Fender Rumble Club

[nico485]

Did a little experimenting yesterday. Since I had an eminence 10" laying around, I thought I'd try it in my R40. It's 8ohm 200w so I figured if anything it would just not fart out if I cranked it.

Tried my best to listen critically to both music through aux input and playing with two different basses. I ran through everything with stock speaker. Then switched it out for the eminence. Ran through everything again... And I don't know that I heard a difference. I did dime the gain and master with no worries, but other than making the amp weigh a few pounds more, I couldn't perceive a difference. Of course, this was just a quick test and I'm no audiophile. So, I reinstalled the stock speaker for now. Put the eminence back in the closet. At least I know I've got a back up just in case.

Still loving this thing! It is everything I need at this size! I think I've finally got my 100 sold, but I hope to hang on to the 40 for a long time. Between it and my "new" Acoustic rig, I should be covered til I start doing outdoor festivals and arena shows lol.

Also, props to the Rumble club for being so active. Y'all have spoiled me on quick responses and comradery. Rumble on!

 

[btmpancake]

In another thread, a fellow TB'er opined that the Rumble series was unsuitable for professional use. I've heard this opinion before, and not being a professional I asked him exactly what he meant. I got a well-reasoned and interesting reply, with the main argument that the line out and effects send/return was post master, as well as some comments around general build quality. The last argument I can understand, even if I disagree, but the other two I'm struggling a little with. So I thought I'd head over to the Rumble Club and ask the opinion of you good folks. Is he right or wrong about this, and if so, why?

You can find the post in question here:

EBS Magni 500

I went there to read that guys post and I didn't want get into a pissing match with him, all I know is I had the money to buy any amp/combo on the market and tried a lot of them and Decided on the rumble line like we did. Let me get a drink or two and I just might let him have a piece of my mind and reasoning. And I'm not far from that point rat now as is.

 

[JakobT]

I went there to read that guys post and I didn't want get into a pissing match with him, all I know is I had the money to buy any amp/combo on the market and tried a lot of them and Decided on the rumble line like we did. Let me get a drink or two and I just might let him have a piece of my mind and reasoning. And I'm not far from that point rat now as is.

Well, he is entitled to his opinion, of course, and as stated previously, I've heard this argument before. But as an amateur player with very little experience, I was just curious as to why the design choices made by Fender in constructing the Rumble series in this way should be bad? I'm sure Fender must have been aware of the possible pros and cons of this arrangement, and that they designed it this way deliberately, rather than as the mistake he seems to think it is.

 

[Linnin]

In another thread, a fellow TB'er opined that the Rumble series was unsuitable for professional use. I've heard this opinion before, and not being a professional I asked him exactly what he meant. I got a well-reasoned and interesting reply, with the main argument that the line out and effects send/return was post master, as well as some comments around general build quality.

This is pretty typical of people that have never played through or used the features of the Rumble heads and 100 and up combos. The FX loop is perfectly usable in every way as is the XLR out. Plus better not tell the pros and semi-pros that are using Rumbles on stage and in studio! Build quality is far better than the competition! ampeg and Hartke for sure! GK is about on par with Rumble so I guess none of them are professional either. It is the tone and sound quality that really count as to whether or not something is professional and Fender amps have always been the pick of top professionals since 1946. I do not care what anybody says. Fender always has been and always will be the number one pick of top professionals world wide.

 

[JakobT]

This is pretty typical of people that have never played through or used the features of the Rumble heads and 100 and up combos. The FX loop is perfectly usable in every way as is the XLR out. Plus better not tell the pros and semi-pros that are using Rumbles on stage and in studio! Build quality is far better than the competition! ampeg and Hartke for sure! GK is about on par with Rumble so I guess none of them are professional either. It is the tone and sound quality that really count as to whether or not something is professional and Fender amps have always been the pick of top professionals since 1946. I do not care what anybody says. Fender always has been and always will be the number one pick of top professionals world wide.

The build quality thing I discounted at once. Sure, the Rumbles are light, that does not mean that they're fragile - they're obviously not. And even if they were, that would not disqualify them for professional use. Tube heads are fragile too, and nobody calls them toys on that account. I'm sure both the effects loop and the XLR out are very usable, but I only have a fuzz pedal (which I no longer use much, since the Rumbles have an overdrive built in), and I've never played with FOH support, so I really don't know why they should be regarded as unsuitable for professionals. What are the advantages and drawbacks?

