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Fender Rumble Club

#12,401
Linnin said:
The first Rumble I ever heard was a V1 60! The generation Rumbles sold well for 7 years from 2003 until the V2's were released in 2010.
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My son, Victor, is the reason why I play the bass today.

Back in 2006, when he was in grade 8, he expressed interest in trying out for the grade 9 high-school jazz band as a bassist. So we went out and rented a basic Squier starter kit (Affinity P bass/Rumble 15) for him to practice on for the audition, not knowing how he was going to do. A few months later, he passed the audition no problem so that's when we decided to buy him a "real bass" - 2006 Fender MIM Precision Bass and a Fender Rumble 60 to go with it. He ended up playing for the jazz band for the next three years (gr. 9-11).

Meanwhile, around 2009, I was looking for a way back into music after a 20-yr hiatus and got turned on to the idea of taking up the bass, thanks to Victor, and here I am, 7 years later I'm still at it, more excited than ever to be a bassist!
 
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#12,407
settings were very simple and straightforward. Gain: I eventually settled on 10 o'clock as best sounding with my passive 2012 Fender American Standard Jazz strung in 6+ month old GHS Pressurewounds. I like the bass control at 12 o'clock high for zero boost/cut. The low mids ended up boosted a bit to 1 o'clock. High mids cut a tad to 11 o'clock. Treble cut to 9 o'clock. Horn Off. Master ended up at a stout 1 o'clock. I was a little too loud with plenty of volume/power left in reserve.
No voicings were engaged, as I really wanted to see & hear what I could wring out of it on my own.

Settings on the Jazz: Neck pickup favored by backing off the bridge pickup volume by 1/8th turn. Tone: just point it at the instrument cable/jack. This is about 1/4er open. This is the address for the best butcher shop in downtown Fenderland. The bass meat is fresh and delicious.

Together I had the best bass tone in town. Lots of good deep growl. Excellent attack with plenty of punch. No annoying boominess.
 
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#12,409
Linnin said:
settings were very simple and straightforward. Gain: I eventually settled on 10 o'clock as best sounding with my passive 2012 Fender American Standard Jazz strung in 6+ month old GHS Pressurewounds. I like the bass control at 12 o'clock high for zero boost/cut. The low mids ended up boosted a bit to 1 o'clock. High mids cut a tad to 11 o'clock. Treble cut to 9 o'clock. Horn Off. Master ended up at a stout 1 o'clock. I was a little too loud with plenty of volume/power left in reserve.
No voicings were engaged, as I really wanted to see & hear what I could wring out of it on my own.

Settings on the Jazz: Neck pickup favored by backing off the bridge pickup volume by 1/8th turn. Tone: just point it at the instrument cable/jack. This is about 1/4er open. This is the address for the best butcher shop in downtown Fenderland. The bass meat is fresh and delicious.

Together I had the best bass tone in town. Lots of good deep growl. Excellent attack with plenty of punch. No annoying boominess.
Click to expand...
I am writing down your settings also with my own for different venues with differnt room acoustics to help me save time on eqing the same rm again.
 
#12,410
@honeyiscool , this is how they fit.

To everyone else, original style versa (2008 in this case) hatchback, rumble 200 combo and 112. Of course the 500 would fit the same way. Likely a 210 would fit with the other seat folded forward, however it might be impossible to maneuver them in and out because it is a tight squeeze.
IMG_20160531_194730335.jpg
 
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#12,412
Linnin said:
Yes, and it's a closer match than I had at first thought. I am always impressed by just how deep the Eminence neo 12's can go. They sound pretty good together even at low personal practice volume. You can actually feel the difference in power and headroom going from 140 watts to the full 200. In adding the 112 there is a readily apparent 3+dB boost in SPL at the very same volume settings. Plus moving more air with greater overall dispersion. I can see where adding the V3 112 would be a good sonic match. Still if size; weight, and OCD cabinet matching aren't concerns, I'd opt for the V3 115.
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What are the logistics like? I mean "where do you put it?" If I recall, that cab was narrower than the 200, and as we know, it is not very practical to put anything on top of these combos. Did you set the 200 on its side, just put them side by side, etc...?

