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Fender Rumble v3 40 - First Impressions
- Thread starter el_cody_loco
- Start date
I have measured the TS parameters for the stock driver and the S2010, and the S2010 has a calculated 'pistonic' sensitivity about 4 db higher than the stock driver. This calculation does not include breakup peaking above about 1 kHz. While 4 db is not a lot, it is like increasing the amplifier power to about 100w with the stock driver (it would take 100w for the stock driver to be as loud as the S2010 with 40w). The other significan gain is qualitative, but important. The S2010 will take all the power the Rumble 40 amp can give without farting out. The stock driver farts out with the cab sealed or one port is blocked (lower tuning). Both sealed and lower tuning alignments produce an audibly lower F3 and much definition of the lower notes. However, there is fart out above bedroom practice levels. With the stock tuning, there seems to be no tendency to fart out - it's well designed.
In practical terms, the upgraded Rumble 40 (with the S2010 and optimum tuning) is gigable in small venues with acoustic groups or quiet jazz. The tone is substantially changed - some like myself would say improved. Bass is deeper, smoother and has better note definition. The mids and highs are smoother and a bit more extended. Notes have more character. However, there is no denying the popularity of this combo, so this mod is not for everybody.
Wrapping sandpaper around the wood handle of 1" dowel, the handle of my wodd file, is a must to enlarge the existing wooded port hole. Otherwise it is nearly impossible to get the 2" diameter tube inserted. It was enough to open the holes. Then I used a small woodblock and a hammer to tap them in.
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Fender changed the port tube diameter several months ago, so the Precision port tubung no longer fits easily. Sanding may be enough.
Another solution is to use a hacksaw to cut narrow slots a short way down the length (about 1 1/2 inches). This allows the tubing to be pushed into the holes. You may need to fill in the space remaining in the slots with aquarium (silicone) glue.
Another solution is to get a 1 to 1 1/2 inch sanding drum for an electric drill - it makes the sanding go a lot faster. pencil in a circle of the correct size and sand up to the line, try the fit and sand more as needed.
One speaker screw is not tightening in it's whole in the wood. The hole seems to large, in other words the wood has stripped.
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A one size thicker size bolt did the trick, it's tight now. The sound is quite improved! It has a more detailed and smoother mid-range. The bass too is more detailed and focused. Highly recommended. Thanks to AstroSonic.
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The S2010 required different tuning than either one or two stock ports. Use two 2" dia. ports 2 5/8" long. The Parts Express 2" dia. Precision port tubes fit the stock holes perfectly. I tried a range of tunings and preferred this. It happens to be a 'flat' alignment, with an F3 of 56 Hz. Bass is deeper and tighter, notes have better definition, and mids are smoother. The peaked upper mids and lower highs seen in the frequency response graph are not evident off axis. It will take all the power the built-in amp can give it and then some. It also gets significantly louder: the S2010 has 4-5 db higher sensitivity than the stock driver. Remarkably portable, with a total weight of 17 lbs.
I installed a jack plate on the back allowing the amp and speaker to be used separately. It also allows the combo to be used as a cab (with a separate amp), and a backup amp to be used if the internal amp fails. The speaker/cab can be used with much more powerful amps: It trounces my MB115 (volume and tone wise) when used with an MB500 (requires use of a volume control). Sounds fantastic with an Ashdown CTM-30 (small tube head).
Honestly, for bedroom practice or rehearsal with acoustic groups, the stock driver with lined cab and single port sounds very good. With the S2010 and the internal amp, it can be gigged in small venues with an acoustic group, with plenty of clean headroom.
I just did this mod to a new Studio 40: S2010, two 2" tubes @ 2 5/8", no stuffing. The Studio 40 came with sides and back lined with 1/2" of fiberfill. I did buy the fill from PartsExpress as AstroSonic recommended, but I do not think I will put anymore in.
The sound difference is amazing! Sounds extremely close to my Hartke 75 combo. I bought the Studio 40 because my arm was falling off lugging the Hartke to practice every week.