 

[GregT]

In another thread, a fellow TB'er opined that the Rumble series was unsuitable for professional use. I've heard this opinion before, and not being a professional I asked him exactly what he meant. I got a well-reasoned and interesting reply, with the main argument that the line out and effects send/return was post master, as well as some comments around general build quality. The last argument I can understand, even if I disagree, but the other two I'm struggling a little with. So I thought I'd head over to the Rumble Club and ask the opinion of you good folks. Is he right or wrong about this, and if so, why?

You can find the post in question here:

EBS Magni 500

I just doesn't meet "his" professional needs. The line out thing is a commonly stated issue. I have used the line out on a huge outdoor stage. The soundman loved the line out on my Rumble 200. As far as build quality, they are built to be lightweight. So is Markbass. Lightweight is a sign of the future. He is simply living in the past. You cannot educate every stick.

 

[Linnin]

What are the advantages and drawbacks?

There is nothing wrong or unsuitable or unprofessional about the Effects loop at all, so this is a mystery. As for the XLR out, the greatest advantage is it saves you from buying a $200 mic to put in front of your rig. Fender's magic cabinet simulation circuitry puts out a perfect mic level signal, and all you need is a $20 mic cable. I forget who it was (maybe @bdplaid) that went into a recording studio and both he and the engineer were floored by how good the XLR out sounded and used it! Maybe someone should tell them how unprofessional that was.

 

[DerekW]

I guess I can't disagree with his opinion, he even says "IMHO"
But it is just that, his opinion.

But for another Person using the rig for exactly the purposes he's using it for, might find a rumble perfect.

As far as the build quality being "non-pro", I guess it depends on the definition. I'm guessing you won't see a rumble 500 on stage at a Rolling Stones concert, but I'm sure you'll see lots at a paid gigs in bars and small clubs. And that's their market, and they nailed it.

 

[Linnin]

As far as the build quality being "non-pro", I guess it depends on the definition. I'm guessing you won't see a rumble 500 on stage at a Rolling Stones concert, but I'm sure you'll see lots at a paid gigs in bars and small clubs. And that's their market, and they nailed it.

So if only semi-professionals play through Fender Rumbles, does that make them semi-professional also? Angeline Saris plays a Rumble rig on some gigs when she's not blasting away through her Fender Super Bassman & Bassman Pro 810 neo cabinet on stage with Zepparella. She also used the Rumble 500 in the studio recently too. Oops!

 

[Michael B]

I guess I can't disagree with his opinion, he even says "IMHO"
But it is just that, his opinion.

But for another Person using the rig for exactly the purposes he's using it for, might find a rumble perfect.

As far as the build quality being "non-pro", I guess it depends on the definition. I'm guessing you won't see a rumble 500 on stage at a Rolling Stones concert, but I'm sure you'll see lots at a paid gigs in bars and small clubs. And that's their market, and they nailed it.

Many of those big productions are using smaller setups mic'd backstage. So you won't see the stuff out front but it's not relevant. Weight is a cost issue for tours. I expect they will gravitate to lighter rigs just like the small guys. It all comes back to whether or not the 'pros' think it sounds great or not.

As far as not having the effects pre or post option, I have that option. Front of amp or use loop. Works fantastic!

I think some think a $800 DI is important for their tone.

The only really difference is the 'pro attitude'.

 

[DerekW]

So if only semi-professionals play through Fender Rumbles, does that make them semi-professional also? Angeline Saris plays a Rumble rig on some gigs when she's not blasting away through her Fender Super Bassman & Bassman Pro 810 neo cabinet on stage with Zepparella. She also used the Rumble 500 in the studio recently too. Oops!

Oh not at all! If you're out slugging your own gear into gigs and getting (under)paid, and under appreciated, bringing rock to the masses, getting home at 3am, then getting up at 7 cuz you have a day job, just because you love it, then you are the epitome of a professional!

 

[FirewalZ]

My primary gig rig is a combo, back in the day they were seen as "garageband" and beginner amps, and for some that stigma still may exist.
However, there has been so much improvement in tone, quality and portability, since the 80's and 90's, they are a real and valid option for players of all types, working pro to weekend warrior. IMO the two standouts on the market for tone, power, portability and price are GK and Fender Rumble. I own a GK MB212-ii, its thunderous, sounds great but has a more "modern" tonal footprint. Ive spent a lot of time with the Rumbles at my local GC and absolutely love the classic warm tones, matches a P with flats perfectly. I plan on getting a Rumble for use as an alternate choice on those gigs where i'm going more for that classic Fender sound.

