Thanks B Dax. I was looking at everything except the obvious thing which was I needed to punch the “SYNC” button to get the Orbi to send the WPS signal. It’s now working. The older I get the more I forget.
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Fender Rumble LT25, Studio 40 & Stage 800
- Thread starter G-Dog
- Start date
Thanks B Dax. I was looking at everything except the obvious thing which was I needed to punch the “SYNC” button to get the Orbi to send the WPS signal. It’s now working. The older I get the more I forget.
I agree it would be nice to have a Global EQ Setting with a mids boost available as well... or one that allows to select simultaneously the Low Cut and the High cut. And maybe Fender is watching this thread while preparing the next firmware update... Who knows!
Augh! That certainly seems like quite the conundrum, Eric!
A very common way to fight "mud or boom" in venues is to get your amp up off the floor with a stand. The elevation, and possible tilt back, can also help you hear it better yourself. Here's examples of several kinds of stands. I like the one shown in the quoted post, gets higher, though bulkier.
There is, of course, also the venerable High Pass Filter pedal for tightening up your tone. Many bassists swear by this even for non-problematic rooms.
I've been using the Rumble Studio 40 exclusively the last few months, after over 10 years with the Fender B-DEC 30 bass modeling amp for occasional gigs, frequently in very boomy rooms. My "strategy" has been to play at a pretty low volume to begin, even though I do SO LOVE a strong, driving bass sound. I basically just play to myself, with different presets to fit the songs. But, if someone asks me to turn up, I do so, very judiciously, not wanting to aggravate the bad acoustics. Not all the other musicians I've played with do the same, so I have earplugs for their excess, but I can usually hear myself pretty good even then and resist the urge to fight the volume wars (which I could do by chaining my Rumble 500 into the mix). When someone notices a different preset, once in a blue moon, they usually compliment me on it, and I may use it for a few other songs I wouldn't normally do because of that.
I hope some of this helps, Eric. Please keep us informed here how it goes for you.
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Hey, @G-Dog, what you have just said regarding the Studio 40 really strikes home to me. It may be a little off topic for your post, but, what I have found recently is that the Studio 40 is giving me more than my C200 with the 15" extension cab. By that I mean the purchase of the C200, etc. was based on my thought I would be playing out. I have had one jam with only the C200 equipment this year. The Studio 40 would have been ample for that. Since I am having more fun noodling with the Studio 40, I am wondering if I should just down-size and free up some space...is that reverse GAS?
Well, Soul man, you're definitely right about the fun factor of the Studio!
And I'm sorry that others are raining on that for our Rumble brother, Eric. It's gotta be tough for a newby bassist to take criticism of such a fun amp from people who don't know anything about it and aren't willing to try to help. 
But, Souly, don't be so quick to downsize! That does sound like reverse GAS!! Be strong, let it pass ... uh, discreetly, that is. Beware that "freed up space" is overrated and will not help when, not if, your Studio 40 needs a little extra volume boost at the loud jam/gig you will hear about just after downsizing! Your R200c, with or without extension cab, will be the perfect companion to assist in that situation. Don't get caught unprepared! It is coming! Don't let "The Nothing" rob you of this opportunity!!
Rumble On!
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Couldn't he run the studio 40 out its effects send and into the C200's return to be able to use the S40's modeling preamp into the C200's power section and 2x15 stack? That would be slick.Well, Soul man, you're definitely right about the fun factor of the Studio!
But, Souly, don't be so quick to downsize! That does sound like reverse GAS!! Be strong, let it pass ... uh, discreetly, that is. Beware that "freed up space" is overrated and will not help when, not if, your Studio 40 needs a little extra volume boost at the loud jam/gig you will hear about just after downsizing! Your R200c, with or without extension cab, will be the perfect companion to assist in that situation. Don't get caught unprepared! It is coming! Don't let "The Nothing" rob you of this opportunity!!
Rumble On!
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Ya man! To me he has the best of both worlds and a lot of flexibility. I've always liked the idea of a 2x15 Rumble stack. I tried a single R1x15 through my amps for a weekend once and loved it so 2 would be even better I'm sure.
Now to take said stack and swap the amp out of a R500c in it. Put the R200c amp in the 500c.
Yeah. I'm a mad scientist lolNow there is serious slickness. Rumble On!
No Fender amps in the current arsenal though.Currently running various combinations of SWR Headlite, Mesa WA, and an old Peavey Bass 400 w/BW 1x15 that I just picked up. It's endless lol.
How do you get the smilies? I can only get keyboard ones to work.
A horrific oversight that begs correction.Yeah. I'm a mad scientist lol
Lol! Yeah perhaps you're right. I should see if I can rent the S40 and R115 that's down at my local ma & pa next weekend and see what I can get out if it at home with my other gear.
That being said. A B100T with 2xR115 would be pretty killer I bet.
