Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Fender Friday pics below. I'm here to say that the 100C can get it done with a hard-rocking, coffee-addicted drummer and string/vocal sections. My little 100 + 40 stack is dwarfed by my hi-fi set-up behind but has mo-bass where it matters. The voicing is tight, fast and articulate - slightly different descriptions of the same thing. SWEETNESS! Total weight, 40 pounds, a third of the other rig. My first gig with the little kit will be tonight. Note my awesome pedal board; a clean, flat signal from the 100 effects loop goes to the input of the 40 where an occasional chunk of Fender OD is all I'm using - or not. Rumble on.
Attachments
It was great! I shared the back line with the opening band so I got to hear another bassist playing through the rig from the audience perspective. It sounded great and really filled the stage area with sound at an outdoor show. We never even approached half way on the volume knob and could easily have covered the gig with one of the combos, but I really wanted to give the rig a run. Setup was quick with just the one cable to link them and the all tweaks were done from the top amp. The stack looks great on stage and was commented on by the band and our regulars as a huge upgrade. I'm quite pleased.
Gig report:
tl:dr More than enough bass.
Downtown San Jose had a Sharks game going so all of the bars had lines to get in, some longer than others. Parking was a challenge. The joint was jumpin'. Half of our tunes were original while we covered some classic rock and slow metal and opened with Born Under a Bad Sign at 10:00 PM sharp.
I had preemptively cut bass and low mid to 11:00 with indented (flat) hi mid and treble, no gain and volume at noon on the 12". The EQ on the 10" had bass and lo-mid flat with hi-mid, treble and gain boosted to ~ 1:00 with the vintage and bright buttons engaged along with occasional OD and volume again straight up. I was going for clean sub-bass with a grungy top end with "just enough clank" and got it. The bass itself was flat except for a minor treble cut. The pickup balance knob was all over the place for the different songs. I had to dial back the volume on the active bass.
Lead guitarist ran a Fender twin and and rhythm was on a DV mark with one 12" The comment I heard was that they were both too low for the vocal, drum, bass mix. We didn't use monitors and the PA was not placed where they could hear it well. We're pretty spoiled by our rehearsal/recording space.
As usual, I'm running wireless and bopping around all over the place. At the end of our set, a patron came up and offered to buy me a drink saying that he liked my energy. I don't usually drink (beer) but I took him up on it. He turned out to the be the bass man for the band that followed. More classic rock and a bit louder than us.
Let's talk bass. As far as I'm concerned, everything went great. The mini-stack killed it so I'm figuring that I will use it at the drummer's house and bring my PA back home.
tl:dr More than enough bass.
Downtown San Jose had a Sharks game going so all of the bars had lines to get in, some longer than others. Parking was a challenge. The joint was jumpin'. Half of our tunes were original while we covered some classic rock and slow metal and opened with Born Under a Bad Sign at 10:00 PM sharp.
I had preemptively cut bass and low mid to 11:00 with indented (flat) hi mid and treble, no gain and volume at noon on the 12". The EQ on the 10" had bass and lo-mid flat with hi-mid, treble and gain boosted to ~ 1:00 with the vintage and bright buttons engaged along with occasional OD and volume again straight up. I was going for clean sub-bass with a grungy top end with "just enough clank" and got it. The bass itself was flat except for a minor treble cut. The pickup balance knob was all over the place for the different songs. I had to dial back the volume on the active bass.
Lead guitarist ran a Fender twin and and rhythm was on a DV mark with one 12" The comment I heard was that they were both too low for the vocal, drum, bass mix. We didn't use monitors and the PA was not placed where they could hear it well. We're pretty spoiled by our rehearsal/recording space.
As usual, I'm running wireless and bopping around all over the place. At the end of our set, a patron came up and offered to buy me a drink saying that he liked my energy. I don't usually drink (beer) but I took him up on it. He turned out to the be the bass man for the band that followed. More classic rock and a bit louder than us.