THANK YOU AstroSonic! You are very smart and a great contributor!
Hey AstroSonic Lenny here
ON the Dayton version of the up grade - did you keep the batting the same as with the eminence (one side, bottom and back).
I am going to try this upgrade on another 40 that I have.
Thanks
Lennyj
The Basslite has more upper mids than the Dayton. To get a similar balance with the Dayton, you will need to decrease the batting, which is most effectively done on the back panel. I suggest removing all of it. Also, make sure that there is no batting near the end of the ports - the sides and behind. Let me know what you think.
Thanks for your many posts about the R40 v3, AstroSonic. I ordered one last Monday based on user reviews before discovering this thread via web search. The Eminence and Dayton mods intrigued me and I very nearly ordered a new speaker and ports before the amp was delivered Friday afternoon. Another read through this thread turned up your advice above so I'm holding off until the amp is broken in, the bottom and 1 side lined and a port plugged to test the sound. Doubtful the amp will ever leave my little recording studio, where it'll be used to work out rudimentary bass lines on an Ibanez Mikro GSM20 with flats for my mostly acoustic guitar-based tunes. Recording will either be DI via the XLR on the amp, or through an amp sim into the interface - which means the stock speaker is not really an issue until I either gig with it (unlikely) or record it with a mic.
I'm hopeful breaking it in will cure some of the resonant rattles I heard when first trying it out. Some were clearly the amp, others resonance from nearby guitars or furniture. The R40 really rattled the room and in spite of being string damped, all the guitars sang welcome to the R40.
Accordingly, it'll be broken in up at the shop, in the middle of a concrete floor with only the tractor and mower for an audience. And the mice, of course.About upgrades, for predominantly acoustic group use - where acoustic to me means "American Pie / McLean" sort of thing, would you recommend the Eminence or Dayton upgrade? I do write and record some blues and rock tunes, but folkish styles are my main sound.
Again, thanks AstroSonic.
Thanks for your many posts about the R40 v3, AstroSonic. I ordered one last Monday based on user reviews before discovering this thread via web search. The Eminence and Dayton mods intrigued me and I very nearly ordered a new speaker and ports before the amp was delivered Friday afternoon. Another read through this thread turned up your advice above so I'm holding off until the amp is broken in, the bottom and 1 side lined and a port plugged to test the sound. Doubtful the amp will ever leave my little recording studio, where it'll be used to work out rudimentary bass lines on an Ibanez Mikro GSM20 with flats for my mostly acoustic guitar-based tunes. Recording will either be DI via the XLR on the amp, or through an amp sim into the interface - which means the stock speaker is not really an issue until I either gig with it (unlikely) or record it with a mic.
I'm hopeful breaking it in will cure some of the resonant rattles I heard when first trying it out. Some were clearly the amp, others resonance from nearby guitars or furniture. The R40 really rattled the room and in spite of being string damped, all the guitars sang welcome to the R40.
About upgrades, for predominantly acoustic group use - where acoustic to me means "American Pie / McLean" sort of thing, would you recommend the Eminence or Dayton upgrade? I do write and record some blues and rock tunes, but folkish styles are my main sound.
Again, thanks AstroSonic.
My Rumble 40 has never rattled. The amplifier electronics are easily accessible. There is a generous amount of goop (damping compound) on various parts to prevent rattles. Silicone (aquarium) glue would work just fine.
For folkish music and small acoustic gigs I would stick with the Eminence S2010.
Thanks.
You mentioned elsewhere that Fender had changed the port dimensions recently. FWIW, the ports on mine measure 2.090" - 2.100" with a caliper. The Precision Port PSP-2TB outside diameter is 2.125" per the Parts Express page. Knowing next to nothing about bass cabs, I expected the ports to be a simple hole through the baffle, but mine has port tubes that make the holes 1-1/8" deep from front of baffle to bottom of tube; the baffle itself looks to be 3/8" thick. There's a visible (glue?) seam between the inside of the baffle and (apparent) 3/4" port tube. The inside of the tubes are painted flat black like the baffle and dent with the press of a fingernail. So I suspect they're simply a length of cardboard tube glued in place and painted, not unlike a kraft paper mailing tube by the feel of them.
