• 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 Rumble Club

#17,761
EdO. said:
Question regarding the Overdrive circuit. I got an on/off switch so I can kick in the OD on my 500 v3 at will. I notice that when I turn it on I get a volume boost and it's noticeably more trebley (is that a word??). That normal? Settings are both Drive and Level knobs at around 11 0'clock-ish. Gain at noon, Master to suit.
Click to expand...
The level knob is there so you can balance the overdrive sound with the non overdrive sound. Consider the master as the volume control for your "clean channel" and the level the control for the "overdrive channel". You just need to adjust the level control to balance it. It is really a one channel amp, think of the level control the same as the level control on an overdrive pedal, which is usually set so the level of clean and overdrive levels is the same. Or not, if you want to use it as a " boost ".

About a gnarly treble boost, turn off your tweeter/horn when using overdrive. Overdrive creates more information in the upper harmonics that is not ideally used with high frequency drivers.

Also, the gain knob controls the level of overdrive as well, so if you want less distortion, lower the gain at the front end to compensate.

I say the tweeter is the cause of the unwanted treble boost
 
Last edited:
  • Like
Reactions: EdO.
#17,762
ubernator said:
Probably for people who perform to backing tracks and like to have it all go through their amp, thus feeding the same "mix" to foh so they maintain control.

Aux is also good for running a separate bass synth through the same amp, or the "wet" output of a bass synth, so you can have a flat unaffected synth tone and have a gritty bass tone, which otherwise would not sound good for the synth component.

Parallel effects loops with blend controls also work great for that, as well as providing an extra input channel with its own volume for jamming with an electronic drummer. That went over great at office parties with my workingman's 10, when that amp blew up was when I ended up getting the rumble. I had to give up that feature, as well as the tuner out, but oh well. My bass350 had the parallel loop/blend as well. Both swrs got stolen, but if I really need it, my other remaining bass head, b600h has that, but the blend knob is on the back.

In all those cases, I'm pretty sure the loop would go out of the xlr provided it was set to post.

What were you wanting to monitor through your rig? Using a rig as a monitor is not a good idea anyway, monitors need to be facing AWAY from the audience, as to have as minimal effect on the FOH sound as possible. Monitoring through your rig, which is usually pointed into the audience, is not really a good idea.
Click to expand...
On the 500 head there isn't a pre/post for DI :rollno:
 
#17,765
EdO. said:
Question regarding the Overdrive circuit. I got an on/off switch so I can kick in the OD on my 500 v3 at will. I notice that when I turn it on I get a volume boost and it's noticeably more trebley (is that a word??). That normal? Settings are both Drive and Level knobs at around 11 0'clock-ish. Gain at noon, Master to suit.
Click to expand...

if you want to get rid of the highs in the overdrive setting: apply the "bright" switch and compensate that by cutting the highs in the 4 band eq (+15db in bright setting, -15db if "high" eq is all the way down, so it's +/- 0 in the end)

doing that retains the same highs in clean mode, but cuts off the high grit in overdrive mode, since the bright is in front of the overdrive and the eq is after.

you can also lower the gain (i usually run it at 9) to make the od mode less gritty and to get more kind of a compression with boosted presence than a fuzzy overdrive.
 
#17,766
mjmeche said:
On the 500 head there isn't a pre/post for DI :rollno:
Click to expand...
I know. But on my others there was, so I was using that as an example, because pre might have not included the loops.

I use a rumble 200, well aware of the lack of pre/post xlr.

My point is, fender saved you from making a possible mistake. You don't want your monitor mix coming from your bass rig, unless your bass rig is going through wedges pointed back at you. Otherwise it kindof defeats the point of having FOH sound if one of the band member's monitor mixes is being aimed at the crowd.

I was a soundguy for several years, we would get annoyed by a monitor mix coming out of a 500w bass rig.
 
#17,767
dawhatthevid said:
if you want to get rid of the highs in the overdrive setting: apply the "bright" switch and compensate that by cutting the highs in the 4 band eq (+15db in bright setting, -15db if "high" eq is all the way down, so it's +/- 0 in the end)

doing that retains the same highs in clean mode, but cuts off the high grit in overdrive mode, since the bright is in front of the overdrive and the eq is after.

you can also lower the gain (i usually run it at 9) to make the od mode less gritty and to get more kind of a compression with boosted presence than a fuzzy overdrive.
Click to expand...

That idea looks good on paper, but I have experienced feedback by boosting 13db @10khz before the first gain stage.

The active eq later in the signal chain has far more effect on the overall tone, so it would probably be muddy to run the treble at -15.

I don't experience a huge treble boost on the overdrive. But I would if the tweeter was on. As I stated in my post, tweeter and overdrive do not mix. What may be a subtle boost of fret buzz and slap precussives in clean, is a wall of screechy kazoo fuzz when overdrive is used.

Also, bright mixed with overdrive can cause rumbles to have gnarly high pitched feedback squeals. Even without the bright, if the gain is set too high and a dirt pedal is used, it can happen as well, since the dirt is coming before the gain stage. Rumble gain front end is more like the gain on a mixing console. It isn't like most bass amps.

I have never had sqealing from any other bass amp. But I can eliminate it by using lower gain settings. It isn't a loss, its not like cranking the gain on a rumble gives a natural overdrive. It is only for basses with extremely low output, or for getting the overdrive to go into a heavy distortion sound. In those cases, bright can be a bad idea, especially with basses with humbuckers and 500k pots (Thunderbird).

