NAD - Fender Rumble V3 100

[John D Harris]

Wow.

I don't think I've ever had a mod program work out so well with so little expense or effort.

I cut a couple of pieces of 7/8" dowel a little tighter than an interference fit, and set the braces off-center. The drumming sound I got when I originally tap-tested the cab is now a high, hard knock, with a different pitch on each panel. Nasty resonance gone.

View attachment 456543

Next, I hot-glued the braces to secure them and clamped a couple of plywood covers over the ports. Total cost was under $20.

My expectations were limited, just to tighten up the tone of a cheap practice amp. The results have far exceeded them.

During my original trial, the amp sounded pretty good with my Dingwall, but the low-mid looseness didn't sit well with my P-bass. Now it sounds good with just about everything, even my MIM Jazz, which has a ridiculously huge low end courtesy of the Duncan QP's and Audere preamp.

The overall tone is still old-school, but in a great way. It's a refreshing contrast to the modern vibe of my G-K/AudioKinesis rig.

Acme did a similar thing with the Low B* cabs for internal bracing.

 

[steve_rolfeca]

Fun fact:

I tested a bunch of popular Bass combos over the last few days (Ampeg, Ashdown, Fender, G-K, Roland/Boss, Traynor, etc.), and was surprised to find that years after the v3.0 Rumbles were released, there still doesn't seem to be anything else that matches a modified Rumble 100 on an overall price / size / weight / performance basis.

My requirements are pretty simple:

• About 100 watts, with a reasonably efficient speaker.
• Combo with a decent handle for easy, one-hand carry.
• Decent low-end extension with my 5-string bases, or at least the illusion of it.
• Tight, clean tones that work in poor acoustic environments.
• Weight between 20 and 35lb (trying to be kind to a chronic back injury).
• Smallish form factor for squeezing through doorways while loaded down with other gear.

Without the cab mods, I wouldn't even be talking about this. But they're so inexpensive, easy to do, and make such a difference...

While I don't want to throw a ton of money at this project, I would certainly be willing to spend a few hundred $$$ more. I'm not bind to the fact that the Rumble is lightly built, and has that goofy post-master-volume DI output.

Still, I have to throw away at least a couple of my requirements in order to find anything better:

• I'm a long-term G-K user, and considered the ultralight combos, but the Rumble sits right between the underwhelming 10" ultralight, and the heavier and far more expensive 12" version. On a price basis, it kills both of them.
• I would kill for a Gentzler Magellan 350 S2 combo, but it's at the upper end of my weight range, an awkward carry, and punishingly expensive at $1,300 US new.
• Phil Jones makes a lot of cool stuff, but although he has the size thing down pat, his combos are crazy heavy (and expensive) for their size.
• Used Acoustic image combos are everywhere, but with the passing of Dr Jones and the company ceasing operations, I would worry about parts support, repairability, etc.

 

[John D Harris]

Fun fact:

I tested a bunch of popular Bass combos over the last few days (Ampeg, Ashdown, Fender, G-K, Roland/Boss, Traynor, etc.), and was surprised to find that years after the v3.0 Rumbles were released, there still doesn't seem to be anything else that matches a modified Rumble 100 on an overall price / size / weight / performance basis.

My requirements are pretty simple:

• About 100 watts, with a reasonably efficient speaker.
• Combo with a decent handle for easy, one-hand carry.
• Decent low-end extension with my 5-string bases, or at least the illusion of it.
• Tight, clean tones that work in poor acoustic environments.
• Weight between 20 and 35lb (trying to be kind to a chronic back injury).
• Smallish form factor for squeezing through doorways while loaded down with other gear.

Without the cab mods, I wouldn't even be talking about this. But they're so inexpensive, easy to do, and make such a difference...

While I don't want to throw a ton of money at this project, I would certainly be willing to spend a few hundred $$$ more. I'm not bind to the fact that the Rumble is lightly built, and has that goofy post-master-volume DI output.

Still, I have to throw away at least a couple of my requirements in order to find anything better:

• I'm a long-term G-K user, and considered the ultralight combos, but the Rumble sits right between the underwhelming 10" ultralight, and the heavier and far more expensive 12" version. On a price basis, it kills both of them.
• I would kill for a Gentzler Magellan 350 S2 combo, but it's at the upper end of my weight range, an awkward carry, and punishingly expensive at $1,300 US new.
• Phil Jones makes a lot of cool stuff, but although he has the size thing down pat, his combos are crazy heavy (and expensive) for their size.
• Used Acoustic image combos are everywhere, but with the passing of Dr Jones and the company ceasing operations, I would worry about parts support, repairability, etc.

