Fender Rumble Club

[ubernator]

Wow. That seems, um, like a design flaw.

Do other brands/types of basses do this?

The pickups on a Fender Jazz are reverse wound, reverse polarity from each other. When they are both on ten there is phase cancellation that is most noticeable. Turning one down just a bit diminishes the phase cancellation noticeably. The pickups also are hum cancelling.

It has a different quality than a Precision. So it's a design choice for all of these reasons and not a flaw. A Jazz is brighter, in mids and highs and less emphasis on the lows. With the pickups spaced wider apart, and the 2 volumes the Jazz arguably has more options. Fans of the Precision, though love it's unique sound.

Many players have one of each to cover a wider variety of styles.

Thank you for this excellent explanation. It makes sense.
(I just have never played a Fender bass so it is all new to me.)

Actually, all it is is the fact that the pickups are wired in parallel, all basses with pickups in parallel will give a slight mid scoop when both pickups are on, and a slight drop in volume due to impedance loading. But the low end does not drop out. It is not phase cancelation so much, otherwise the lows drop out considerably. What is being described here is just the mid scoop, which goes away when one pickup is backed off to about 80%. Everything is still in phase on a normally wired jazz bass.

A series switch like an S1, will raise the impedance and also trade the mid scoop for a mid bump. This is why p bass cuts through, series coils give that mid attack, but with slightly less high and low content than a parallel circuit provides.

 

[Michael B]

Actually, all it is is the fact that the pickups are wired in parallel, all basses with pickups in parallel will give a slight mid scoop when both pickups are on, and a slight drop in volume due to impedance loading. But the low end does not drop out. It is not phase cancelation so much, otherwise the lows drop out considerably. What is being described here is just the mid scoop, which goes away when one pickup is backed off to about 80%. Everything is still in phase on a normally wired jazz bass.

A series switch like an S1, will raise the impedance and also trade the mid scoop for a mid bump. This is why p bass cuts through, series coils give that mid attack, but with slightly less high and low content than a parallel circuit provides.

Yeah. Thanks for the correction.
- The RWRP provides the hum cancel.
- the 2 pickups spaced further apart provide the different sound than a P. Neck PU a rounder sound. Bridge PU the punchy sound.
- the 2 at 10 a mid scoop.

 

[JakobT]

feeble attempt at mixing off-topic and on-topic:

I really like the "over-proof" whiskies because the flavors of the whisky and the barrel aging resonate better with the higher alcohol content. A'bundah (which is generally around the 120 proof mark) has such a lovely balance of alcohol heat and intense flavors. And because of the higher alcohol content, the higher price still delivers great value for the money. Perhaps it might be viewed as the Rumble 500 of whisky; I don't really need a whisky or an amp that is so powerful but the subtle nuances and the intensity of the delivery are there in both. Either product can be enjoyed at a low level or instead, cranked up for a stunning experience.

And both products go very well with a fine cigar!

More importantly, the A'bunadh is not chill-filtered like most whiskies, which preserves a lot of the oils and esters that gives extra flavour.

 

[Gravedigger Dav]

And now for something completely different.

 

[OldFunBass]

And now for something completely different.

Whiskey, cigars, and Python....All the finer things in life.

 

[Linnin]

And now for something completely different.

Fan mail from Leo Fender?

 

[YosemiteSam]

I've been using a Rumble 500 2x10 combo for about 3 years now. It works great, is pretty flexible, and is more than loud enough for any situation I care to play in. While loading in/out I've gotten several comments that my bass amp is lighter than some of the PA cabs.

A lot of the gigs I'm currently doing are acoustic instrument based, lightly amplified. I just picked up a Rumble 40 which I use as both a practice amp and intend to use as a gig amp for these quieter shows. It even works quite well with my upright, though there I front-end it with a Tonebone PK-Pre(amp) for the hi pass filter and extra EQ.

The 40 seems to be voiced a little darker than the 2x10, but I fiddled with it extensively yet, as I just got it Tuesday and had a gig that night. (For the record I usually leave the horn in the 2x10 off, so it isn't that.) That's not a complaint, just an observation. I used it at rehearsal last night with a different band and it worked great. I like that the 40 uses basically the same preamp section as the 500.

