Fender Rumble Club

[SharpCat]

There's been a lot of talk about Presonus Studio One Pro DAW becoming Fender Studio Pro. Being kinda a Fender fanboy, I was fine with it myself. Others may disagree.

HOWEVER, I want to point out that Fender Studio Pro has a new Rumble plugin. Vintage switch and all.

 

[Mvf]

I’ve done that. It completely depends on the gig and the bass and/or pedal chain. The Gain control on a Rumble is the equivalent of a variable pad on a mixer input. I normally run those as hot as I can without distortion. On occasion, that’s at min.

Normally I have the gain between 9 and noon, don’t remember having it all way down anytime..

Tried to find some gig setup pics, found only this one of my chained 100:s, from a medium sized pub gig last year. No effects, vintage on. This with my Fender jazz, my other basses probably need slightly different settings.

 

[toughluck]

I've got a huge dilemma. There's a used Rumble 800 Stage for sale at 76% of the retail price that I think I could haggle down a bit, and I'm seriously considering it.

I still held on to my Studio 40, so that would make a nice companion for rehearsals, while the Stage would be for gigs and I could hook up the 115 for anything larger...

...But it's not a trivial amount to spend and I'm thinking whether it really makes sense.

The alternative is to sell the Studio 40 and the Fender 115 cab and get matching cabs (large one for gigs, small one for rehearsals, use the headphone out or an even smaller cab for home practice) from another brand. I like the TC BH550 with the Rumble 115, but I still need to get a cab for rehearsals and it's impossible to find a Fender 112 V3 cab to match the tone.

WWYD?

 

[G-Dog]

I've got a huge dilemma. There's a used Rumble 800 Stage for sale at 76% of the retail price that I think I could haggle down a bit, and I'm seriously considering it.

I still held on to my Studio 40, so that would make a nice companion for rehearsals, while the Stage would be for gigs and I could hook up the 115 for anything larger...

...But it's not a trivial amount to spend and I'm thinking whether it really makes sense. ... ... ...

Makes great sense to me! The only reason I don't already have a Stage to match my Studio is my Rumble 500 combo can reinforce my Studio as loud as I need to be, especially if I add my Bassman 115 Neo cab to it.​

... ... ... The alternative is to sell the Studio 40 and the Fender 115 cab and get matching cabs (large one for gigs, small one for rehearsals, use the headphone out or an even smaller cab for home practice) from another brand. I like the TC BH550 with the Rumble 115, but I still need to get a cab for rehearsals and it's impossible to find a Fender 112 V3 cab to match the tone.

WWYD?

That's just one of several possible alternatives, toughie!​

​

If I didn't have my 12-year-old, tried and true R500c, I'd get a brand new Rumble Stage 800 with a full 2-year warranty, instead of gambling on a used one. It's wonderful peace of mind for any non-trivial investment.​

​

If it's gonna take a while to save up for the Rumble Stage, new or used, you could connect the Rumble Studio's Left (Mono) FX Send to the input of your TC BH550 + 115 cab for gigs, and use the Studio for rehearsals and home practice.​

 

[John D Harris]

99.9% of the time I've used my R100c with the TN Opus into the FX Return and adjusting the overall level with the Opus and the R100c's Master control and I can get PLENTY of volume and a smorgasbord of great tones.

After the discussions about running the R100c Gain at minimum, I thought I'd give it a try.

Yup! Beauceaux SPL!

I messed around with various settings, including using the Overdrive, not for overdrive but just as a level boost - you'd think the R100c has 600W based on the output that is available.

I was able to get a lot of different good tones with my Cort B5 Element in both active and passive.

I'm more impressed with this little 20 pound combo than ever!

 

[Miles_ONeal]

99.9% of the time I've used my R100c with the TN Opus into the FX Return and adjusting the overall level with the Opus and the R100c's Master control and I can get PLENTY of volume and a smorgasbord of great tones.

After the discussions about running the R100c Gain at minimum, I thought I'd give it a try.

Yup! Beauceaux SPL!

I messed around with various settings, including using the Overdrive, not for overdrive but just as a level boost - you'd think the R100c has 600W based on the output that is available.

I was able to get a lot of different good tones with my Cort B5 Element in both active and passive.

I'm more impressed with this little 20 pound combo than ever!

They’re amazing.

 

[toughluck]

At more than 75% the price of a new combo, I'm not going to buy the used one until the price drops a fair amount. Especially since it's already 4 years old, two years past end of warranty. But the fact that it appeared at all was enough to get me thinking what if.

