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Alright, I've decided on the 410. For those of you who have it, what number of pins does the SpeakOn have?
We had a first-shift gig opening for a metal trio. The bassist for that group was sporting a pair of 8X10 cabs and a racked head, all Amp*g. He was shaking my innards from clear across the venue where I would have to stand directly in front of my 2X15 stack to feel that much pressure.
So instead of piling up my Rumble combos, I put one on a stand a pointed it back towards the drummer though he already had a monitor behind him. This way, I was showing the audience a single 12" and bouncing the other cab off of the back wall. It worked great for our classic rock set but there's no denying the power of 16 tens, visually or sonically.
So instead of piling up my Rumble combos, I put one on a stand a pointed it back towards the drummer though he already had a monitor behind him. This way, I was showing the audience a single 12" and bouncing the other cab off of the back wall. It worked great for our classic rock set but there's no denying the power of 16 tens, visually or sonically.
Please add me to the club. Picked up a Rumble 40 at GC yesterday (used the President's Day coupon!) and played at a party last night. Great sound and I love the light weight!
18 pounds of thunder, a 40 is a lot of Rumble for the money. Welcome to the club, bluegrassboy. You've chosen wisely as the amp has built-in limitations that prevent you from killing the speaker - unless you see that as a challenge and want to destroy your gear. I'm not sure how I would go about it. I once took a 15 to rehearsal and dimed everything. Everything! It sounded like someone playing bass lines on a guitar but no damage to the system.
Thanks! I almost bought the 25, but thought better of it (especially with GC's coupon.) I usually just play small acoustic sets, or "pickin' parties" here in Nashville. The 40 should easily be able to handle that. I played a pickin' party last night that must have had 8 or ten acoustic guitars, a fiddle and a mandolin all going at once. The 40 (and my MIM P-Bass) cut through that just fine.
Another epiphany with my Rumble 500.
Just thought I'd share an update on my journey with the Rumble 500.
Over the summer, I simultaneously came across two incredible deals on two amps: A GK 700rbii (that I was had, then sold, then missed) and a Genzler Magellan 800. When I say incredible deals, I really mean incredible deals. So I thought to myself - I've been meaning to get the Rumble 210 cab to go with the 500 combo...now I have a great execute to do that so it could also pair with these heads. Before long, I bought all three.
So where's the epiphany in all this: IMO, the Rumble 500 combo holds its own up against both the GK and the Genzler. It doesn't replicate the GK grind, but you can dial in a very nice grind on the 500 that has its own nice character. It doesn't quite do the Genzler super clean and transparent tone, but the variety within the 500 really lets you get in the neighborhood of many of the Genzler tones as well.
I can't get myself to part with any of the amps, but the experience has reminded me how good the Rumble really is. I wonder if the casual buyer who walks into a big box store and buys one largely because of the Fender name realizes what a great choice they made regardless of their playing style or music genre preference.
Just thought I'd share an update on my journey with the Rumble 500.
Over the summer, I simultaneously came across two incredible deals on two amps: A GK 700rbii (that I was had, then sold, then missed) and a Genzler Magellan 800. When I say incredible deals, I really mean incredible deals. So I thought to myself - I've been meaning to get the Rumble 210 cab to go with the 500 combo...now I have a great execute to do that so it could also pair with these heads. Before long, I bought all three.
So where's the epiphany in all this: IMO, the Rumble 500 combo holds its own up against both the GK and the Genzler. It doesn't replicate the GK grind, but you can dial in a very nice grind on the 500 that has its own nice character. It doesn't quite do the Genzler super clean and transparent tone, but the variety within the 500 really lets you get in the neighborhood of many of the Genzler tones as well.
I can't get myself to part with any of the amps, but the experience has reminded me how good the Rumble really is. I wonder if the casual buyer who walks into a big box store and buys one largely because of the Fender name realizes what a great choice they made regardless of their playing style or music genre preference.
I picked up a Rumble 40 yesterday as well. My two favorite small combos in the past were a Fender sidekick 50, and a Peavey Basic 50. The Rumble 40 fills that niche for me in 2017 - good to hear about your positive experience!