I did get it to squeal with my jazz bass by using bright and too much gain as well.

When in doubt, use less gain.
 
  • Like
Reactions: EdO.
#17,768
EdO. said:
The Bullet (or however it's spelled) is really good too. Makers is my current go to though, although I also switch around from time to time just for the sake of variety. With quality bourbon IMO it's ALL good! :thumbsup:
Click to expand...

For me any Bourbon made in Kentucky is just perfection :thumbsup:, & like you it would be wrong not to try as many as possible :hyper:.
 
  • Like
Reactions: gjohnson441496, EdO. and Linnin
#17,770
ZAR14 said:
I placed and order for the Fender 115 extension cabinet to pair up with my Fender 500 combo. Order status says it has been shipped, I should have it no later than Monday.
Neighbors are going to hate me!!!
Click to expand...
Congrats to you. I have the R200c and paired it up with the 210 cab and to me for my Fusion Funk music they seemed better than another 115, although lots of guys (Linnin) loves 215s. I would have loved to try the 112 that Fender recommends but my local GC was out of stock-they said. So I'll buy another 210 for the R500h to have 410s, yum-yum.
 
#17,771
The 210 with 500C is awesome. Super deep. Two 112s with a 500H is also awesome, with a 15-ish kind of midrange but less (tighter) deep low end. I like them both, the two 210s are probably better for rock, the two 112s is probably better as all-round rig.
 
  • Like
Reactions: recmont
#17,772
bdplaid said:
The 210 with 500C is awesome. Super deep. Two 112s with a 500H is also awesome, with a 15-ish kind of midrange but less (tighter) deep low end. I like them both, the two 210s are probably better for rock, the two 112s is probably better as all-round rig.
Click to expand...
You and somebody else around here was praising 12s, it would seem ideal between 10s and 15s- I need my own music store.
 
#17,774
ubernator said:
112 under 210, best of both worlds. I would like that in the future if I ever get a 500c or a 500 head and 210. already have the 112 covered, and it works well under the 200/15
Click to expand...
Yeah; you got me thinking adding a R112 cab to my r210 cab with my 500h. Really. I could always return it if not happy- prices are the same for the 112 and 115 last time I checked. The 210 is more but the410s maybe the ticket-for now.
 
Last edited:
#17,776
btmpancake said:
Yeah; you got me thinking adding a R112 cab to my r210 cab with my 500h. Really. I could always return it if not happy- prices are the same for the 112 and 115 last time I checked. The 210 is more but the410s maybe the ticket-for now.
Click to expand...
410 has the beam effect due to horizontal mounted drivers. The 210 staggered drivers is a better design, and if the cabinet is not much deeper on the 410 compared to the 210 (I didn't check), the 210 has more cabinet volume per driver than the 410. 2 x210>410. The 210 (from my experience with 500cs in showrooms) has a solid low fundamental on par with d210xlt i used to own. Had I known that I might have figured a way to come up with the extra $ to get the 500. Having a 15 in a one box combo appealed to me more than 210 because 210 in my past experience really needed a 2nd cab to cover things, where a single 15 seemed to be ok. Not the case with the new 210 design.

The 112 also is same width, and just looks cooler as a stack, either on the top or the bottom. Plus the fender badges match :) the 115 is different. The classic 90s stack is the 115+410 and they are the wider width to match the bassman heads. The chic setups nowadays are the 210 and 112 cabs, or adding either of those 2 under a 200 or 500 combo. Overperformers for their prices, thats for sure. Just use caution using a 500 with just one 112.
 
Last edited:
  • Like
Reactions: robert_stuart and RedVee
#17,777
What do you guys set your gain at on the v3 Rumbles with passive jazz basses? I just got a Classic Series 60's Jazz and the input volume is much lower than I'm used to. I have it right at noon right now and it seems fine, though I do notice having to increase the master a bit more than usual. Just wonder what others are finding in terms of gain for passive jazzes.
 
#17,778
basslust said:
What do you guys set your gain at on the v3 Rumbles with passive jazz basses? I just got a Classic Series 60's Jazz and the input volume is much lower than I'm used to. I have it right at noon right now and it seems fine, though I do notice having to increase the master a bit more than usual. Just wonder what others are finding in terms of gain for passive jazzes.
Click to expand...
I don't run my gain higher than 10:30. Where do you have your jazz volume knobs set? Both all the way up can create that issue.
 
  • Like
Reactions: Linnin
#17,779
ubernator said:
I know. But on my others there was, so I was using that as an example, because pre might have not included the loops.

I use a rumble 200, well aware of the lack of pre/post xlr.

My point is, fender saved you from making a possible mistake. You don't want your monitor mix coming from your bass rig, unless your bass rig is going through wedges pointed back at you. Otherwise it kindof defeats the point of having FOH sound if one of the band member's monitor mixes is being aimed at the crowd.

I was a soundguy for several years, we would get annoyed by a monitor mix coming out of a 500w bass rig.
Click to expand...

I understand what your saying. but this is a restaurant gig so there is no FOH we work off of monitors. We are there for ambience (very low key)and was hoping not to set up another piece cause the 2x8 cab sounds great as a monitor. It would be pointing back at me and no one else.
 

Latest posts

Top Bottom
Back