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With the Rumble 500 + Rumble 210 you end up with a diagonally staggered vertical array that will in turn give you the added benefit of extended lower frequency response and expanded dynamic range of the 'coupling effect' .
Coupling Effect
Yes the Rumble 115 is viable as it is about equal to the 2x10's of the 500 combo in terms of volume of air moved with the 2x10's having a slight edge in SPL. They do play nicely together, as many here have testified.
As counter-intuitive as it may sound the Rumble 112 is also finding favor among the more adventurous. @bdplaid being most notorious having tried all three.
Thanks Linnin. I read pages and pages of information regarding 210 combos and extension cabs. Seems like this topic has been covered quite a bit LOL.
I went ahead and purchased the 210 extension cabinet.
Thanks forum guys and rumble family.
I went ahead and purchased the 210 extension cabinet.
Thanks forum guys and rumble family.
Had my first audition yesterday with the Rumble 500 combo.
Pop/rock coverband, pretty hard hitting drummer, 2 guitar players with 2 2x12 cabinets and a female singer.
Of course no problem to keep up with the combo, gain around 11 and master at 9.
The only thing I would change if I join them is I would like to put the combo on a riser or tilt it back a little so I can hear a bit more highs.
Pop/rock coverband, pretty hard hitting drummer, 2 guitar players with 2 2x12 cabinets and a female singer.
Of course no problem to keep up with the combo, gain around 11 and master at 9.
The only thing I would change if I join them is I would like to put the combo on a riser or tilt it back a little so I can hear a bit more highs.
When we're talking about coupling effect, on-axis versus off-axis and line arrays, we need to pay some attention to the absolute masters of live sound -- the Grateful Dead and their legendary Wall of Sound system.
Although this rig was in play for barely 2 years (it simply cost too much to implement and maintain), it changed the way sound professionals looked at PAs forever. In no small part, it was the grandfather of the new Bose L1 line array PAs.
There is a good Link Removed which details a lot of the technology behind the Wall of Sound. If you ever heard this PA live (I did on several occasions) you would know what I'm talking about. This system didn't have to be loud; it could loaf along using a fraction of its total power and just stun you with the clarity of the mix. The mix was clear and not muddy at 1/3 mile away. I was at one show where the bass had 4 separate stacks of 15" drivers -- one array for each string -- and each string of the custom Alembic bass was mapped to it's own 17-driver-tall stack of 15" drivers. Phil could literally throw the bass notes around the arena in a way I have never heard since.
Instrumental in the development of that PA was the book Acoustical Engineering by H F Olson, which all the sound guys as well as the band read.
Although this rig was in play for barely 2 years (it simply cost too much to implement and maintain), it changed the way sound professionals looked at PAs forever. In no small part, it was the grandfather of the new Bose L1 line array PAs.
There is a good Link Removed which details a lot of the technology behind the Wall of Sound. If you ever heard this PA live (I did on several occasions) you would know what I'm talking about. This system didn't have to be loud; it could loaf along using a fraction of its total power and just stun you with the clarity of the mix. The mix was clear and not muddy at 1/3 mile away. I was at one show where the bass had 4 separate stacks of 15" drivers -- one array for each string -- and each string of the custom Alembic bass was mapped to it's own 17-driver-tall stack of 15" drivers. Phil could literally throw the bass notes around the arena in a way I have never heard since.
Instrumental in the development of that PA was the book Acoustical Engineering by H F Olson, which all the sound guys as well as the band read.
The only thing better than 1 vertical array is 7. Stacked 13 high!
Damn I wish I could have went to one of those concerts.
Damn I wish I could have went to one of those concerts.
Do any of the Rumbles have two input channels ?
Not something I need, but just interested to know.
Not something I need, but just interested to know.
Swr founder steve w rabe was influenced by the phil lesh wall of sound when designing the first swr amps, which were used in the we are the world sessions.
Part of the rumble heritage is certainly gained from fender's aquisition of swr, especially cabinet design which also needs to be credited to david nordschow. It is a shame that swr died, but that is one of the not so nice strategies of fender, buy out companies then slowly lower the quality so the fender stuff seems better. Victims: guild, dearmond, heartfield, tacoma, swr, and possibly jackson in the future, certainly the production line jacksons are no where near as good as pre fender. Dog eat dog out there! I wish I never sold my pre fender tacoma thundercheif, that was a nice bass, it rumbled without an amp.
It isn't all bad, now the masses has a line of dirt cheap bass amps that sound really good. I just wish mr rabe didn't get out of the bass amp market, but that happened before fender got involved anyway.
Such is the nature of big business.
Part of the rumble heritage is certainly gained from fender's aquisition of swr, especially cabinet design which also needs to be credited to david nordschow. It is a shame that swr died, but that is one of the not so nice strategies of fender, buy out companies then slowly lower the quality so the fender stuff seems better. Victims: guild, dearmond, heartfield, tacoma, swr, and possibly jackson in the future, certainly the production line jacksons are no where near as good as pre fender. Dog eat dog out there! I wish I never sold my pre fender tacoma thundercheif, that was a nice bass, it rumbled without an amp.
