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The trademark is the adjective. The other things are the nouns the adjective (trademark) modifies/describes.
Toys-r-Us parent company threatened to sue me over Roadkills-r-Us. But you can’t just trademark r-Us to cover anything and everything. They had trademarks like Toys-r-Us toy stores, Babies-r-Us baby stuff stores, etc. Even apart from my website being a parody site (with precedent of hundreds of lawsuits foiled by MAD Magazine because it was parody), they had no r-Us trademark on roadkill. I refused to roll over and forced them into s corner. They played turtle back into their shell. (It’s all documented on www.rru.com - look for the no giraffes symbol.)
I’d love to know how many trademarks that guy has on the Rumble phrase, and for what.
... ... ... I will stand firm that an Ampeg Flip Top is an honorary Rumble.
Huh? ... ??? ... Wha... ... Spoken like a true Comboite! 
Ok, so, how about this?:
Yes...or no. A definite maybe.Hmmmm, ... ... Aki, I've been mulling it over. You make a good case and, ... ... I feel strongly both ways.
On one hand, Michael Peter Balzary, who uses the stage name Flea, doesn't seem to be a member of TalkBass, much less to have posted in The Rumble Club. But, there is a TB member with the username of Flea, though he has only ever posted once in 2004 and doesn't seem to be Michael Peter Balzary IRL. So, maybe it wouldn't be very appropriate?
On the other hand, I know that actor & bassist Gary Sinise was made an honorary member of the TB Variax Club., so there is some precedence for such.
But, "on the gripping hand", perhaps it could simply be a natural celebrity celebration of Rumbles IRL, without any necessary regard for "appropriateness" or precedence.
So, being the visionary and forthright leader that I am, or not, I put it to the Rumble Membership:
1. What are your thoughts on the proposed admission of Michael Peter Balzary, who uses the stage name Flea, to membership in your TB Fender Rumble Club?1.a. if in favor of admission, please address whether you think it should be an "honorary" membership, or not.1.b. If in favor of admission, are there other celebrity bassists you think should also be admitted? Please include photographic Rumbling evidence of their Rumbleness to be considered.2. Perhaps an alternative to membership could be a "Celebrities Hall of Fame" section added to your Rumble Club Wiki page? Or another alternative may be suggested?3. There shalt be no "carrots" in this discussion, please. Pertinent remarks, only.
So, let us all, henceforth, ... ... ...
gRumble On!
Yeah, but if we get a request for a certain type of Latin rhythm song(i.e. "Besame Mucho"), I announce it with "Le-e-e-t's get ready to rhumba".Yeah, but he has Trademarked that phrase to ensure that others do not use the phrase without permission and to protect his "intellectual property". Since securing the trademark in 1992, he has reportedly earned over $400 million from the use of his catchphrase through licensing deals, including video games, TV shows, movies, and merchandise!
Okay. I know the amp isn't a Rumble, but it sounds great with the Rumble 210 & 115 V3 Cabinets!
I do still have a bit more tuning for the head, but it's working.
That's another brand's 30 watt tube head and stack behind the Rumble stack.
I do still have a bit more tuning for the head, but it's working.
That's another brand's 30 watt tube head and stack behind the Rumble stack.
Turned up, with the bass volume turned down and you get some seriously vintage growl. I know where the Rumble got their Vintage button tone from, but this one has much more tube warmth, with a nice tube breakup.
The few pedals I've tried with it work great. Much more natural breakup sounds than my Rumble amps, with the overdrive and distortion pedals. The Rumbles still sound good with the pedals, but the tube just have that little extra.
The few pedals I've tried with it work great. Much more natural breakup sounds than my Rumble amps, with the overdrive and distortion pedals. The Rumbles still sound good with the pedals, but the tube just have that little extra.
"The problem is me, not you."
I went to GC yesterday to futz with basses, and as I approached the bass alcove I heard this beautiful melodic sound coming out.
There was someone playing a bass, switching between traditional bass style and guitar style and piano style, tapping and sliding and plucking and slapping and popping, all up and down the neck with both hands. It was mesmerizing to watch and wonderful to listen to. The tone was fantastic; rich and full.
He was playing an Ibanez SR500E plugged into a Rumble 200.
Over the next couple of hours he and I talked (I mostly listened and asked questions) and played bass. Turns out he's a professional musician with over 30 years playing guitar and 15 years on bass. I learned a LOT.
Toward the end (at my request) he played through a Rumble 500 and then a Rumble 40. With just a few tweaks on the bass and amps, they all sounded great. Slightly different than each other, but not that much.
