near-equal amplitude of the controllable frequencies., which graphs as a nearly straight horizontal line. In a perfect world that should translate to near-equal audible volumes of those frequencies from the entire combo amp. Ideally, this would provide a known baseline for sculpting the desired sound with the controls and sensors available at hand. But, of course, in the real world it's much more complicated, so we can only hope to approximate some of this.​

... ... ... I've never seen any plots of the MEASURED frequency response of any of the Rumbles. I know the various cab/speaker combinations would measure very different, especially in the lowest range.

Has anyone ever seen a comparison of the actual frequency response of the Rumbles? ... ... ...

??? Wha... ... huh? Have you never browsed your Rumble 500 (&40) Frequencies Wiki page? To my understanding that's exactly what that is!?!​

Or do you mean the measured audible frequency response of, say, the 40 combo versus the 100 combo versus the 200 combo versus 500 combo versus the 800 combo? Yeah, I haven't seen that, either. ​

​

Hmmm, ... ... It would need to be done in a specially flat sounding studio to make it of general use. Yep, ... ... And it might result in different EQ settings for each model, maybe even for each model's various Master settings, too, to help account for each different power amp, speaker and cabinet combination. Could result in quite a lot of particulars for what might turn out to be mostly academic consideration. But, interesting, none the less. ​

... ... ... I have always understood that the reason Leo Fender and the engineers settled on the "scooped" EQ when developing the earlier classic amps was to compensate for the fact that the cabs/speakers had too much midrange output for the intended use.

I imagine the smaller Rumbles are pretty heavy in the mids!

Maybe that's why many folks (me included, with my JMJ and flats) think the baked-in scoop of the Rumbles sounds "right".

Thoughts?

Diving for cover...

Yessir! Why, I've even learned from actual experienced techs and designers here & elsewhere that each brand has their own signature tone that they actually design their all-12s settings for! That's why certain brands often sound more, or less, like some other certain brands.​

​

At least, this is my best understanding. I welcome rebuttal, challenge or questions. It helps me learn, too.​

​

Tone! It's the Holy Grail of music. But there's no "one size fits all"!! It's a big, wide wonderful world that we all just try to make our own way in.​

​

Happy trails, as we all just ... ... ...​

​

Rumble On!​

 

[G-Dog]

Posted June 16, 2024: The method used in the charts was measuring the fx output. So they were measuring the electrical signal. This is fine, but it doesn't account fir the sound coming out the cab.

I will measure the actual sound and see what settings make the "sound " flat".

That way user have both. They can set the amp flat or, set the whole rig sonically flat (which is more useful in my opinion.) Just because the amp is relatively flat doesn't mean the sound is. I think it's pretty close. We will see.

Posted June 17, 2024: I'm not a technical guy at all, but wouldn't the measurements be dependent on the room, and even different placements within the same room? Just curious...

Posted June 17, 2024: It would indeed. You can close mic it and get better results, but I will be taking the unit out into an open field to take these measurements. I will get the cab a meter off the ground to get the ground out of the measurement as well.

I will be taking measurements with the cab on the ground as well since that's how most people use it.
By doing it this way, I get a truer measurement and will know the settings it takes to get it reasonably acousticly flat.

This gives a uniform starting point no matter what room you wind up in.

I will also be taking measurements in my personal room so I can find flat for that specific room.
Depending in how bad that room is, I may use a 31 band eq in front of the cab strictly for room correction purposes and use the eq on the cab strictly for tone. This isnt necessary by any means. It's just something I like to do.

... ... ... I've never seen any plots of the MEASURED frequency response of any of the Rumbles. I know the various cab/speaker combinations would measure very different, especially in the lowest range.

Has anyone ever seen a comparison of the actual frequency response of the Rumbles? ... ... ...

... ... ... do you mean the measured audible frequency response of, say, the 40 combo versus the 100 combo versus the 200 combo versus 500 combo versus the 800 combo? Yeah, I haven't seen that, either. ​

​

Hmmm, ... ... It would need to be done in a specially flat sounding studio to make it of general use. Yep, ... ... And it might result in different EQ settings for each model, maybe even for each model's various Master settings, too, to help account for each different power amp, speaker and cabinet combination. Could result in quite a lot of particulars for what might turn out to be mostly academic consideration. But, interesting, none the less. ... ... ...​

I just found where, last year, @Drop1 said they would use they're high-dollar measuring mics to measure "the actual sound" of their Rumble; audibly, I presume. But, we never got that from them. And they haven't been on TB since September 2024! Dang!​

 

[John D Harris]

Not to be a troll, but I've wondered about the frequently-quoted advice on this thread for new users to start with the knobs in the calculated "true flat" setting, rather than "all-12s".
The advice is the same to users of all of the "normal" Rumble models, regardless of size/wattage.

I understand that the preamp sections of all of the Rumbles are identical in performance (I've verified this to my own satisfaction), but the various amp models sound NOTICEABLY different from each other when all settings are the same.

My R100 definitely has a different basic tone than my R200 (tweeter off). I have found that I can get my R100 to sound pretty close to my R200 (at least at "bedroom level" ) if I set the R100 EQ to 9 12 12 9, and increase the 100' s Master level by about 30 degrees of rotation.

I imagine that the R40 would sound even MORE different from the R200, all settings the same.

Of course, the amps would sound just as different from each other at the "all 12s" setting as well.

I understand that the advice to start with the "true flat" EQ is intended to simplify things for new users, by helping them to get used to the "flat" tone of their amp.
But what the heck do we mean by "flat"?

