The Rumble Drive simulates a vintage Marshall 69 Plexi amp. It has 3 controls:
Output – knob controls the direct output level when the Rumble Drive is engaged. The more you turn it up, the more output you send to your amp.
Tone – control is very versatile and sensitive. You can dial in the right amount of treble or bass depending on the guitar you use and its pickups.
Gain – knob controls the amount of gain you send to the circuit.
The sound of the Rumble Drive is never harsh or brittle. It has a smooth break up and retains a lot of the guitar’s dynamics even at high overdrive settings. At a gain setting of 2 o’clock, the Rumble Drive reaches its maximum gain. Once you go past this point there is no more gain left, but the overdrive tone becomes more complex and harmonically rich. Turn it all the way up and you’ll get a very sweet overdrive with loads of harmonics! When the “Gain” control is turned off all the way to the left, the Rumble Drive produces very little or no gain at all. At this setting you can use the Rumble drive as a master output and tone control. If you engage the Delay & Reverb circuits and use the Rumble Drive output as a clean boost and the tone knob as a master tone control, you can enhance the sound of the Delay or Reverb or both. If you want to introduce just a little drive, try increasing the “Gain” control up a little. This will give your Rockabilly riffs attitude and really make them jump out of your amp!
The Delay in the Rumble Seat is about as sweet as it gets. With delay times that range from 25ms to 650ms, going from a Rockabilly slap to a Gilmourish long delay trail is as easy as a turn of the knob. Let’s have a look at the controls:
Delay – Controls the time of the delay. At full left, the delay time is 25ms. At full right, the delay time is 650ms. The delay circuit is very natural and smooth. If you want to kick it up a notch and give it a bit of attitude, just add in a little Rumble Drive. The one thing that you will notice is that your guitar’s tone will remain full and rich. Some delay circuits rob the guitar of its low end. That doesn’t happen with the Delay on the Rumble Seat. Like a vintage tape delay, the more you overdrive the delay on the Rumble Seat, the sweeter it gets.
Repeats – Controls the amount of repeats the effect will produce. At full left, only one repeat will be present. At full right, the delay goes to infinity – this setting is more like an effect as the repeats trail over themselves making the Rumble Seat sound like a space ship taking off!
Mix – Controls the amount of dry (no effect) and wet (total delay) signals. At full left, only the direct uneffected signal of the guitar is heard. At full right, only the effected delay sound of the guitar is heard. As with all the controls on the Rumble Seat, set this to suit your taste.
Many consider the reverb on a vintage Fender “Black Face” amp to be The Holy Grail of all spring reverbs and we humbly agree. So when we set out to design the reverb circuit on the Rumble Seat, there was no better place to start. We have four vintage Black Face amps at our studio, “Cloud 9 Recording”, where all of our pedals were born. When we voice the reverb in the Rumble Seat, we A/B it every step of the way with the original circuit found in those amps. You will be hard pressed to tell the difference between the two of them.
We don’t believe in making things complicated and the Reverb circuit is a fine example of that philosophy – it has one control that is simple and straightforward. Turn it all the way to the left for no reverb. Turn it all the way to the right and you get enough reverb to fill the Grand Canyon! The sound is never brittle. It is dark and rich with plenty of shimmer, just like a Black Face amp. It’s that simple.