Let's talk bass. As far as I'm concerned, everything went great. The mini-stack killed it so I'm figuring that I will use it at the drummer's house and bring my PA back home.
@ John B Jr: I have the same as you, the Rumble 100 + 40 v3. This is for stage sound only and you have front of house support, correct? For me the Rumble 100 has been loud enough without needing to add the 40. The guitar player commented that the amp was loud - it was set with gain and volume about 12 o'clock. I could hear over the drummer no problem.
I played 3 gigs with the Rumble 100 in the last week. The first gig was the bass amp only filling the room - no sound guy. Apparently the volume was fine, mind you on this gig there was no drummer. All 3 shows were in fairly small rooms - seating capacity maybe 100.
One nice thing about a Rumble 100 + 40 is that they are both very light. And you have a spare amp if needed.
I played 3 gigs with the Rumble 100 in the last week. The first gig was the bass amp only filling the room - no sound guy. Apparently the volume was fine, mind you on this gig there was no drummer. All 3 shows were in fairly small rooms - seating capacity maybe 100.
One nice thing about a Rumble 100 + 40 is that they are both very light. And you have a spare amp if needed.
That's mine, I bought it new back in 1999, still have it. See post #63 on page 4.
It's an amazing amp, I can't play it effectively in the house as it shakes the walls and windows too much. I've only gigged it twice, the last time was when the band I was in at the time opened for the Beach Boys in a 7,500 seat outdoor amphitheater in Virginia. Right now it's just sitting unused in my home studio. I've been thinking about selling it but the buyer would have to pick it up as it is too heavy and bulky to ship. The head alone is over 70 lbs.
IMO the tone is better than any of the modern SVT's I've played through in the past 40 years. It sounds much like the old silverface blue line '70's SVT's which were the best of the best. I haven't played through a 300T (or the Sunn from which it morphed) but both those amps have really good reputations.
I'm a fan of 2x15 cabs for outdoor or large room gigs, which is why mine has that '70's Peavey slot port cab shown in the earlier pic. The speakers are E-V 15BX's which are no longer made but are the best 15's I've ever tried...I have 3 cabinets loaded with them.
There are many great solid state amps available (I'm a big Mesa fan) but nothing matches the thunderous, crushing tone of a good 300-400 watt tube bass rig.
There appears to be one of these in ebay right now 2016 11 06 ....
Hey Mr. Bass,
The PA was strictly vocals and yes, the 100 would have been plenty of sound. The 40 is there for color as I have used bi-amp for a long, long time. A backpack for bass and cables and a Rumble in each hand ani I couldn't be happier.
Going on 2 years myself, black Friday 15% off guitar center 2014. $110 less than current street price. Added the 112 to it, good match.Fender Rumble Sunday for meso glad I bought the Rumble V3 200 combo, had it almost 2 years never a problem
.
Welcome!. I was out of town with no internet access this weekend. You are Rumbler # 689.
Rumble On!.
Thank you. Really digging the 500w head. It my be blasphemy but, it makes my two MIA Peavey's ('87 Foundation & '95 Fury) rock
It sounds like in the long run you need a bigger sound board, but immediately 1) if you're playing to a lot of seniors, plan on being loud-I do a seniors thing weekly; believe me! 2) If your outdoors especially in the open or on a roof, bring your big guns! Accordions and saxes cut through and run over anything! 3) I run a Rumble 500 cab through a 115 and 410 outdoors and never had complaints; volume nob works and disconnect a speaker if needed. Bring what ya got and plan on being versatile!Volunteers, me plus 1 or 2 guitars, sometimes an accordion guy comes, sometimes a lady with a sax, about 4-6 extras as singers. Not loud. Music for this one will include some Christmas songs and carols; along with our usual stuff like Sway, Love Me Do, Bad Bad Leroy Brown, you're 16, the wonder of you, can't help falling in love, georgy girl, try to remember, plus a monkees and Neil Diamond. so all over the shop - we are now privatising Fly me to the Moon and Take it Easy. Last shows audience included 80 yo's and downwards.