 

[Trucky]

Request permission to come aboard. 1st post, 1st bass, 1st Fender...

New Fender Rumble 100. I'm new to bass after over 50 years on guitar, about 17 of those playing acoustic rhythm for a Praise & Worship group. I've got a Dean Hillsboro (they said). Had it setup and put on some GHS Precison Flats. It plays real nice to me. Also came across a nice sounding Epiphone El Sugundo AEB. Had it setup too and put on some phosphor bronze to get better volume out of it. I'm enjoying learning bass and have spent way too much time reading here on this forum.

Thanks for all the sharing... Ken

 

[beaglesandbass]

Got to play around with my 500 combo for the first time after getting it, and I love it as much as I did in the store. It just sounds home to me.

Now the question of the day, do I get the 2x10 extension cab? If I do that, then I have no reason to keep my GK MB800 and GK CX410, but I love them too.

 

[Dels]

Hey guys!

I finally used my Rumble 200 in a live gig last week (after learning 45 new songs in a week to join that band... drool) and I found that the sound I used at home in the garage cause it was awesome, completely lost its character and became very oomphy with not a lot of definition... I understand this is to be expected and I was thinking I would need some minor changes, but I was stunned by how it didn't work out at all as I had hoped.

It was my first gig with them and we barely even had the time to do a sound check so I just went with it but it didn't feel right and I wanna fix this.

Now a couple follow-up questions, do you guys actually make a lot of changes to your rumble's EQ before sending the DI link to the board? I was flat at noon on all counts with the contour button enabled.

Also, I thought I had read that the master didn't affect the signal that was sent to the board, but after my tests I found that changing the master on the amp actually changed the signal at the board... very disappointed in that as I was hoping I could give myself a little headroom for the late night heavier stuff without affecting the PA sound... I have to disclose that this test was done with my second hand Rumble 200 that I purchased as a backup, but they have the same model number and such so I am not expecting different results. Any comment on that?

Thanks for the help as always!

 

[beaglesandbass]

Hey guys!

I finally used my Rumble 200 in a live gig last week (after learning 45 new songs in a week to join that band... drool) and I found that the sound I used at home in the garage cause it was awesome, completely lost its character and became very oomphy with not a lot of definition... I understand this is to be expected and I was thinking I would need some minor changes, but I was stunned by how it didn't work out at all as I had hoped.

It was my first gig with them and we barely even had the time to do a sound check so I just went with it but it didn't feel right and I wanna fix this.

Now a couple follow-up questions, do you guys actually make a lot of changes to your rumble's EQ before sending the DI link to the board? I was flat at noon on all counts with the contour button enabled.

Also, I thought I had read that the master didn't affect the signal that was sent to the board, but after my tests I found that changing the master on the amp actually changed the signal at the board... very disappointed in that as I was hoping I could give myself a little headroom for the late night heavier stuff without affecting the PA sound... I have to disclose that this test was done with my second hand Rumble 200 that I purchased as a backup, but they have the same model number and such so I am not expecting different results. Any comment on that?

Thanks for the help as always!

FWIW, I never use contour in a live setting. It sounds great at home, but mids are needed in a live situation. I tweak a little on the amp, but nothing more than the knobs at 11am-1pm. I do most of my eq on my bass on the fly.

 

[Gravedigger Dav]

Whiskey, cigars, and Python....All the finer things in life.

Not these. It is about the worst scotch whiskey there is and Swishers, well, to be blunt, t

I've been using a Rumble 500 2x10 combo for about 3 years now. It works great, is pretty flexible, and is more than loud enough for any situation I care to play in. While loading in/out I've gotten several comments that my bass amp is lighter than some of the PA cabs.

A lot of the gigs I'm currently doing are acoustic instrument based, lightly amplified. I just picked up a Rumble 40 which I use as both a practice amp and intend to use as a gig amp for these quieter shows. It even works quite well with my upright, though there I front-end it with a Tonebone PK-Pre(amp) for the hi pass filter and extra EQ.

The 40 seems to be voiced a little darker than the 2x10, but I fiddled with it extensively yet, as I just got it Tuesday and had a gig that night. (For the record I usually leave the horn in the 2x10 off, so it isn't that.) That's not a complaint, just an observation. I used it at rehearsal last night with a different band and it worked great. I like that the 40 uses basically the same preamp section as the 500.