Thing is, I need two or three amps: gig, rehearsal, (maybe) home.
With a compact head, I can carry it around and have three cabs and use the same settings for each, experiment with the sound at home, use the amp with headphones. I can tweak the effects (the BH550 has two toneprint slots that I can set up with an app) and prepare the settings ahead of time.

If I went the Studio/Stage route, I would have the Stage for the gigs, the Studio for the rehearsals and nothing else at home. I could get an LT25, but it's not the same and I wouldn't be able to tweak it ahead of time and later on sync it to get the same settings on each. I would eventually have to get another Studio to use it for the tweaking because I really enjoy that the rehearsal cab stays in the same place and I don't need to lug it around.

During a recent rehearsal, the TC amp I use produced a rather unpleasant sound with one of the toneprint effects and I got to tweaking and honestly, it felt pretty hard to nail the exact sound that I wanted, and applying EQ and certain effects made the noise pretty bad. Meanwhile, the Studio never failed to deliver exactly what I wanted.

It's not a coincindence that Fender is so popular, so it's a shame that they still haven't made a Studio/Stage-like head and it exists only as a wish/fantasy.

 

[G-Dog]

... ... ... Thing is, I need two or three amps: gig, rehearsal, (maybe) home.
With a compact head, I can carry it around and have three cabs and use the same settings for each, experiment with the sound at home, use the amp with headphones. ... .... If I went the Studio/Stage route, I would have the Stage for the gigs, the Studio for the rehearsals and nothing else at home. I could get an LT25, but it's not the same and I wouldn't be able to tweak it ahead of time and later on sync it to get the same settings on each. I would eventually have to get another Studio to use it for the tweaking because I really enjoy that the rehearsal cab stays in the same place and I don't need to lug it around. ... ... ...

What's so hard about lugging the 19 lb. Studio combo around? My gig bag of accessories weighs about that. I lug both those all the time and I'm an old frt with a bad back. (I do use a li'l luggage cart for distances more than 20 feet, though.) And I'd never leave such a valuable combo at a rehearsal room! It's only secure there until it's not!! You don't leave your gigging amp at a venue, do you? So, you're lugging that.​

... ... ... the Studio never failed to deliver exactly what I wanted.

It's not a coincidence that Fender is so popular, so it's a shame that they still haven't made a Studio/Stage-like head and it exists only as a wish/fantasy.

Remember my post about the Mustang Floor pedal and the Mustang amp head modeling accessories being such short-lived products, toughie. They pro'lly figure if the 6-stringers don't go for that, then there's even less hope of the bassists going for it. ​

 

[Giffro]

What's so hard about lugging the 19 lb. Studio combo around? My gig bag of accessories weighs about that. I lug both those all the time and I'm an old frt with a bad back. (I do use a li'l luggage cart for distances more than 20 feet, though.) And I'd never leave such a valuable combo at a rehearsal room! It's only secure there until it's not!! You don't leave your gigging amp at a venue, do you? So, you're lugging that.​

Remember my post about the Mustang Floor pedal and the Mustang amp head modeling accessories being such short-lived products, toughie. They pro'lly figure if the 6-stringers don't go for that, then there's even less hope of the bassists going for it. ​

G Doggy goes through more gig bags than Rumbles

 

[G-Dog]

G Doggy goes through more gig bags than Rumbles

Huh? You don't recall our gig bag conversation where I posted my now more-than-25-year-old gig bag?!? That's still my one & only gig bag!

 

[fourstringbliss]

I'm going to be installing some Ernie Ball pop out casters in my Rumble 500. My thought is to remove the feet and use the existing screw hole as one of the insert holes, making sure to install the main part of it a bit farther from the cabinet edge.

I may have already asked this question, but how would I safely drill through the tolex?

Thanks!

 

[toughluck]

I may have already asked this question, but how would I safely drill through the tolex?

Cut a small cross into the tolex and connect the ends. Then drill slowly at first to check if it doesn't snag on the drill.
It makes a lot of sense to cut small crosses where the screws go.

 

[toughluck]

What's so hard about lugging the 19 lb. Studio combo around? My gig bag of accessories weighs about that. I lug both those all the time and I'm an old frt with a bad back. (I do use a li'l luggage cart for distances more than 20 feet, though.) And I'd never leave such a valuable combo at a rehearsal room! It's only secure there until it's not!! You don't leave your gigging amp at a venue, do you? So, you're lugging that.​

The rehearsal room is about 250 feet (80 m) away from the parking, then 8 flights down very narrow and steep stairs. I hate having to take double trips and it's very hard to negotiate the stairs with just the bass case. The amp would make it way more annoying.