I've never seen any plots of the MEASURED frequency response of any of the Rumbles. I know the various cab/speaker combinations would measure very different, especially in the lowest range.

Has anyone ever seen a comparison of the actual frequency response of the Rumbles?

I have always understood that the reason Leo Fender and the engineers settled on the "scooped" EQ when developing the earlier classic amps was to compensate for the fact that the cabs/speakers had too much midrange output for the intended use.

I imagine the smaller Rumbles are pretty heavy in the mids!

Maybe that's why many folks (me included, with my JMJ and flats) think the baked-in scoop of the Rumbles sounds "right".

Thoughts?

Diving for cover...

Mainly what @MadJack said.

Another way to consider it, if you run a music track of acoustic music (especially classical), (male and female voices singing are also a decent source to judge by) through the combo that has a wide spectrum of frequencies, the closer to flat the EQ on the combo is set, the closer to a natural sound it will have.
Of course, since that is not what the Rumble combo's are designed for, they will not sound like being in the concert hall listening to a Beethoven symphony - there is only closer to or farther away from natural.

 

[joeLowB]

You guys are brilliant technically.

Here's a different take...

Had a trip planned today that took me right past Sweetwater HQ in Fort Wayne, Indiana. I had time, so stopped in, played four basses I was curious about for about 45 minutes.

AND

Compared all four of them in an A-B test through a Fender Rumble 100c (which I don't own) and a Rumble 25 (which is my home practice amp).

Wow.

What a difference.

Confirmed in my mind ( more importantly, in my ears) my next upgrade is not a new bass but a new combo amp.

 

[dORSY]

Not to be a troll, but I've wondered about the frequently-quoted advice on this thread for new users to start with the knobs in the calculated "true flat" setting, rather than "all-12s".
The advice is the same to users of all of the "normal" Rumble models, regardless of size/wattage.

I understand that the preamp sections of all of the Rumbles are identical in performance (I've verified this to my own satisfaction), but the various amp models sound NOTICEABLY different from each other when all settings are the same.

My R100 definitely has a different basic tone than my R200 (tweeter off). I have found that I can get my R100 to sound pretty close to my R200 (at least at "bedroom level" ) if I set the R100 EQ to 9 12 12 9, and increase the 100' s Master level by about 30 degrees of rotation.

...

Thoughts?

My toughts are: Speakers/cabs! Speakers/cabs!
And we are not even touching what happens when You stack'em!

 

[KenB]

The basic all noon tone setting does actually sound pretty good, as long as you don't push the amp too hard. It sounds great solo and at normal practice levels. It sounds like a bass at these settings and at this level. Using these settings and pushing to gig levels can push the speakers and output module to distortion. The starting point at noon is already pushing the lows and highs, while cutting the mids. Being pushed already, pushing the volume levels causes the lows to breakup that much sooner.

Another thing to consider, your ears hear the mid frequencies better. Frequencies like the human voice. I forget the audio effect that as volume increases, your ears hear more of the lows and highs. This is in part why at practice levels you want to push the lows and high more, so you get a sense of volume, without having the actual volume.

Another thing to note, the bass sits in it's own frequency range amongst the other instruments. Running too much low end and you disappear into the mix. Focus on the midrange and you fill in the open frequency range. This chart by Sweetwater shows the breakdown of frequencies instrument occupy. The snare is about the closest in the bass midrange frequency. Notice, the higher ranges of the Sub range and lower Low-frequency range are reached by many instruments. Going for these lows only, can cause you to be lost in the mix. Pushing more of the Mid-range "Growl" will help you sit better in the mix.

...........................................

As I've said in previous posts, the all noon does sound good to me for cleans. I prefer the 10, 2, 2, 10 based setting. It just sounds more natural to me. Most of what I play is in the slight breakup to moderately dirty and the Rumble just doesn't quite fill that range to my ears. My mainstay amp is another brand that is more mid prominent and does the light to moderate dirt perfectly for me. This does not mean I dislike the Rumbles, but rather they hold a sweet spot in their own range of tones.

Good stuff. You just need to adjust "your tone" for the venue, the music/genre, the band and your own taste, and always be mindful of the limitations of your gear.

But it's amazing to me how much difference there is in various folks' idea of what a bass should sound like!
For every player who thrives on in-your-face, bright, clanky slap there is another one who's into old-school reggae thump.

I'm in the middle - the stuff I play with the "band" I play with is mostly 60s to 80s classic rock and country (think Eagles, Jimmy Buffett, Tom Petty, Byrds, Credence, Stones, Neil Young, Johnny Cash, etc.).

I play a JMJ Mustang with well-broken-in flats, usually into a Rumble 200 (all EQ at 12 and tweeter off).
And, along with a bunch of others, I REALLY like that Vintage button. It is just MADE for that kind of music!

I've never had ANY problem with my bass "getting lost in the mix", either at practice or at bar gigs, when using the Vintage effect.


Some of you might be interested in what the Vintage button actually DOES to the frequency response of the Rumble preamp.

The Vintage effect changes the EQ, and also introduces some level-dependent compression. I wanted to know how the EQ changes, independent of the compression.

I used test signals (sine wave, sine warble tones, and pink noise), a scope, and an "old school" spectrum analyzer (ADC AC-1) to check it out...

For my R200 (with tweeter off and Gain, Master and EQ all at 12), pushing the Vintage button is the same (in tone and level) as simply setting the EQ to 3 3 12 9.

With my JMJ, the room tone of the amp with Vintage on and EQ all 12 is indistinguishable from Vintage off and EQ at
3 3 12 9. (Gain and Master unchanged).

Interesting!