I was playing an Ibanez SR300E (its knobs tweaked by him) and I liked the way it sounded through all 3 amps, also. When I switched to a Mustang bass, the tone differences between amps became much more noticeable and the R500 suddenly sounded the best to me.
So (another request from me) he played for a few minutes on a (stock) Ibanez Mikro, and even with him, its limited sound options made the tone differences between the amps much more noticeable. Don't get me wrong. His playing was still amazing and it still sounded great. But when he switched to the SR300E, there it was again: that magical tone. And he was plugged into an R40.
So it seems that my amp opinions have been based on the limitations within the types basses I've been playing (Mustangs, Broncos, Mikros, Minions, etc.) in stores and at home. With those, my ears prefer the R500 (and R60 oddly enough).
But there are thousands of other basses out there, and my opinion of the R200 has completely changed. It is a fantastic sounding amp (R200 owners already knew this).
Everything in the signal chain (from your fingers to your ears, and therefore your brain at each end of the chain) affects everything else."The problem is me, not you."
I went to GC yesterday to futz with basses, and as I approached the bass alcove I heard this beautiful melodic sound coming out.
There was someone playing a bass, switching between traditional bass style and guitar style and piano style, tapping and sliding and plucking and slapping and popping, all up and down the neck with both hands. It was mesmerizing to watch and wonderful to listen to. The tone was fantastic; rich and full.
He was playing an Ibanez SR500E plugged into a Rumble 200.
Over the next couple of hours he and I talked (I mostly listened and asked questions) and played bass. Turns out he's a professional musician with over 30 years playing guitar and 15 years on bass. I learned a LOT.
Toward the end (at my request) he played through a Rumble 500 and then a Rumble 40. With just a few tweaks on the bass and amps, they all sounded great. Slightly different than each other, but not that much.
I was playing an Ibanez SR300E (its knobs tweaked by him) and I liked the way it sounded through all 3 amps, also. When I switched to a Mustang bass, the tone differences between amps became much more noticeable and the R500 suddenly sounded the best to me.
So (another request from me) he played for a few minutes on a (stock) Ibanez Mikro, and even with him, its limited sound options made the tone differences between the amps much more noticeable. Don't get me wrong. His playing was still amazing and it still sounded great. But when he switched to the SR300E, there it was again: that magical tone. And he was plugged into an R40.
So it seems that my amp opinions have been based on the limitations within the types basses I've been playing (Mustangs, Broncos, Mikros, Minions, etc.) in stores and at home. With those, my ears prefer the R500 (and R60 oddly enough).
But there are thousands of other basses out there, and my opinion of the R200 has completely changed. It is a fantastic sounding amp (R200 owners already knew this).
You need a Thunderbird."The problem is me, not you."
I went to GC yesterday to futz with basses, and as I approached the bass alcove I heard this beautiful melodic sound coming out.
There was someone playing a bass, switching between traditional bass style and guitar style and piano style, tapping and sliding and plucking and slapping and popping, all up and down the neck with both hands. It was mesmerizing to watch and wonderful to listen to. The tone was fantastic; rich and full.
He was playing an Ibanez SR500E plugged into a Rumble 200.
Over the next couple of hours he and I talked (I mostly listened and asked questions) and played bass. Turns out he's a professional musician with over 30 years playing guitar and 15 years on bass. I learned a LOT.
Toward the end (at my request) he played through a Rumble 500 and then a Rumble 40. With just a few tweaks on the bass and amps, they all sounded great. Slightly different than each other, but not that much.
I was playing an Ibanez SR300E (its knobs tweaked by him) and I liked the way it sounded through all 3 amps, also. When I switched to a Mustang bass, the tone differences between amps became much more noticeable and the R500 suddenly sounded the best to me.
So (another request from me) he played for a few minutes on a (stock) Ibanez Mikro, and even with him, its limited sound options made the tone differences between the amps much more noticeable. Don't get me wrong. His playing was still amazing and it still sounded great. But when he switched to the SR300E, there it was again: that magical tone. And he was plugged into an R40.
So it seems that my amp opinions have been based on the limitations within the types basses I've been playing (Mustangs, Broncos, Mikros, Minions, etc.) in stores and at home. With those, my ears prefer the R500 (and R60 oddly enough).
But there are thousands of other basses out there, and my opinion of the R200 has completely changed. It is a fantastic sounding amp (R200 owners already knew this).
Moar mods!
Forgot I had put extra bracing in my orig. r100
Did put'em back.
Changed lining to some thinner material.