And, well, I do leave my cabs at the venues... I did have to lug it around before and I really like that I no longer have to.

Remember my post about the Mustang Floor pedal and the Mustang amp head modeling accessories being such short-lived products, toughie. They pro'lly figure if the 6-stringers don't go for that, then there's even less hope of the bassists going for it.

Yeah. I know. OTOH, I see plenty of used Mustang modeling amps (same interface as my Studio) for sale, much fewer Studios, and just one Stage so far. Not sure what to make of it. Optimistically, it would mean that people buy them but rarely sell them.

Come to think of it, used TC electronic combos with the same architecture as the BH550 head are plentiful and sell for pretty low prices, it might be worth looking into.

Final edit: Forgot to mention for those unaware. I'm in Poland, so the used market is very different from USA or UK.

 

[GonePlaid]

What's so hard about lugging the 19 lb. Studio combo around? My gig bag of accessories weighs about that. I lug both those all the time and I'm an old frt with a bad back. (I do use a li'l luggage cart for distances more than 20 feet, though.) And I'd never leave such a valuable combo at a rehearsal room! It's only secure there until it's not!! You don't leave your gigging amp at a venue, do you? So, you're lugging that.​

Remember my post about the Mustang Floor pedal and the Mustang amp head modeling accessories being such short-lived products, toughie. They pro'lly figure if the 6-stringers don't go for that, then there's even less hope of the bassists going for it. ​

I had a gig in Miami in the mid to late 70s: 6 nights/week for 5 1/2 YEARS. If I'd have had to lug my 63 7ender piggyback Bassman, alto sax, bari sax, flute, music stand, mic stand, AND Thunderbird each night (I did take the TBird in/out), I'd have quit after the first weekend.
'Course those kind of gigs don't exist any more.

 

[GonePlaid]

I was checking out some of my TB history. I sold my R112v3 8/17/20. Didn't realize it was that long ago.

 

[dORSY]

99.9% of the time I've used my R100c with the TN Opus into the FX Return and adjusting the overall level with the Opus and the R100c's Master control and I can get PLENTY of volume and a smorgasbord of great tones.

After the discussions about running the R100c Gain at minimum, I thought I'd give it a try.

Yup! Beauceaux SPL!

I messed around with various settings, including using the Overdrive, not for overdrive but just as a level boost - you'd think the R100c has 600W based on the output that is available.

I was able to get a lot of different good tones with my Cort B5 Element in both active and passive.

I'm more impressed with this little 20 pound combo than ever!

IMO the best way to test the difference between gain and master is to hook up a passive instrument directly volume and tone at max with no pedals that could have a buffer circuit. (passive P basses work for this quite well)
At the same SPL levels You'd hear that cranking up gain with low master is a brighter sound vs. cranking up master and lowering gain.

Reason is that Your instrument's pickup(inductor)+passive tone capacitor+cable(which also has some capacitance, etc.) and the gain knob's resistance becomes a passive RLC circuit. If You add more resistance, You lose (mostly)high frequencies. (it's a bit more complicated, but this is the fundamentals )
(the pickup's internal resistance and the passive tone circuit in the bass also play here, I try to simplify this just for the sake of making an example)

This input signal drifference also effects vintage(compression) and OD. And to a degree how the tone stack in the preamp behaves.

If I'm using my rumble only as a clean amp, I usually crank gain more for a more "lively" "brighter" tone. Then adjust highs with the EQ and/or on the instrument.
If I'm also using rumble's OD (almost always Drive at minimum) with an external switch pedal, I tend to lower gain (and crank master) for a more "vintage" overdrive sound, because higher signal distorts more and becomes too raspy compared to clean without adjusting tone on my bass, which is inconvinient mid-song.
(to my tase! I like my driven tone to have just a little breakup. as it removes a tad bit of bass, it also effectively becomes a mid boost, which is my goal, as I try to keep bass levels somewhat equal between clean and OD)

HTH. YMMV.

 

[John D Harris]

IMO the best way to test the difference between gain and master is to hook up a passive instrument directly volume and tone at max with no pedals that could have a buffer circuit. (passive P basses work for this quite well)
At the same SPL levels You'd hear that cranking up gain with low master is a brighter sound vs. cranking up master and lowering gain.

Reason is that Your instrument's pickup(inductor)+passive tone capacitor+cable(which also has some capacitance, etc.) and the gain knob's resistance becomes a passive RLC circuit. If You add more resistance, You lose (mostly)high frequencies. (it's a bit more complicated, but this is the fundamentals )
(the pickup's internal resistance and the passive tone circuit in the bass also play here, I try to simplify this just for the sake of making an example)

This input signal drifference also effects vintage(compression) and OD. And to a degree how the tone stack in the preamp behaves.