My local GC had the 200 marked down to $369 for the sale. Tempting, but overkill.
Played the slidebar again with the system of a down tribute, drop c, epiphone thunderbirds. New drummer showed up on time so we had a sound check. The 200/112 stack was solid as usual, but I decided to see what it could do volume wise, and it is in fact, a 200w amp, meaning that I didn't have much more headroom than my solid stage volume, so master at 9 o clock was pretty much about almost the max at drop C. Plenty for stage volume, but no way it could have carried the room alone. Especially with that crowd, they are louder than the PA! Sub's were thumping the kick and bass of course, it was powerful. The line out is great, it doesn't even fuzz out too bad with the obd-3!
In this case, having the 115 instead of the 112 would have given more headroom for the drop c, but it would not sound as tight. I still want a 115 in the combo form factor, that would be ideal. If a 210 popped up cheap enough I might grab one. The 112/210 would probably work well with my b600h instead of the big heavy Goliath cabs. Would go for a 500 head too, but the money is not really there now.
In this case, having the 115 instead of the 112 would have given more headroom for the drop c, but it would not sound as tight. I still want a 115 in the combo form factor, that would be ideal. If a 210 popped up cheap enough I might grab one. The 112/210 would probably work well with my b600h instead of the big heavy Goliath cabs. Would go for a 500 head too, but the money is not really there now.
Not the best quality, and not one of the songs I was really moving around much on.
I think it's fun and a bit of a statement to have downsized from the fridges, playing in a doom trio, where in the genre, amp worship is the norm these days. Can't wait to get my 210 cab for my 500 combo. I've been playing massive Mesa or Orange 810s for a long time, but since hearing what the Rumble setup can do, hauling 810s around just makes no sense anymore. From our last tour, the hassle with the gigantic Orange cab was the single worst part of gear handling. My first gig with the 500 combo + a Mesa 15" had all the gut-rattling volume I had with my previous gear.
Never looking back!
I use the 2x10 extension. You will be loud enough. If you turn the master past 11 you will be too loud.
Agreed. In my glory days, I used to roll with a Sunn 4x10 combo that sat atop a Sunn 2x15 cab. I say "roll" because they had casters. We had roadies! Prior to that, my up-and-comer rig was a Bassman 135 with a matching Fender 2x15. That didn't get out of the garage much; too big for the trunk of my '66 mustang.
What could fit was a JBL MR802 stage monitor with another in the front seat and a QSC 850 on the floor and bass(es) in the back seat. That was/is my rig for the last 20 years minus the one that I've been on the Rumble train. Really, only the Sunn rig could make you feel like you were at a concert even without FOH support. So, would I like it back or even a 16x10 rig? Only if it comes with "Animal", my roadie.
Very nice! Do you usually keep those eq settings the where they are? I'm still trying to dial in "my tone" (I know...a never-ending quest for the holy grail!) But I think my highs are too high, but I don't want to get too boomy either if I boost the bass too much. I typically keep gain and bass at noon. I also have an active bass...I'm not sure if I should not boost the bass settings and just use the amp eq, or boost both?
I actually start with the Bass at about 9:00 and go up from there...
I generally think of EQ as a subtractive process. Setting aside mid-sweep for voicing, bass rolled off just under the center indent will shelve some of the rumble and a fraction of attenuation on the treble to cut the clank gives me a sweet and rich solo sound. Treble back up to the center or maybe a little forward when the band needs some modern appeal. The four-knob EQ on the amp(s) are similar but tuned to the room and left alone for the most part.
Editing to add that the one knob I use most is the p/u balance knob, from fat and bluesy neck to tight and barking bridge with a full spectrum between with minimal -and desired- impact to the PA.
As far as the new cab, I have not had a chance to try it out. My wife also works from home and is in her office at the front of the house, so I will have to wait until she is out of the house before I can really see what it sounds like.
The cabinet logo matches the 1970's style logs on the Bassman Pro Series. The Rumble combo logos are from the early pre-CBS 1960's. Take your pick.
Take your rig out side and blast it! When the approaching sirens are louder than your Rumble, it's time to shut down. Eazy-Peazy Lemon Squeezy.