Cut out the back, installed a couple of jack/speakon sockets so I could use my r100 as an amp/cab.
Finally put a Basslite in my r100! Yes, it costs half as much as the combo itself, but is significantly louder (sensitivity), so I can use my r100 alone more, has more mids which helps with boominess. And lighter (<2kgs). Overall a great speaker!
Now (one of) my r100(s) is moar louder moar versatile and moar lighter!
Put the r100's speaker into a smaller Hareley Benton cab. It is a tad narrower, will be good if space matters. Made in Indonesia, construction/materials are very similar to rumble combos, maybe same factory even?
Do I have a Rumble Benton now? XD
Also bought a 100/190W (8/4Ohm) pedal poweramp along with a serial/parallel cab merger and an A/B/Y pedal for more options.
Now I got to make some speaker cables...
Forgot I had put extra bracing in my orig. r100
Did put'em back.Changed lining to some thinner material.
Cut out the back, installed a couple of jack/speakon sockets so I could use my r100 as an amp/cab.
Finally put a Basslite in my r100! Yes, it costs half as much as the combo itself, but is significantly louder (sensitivity), so I can use my r100 alone more, has more mids which helps with boominess. And lighter (<2kgs). Overall a great speaker!
Now (one of) my r100(s) is moar louder moar versatile and moar lighter!
Put the r100's speaker into a smaller Hareley Benton cab. It is a tad narrower, will be good if space matters. Made in Indonesia, construction/materials are very similar to rumble combos, maybe same factory even?
Do I have a Rumble Benton now? XD
Also bought a 100/190W (8/4Ohm) pedal poweramp along with a serial/parallel cab merger and an A/B/Y pedal for more options.
Now I got to make some speaker cables...
Attachments
Nice work!Moar mods!
Forgot I had put extra bracing in my orig. r100
Changed lining to some thinner material.
Cut out the back, installed a couple of jack/speakon sockets so I could use my r100 as an amp/cab.
Finally put a Basslite in my r100! Yes, it costs half as much as the combo itself, but is significantly louder (sensitivity), so I can use my r100 alone more, has more mids which helps with boominess. And lighter (<2kgs). Overall a great speaker!
Now (one of) my r100(s) is moar louder moar versatile and moar lighter!
Put the r100's speaker into a smaller Hareley Benton cab. It is a tad narrower, will be good if space matters. Made in Indonesia, construction/materials are very similar to rumble combos, maybe same factory even?
Do I have a Rumble Benton now? XD
Also bought a 100/190W (8/4Ohm) pedal poweramp along with a serial/parallel cab merger and an A/B/Y pedal for more options.
Now I got to make some speaker cables...
View attachment 7288974View attachment 7288975View attachment 7288976View attachment 7288977View attachment 7288978View attachment 7288979View attachment 7288982
This setup sounds monstrous so far!
Self-made P, flatwounds > r100, EQ as shown (no voice buttons pressed, almost "rumble flat") efx send > pedal poweramp@max EQ as shown (too much bass/treble!) > HB cab with r100's 12".
Yes, it is a bit funny that the HB cab is narrower Maybe I should rearrange it's feet to the sides? 
ps: ignore the mess and low light photo quality! XD
Self-made P, flatwounds > r100, EQ as shown (no voice buttons pressed, almost "rumble flat") efx send > pedal poweramp@max EQ as shown (too much bass/treble!) > HB cab with r100's 12".
Yes, it is a bit funny that the HB cab is narrower
Maybe I should rearrange it's feet to the sides? ps: ignore the mess and low light photo quality! XD
At first I read that as "self-made Flatwounds" and was going to ask how. The. Heck.This setup sounds monstrous so far!
Self-made P, flatwounds > r100, EQ as shown (no voice buttons pressed, almost "rumble flat") efx send > pedal poweramp@max EQ as shown (too much bass/treble!) > HB cab with r100's 12".
Yes, it is a bit funny that the HB cab is narrower
ps: ignore the mess and low light photo quality! XD
View attachment 7289099View attachment 7289100
Question for the Rumble Club. I am spec'ing a Rumble 100 combo amp for my church after trying out some alternatives (Ampeg, Markbass). Seems perfect for our application and I'm surprised how nice it sounded. It would be used primarily as a stage monitor for bass as we do have a FOH system. I had been using a Carvin BX250 amp and a separate cabinet which was fine except it was too big. The Rumble 100 seems to be a nice size and it's lightweight is a plus for moving it around for different scenarios. What I liked about the BX250 was it has a built-in DI with separate level control, so I could control my stage volume monitoring without affecting the FOH.