If I'm using my rumble only as a clean amp, I usually crank gain more for a more "lively" "brighter" tone. Then adjust highs with the EQ and/or on the instrument.
If I'm also using rumble's OD (almost always Drive at minimum) with an external switch pedal, I tend to lower gain (and crank master) for a more "vintage" overdrive sound, because higher signal distorts more and becomes too raspy compared to clean without adjusting tone on my bass, which is inconvinient mid-song.
(to my tase! I like my driven tone to have just a little breakup. as it removes a tad bit of bass, it also effectively becomes a mid boost, which is my goal, as I try to keep bass levels somewhat equal between clean and OD)

HTH. YMMV.

Excellent info!

I enjoy tweaking around, trying to find multiple, workable tones.

I'm not certain how well I like my Cort B5's tone run passive, if I set the R100c preamp Gain to 12 o'clock and the tone controls to 10/2/1.5/10, then it is a touch bright and a bit lean in the low end - according to my preferences (I like a tone somewhere between an old Fender Blackface Showman and the Demeter VTBP Preamp - a touch of low end bloom, but still kicks you in the chest like a Mesa M6).

I can definitely get there with the Opus (I only have two Presets configured to use with the B5 in active mode, the rest - about 50 Presets - are using passive mode) and I think I can get somewhat close with the Rumble's Preamp, but I need to experiment more - it seems easier going into the Rumble's Input with my B5 in active mode).

 

[dORSY]

Excellent info!

I enjoy tweaking around, trying to find multiple, workable tones.

I'm not certain how well I like my Cort B5's tone run passive, if I set the R100c preamp Gain to 12 o'clock and the tone controls to 10/2/1.5/10, then it is a touch bright and a bit lean in the low end - according to my preferences (I like a tone somewhere between an old Fender Blackface Showman and the Demeter VTBP Preamp - a touch of low end bloom, but still kicks you in the chest like a Mesa M6).

I can definitely get there with the Opus (I only have two Presets configured to use with the B5 in active mode, the rest - about 50 Presets - are using passive mode) and I think I can get somewhat close with the Rumble's Preamp, but I need to experiment more - it seems easier going into the Rumble's Input with my B5 in active mode).

Yes. Infinite options.
I usually bring my cheapass sansamp clone if FoH needed a clean DI (they never do) instead of the rumble's. It also acts as a 2nd gain stage hooked up into the rumble's input.
But it's tone stack is much more "ampeg-y", that's where it's blend knob shines.
I'm not really an ampeg guy so to speak, but it definately works at certain parts, speacially for mid-to-heavy "rock and roll" in a band mix.

 

[Miles_ONeal]

IMO the best way to test the difference between gain and master is to hook up a passive instrument directly volume and tone at max with no pedals that could have a buffer circuit. (passive P basses work for this quite well)
At the same SPL levels You'd hear that cranking up gain with low master is a brighter sound vs. cranking up master and lowering gain.

Reason is that Your instrument's pickup(inductor)+passive tone capacitor+cable(which also has some capacitance, etc.) and the gain knob's resistance becomes a passive RLC circuit. If You add more resistance, You lose (mostly)high frequencies. (it's a bit more complicated, but this is the fundamentals )
(the pickup's internal resistance and the passive tone circuit in the bass also play here, I try to simplify this just for the sake of making an example)

This input signal drifference also effects vintage(compression) and OD. And to a degree how the tone stack in the preamp behaves.

If I'm using my rumble only as a clean amp, I usually crank gain more for a more "lively" "brighter" tone. Then adjust highs with the EQ and/or on the instrument.
If I'm also using rumble's OD (almost always Drive at minimum) with an external switch pedal, I tend to lower gain (and crank master) for a more "vintage" overdrive sound, because higher signal distorts more and becomes too raspy compared to clean without adjusting tone on my bass, which is inconvinient mid-song.
(to my tase! I like my driven tone to have just a little breakup. as it removes a tad bit of bass, it also effectively becomes a mid boost, which is my goal, as I try to keep bass levels somewhat equal between clean and OD)

HTH. YMMV.

Except the gain knob is not across the input. It hangs off an op amp.

 

[dORSY]

Except the gain knob is not across the input. It hangs off an op amp.

You are right, checked schematics for that.

Either my ears decieving me or the components between the gain and master knobs make the two slightly different then.
As op amps should not lose highs turned down for sure.