Jule Amps Monique part 4

[Fat240]

Ha, I went green on the jewel as well.

I have the old frosted green glass also

 

[JimmyM]

+1 Different tools. It would make little sense to purchase a Monique just to use as a DI in a live setting. The Reddi seems made for that (although I would be surprised if anyone can hear the difference between a Reddi and a JDI in a mix through the vast majority of PA's and gig settings). IMO, a bit of 'listening with the eyes' going on there in some situations.

Having used a REDDI for a year and a half in a variety of PA's from great to not so great, the REDDI ALWAYS makes a positive difference even in the worst PA's, as would the Monique. Used to agree with you till I got one. So I'm calling shenanigans.

 

[KJung]

Having used a REDDI for a year and a half in a variety of PA's from great to not so great, the REDDI ALWAYS makes a positive difference even in the worst PA's, as would the Monique. Used to agree with you till I got one. So I'm calling shenanigans.

If you hear it, it is there. Enjoy!

 

[BurningSkies]

I have the old frosted green glass also

Jule should start stocking those green vintage jewels as an upgrade option. I know I like mine. That's how you can tell when people are TB Monique users.

But seriously, this isn't a competition between the REDDI and the Monique. And I believe that Jule was a consultant in some part (small or large) of the REDDI development, IIRC.

The fact is that the Monique is just as at home on stage and in the studio as a tube preamp with the functionality you expect from one as either a front end or as a signal massager for recording. It also is a high quality DI for stage and studio. If you want to use it as DI only, leave those knobs at noon. I've now had mine in use for about 16 months and I've never ever had a complaint from house sound about what is coming through the DI. Usually the comments are overwhelmingly positive about what the DI provides.

 

[KJung]

Jule should start stocking those green vintage jewels as an upgrade option. I know I like mine. That's how you can tell when people are TB Monique users.

But seriously, this isn't a competition between the REDDI and the Monique. And I believe that Jule was in some part a consultant in some part (small or large) of the REDDI development, IIRC.

The fact is that the Monique is just as at home on stage and in the studio as a tube preamp with the functionality you expect from one as either a front end or as a signal massager for recording. It also is a high quality DI for stage and studio. If you want to use it as DI only, leave those knobs at noon. I've now had mine in use for about 16 months and I've never ever had a complaint from house sound about what is coming through the DI. Usually the comments are overwhelmingly positive about what the DI provides.

+1 Really different tools designed for different applications. I always found that, with decent technique and a good sounding bass, I've gotten rave reviews on my sound from audience members and sound professionals just taking a simple pre EQ buffered signal from my amp (quite frankly, any amp). I've never been a huge fan of 'feeding one preamp (or voiced DI)' into another preamp (the board). That being said, others feel that a significantly altered signal to the board helps their tone. Both approaches seem to work for many. I love the simplicity of just plugging that cable into the front or back of my amp... works wonderfully for me! Different strokes. My main point is for players to not think that having a massively expensive, heavy, large DI is an absolute improvement. It will be 'different' for sure, but not necessarily 'better'. IMO and IME.

Edit: To JimmyM's point, if you are one who uses a 'non full range cab' like a sealed 10" sort of thing, a strongly voiced DI can nicely serve a cabinet/speaker emulation role, and that makes sense also (i.e., bringing in the frequency response to make your tone coming out of a widely voiced, full range PA sound a bit more like mic'ing a 1 way sealed cab). Makes total sense there for some for sure! For me, that would be a bad thing, since my stage sound is relatively close to the sound coming out of the PA (not quite as extended down low, but that is easily fixed at the board).

 

[BurningSkies]

Working in so many situations (different rooms, different sound people, different types of shows with variety of musical genres present on the bill) having post EQ DI is a survival tactic for me. Downstream of my strings, I'm never sending a non-EQ'ed signal anyway. While I'm not a tone tweak on stage, I do make slight adjustments and often alter hand position for tonal changes.