From what I understood about the Rumble (and a lot of other combos as well) is that the XLR DI (or line-level as provided) follows the level of all gain / volume controls on the amp which makes it impossible to control the stage volume without affecting the FOH. However, I remember someone stated somewhere in the 2000+ pages of this thread that the newer 100's as well as the 800's (?) do have the DI level set that are not affected by the amp volume.
Can anyone verify this as it sure would be nice not to have to use a separate DI box just do keep the levels independent.
I did find this in the user manual addendum from the Fender site:
ADDENDUM / TECHNICAL NOTE
From what I understood about the Rumble (and a lot of other combos as well) is that the XLR DI (or line-level as provided) follows the level of all gain / volume controls on the amp which makes it impossible to control the stage volume without affecting the FOH. However, I remember someone stated somewhere in the 2000+ pages of this thread that the newer 100's as well as the 800's (?) do have the DI level set that are not affected by the amp volume.
Can anyone verify this as it sure would be nice not to have to use a separate DI box just do keep the levels independent.
I did find this in the user manual addendum from the Fender site:
ADDENDUM / TECHNICAL NOTE
Due to ongoing supply issues, some units may be built with an
alternate power supply and amplifier module. This will not change
the audio performance of the product; however, these units
require a 4-ohm speaker rather than the original 8-ohm specifica-
tion. Should replacement of a speaker ever be required, qualified
service personnel should note the impedance rating (8 ohms or 4
ohms) indicated on the speaker itself and use a replacement with
the same impedance rating.
Additionally, units built with the alternate power module include
the added pre/post switch that lets the user set the XLR output to
provide pre- (direct) or post-preamp/EQ signal.
This indicates that some units with this alternate amplifier module support pre/post but doesn't say explicitly about DI levels. Is it just going to be hit or miss depending on the manufacturing run?
Thanks.
alternate power supply and amplifier module. This will not change
the audio performance of the product; however, these units
require a 4-ohm speaker rather than the original 8-ohm specifica-
tion. Should replacement of a speaker ever be required, qualified
service personnel should note the impedance rating (8 ohms or 4
ohms) indicated on the speaker itself and use a replacement with
the same impedance rating.
Additionally, units built with the alternate power module include
the added pre/post switch that lets the user set the XLR output to
provide pre- (direct) or post-preamp/EQ signal.
This indicates that some units with this alternate amplifier module support pre/post but doesn't say explicitly about DI levels. Is it just going to be hit or miss depending on the manufacturing run?
Thanks.
XLR = DI. This implies to me that the DI can be pre-preamp or post. If it's post, then at the very least the gain affects the DI level, and probably the master as well. But hopefully an owner of one of those will chime in soon. As far as which you will get, then yes, it's hit or miss unless you are buying something like a floor model where you know what you're getting.
Both of my Rumble 100's (V3) have XLR DI's with the Pre/Post switch.
The XLR DI out is at Line level as most amps are, meaning they do not require a level adjustment. Typically if an amp's DI out is too hot there will be a "pad" filter at the mixing console. XLR DI's are simply sending a compatible line level output to a mixing console, separate from the Gain, Volume or EQ control of the amp (if set to "Pre")
If it's set to "Post" the signal your sending via the XLR DI will include your personal amp settings (similar to micing your cab instead of a dry signal).
Most sound guys just want a DI to be dry (Pre) so they can control the sound of the bass in the FOH PA mixer.
The XLR DI out is at Line level as most amps are, meaning they do not require a level adjustment. Typically if an amp's DI out is too hot there will be a "pad" filter at the mixing console. XLR DI's are simply sending a compatible line level output to a mixing console, separate from the Gain, Volume or EQ control of the amp (if set to "Pre")
If it's set to "Post" the signal your sending via the XLR DI will include your personal amp settings (similar to micing your cab instead of a dry signal).
Most sound guys just want a DI to be dry (Pre) so they can control the sound of the bass in the FOH PA mixer.
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Especially in terms of the sound not changing because you tweak something on your amp.Both of my Rumble 100's (V3) have XLR DI's with the Pre/Post switch.
The XLR DI out is at Line level as most amps are, meaning they do not require a level adjustment. They are simply sending a compatible line level output to a mixing console, separate from the Gain, Volume or EQ control of the amp (if set to "Pre". If it's set to "Post" the signal your sending via the XLR DI is including your personal amp settings (similar to micing your cab instead of a dry signal).
Most sound guys just want a DI to be dry (Pre) so they can control the sound of the bass in the FOH PA mixer.