Yeah. I'm a mad scientist lol
Currently running various combinations of SWR Headlite, Mesa WA, and an old Peavey Bass 400 w/BW 1x15 that I just picked up. It's endless lol.
How do you get the smilies? I can only get keyboard ones to work.
I had a Peavey Combo 300 with a 15" BW driver as well as a matching 15" cab for a number of years but the weight of that duo and my age made it impossible for me to move them around. I sold them for a Rumble 200 Combo and Rumble 1- 15 Cab and haven't looked back. Tone and weight wise, there was no comparison...I have never missed the 100 watt difference, either. The purchase of a Studio 40 was "icing on the cake".
Smilies? Just clip on the smiley face on the header of you post, refer to the pop up at the bottom, position your cursor where you want the smiley to appear in your post, then click on the appropriate smiley, I think.
I'd run a Rumble 800 head on top of a trio of Rumble 115 cabinets.
Don't we have Fender Rumble 'Medals of Honor' for such deserving folk?I have and I did. It is truly "slick".
Now THAT sounds like goodness! And keeps it all Rumble.
It would be approaching C$2K though. The cab at the Ms & Pa is $429. IDK how much the R800 is here.
Yeah, the Peavey rig is a tank for sure. I'm not planning on moving it much and the cab is on castors so thank goodness for that.
Thx for the smilie info. Good to go!
We merely desire to Rumble On! Always keep in mind that Fender's 800 clean continuous watts is easily equal to any other brands 1,600 'program', ' peak', or 'duty cycle' watts.Now THAT sounds like goodness! And keeps it all Rumble.
Eric, I've read your messages and the responses from the other members. I understand your consternation, and also agree with much of the members' input.
The Stage 800 is a very powerful and versatile amp; but, it is not unlike any other amp, modeler or effect in that you need to develop your presets in a "live" context before they're fully done. Many a bass player / guitarist / keyboardist has developed signal paths that don't do well in a full mix at stage volume until they're tweaked for that setting. Tube, solid-state, analog, digital; doesn't matter. Equipment settings need to be "tuned" to live play; and that takes time and effort.
To that end, I would suggest that initially you should reduce the number of presets you're using at least until you have a handful of reliable presets you can use, and you're not tweaking your amp all evening (to the dismay and disapproval of the BL). As you do this, you will develop: 1) a better sense of what tonal changes work, 2) a familiarity with the amp controls with which you can quickly tweak presets on the fly, and 3) a fundamental understanding of the preset settings that are going to work better for you from the start.
I don't use a whole lot of different sounds, maybe six, or so. I think I have them dialed in pretty well, but I still sometimes need to tweak them for the room/venue. At this point, though, I find that most of the on-the-fly preset tweaking I do are minor changes to the Bass, Mid, Treble settings, and the Channel Volume for preset volume matching. In that sense, it is no different to me than using an R800HD. Once I get sound I want, I just press the Save button TWICE, and it is saved for recall. Note: I duplicate copies of the all presets I use to EMPTY slots in advance of my gigs; so, I am not worried about overwriting the "active" slots. After the gig, I analyze what I started and ended with, and consider whether I want to adopt the change, or if it is was something I did just for that venue. That analysis also gives me a better understanding of what are "good" settings for me. Over time, the degree of the changes I make on-the-fly becomes more minute.
One crucial thing the Stage 800 (and Studio 40) has is recall. All things being equal, the ability to recall settings is critical to me. Even when your BL dialed-in a "swoop" on your amp's EQ, at least you could save that preset; and you knew you had at least preset that made him happy. As you develop more usable presets, in my opinion, the power of being able to instantly recall them cannot be overstated. Yes, it will take time and effort to develop presets, but once you have them working, it takes no time to recall them. So, I hope you find the reward worth the effort; because, as I've said, it really isn't any different with other equipment, unless you do acquiesce to having one universal tone (which you should not need to do).
Regarding amp stands: I can fully endorse that recommendation. I use a $50 Proline amp stand from GC. I make sure to get the amp at least 18" off the floor; and it helps tremendously to reduce bass build-up and improve your ability to hear your amp. Maybe it might convince your guitarist by example to do the same, and he will finally turn his amp down. (Dreamer!!!) There was a loudspeaker designer who was/is on TB. A few years back he said that things like foam decoupling mats don't really work to suppress bass buildup in the floor or hollow stages. He said that stands are a better approach. My experience bears that out.
So, to recap: Get an amp stand. Start with just a few versatile presets. Back them up. Tune them during live play / full-volume practice. Analyze them for what does/doesn't work. Get familiar with amp settings. Practice tweaking on-the-fly. Add 1 or 2 new presets each show/full-volume practice. Lather. Rinse. Repeat (except for the amp stand part).
You've got a really great amp. Give yourself the time that you and it deserves.
Hope this helps.