The big problem is working with a soundman who's mixing and EQing for rock when I play in a reggae band. If I give him stuff flat up in the 2khz+ range it ends up in the house which sounds awful. Also, lots of soundmen are used to scooping mids and I actually use a fair amount of mid in my tone (I run my Monique mid between 2 and 3 o'clock, which is often hotter than where I have my low set).

Even when we play a room regularly we get different personnel behind the board, then during the summer we do a line of low level festivals and outdoor events with full day line ups, mix in small rooms, bars, etc. Each of these is subject to interesting FOH mix and tone decisions.

 

[KJung]

Working in so many situations (different rooms, different sound people, different types of shows with variety of musical genres present on the bill) having post EQ DI is a survival tactic for me. Downstream of my strings, I'm never sending a non-EQ'ed signal anyway. While I'm not a tone tweak on stage, I do make slight adjustments and often alter hand position for tonal changes.

The big problem is working with a soundman who's mixing and EQing for rock when I play in a reggae band. If I give him stuff flat up in the 2khz+ range it ends up in the house which sounds awful. Also, lots of soundmen are used to scooping mids and I actually use a fair amount of mid in my tone (I run my Monique mid between 2 and 3 o'clock, which is often hotter than where I have my low set).

Even when we play a room regularly we get different personnel behind the board, then during the summer we do a line of low level festivals and outdoor events with full day line ups, mix in small rooms, bars, etc. Each of these is subject to interesting FOH mix and tone decisions.

Again, lots of different ways to deal with this. If a soundman want to scoop your tone, he is going to do it no matter what type of signal you send him.

I have never sent a post EQ signal to a sound person in 40+ years, and it seems to always come out great. I also rarely see the same soundman twice, since I am a pure freelance player playing a wide variety of music genre's with different bands almost every week in different cities, states and on occasion, countries. However, I am blessed with doing 'non bar gigs' with relatively professional front of house guys for the larger gigs, and it is rare that a sound person doesn't have a bit of a listen to my stage sound prior to slotting me in the mix. Yes, many sound guys love the subs a bit too much, but it is amazing what a polite request to 'make sure my midrange punches through' does.

However, in a battle of 'who is going to define what the bass sounds like out front', the sound person will always win, pre or post DI, mic'ing, whatever.

 

[BurningSkies]

Again, lots of different ways to deal with this. If a soundman want to scoop your tone, he is going to do it no matter what type of signal you send him.

I have never sent a post EQ signal to a sound person in 40+ years, and it seems to always come out great. I also rarely see the same soundman twice, since I am a pure freelance player playing a wide variety of music genre's with different bands almost every week in different cities, states and on occasion, countries. However, I am blessed with doing 'non bar gigs' with relatively professional front of house guys for the larger gigs, and it is rare that a sound person doesn't have a bit of a listen to my stage sound prior to slotting me in the mix. Yes, many sound guys love the subs a bit too much, but it is amazing what a polite request to 'make sure my midrange punches through' does.

However, in a battle of 'who is going to define what the bass sounds like out front', the sound person will always win, pre or post DI, mic'ing, whatever.

Hard to add highs back into my sound if I don't give them to the board in the first place.

 

[KJung]

Hard to add highs back into my sound if I don't give them to the board in the first place.

+1 that your reggae example is unique and your approach makes total sense. That is one genre I do not perform in. Of course, in some ways, that is what a passive tone control is about

 

[BurningSkies]

+1 that your reggae example is unique and your approach makes total sense. That is one genre I do not perform in. Of course, in some ways, that is what a passive tone control is about

I learned that the hard way. For years I sent post EQ DI to the board, then one theater show back about 15 years ago, I decided to try it the 'conventional wisdom' way and set my DI pre EQ and flattened out my tone controls on the bass. All night long I was hearing super bright top end from the bass off the back of the theater wall. I tried the same setup once or twice more to the same effect before giving up and going back to post EQ.