Did you compare it to the Traynor SB112?

Seems to be a bit of a sleeper, but a quality unit!

 

[steve_rolfeca]

Late-breaking news:

Excellent builder and bassist Brady Muckelroy

Did you compare it to the Traynor SB112?

Seems to be a bit of a sleeper, but a quality unit!

I did check out the Small Block 112, and I've played through a friend's Big Block 115 on numerous occasions.

Pete Traynor is long gone, but Yorkville Sound obviously still respect his obsession with building long-lasting, bulletproof gear. They're both tanks, and Traynor warranty support is legendary, at least here in Canada.

That said, both amps have a dark, congested sound that I can't seem to EQ out with the onboard controls. Even before modding the Fender's cabinet, it sounded better than the Traynor to me. To my ear, the SB and BB sound like they're designed to mimic classic Ampegs, which have never been my cup of tea.

Also, both amps are boat anchors. The 115 is an absolute nightmare to transport, and I am convinced that the published weight for the 112 is a mistake. They claim 25lb for the 112, but it feels like it's closer to 30, possibly more.

 

[steve_rolfeca]

...I just landed a great position playing for a kid's gospel choir, and there's a lot of cartage involved- there are multiple rehearsal locations, and their calendar is filling up with dates all over the city.

PA situations vary widely by venue, so I'm carrying lots of gear just in case. Lugging all this stuff around is playing hell with my back, so I've decided to re-think the gear situation.

...I'm pretty confident that another Rumble 100 will do the trick.

Finding a clean used Rumble 100 was harder than expected, at least locally. The closest one was a 7-hour round trip away, and wouldn't have arrived in time for yesterday's dress rehearsal yesterday, or our next big gig.

Thankfully, I'm about an hour and a half from a Guitar Center near Detroit, and they had one. It turned out to be minty fresh. I picked it up late Wednesday night, did the dowel job and polyfill lining the next morning, and used it for the rehearsal that night.

Same results as before- it booms far less, and excessive EQ isn't necessary- I can run the bass control close to noon with the preset buttons off. I had a little trouble EQ'ing it to taste without the port mods, but everyone else thought it sounded fine, and I had lots of headroom- never got it above half-volume.

I can get the Precision Sound flared port components I want from Solen.ca, and the pricing is excellent. Unfortunately they're in Quebec, and the shipping costs are obscene, at least for a little side project like this. Looking around for other suppliers...

 

[John D Harris]

Late-breaking news:

Excellent builder and bassist Brady Muckelroy

I did check out the Small Block 112, and I've played through a friend's Big Block 115 on numerous occasions.

Pete Traynor is long gone, but Yorkville Sound obviously still respect his obsession with building long-lasting, bulletproof gear. They're both tanks, and Traynor warranty support is legendary, at least here in Canada.

That said, both amps have a dark, congested sound that I can't seem to EQ out with the onboard controls. Even before modding the Fender's cabinet, it sounded better than the Traynor to me. To my ear, the SB and BB sound like they're designed to mimic classic Ampegs, which have never been my cup of tea.

Also, both amps are boat anchors. The 115 is an absolute nightmare to transport, and I am convinced that the published weight for the 112 is a mistake. They claim 25lb for the 112, but it feels like it's closer to 30, possibly more.

I knew the Big Block 115 is heavy,
The SB115 is listed at 30 or 31 lbs.
If the SB112 weighs 30 lbs, that is not too bad.
Thanks for the warning - I will see if I can find some decent audio of one or the other of the SB's.

 

[steve_rolfeca]

I knew the Big Block 115 is heavy,
The SB115 is listed at 30 or 31 lbs.
If the SB112 weighs 30 lbs, that is not too bad.
Thanks for the warning - I will see if I can find some decent audio of one or the other of the SB's.

This is possibly the most annoying aspect of my back injury, and the accumulative effects of decades of not looking after it properly.

My AudioKinesis Thunderchild cab is less than 32lb, and it was a Godsend when I bought it from a relatively unknown hi-fi speaker designer in the States. Before it arrived, my only choices were to find a roadie to carry large cabs for me that weighed twice as much and didn’t sound as good, or stick to small, low-power composite cabs that needed to be stacked just to keep up with a medium-loud drummer.