When I was loading out today, for poops and giggles I put the v3 112 on top of the combo. The fatty rubber feet actually left enough clearance (still would need 90deg plug) to turn the knobs. Of course on a tight stage it would be too hard to get to the knobs, and I could see it being a pain in the dark. I want to hear this new 12 directly without looking funny at an audition bending over in the middle of the song to listen to it.
 
#12,414
ubernator said:
What are the logistics like? I mean "where do you put it?" If I recall, that cab was narrower than the 200, and as we know, it is not very practical to put anything on top of these combos. Did you set the 200 on its side, just put them side by side, etc...?
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I just put it on top. The V2 112 is the same width as the V3 200c just not as deep, so full access to all the controls was available.
If the situation should ever arise that I actually needed the V2 Rumble 112 to move more air, I'd just use both of them with my Rumble 350 head.
 
#12,415
Linnin said:
I just put it on top. The V2 112 is the same width as the V3 200c just not as deep, so full access to all the controls was available.
If the situation should ever arise that I actually needed the V2 Rumble 112 to move more air, I'd just use both of them with my Rumble 350 head.
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Or just wait till you have a chance for a 115 to fall in your hands, you know you want another one of those 15s. Somehow I think the v3 200 2x15 would hold up well compared to the v2 350 2x12. Then you could have the option for a unique dual rig for budokan, 200c w 112 on top, and 350 w v3 115 on bottom and v2 112 on top. Or the tallboy tower of death, 15-15-12-12 with different options on how you hook it up.

115s are starting to show up used at lower prices, I see it in your future, but it is against the clairvoyant's code to reveal WHEN ;)
 
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#12,416
GaryLC said:
I'm an old rocker, playing in a classic rock band (Grand Funk, Steppenwolf, James Gang, etc.) This combo kicks ass, I'm not even diming it! I bought a 210 extension cab, have yet to use it.
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Yep. I keep thinking about adding a 2x10, but don't know if I need it. We do a lot of southern rock, Lynrd Skynrd, Marshall Tucker, and some classic rock and country. We are a 3 piece and we play at a reasonable volume.
 
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#12,417
BazzaBass said:
That's encouraging because from many of the comments I've read it seemed like an extension Cab was obligatory
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I keep thinking about getting one, but I don't know if it will add anything. I play with 2 different groups. One is a 3 piece that does a lot of southern rock, classic rock, and country. The volume is reasonable and I have no problems keeping up. My gain is usually at 9 and volume about the same when I'm using my G&L SB-2. If I use my Fender P Select, I have to up the volume to about 11 because the pups are not as hot as the G&L. The other band is 2 guitars and a drummer that can't play anything but loud. The first gig with them, I was told by friends in the audience to turn down because I was too loud.
If I were to play an arena or stadium (fat chance), I'd just go through the FOH. So far, the cost and an extra piece of gear to load and unload vs. what I would need it for keeps my from getting one.
If your playing with a bar band and you need an extension cab, you band is too loud.
 
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#12,419
GaryLC said:
I'm an old rocker, playing in a classic rock band (Grand Funk, Steppenwolf, James Gang, etc.) This combo kicks ass, I'm not even diming it! I bought a 210 extension cab, have yet to use it.
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I have the 210 extension and have only used it under another amp head. I was at Sam Ash yesterday and was astonished that the salesman didn't realize that the Rumble 500c had an extension cab option.
 
#12,420
I have come to a Rumble 500C conclusion--probably meaningless...but here it goes...

My personal belief is if volume is your concern--a single 500C without an extension will give enough for anything but an arena. There you are FOH anyway. I play in various sized venues with hardcore bands--it stacks up against the most ridiculous set ups--in volume. No question. These are events where I am forced to wear ear plugs or receive serious ear damage.

Now for tone--I can see adding and trying different extensions/cab and speaker sizes. But--seriously--don't be concerned about volume--the 500C will kick butt all day long.

EDIT: In most small and medium venues the 500C can, if cranked, drown out the FOH. Meaning the screamer can't be heard and whatever else goes FOH. It is that loud.
 
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