According to @Linnin, the preamps from the 40 through the 500 are the same. My guess is the difference you are hearing is in the speakers and cab.

 

[Gravedigger Dav]

Hey guys!

I finally used my Rumble 200 in a live gig last week (after learning 45 new songs in a week to join that band... drool) and I found that the sound I used at home in the garage cause it was awesome, completely lost its character and became very oomphy with not a lot of definition... I understand this is to be expected and I was thinking I would need some minor changes, but I was stunned by how it didn't work out at all as I had hoped.

It was my first gig with them and we barely even had the time to do a sound check so I just went with it but it didn't feel right and I wanna fix this.

Now a couple follow-up questions, do you guys actually make a lot of changes to your rumble's EQ before sending the DI link to the board? I was flat at noon on all counts with the contour button enabled.

Also, I thought I had read that the master didn't affect the signal that was sent to the board, but after my tests I found that changing the master on the amp actually changed the signal at the board... very disappointed in that as I was hoping I could give myself a little headroom for the late night heavier stuff without affecting the PA sound... I have to disclose that this test was done with my second hand Rumble 200 that I purchased as a backup, but they have the same model number and such so I am not expecting different results. Any comment on that?

Thanks for the help as always!

The balanced line out on the Rumble is post everything, so any change you make will affect the board.
I think maybe using the contour button may have caused the oomphy sound. you're just going to have to experiment with it to get the sound you want.

 

[Dels]

FWIW, I never use contour in a live setting. It sounds great at home, but mids are needed in a live situation. I tweak a little on the amp, but nothing more than the knobs at 11am-1pm. I do most of my eq on my bass on the fly.

The balanced line out on the Rumble is post everything, so any change you make will affect the board.
I think maybe using the contour button may have caused the oomphy sound. you're just going to have to experiment with it to get the sound you want.

Yep... Learned that the hard way!! It's all good, now I know better so this week's show will be even better!

Thanks guys

 

[GregT]

Hey guys!

I finally used my Rumble 200 in a live gig last week (after learning 45 new songs in a week to join that band... drool) and I found that the sound I used at home in the garage cause it was awesome, completely lost its character and became very oomphy with not a lot of definition... I understand this is to be expected and I was thinking I would need some minor changes, but I was stunned by how it didn't work out at all as I had hoped.

It was my first gig with them and we barely even had the time to do a sound check so I just went with it but it didn't feel right and I wanna fix this.

Now a couple follow-up questions, do you guys actually make a lot of changes to your rumble's EQ before sending the DI link to the board? I was flat at noon on all counts with the contour button enabled.

Also, I thought I had read that the master didn't affect the signal that was sent to the board, but after my tests I found that changing the master on the amp actually changed the signal at the board... very disappointed in that as I was hoping I could give myself a little headroom for the late night heavier stuff without affecting the PA sound... I have to disclose that this test was done with my second hand Rumble 200 that I purchased as a backup, but they have the same model number and such so I am not expecting different results. Any comment on that?

Thanks for the help as always!

When I use my 200 live, I turn both of the highs up to about 3:00. Sounds extreme, but it just works for me. It doesn't sound great at home though. Fender American Standard Precision with TI flats. I don't usually use any of the buttons except at home at low volumes. You might try cranking the highs up and see how it sits in the mix!

 

[Gravedigger Dav]

When I use my 200 live, I turn both of the highs up to about 3:00. Sounds extreme, but it just works for me. It doesn't sound great at home though. Fender American Standard Precision with TI flats. I don't usually use any of the buttons except at home at low volumes. You might try cranking the highs up and see how it sits in the mix!

I can see the settings that high for flats, but I'm not so sure it would work for rounds, particularly for a bright set. But, it is worth mentioning and trying. I typically run gain about 10:30, vintage on, all other buttons off, lows at about 10 and the rest at 12, and master between 9 and 11 depending on the room size.
This is on my 500c with the 2x10 ext. I am usually playing a G&L SB-2T.