This show is at a big hostel in Sydney. A Christmas show for the homeless that feed and give a bed to on a daily basis.
On the roof because it is the only place they can smoke, and they won't come unless they can smoke.
Tonight I was told they are expecting up to 400. That may be widely exaggerated but I have no way to know.
Can you detail how you hooked the two together? Settings on the second amp?
I am guessing that you used the effects send but where did you send it??
I have one Rumble 500 Combo but thinking of another instead of the 2 X 10 cab?
Thanks!!!
No blasphemy there. I owned an early 90s fury that I sold in the late 90s, kind of regret that now, but back then a fury was the equivalent of a squier made in the USA in Mississippi. New they were cheaper than MIM fenders, and used so so bridge and electronics, at the squier or a little better level. I really liked the string tree that kept the a d g down rather than just the DG.
I recently got a milestone II, probably mid 90s Korea, and a likely mid 90s USA foundation for even cheaper. The milestone sounded good through the rumble, but I am still likely to put my spb-3 and some CTS pots in it. The foundation has the soap bar pickups. I will try it through the rumble tomorrow night. Neither of these basses have the cool fury string tree though, so you have to be careful not to cut too much off the a string.
The only blasphemy is when people say how much better they are than USA fenders. In find that not to be the case, in fact I was way happier with mim fender at least when I sold the fury to recoup some of the cost of the upgrade. Now bang for buck dollar wise yeah, the peavey is superior. But as an instrument itself, give me my fenders any day. But they cost 4-10x as much so it is all.relative. the milestone is a.backup for my p and the foundation is one for my jazz.
I still wish I had that fury though, it was 'murican. (And had maple board, both of.my recent cheap money peaveys are rosewood). I can't quite get the action low enough on the foundation because the truss rod min'd out where I still want a little more relief, or.perhaps it just needs a little.fret work.. But.for $40 including a thrashed hard case, and strung with still lively elixirs (which I moved.to my.jazz), I can put up with its shortcoming. It is quite a beater. I had a thread.going. on it the.other day. It was practically free. Now I want another fury.maybe a patriot and a super ferrite foundation. Might be willing to sell my sr500 to do that, but then again, maybe not. I now have 11 basses including my squier II that is cut up and in pieces, 10 functional, so likely I will.stop there unless another $50 wonder pops up in a 30-40 mile radius. The ibanez has a wenge/bubinga neck, which makes me.want to keep it. So I did.get.caught up.in the cheap beater peavey whirlwind recently.
DerekW is correct. Effects send from the top (master) amp tp the effect return of the bottom one. It doesn't matter how the controls are set on the slave amp as you are bypassing the entire preamp section and using the pre-amp of the master amp. The top amp controls work for both amps in this configuration.
Yes, they would, if you could connect them together, but as the 40 doesn't have an effects loop, you can't. When you connect two amps via the effects loop, you bypass the preamp section of the slave amp entirely, but both power amps are working. That means that all EQ'ing is done from the master and affects both amps, and you get the full power output on both. Thus, a 100 and a 40 together gives you 140 watts, two 100's would give you 200 watts and so on.
Each amp contains its own power, linking 2 amps takes place at line level, one never powers the other, they just slave off each other, or perhaps are linked by an ab box or stereo or other dual output pedal. 100-200-500 models with effects loop can be linked where one amp is the master and controls both amps, as @JakobT explained. In that case it is literally like using a powered extension cab, but if you use a splitter, you can dial each amp in separately like @John B jr was doing. The 40 being ran dirty and mid boost and the 100 handling the clean lows is a combo that makes sense, you can get a little louder that way by dedicating the 40w to higher frequencies where more power is not needed, you get more headroom and punch while the bigger amp on the bottom handles the lows.