I’m 6’ 2”, 207lb. Looking at me, you’d think that slinging the TC112 around should be child’s play. Sadly, with that in one hand, and my 7.5lb Dingwall in a soft bag over my other shoulder, sciatica causes pain that shoots down the back of one leg to well past the knee. One wrong move during load-in, and I can be off my feet for days.

That’s why it was originally worth it to me to try fixing the Rumble 100’s cab quality issues. Without it, I might have hung up my spurs in 2017, when I re-injured my back and was confined to bed for nearly 9 months.

The Rumble will never sound as good to me as my “big rig”, but it’s close enough that having a completely self-contained 100W combo that weighs just 22lb is a life-saver. It means that I can continue to attend over-long rehearsals, and not live in fear of venues that have no parking, long flights of steep, narrow stairs, etc.

 

[steve_rolfeca]

Gig update- at the moment, my current Rumble 100 is still stock other than a single layer of polyfill lining, and stiffeners to reduce unwanted cab resonance.

Instead of blocking the ports with hardwood, I quickly stuffed them with rolled-up polyfill. It sounded fine at a dress rehearsal with my Dingwall, e-drums and electric piano, backing a medium-sized gospel choir (24 youths singing).

Yesterday, I played a low-key acoustic set: acoustic guitar and two voices going to the PA system, along with me on acoustic bass guitar through the Rumble. I used the Rumble’s post-master DI out at first.

At that venue (a smallish hall rated for 100 people) I usually run the Guild through either my G-K/AudioKinesis rig, or one of my smaller FRFR speakers. It usually sounds terrific through any of those signal chains, and I choose which one to use on the basis of how much percussion wil be present.

We were using wedges, yesterday, no in-ears. The guitar and vox were running a little hotter than normal, and I was on the edge of feedback at a couple of frequencies. Raising the Rumble to de-couple it from the floor didn’t help, and I couldn’t seem to find the right EQ, regardless of whether I ran it with all presets off, or just the Vintage button pressed.

We were also short-handed at the sound booth, so balancing my amp volume with FOH was difficult because of Fender’s amateur-hour decision to put the DI output AFTER the #$&! master volume…

With limited time to sort this out, I ditched the DI feed, lowered the bass and low mids a touch on the Rumble, and struggled through.

Clearly, there are still some issues with the cab tuning, probably combined with the way I was using the tone controls on the amp.

I’ll sweep the frequency response with REW this week, and also try adding more polyfill, blocking the ports properly, and/or experimenting with aftermarket 3” flared ports.

 

[Yahboy]

Gig update- at the moment, my current Rumble 100 is still stock other than a single layer of polyfill lining, and stiffeners to reduce unwanted cab resonance.

Instead of blocking the ports with hardwood, I quickly stuffed them with rolled-up polyfill. It sounded fine at a dress rehearsal with my Dingwall, e-drums and electric piano, backing a medium-sized gospel choir (24 youths singing).

Yesterday, I played a low-key acoustic set: acoustic guitar and two voices going to the PA system, along with me on acoustic bass guitar through the Rumble. I used the Rumble’s post-master DI out at first.

At that venue (a smallish hall rated for 100 people) I usually run the Guild through either my G-K/AudioKinesis rig, or one of my smaller FRFR speakers. It usually sounds terrific through any of those signal chains, and I choose which one to use on the basis of how much percussion wil be present.

We were using wedges, yesterday, no in-ears. The guitar and vox were running a little hotter than normal, and I was on the edge of feedback at a couple of frequencies. Raising the Rumble to de-couple it from the floor didn’t help, and I couldn’t seem to find the right EQ, regardless of whether I ran it with all presets off, or just the Vintage button pressed.

We were also short-handed at the sound booth, so balancing my amp volume with FOH was difficult because of Fender’s amateur-hour decision to put the DI output AFTER the #$&! master volume…

With limited time to sort this out, I ditched the DI feed, lowered the bass and low mids a touch on the Rumble, and struggled through.

Clearly, there are still some issues with the cab tuning, probably combined with the way I was using the tone controls on the amp.

I’ll sweep the frequency response with REW this week, and also try adding more polyfill, blocking the ports properly, and/or experimenting with aftermarket 3” flared ports.