 

[Linnin]

The 40 seems to be voiced a little darker than the 2x10, but I fiddled with it extensively yet, as I just got it Tuesday and had a gig that night. (For the record I usually leave the horn in the 2x10 off, so it isn't that.) That's not a complaint, just an observation. I used it at rehearsal last night with a different band and it worked great. I like that the 40 uses basically the same preamp section as the 500.

The front ends of the Rumble 40 thru 500 are all identical. The big differences with your Rumble 40 would be the Class AB power amp vs Class D ICE Power; Fender Special Design (not Eminence) 10" woofer, and smaller cabinet. It all adds up.

 

[FirewalZ]

Hey guys!

I finally used my Rumble 200 in a live gig last week (after learning 45 new songs in a week to join that band... drool) and I found that the sound I used at home in the garage cause it was awesome, completely lost its character and became very oomphy with not a lot of definition... I understand this is to be expected and I was thinking I would need some minor changes, but I was stunned by how it didn't work out at all as I had hoped.

It was my first gig with them and we barely even had the time to do a sound check so I just went with it but it didn't feel right and I wanna fix this.

Now a couple follow-up questions, do you guys actually make a lot of changes to your rumble's EQ before sending the DI link to the board? I was flat at noon on all counts with the contour button enabled.

Also, I thought I had read that the master didn't affect the signal that was sent to the board, but after my tests I found that changing the master on the amp actually changed the signal at the board... very disappointed in that as I was hoping I could give myself a little headroom for the late night heavier stuff without affecting the PA sound... I have to disclose that this test was done with my second hand Rumble 200 that I purchased as a backup, but they have the same model number and such so I am not expecting different results. Any comment on that?

Thanks for the help as always!

The eq may take a bit to get used to.....the Rumbles are a bit low/low-mid forward, so I start with the bass cut at 9:00, both mids at 1-2:00 and high at 10 or 11. Also expire meant with the tweeter setting, it does make a difference.

 

[basslust]

Hey guys!

I finally used my Rumble 200 in a live gig last week (after learning 45 new songs in a week to join that band... drool) and I found that the sound I used at home in the garage cause it was awesome, completely lost its character and became very oomphy with not a lot of definition... I understand this is to be expected and I was thinking I would need some minor changes, but I was stunned by how it didn't work out at all as I had hoped.

It was my first gig with them and we barely even had the time to do a sound check so I just went with it but it didn't feel right and I wanna fix this.

Now a couple follow-up questions, do you guys actually make a lot of changes to your rumble's EQ before sending the DI link to the board? I was flat at noon on all counts with the contour button enabled.

Also, I thought I had read that the master didn't affect the signal that was sent to the board, but after my tests I found that changing the master on the amp actually changed the signal at the board... very disappointed in that as I was hoping I could give myself a little headroom for the late night heavier stuff without affecting the PA sound... I have to disclose that this test was done with my second hand Rumble 200 that I purchased as a backup, but they have the same model number and such so I am not expecting different results. Any comment on that?

Thanks for the help as always!

I actually use a DI box so that I can send the pure signal to the mixer and then alter the EQ as necessary on the amp to work the dynamics of the room. I find that the Rumble will be a bit too boomy at the 12:00 position for a lot of rooms, so I usually keep it more around the 10-11 position.

For the record, my usual settings are something like:
Gain: 11:00
Bass: 11:00
Lo-Mid: 12:30
High Mid: 1:30
High: 1:00
All extras on the amp off (OD, Bright, Contour, and Vintage). Sometimes I use my cabs with the tweeter at 50%, other times I use it completely off.

 

[ubernator]

For sure contour is a no no unless going for a "transparent" bass sound a-la reggae. Otherwise you need the mids. If it is fresh rounds on a snappy bass and you are slapping the whole time, and using the tweeter and added high mids and highs, then contour works well. But otherwise, say no to contour on stage.

I don't usually go as high as 3:00 but frequently at 2:00 on the last 2 eq knobs, and hover around noon on the lows or lower, and tend to bump up the low mids a tad, but sometimes I cut them too.

Rumble with all at noon does tend to be bottom heavy, and contour just adds to that (but not as much as vintage does)

I used to use bright almost all the time, with the tweeted off. But I get feedback with the overdrive, and I now also keep my gain farther back too, that helps too.