 

[KJung]

I learned that the hard way. For years I sent post EQ DI to the board, then one theater show back about 15 years ago, I decided to try it the 'conventional wisdom' way and set my DI pre EQ and flattened out my tone controls on the bass. All night long I was hearing super bright top end from the bass off the back of the theater wall. I tried the same setup once or twice more to the same effect before giving up and going back to post EQ.

It is always appropriate to 'do what works for you'. Again though, that is what the passive tone control is for, and that is really the only control I ever touch on the gig, and rarely touch that, since hand position gives me pretty much all I need. However, it is a great control to gently reduce the top end if that is a problem in a given room. This situation could also mean that the inherent voicing of your bass is not really hitting your tonal goals, but that is a different discussion!

+1 though, if you don't want a 'full range' signal going to the board, and like your top end sliced off, there is nothing wrong with doing that, whether it is finding a stand-alone DI that does it for you, are using a passive tone control with a pre EQ setting, or sending a post EQ with everything rolled off up top. Lots of ways to get there. Things are a bit easier for me, since I dig the tone of my basses right into a mixing board or headphone preamp. Makes it pretty easy. I realize others are not into that sort of 'clean transparent tone'.

As long as the player thinks through all of this prior to spending a ton of money, or automatically thinking that stage EQ from an amp is always a good thing to send to the board, all is good, and it is a pure personal preference as long as you respect the person at the board.

 

[BurningSkies]

It is always appropriate to 'do what works for you'. Again though, that is what the passive tone control is for, and that is really the only control I ever touch on the gig, and rarely touch that, since hand position gives me pretty much all I need. However, it is a great control to gently reduce the top end if that is a problem in a given room. This situation could also mean that the inherent voicing of your bass is not really hitting your tonal goals, but that is a different discussion!

+1 though, if you don't want a 'full range' signal going to the board, and like your top end sliced off, there is nothing wrong with doing that, whether it is finding a stand-alone DI that does it for you, are using a passive tone control with a pre EQ setting, or sending a post EQ with everything rolled off up top. Lots of ways to get there. Things are a bit easier for me, since I dig the tone of my basses right into a mixing board or headphone preamp. Makes it pretty easy. I realize others are not into that sort of 'clean transparent tone'.

As long as the player thinks through all of this prior to spending a ton of money, or automatically thinking that stage EQ from an amp is always a good thing to send to the board, all is good, and it is a pure personal preference as long as you respect the person at the board.

For this reason when Sheldon built my #1 bass, he developed a hybrid treble control for it (me) to work with the OBP-1 (which is all boost, and no cut). I explained that seldom have I ever needed to add brightness only roll it off, but the big warm lows of the OBP1 are more in tune with what I want to hear from the 'money' range of the signal. So, he made a treble control that is center detent, passive roll off on the back side, and preamp boost on the front side.

I'm certainly not the guy who doesn't use ANY highs in my tone, I don't roll off all the way and I use a fair amount of mids. I carefully sculpt my tones above mid to hear what I want. A passive tone control has a sweet spot, whether its a P or a Jazz or any of them. I've spent decades riding that spot.

 

[KJung]

For this reason when Sheldon built my #1 bass, he developed a hybrid treble control for it (me) to work with the OBP-1 (which is all boost, and no cut). I explained that seldom have I ever needed to add brightness only roll it off, but the big warm lows of the OBP1 are more in tune with what I want to hear from the 'money' range of the signal. So, he made a treble control that is center detent, passive roll off on the back side, and preamp boost on the front side.

I'm certainly not the guy who doesn't use ANY highs in my tone, I don't roll off all the way and I use a fair amount of mids. I carefully sculpt my tones above mid to hear what I want. A passive tone control has a sweet spot, whether its a P or a Jazz or any of them. I've spent decades riding that spot.

I read about that treble control on those basses. VERY cool design. Basically a passive cut just like a regular passive tone control, with the option to boost treble actively if you so choose. Pretty cool!.

Anyway, lots of ways to get there in this world. It will be interesting to see what the Monique DI does to my tone out front, and if the EQ I apply to my stage rig results in an acceptable tone for me out front. We shall see!