Try EQ pedal . Or you need swap the stock speaker with Eminence Neo driver.

BTW, I don't want reply too much at Rumble club because avoid arguments.

There are some reason i letting go the R200 then move to Hartke KB15, tech 21 VT 200 and settle with Ampeg RB112. All stock without mod and satisfied.

 

[steve_rolfeca]

Try EQ pedal . Or you need swap the stock speaker with Eminence Neo driver.

BTW, I don't want reply too much at Rumble club because avoid arguments.

There are some reason i letting go the R200 then move to Hartke KB15, tech 21 VT 200 and settle with Ampeg RB112. All stock without mod and satisfied.

I hear you about Rumble acolytes...

This is supposed to be a cheap/simple/light grab-and-go rig. If possible, I don't want to bring even my small pedalboard if I don't have to.

I'm not going to put an expensive driver into an amp I bought used for $249 from Guitar Center, and the only parametric EQ's I have at my disposal at the moment, are a.) in my HX Stomp or b.) plugins on my laptop.

Based on my first experience with a Rumble 100 v3.0 in 2014, I'm confident that I can tune out these awkward resonances with a bit of tweaking.

 

[Yahboy]

I hear you about Rumble acolytes...

This is supposed to be a cheap/simple/light grab-and-go rig. If possible, I don't want to bring even my small pedalboard if I don't have to.

I'm not going to put an expensive driver into an amp I bought used for $249 from Guitar Center, and the only parametric EQ's I have at my disposal at the moment, are a.) in my HX Stomp or b.) plugins on my laptop.

Based on my first experience with a Rumble 100 v3.0 in 2014, I'm confident that I can tune out these awkward resonances with a bit of tweaking.

Ampeg RB112 stack, all stock and sound great without any mod.

 

[steve_rolfeca]

Ampeg RB112 stack, all stock and sound great without any mod.

Well, #@%!

I missed that option. I'm familiar with the BA series, but they are hella porky. It's a shame- purchased at Canadian MSRP, a new RB-112 would only be $20 and 3lb more than a new Rumble 100.

I don't know what's up with Ampeg distribution these days, but I've never seen one in a store. Can't find any in stock within a reasonable drive, used or new.

I could order a new one from Amazon at MSRP, or a used one in Vancouver, BC, but at the asking price, it would be also be at MSRP by the time I paid for shipping. Either option is out of my price bracket.

No luck with Facebook marketplace, Kijiji or Reverb as well, and I definitely wouldn't buy one without at least having sampled it in the flesh.

Given the number of gigs I've got coming up, I definitely don't want to return the Rumble to Guitar Center and start over again, so I guess I'll just keep experimenting.

 

[Mastermold]

Took the Rumble 100 to music camp last week, with no backup.

I was amused that friends assumed it was yet another expensive boutique piece. I didn't see any reason to destroy their fantasies...

I sent FOH a DI feed, but they preferred to let my amp carry the hall. Attendance was down and there was no drummer, so I never really pushed the amp hard. Still, it had ample headroom for several enthusiastic sing-alongs.

During the week, I got to play in some fairly unusual settings, yet I always found a tone that fit in:
- holding down the low end for a recorder quintet (two sopranos, alto, tenor and bass)
- a mother and daughter piano duet
- camp band (upright piano, vocals, trumpet, mandolin, bass, and occasional walk-ins including acoustic guitar and harmonica)

The amp performed flawlessly. I still had to dial out a little boom and push the top end a bit to get the sort of woody, semi-acoustic tone I was looking for with my Dingwall 5-string. The EQ was very sensitive, as noted before. Slight half-increment adjustments were generally all I needed to push the tone one way or another.

These were my baseline settings for most of the week, with no buttons pushed:
View attachment 464507

In the end, I was very happy with my tone throughout the week, and got a bunch of complements on the new amp. Pretty impressive, considering that I was using a $900 boutique cab and an 800-watt head last time...

Those settings are similar to what I use on this amp, dialing out the bass and low mid adds clarity and it’s still got plenty bottom. These are good value amps for sure.

 

[M-Mittlesteadt]

BTW, I don't want reply too much at Rumble club because avoid arguments.

There are some reason i letting go the R200 then move to Hartke KB15, tech 21 VT 200 and settle with Ampeg RB112. All stock without mod and satisfied.

Rumbles and their tone aren't for everyone. Some of us like that tone and don't want it changed. That's why we bought them. It's not about arguing with someone who doesn't like the tone. It's just; why buy a cab if you don't like it when there are so many other choices?

I've designed, built and modded bass cabs for over 40 years. I'm happy with my Rumble 100 (V3) stock (and most are, which is why we buy them) and would prefer they keep that tone. I have no desire to even mod it. Too each his own.

Mod one or get a different cab, whatever works. There are a lot of others to choose from.

 

[Yahboy]

Rumbles and their tone aren't for everyone. Some of us like that tone and don't want it changed. That's why we bought them. It's not about arguing with someone who doesn't like the tone. It's just; why buy a cab if you don't like it when there are so many other choices?

I've designed, built and modded bass cabs for over 40 years. I'm happy with my Rumble 100 (V3) stock (and most are, which is why we buy them) and would prefer they keep that tone. I have no desire to even mod it. Too each his own.

Mod one or get a different cab, whatever works. There are a lot of others to choose from.

First i have thanks for your opinion share on latest batch V3 100 combo. Because of this, i revisit the Rumble V3 again but on R200 combo i been own before. After try the R200 along with the R100 , I end up with second Ampeg RB112 because she has the tone i liking with more than R200 ( even R200 sound nice with Vintage button engage ).

As i mention on Rumble club post , i favor with the old 2000-2005 Bassman combo sound , even little Bassman 25, she has the better tone than Rumble V3 to my ear. So i enjoy the Ampeg RB112 stack now and waiting the announcement of Rumble V4 ( hopefully the bake in voice more close to Bassman ).

Sure i won't absent for the Rumble club and i love leave my footprints right there.

Here is my regreting sold Bassman 25.

Can't agree more personal tonal favor are vary , enjoy your Rumble 100V3 , and i comtinue with RB112 STACK and SHAKE !!

 

[M-Mittlesteadt]

First i have thanks for your opinion share on latest batch V3 100 combo. Because of this, i revisit the Rumble V3 again but on R200 combo i been own before. After try the R200 along with the R100 , I end up with second Ampeg RB112 because she has the tone i liking with more than R200 ( even R200 sound nice with Vintage button engage ).

As i mention on Rumble club post , i favor with the old 2000-2005 Bassman combo sound , even little Bassman 25, she has the better tone than Rumble V3 to my ear. So i enjoy the Ampeg RB112 stack now and waiting the announcement of Rumble V4 ( hopefully the bake in voice more close to Bassman ).

Sure i won't absent for the Rumble club and i love leave my footprints right there.

Here is my regreting sold Bassman 25.

View attachment 7055330View attachment 7055331

Can't agree more personal tonal favor are vary , enjoy your Rumble 100V3 , and i comtinue with RB112 STACK and SHAKE !!

I think Ampeg and Fender each have their own tonal voicing and should leave well enough alone. There are so many other amps/cabs/combos that have other tones others will like.

What's interesting to me is that I never used to care for either one (aside from an all tube classic SVT and 810 cabs about 40 years ago). Nothing since has appealed to me.

I had a friend with an older Fender Rumble when they first came out and aside from being small, I hated the tone. And I've tried all kinds of Ampeg heads/cabs/combos and never really liked them much. I kind of went towards the modern bright sound over the next 40 years...always upgrading/changing heads and cabs (as well as designing and building my own cabs).

Recently I was at a music store that had the entire, current (V3) Rumble line-up along one wall. I already had a small rig, but after trying them all out the Rumble 100 was perfect. I loved the tone (stock), size and light weight. I bought it immediately.

I think players should try out combos from different manufacturers (because they all have their own built in tone) and buy what suits them best, instead of wishing any of them should change something. If you really like the Ampeg tone, would you want them to change it? That's how I feel about the Fender Rumbles. I hope they don't change it. In my case, Fender never got it right (for me) until the new Rumbles.

 

[steve_rolfeca]

Interesting developments over the last few days.

I focused on prepping for a gig with a Gospel choir onnFriday. The set list cried out for solid tones with character in the first position on the B string. Also, I was going to be mostly on my feet for seven hours, and I motivated to pack light.

I was ambivalent about the Vintage button on the Rumble, and considered going with my bigger rig.

But then a couple of morning appointments fell through, and I decided to invest a few minutes on another mod to the Rumble 100. I took more batting, and filled the cab to within a half-inch of the back of the magnet on the stock speaker.

A quick check revealed that with the ports open,the B-string on the Dingwall sounded fuller, and there was more pitch definition on the first 3 frets, suggesting that there was more output around the first harmonic.

It still seemed more than loud enough for the gig, and there wasn’t any crazy cone excursion, so I decided to take a chance on it. Given that the venue’s backline includes an old Ashdown Mag 300 and an Ampeg 4*10, this wasn’t a risky decision.

During soundcheck, the Ashdown/Ampeg rig obviously had way more headroom, and if I bumped the bass control, the E string had more authority. If I was playing a 4-string bass and I was trying to fill a club with no PA support, I would have gone with that. However, the B string wasn’t in balance- the cab obviously had a pretty sharp roll off below E, and I didn’t have a parametric EQ with me.

I did have my JDI, though. So I moved the XLR from the Ashdown to my DI, inserted it between my pedalboard and the Fender, and that was that. Here’s the crazy thing- with the vintage switch engaged and the EQ close to flat, the B string sounded much better with the Rumble, and had real punch. At these relatively low volume levels, it was clearly the better option.

This wasn’t just my opinion- the drummer and pianist both agreed!

My small pedalboard (Turbo Tuner, Diamond compressor set for minimum squish, fDeck HPF mini set to about 40Hz), along with David and Goliath. The Diamond’s tone control was left flat once I got sorted out, and I tidied up the cables before the show:

How I had the Rumble set:

My view at the office:

The concert was a success, the kids knocked it out of the park, and I got compliments from several people, including two bassists.

 

[steve_rolfeca]

Hmmmmm...

After the excellent experience on Friday night, I went straight to a duo on Sunday morning. Excellent male vox, simple but skillful rhythm playing on a Taylor acoustic. Wedges for monitoring, no percussion, and a relatively small room (capacity ~75, I think).

The Rumble sounded so good when it was pushed a bit on Friday, that it was quite a surprise in that setting. I tried Vintage on/off, fiddled w/EQ, but no matter how I set it, it sounded like somebody mumbling- no punch, no definition. This was with the same fresh nickel rounds that sounded so great on Friday night. It was as though something was missing in the mids, and falling between bands on the Rumble's tone controls.

I'll have to do some more testing this week- was it gain staging, or just that it likes and needs the signal from my pedalboard, with the HPF and slightly coloured compressor?

 

[steve_rolfeca]

Gig updates: played London’s Got Talent (amateur version in Ontario, Canada, not the UK!) with the children’s Gospel choir. In order to meet requirements, we had to bowdlerize their song into a short, two and a half-minute version, and again for a shorter one and a half minute reprise if they made the finals.

They did.

Also had to get e-drums, keys, a powered monitor and my rig on and off the stage in seconds (and connect to 3 DI feeds) while the kids processed on and off the stage. Had a mishap w/my pedalboard in the finals- no audio to FOH or my amp. With only moments to adapt, I simply bumped my level on the Rumble to hopefully compensate.

Listening to video clips, I was a couple of dB louder in the mix than I like, but it must have been OK, because the kids got second place against much more experienced competition. I didn’t hear anything special about my tone from the first set, with a fancy compressor and an HPF before the DI and amp.

It’s been thirty years since I played an important gig with less than 200 to 900 watts at my back, and the Rumble 100 was more than ample with the gain and master both at 1 o’clock for the second set. No fancy staging with turntables or rolling stages, just a small rug for the drums. If I’d had to fool around with a stack and speaker cables, it would have created an awkward pause in the proceedings.

I promise to not be precious about my tone in future, and to not make snotty comments about cheap gear.

The parts arrived from Solen a few days before the gig, so I could have messed around with flared ports, but I didn’t have time to do iterative testing. The only change from previous gigs, was the addition of a tilt-back foot on the Rumble.

On the first Rumble, I used a dedicated folding foot from Speaker Hardware, but they’re no longer in production. This time, I ground a couple of mm off the stops on a cheap flush-mount folding case handle from Amazon.

The spring-loaded handle actually make it easier to operate, and it’s low-profile enough to work with the Rumble’s factory rubber feet when it’s not deployed. It still offers enough tilt to make it easier to hear myself better when I stand close to the amp on small stages, or need to reduce the low end slightly in bad rooms. I only have to bump the bass about 3dB to compensate.

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