You mentioned elsewhere that Fender had changed the port dimensions recently. FWIW, the ports on mine measure 2.090" - 2.100" with a caliper. The Precision Port PSP-2TB outside diameter is 2.125" per the Parts Express page. Knowing next to nothing about bass cabs, I expected the ports to be a simple hole through the baffle, but mine has port tubes that make the holes 1-1/8" deep from front of baffle to bottom of tube; the baffle itself looks to be 3/8" thick. There's a visible (glue?) seam between the inside of the baffle and (apparent) 3/4" port tube. The inside of the tubes are painted flat black like the baffle and dent with the press of a fingernail. So I suspect they're simply a length of cardboard tube glued in place and painted, not unlike a kraft paper mailing tube by the feel of them.
Sturdy cardboard mailing tubes work quite well for bass port tubes. Their limitation is the relatively sharp edge causes more turbulence than a rounded edge. The stock port tubes in my Rumble 40 appeared to be cut from cardboard mailing tube material. Their sharp edges are of minimal concern because the porting (two 2 inch diameter Ports) is sufficient to minimize chuffing.
Apologies for the images. They were somehow rotated during the transfer.
First Image: Rumble 40 with Precision Port 2 inch diameter port tube, fixed with silicone glue. Note tight, precise fit between baffle board and port.
2nd Image: stock port tube. Shows original glue line.
3rd Image: stock port tube, showing paper laminations - like a cardboard mailing tube.
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Your photos saved me from having to ask the embarrassing question: "did you remove the cardboard tubes before inserting the plastic ones?" Thanks for that. I wouldn't want anyone to think me a noob.
No repeat of the rattle after popping the speaker and adding an inch of poly batting to the side and bottom of the cabinet. Still evaluating 1 vs 2 open ports; afraid my ears aren't so well tuned to discern the difference. I'm still not over the mindset of bracing myself to pick up the amp expecting it to weigh much more than it does. At least I haven't thrown it through the ceiling with a clean and jerk type lift.
I realize that I'm responding to an old post, but since this thread came back up again, I felt it was worth responding for anybody else who is attempting to get deep bass response with a ported enclosure. On the Fender it may not be an issue because of the high pass filter built into the amp, but on an amp without a high pass filter, it's extremely important to make sure you do not subject the speaker to output at frequencies below the port tuning frequency. Below this frequency the speaker is completely undamped, which means that it's at risk of over excursion even with very small amounts of power applied. With the relatively high tuning frequencies that I see with 10" and even 12" bass cabinets, using them on a low C at high or even moderate volumes can result in a badly damaged speaker. I'd recommend sticking with a sealed speaker configuration, or running an active high-pass at a frequency above the port tuning frequency.
HI, Looking for some thoughts. I did the S2010 mod to my Fender Rumble a while ago. Just today, I used the amp and noticing, a breaking up or ?farting out when playing E thru A on the E string, even at low/moderate volume. I would have definitely noticed this before. Hard to even tell if coming from speaker or inside cab. I unloaded the speaker made sure foam and wires seated properly. I never used an external amp, although I have it wired to support that. Possibly speaker damaged? Its looks intack all around the surround. Tempted to order another speaker at this point. Thoughts appreciated. Thank you - JC
Edit: Its not the speaker, I put orig back in an still vibrations. tightened all screws, just put caulking around the speaker cable that now comes out back to jack. noise seems loudest over there. very odd not obvious.
Edit: Its not the speaker, I put orig back in an still vibrations. tightened all screws, just put caulking around the speaker cable that now comes out back to jack. noise seems loudest over there. very odd not obvious.
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