Good deal, thanks guys.
They look very enticing, especially with the light weight.
They look very enticing, especially with the light weight.
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I can't comment on the effects loop, but the XLR is fantastic. The last two gigs I played, the sound guy used the XLR out for FOH mix. I told him straight up what to expect. From everything I've heard, my tone was fantastic throughout both gigs, and the sound guy had no problems with it. Did a 6 song demo in February, again using the Rumble with the XLR out, and no issues, positive comments from the engineer, and no worries. Lastly, used the XLR with my digital recorder to record me playing so I can capture any song writing ideas. Sounds great!
I've used my Rumble 500 combo, with extension cab more often than not, on rehearsals and gigs for a year now. I would not use them if I didn't think they could take the punishment, and I know they can.
I used the FX loop to send the preamp signalfrom the Carvin to my Rumble. It can go either way, and I'll bring the Rumble home tomorrow so I can try all the combinations this week.
Equip is Rumble 200C, Carvin MB10, Carvin 115MBE.
Equip is Rumble 200C, Carvin MB10, Carvin 115MBE.
This is interesting, I never thought about changes on the r40 because it sounded so good as is-but now that you mention it-I'm going to look into adding a fx loop on the r40 for added ft pedal enhancement and quietness. DISCLAIMER; I really don't want to touch my r40, maybe find a used one to experiment with.
I agree it does sound good as is! The only reason I did anything was because I had the Eminence speaker already. If these things had an effects loop, it would be the perfect smaller amp! Fender should've done this from the factory.
Price. EDIT; I'm going to also look into the eminence s2010 200w speaker, if I can get just a little more out of the r40 then I won't need the 112 combo.
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It seems that it all comes down to personal preference in the end. I can't see the design of the Rumble being a problem for me at any point, but apparently it is to some, and they are of course free to pick whatever amp they like. Still, it was very interesting to hear both sides of the story, and I've learned a little on the way, so it's all good
Haven't been to this thread in over a year. Still loving both the 500 and 40 combos. In that period of time, I've had the usual GAS for basses and effects, but have not shopped for another combo since getting these...
Quick question: I know this has been covered earlier in the thread, but just looking for any quick synopsis on how people are getting their rumbles "growly" (eg, how are you setting gain vs master volume; EQ; buttons). I have an active Jazz with round wounds, so the basic tools are there...just looking for someone's 'quick tips' as a starting point.
Quick question: I know this has been covered earlier in the thread, but just looking for any quick synopsis on how people are getting their rumbles "growly" (eg, how are you setting gain vs master volume; EQ; buttons). I have an active Jazz with round wounds, so the basic tools are there...just looking for someone's 'quick tips' as a starting point.
The secret is in the mids. Mine is set at 1:00 for low mids, and 3:00 for high mids. Everything else is flat, no buttons.
^^^Truth^^^ 'Growl' is always found in the low midrange. 'Snarl' in the high midrange. The V3 Rumble's frequency centers of 280Hz, and 1.2kHz respectively are perfectly chosen.
For any bass player into fine tone sculpting, the Whirlwind Bass X EQ is brilliant with ten perfectly chosen frequencies. This is what I use. It's dead quiet, and studio quality clean. Works extremely well in the FX loop.
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CharlyG,
Great EQ tips. This setting sounds great with my Jazz in both active and passive modes (with balancing the two J pickups slightly favoring the bridge for slightly more bite) and my Stingray. With those settings plus the bright button engaged, the Jazz really starts to grind (the Stingray gets too bright, though).
Great EQ tips. This setting sounds great with my Jazz in both active and passive modes (with balancing the two J pickups slightly favoring the bridge for slightly more bite) and my Stingray. With those settings plus the bright button engaged, the Jazz really starts to grind (the Stingray gets too bright, though).
Plus you are going to have to tweak your EQ according to your room; volume, and mix. It isn't as easy as being in the studio where you EQ to your very best most desired sound.
I sold a v2 Rumble 350 combo and bought a v3 Rumble 500 combo.
Pretty close in power.
I like the tone of the v3 better.
More to the point, I like my ability to dial in the tone I want on the v3 better.
The big differences for me:
Weight. The v2 is something like half the weight of the V2. I'm a senior citizen; this matters!
Extension speaker jack.
I still like my Fender Rumble 350 head. Very clean and responsive in a modern jazz or clean country kind of way. The Overdrive is much more pedal like, and I enjoy using it. The V3's overdrive is totally tube like in it's origin as is the upgraded Delta-Comp. This is the secret sauce to great rumble tone. The Vintage voicing is totally unique to the V3 Rumble line.
I can get nice light growl/grind on my rumble 200 set flat only by playing hard between the neck pickup and the neck. There's some string noise on the frets that works really well with the rumble. I find it easier when playing with a pick.
If needed I push a bit the mids.
If needed I push a bit the mids.
And volume! There is no substitute for high volume. Super growl masters Ox; Chris Squire, and Geddy Lee were no strangers to LOUD. Crank It Up! Did someone say Lemmy?