 

[JakobT]

I just doesn't meet "his" professional needs. The line out thing is a commonly stated issue. I have used the line out on a huge outdoor stage. The soundman loved the line out on my Rumble 200. As far as build quality, they are built to be lightweight. So is Markbass. Lightweight is a sign of the future. He is simply living in the past. You cannot educate every stick.

I think you may be on to something. It wouldn't be the first time someone on TB confused his own personal preferences with some imaginary standard. Horses for courses as always, for professionals and amateurs alike.

 

[lowsideonacurve]

In another thread, a fellow TB'er opined that the Rumble series was unsuitable for professional use. I've heard this opinion before, and not being a professional I asked him exactly what he meant. I got a well-reasoned and interesting reply, with the main argument that the line out and effects send/return was post master, as well as some comments around general build quality. The last argument I can understand, even if I disagree, but the other two I'm struggling a little with. So I thought I'd head over to the Rumble Club and ask the opinion of you good folks. Is he right or wrong about this, and if so, why?

You can find the post in question here:

EBS Magni 500

Just gear snobbery at best, a blindfold comparison of a Rumble against "Pro" what ever would be interesting and claiming light weight is cheap construction is plain ignorance.

 

[bdplaid]

There is nothing wrong or unsuitable or unprofessional about the Effects loop at all, so this is a mystery. As for the XLR out, the greatest advantage is it saves you from buying a $200 mic to put in front of your rig. Fender's magic cabinet simulation circuitry puts out a perfect mic level signal, and all you need is a $20 mic cable. I forget who it was (maybe @bdplaid) that went into a recording studio and both he and the engineer were floored by how good the XLR out sounded and used it! Maybe someone should tell them how unprofessional that was.

yep, that was me. in a studio owned by ex-Allman Bros peeps.

 

[slap2much]

Did a little experimenting yesterday. Since I had an eminence 10" laying around, I thought I'd try it in my R40. It's 8ohm 200w so I figured if anything it would just not fart out if I cranked it.

Tried my best to listen critically to both music through aux input and playing with two different basses. I ran through everything with stock speaker. Then switched it out for the eminence. Ran through everything again... And I don't know that I heard a difference. I did dime the gain and master with no worries, but other than making the amp weigh a few pounds more, I couldn't perceive a difference. Of course, this was just a quick test and I'm no audiophile. So, I reinstalled the stock speaker for now. Put the eminence back in the closet. At least I know I've got a back up just in case.

Still loving this thing! It is everything I need at this size! I think I've finally got my 100 sold, but I hope to hang on to the 40 for a long time. Between it and my "new" Acoustic rig, I should be covered til I start doing outdoor festivals and arena shows lol.

Also, props to the Rumble club for being so active. Y'all have spoiled me on quick responses and comradery. Rumble on!

I swapped an Eminence Basslite S2010 into my Rumble 40 and it seemed to give me a decent amount of additional clean volume plus greater high end response. Added some foam to the back wall of the cab while I was in there too. I need to extend the ports a little to optimally tune the cab to the new driver, which probably would beef up the low end a little more, but as is it's a worthwhile improvement...also shed 2-3 pounds since this is a neo driver. It'd be interesting to A/B this against a stock R100 just to see how close it gets now.

It's not like there was anything lacking with the stock driver though.

 

[lowplaces]

Does the Rumble 500 combo have an extension speaker out ?

The online dealers don't show one on their specs pages.

tia

 

[Orangeclawhammr]

I was preparing to play at a new (to me) open mic a couple of days ago. I contacted the host who said I could play my bass through the PA, so I left my amp at home. It is rare that another bass player shows up at the open mics where I play, but it happened at this one. This guy did bring an amp. Since he was playing as part of a trio, so that might have been a good idea for him because one never knows how many channels the PA has. Anyway, his amp filled that coffee house very nicely. It sounded good, too. What was this amp? None other than a Fender Rumble 15. Small as it is, it did the job! Bedroom amp, my eye!!

Rumbles rule!!!




If I go back there, I'm takin' my 40.

 

[Linnin]

Does the Rumble 500 combo have an extension speaker out ?

The online dealers don't show one on their specs pages.

tia

Yes! Both the Rumble 200 & 500 combos do.

 

[GregT]

Does the Rumble 500 combo have an extension speaker out ?

The online dealers don't show one on their specs pages.

tia

Yes. Here is a picture.