It isn't all bad, now the masses has a line of dirt cheap bass amps that sound really good. I just wish mr rabe didn't get out of the bass amp market, but that happened before fender got involved anyway.
Such is the nature of big business.
Your cab's serial number is slightly lower than my cab's serial number. It seems your new cab was made in 2014, as was my new cab!
I recall someone mentioned the rubber feet issue, so I took some pictures.
I can see what he means, the rubber feet of the combo stand halfway on the metal protection corner of the 210.
It looks a bit off, it would have made more sense to mount the feet a bit further from the corners so they would stand on the cabinet instead.
Having said that, I didn't notice any wobbling, the 500 Combo sits nicely on the 210. Looks great as well.
Gonna check how they sound together this weekend.
View attachment 645644 View attachment 645645 View attachment 645646
I brought up the issue of the rubber feet. I repositioned the feet on my combo - much better. The feet have full contact with the 210 cab tolex now, no gaps.
Thanks for the pictures. I'm considering the same cover for the 500. Let us know what you think of the ext cab cover when it arrives.
Yes, I remember, great it solved your problem. Now it leaves nothing not to like
.It looks like an easy fix (just 1 screw for each foot) and I think repositioning can still cover the old screw hole.
If not, no sweat, I don't make a habit of looking underneath my amp anyway.
No problem, I will, may take a week or two though.
Some closeup pictures of the 500 cover.
The seams look nice and finished well and the material seems sturdy enough.
I know exactly what you are doing. I do almost the same thing except with no bungee chord. I have enough other stuff it doesn't move around. I also have a locking hard cover on my bed so nothing gets wet or walks away.
I spred the blanket on the tailgate
Put the amp face down on the blanket
wrap the sides of the blanket over the sides and top of the amp.
Slide it into place.
To get it out, I just grab a piece of the blanket and gently slide it to me.
I do plan to get a cover, but mostly for sitting in my garage storage area. It is actually enclose and not open to the garage, but I have a lot of things going on in that little room that creates dust.
I bought a 25 recently because my very old 15 blew out the speaker. I could have replaced that, but I wanted another v3 so would sound more like my 500. It sort of does, but it is close enough for practice.hey club!
my birthday is around the corner (2 weeks out) and i need to decide which v3 rumble to get to celebrate and to add to my collection. i have the v3-40, but im going tiny this time with either the V3 15, or 25.
i know, i know... they are not the popular, cool ones (per se) like a 210+115x500 that some of you have, but im pretty sure i want a 15 or 25... yes, i want onedrool.
im having a hard time deciding between the 15 and the 25 because; that 15 is just so darn cute, but for just $20 more, you get a contour button, and an overdrive effect. i dont like the 25's size because it's more close to my v3 40 in looks, but would it sound lightyears ahead of the 15?... i guess what im saying is that i equally like the size of the 15 over the 25, but i like the overdrive and contour buttons of the 25 over the 15. what am i going to do?! HALP #lol
V3 15:
V3 25:
i honestly haven't seen very much info about these 'babies of the line'. do they keep them in stock at GC? there's a new GC in my neighborhood that i can easily get to if they do. but - sweetawter is my hands down #1 choice. let me know. thank you. _dash
Just a happy little after the gig report.
Two weeks ago we played a venue that holds 800 people. It is sort of outdoors. It is open in the back and on one side. The stage is huge. We arrive and begin setting up. I was originally told the sound man would arrive between 5:30 and 6:00. Whe 6:00 rolled around and we were completing setup, I asked the floor manager when the sound man would arrive. What I got was a blank stare followed by, "nobody told us to have a sound man tonight." Great! There is a large but kluggy sound system. We start at 7:00. So we dive in and manage to get vocals working, but somehow can't get instuments in the FOH and we have no monitors at all.
We have drums and two guitars and me. After the first set, several people said I was too loud. I'm playing a Fender P Select straight into my 500 through a AKG wireless. I still have a hard time believing this little 36.5 lb box can do that. And sound really good doing it.
Two weeks ago we played a venue that holds 800 people. It is sort of outdoors. It is open in the back and on one side. The stage is huge. We arrive and begin setting up. I was originally told the sound man would arrive between 5:30 and 6:00. Whe 6:00 rolled around and we were completing setup, I asked the floor manager when the sound man would arrive. What I got was a blank stare followed by, "nobody told us to have a sound man tonight." Great! There is a large but kluggy sound system. We start at 7:00. So we dive in and manage to get vocals working, but somehow can't get instuments in the FOH and we have no monitors at all.
We have drums and two guitars and me. After the first set, several people said I was too loud. I'm playing a Fender P Select straight into my 500 through a AKG wireless. I still have a hard time believing this little 36.5 lb box can do that. And sound really good doing it.
The 200 combo with the cheap ampeg micro cl 210 was too loud to be put in the pa at a medium club, and I wasnt even close to cranked. The power modules and cabinet efficiency are pretty amazing on these things. I am not a 215 type, but some day I am going to try my swr son of bertha under it rather than putting it on its side and a 210 on top. Hell even geddy lee used all 15s in the hemispheres era, and the sob surprised me when I used it solo once. Im sure it will play nice with the 200, probably a perfect fit on its side.