 

[chadds]

Real cool discussion here!

 

[juledude]

Jule should start stocking those green vintage jewels as an upgrade option. I know I like mine. That's how you can tell when people are TB Monique users.

But seriously, this isn't a competition between the REDDI and the Monique. And I believe that Jule was a consultant in some part (small or large) of the REDDI development, IIRC.

The fact is that the Monique is just as at home on stage and in the studio as a tube preamp with the functionality you expect from one as either a front end or as a signal massager for recording. It also is a high quality DI for stage and studio. If you want to use it as DI only, leave those knobs at noon. I've now had mine in use for about 16 months and I've never ever had a complaint from house sound about what is coming through the DI. Usually the comments are overwhelmingly positive about what the DI provides.

It wasn't me. I was not part of the development of the reddi. I was asked to do an investigation and minor tweak long ago, well after it was developed, as part of other work. I appreciated what it does then as I do now.

 

[lowphatbass]

For this reason when Sheldon built my #1 bass, he developed a hybrid treble control for it (me) to work with the OBP-1 (which is all boost, and no cut). I explained that seldom have I ever needed to add brightness only roll it off, but the big warm lows of the OBP1 are more in tune with what I want to hear from the 'money' range of the signal. So, he made a treble control that is center detent, passive roll off on the back side, and preamp boost on the front side.

I'm certainly not the guy who doesn't use ANY highs in my tone, I don't roll off all the way and I use a fair amount of mids. I carefully sculpt my tones above mid to hear what I want. A passive tone control has a sweet spot, whether its a P or a Jazz or any of them. I've spent decades riding that spot.

So true, and so well put.
One of the things I really appreciate and respect when it comes to certain companies is their "open-door/open-air" policies when it comes to consumer feedback and input. Every manufacturer has the opportunity to receive timely suggestions/criticism from around the world, in my mind it's the ultimate form of R&D. I'm sure it's overwhelming at times but I think the companies that use it to their advantage are staying a step ahead in terms of product development.

 

[Groove Doctor]

I fly all over the world with my Monique and Minnie in a soft gig bag! Never had a single issue and it looks as cool as it sounds!

One single bag? I'd love to know which gig bag.

Although, Todd's (nostatic's) Mono bag for the rugged gear, and custom Monique bag to separate the tube pre is a good idea too.

Do you offer the soft case option Jule? I certainly LOVE the 'soft' case for my RA Mouse.

 

[Baird6869]

Wow! Backlined instrument! Yowwzaa!

Funny story....

Bass shows up and it is a 73-74 Jazz. Refinished to natural with the pickup cover on..... removed the cover and spent 30 min making the action playable and I am in business. Thought it was cool I got such a cool bass as a rental......

Friggin bass sounds terrible. I have a 1972 Jazz that kills but this sounds like wet farts.

The rig? The Randall head is retardedly bad. The sound guy (and he is good) spent 20 min EQing the amp! Crossover fix, some tweaks and we are in business. The 8x8 SWR is definately not my thing either.

In any case, I am pumped to be playing for a lot of people tomorrow..... BUT I MISS MONIQUE!!!

 

[Mitchthebassplayer]

One single bag? I'd love to know which gig bag.

Although, Todd's (nostatic's) Mono bag for the rugged gear, and custom Monique bag to separate the tube pre is a good idea too.

Do you offer the soft case option Jule? I certainly LOVE the 'soft' case for my RA Mouse.

Had it custom made by Studio Slips....GREAT bag! The first one they sent me didn't fit the Minnie correctly so they took it back and remade it for me for free! Hold the Monique, Minnie, and all my cables!! It's awesome.

 

[Groove Doctor]

I'd very much love a picture - PM me if that's more appropriate.

I currently have my T'Funk, pedals, cables, sheet music, etc all in one nice carry-on sized suitcase. Bass(es) on back, cab and amp on trolley. EASY.


PS. That's me photo-bombing post #801 by basshack. :lol: