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Jule Amps Monique part 4

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#1,122
KJung said:
Ah... cool, that is the answer. More old school. OK, I'll just set that switch at 'lift' and hopefully be happy. Thanks! I kind of got lost in the weeds with the 'over my head' technical discussion. All is good!
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Just remember, if a FOH guy ever approaches you and says you have hum/buzz in your DI'd signal, and they ask you to flip your ground switch, I would kindly ask them to make sure they have phantom power disabled on their board.
 
#1,123
KJung said:
Ah... cool, that is the answer. More old school. OK, I'll just set that switch at 'lift' and hopefully be happy. Thanks! I kind of got lost in the weeds with the 'over my head' technical discussion. All is good!
Click to expand...

That's the answer I got out of it too, Ken. I also ran mine lifted for over a year gigs (due to my own confusion on the switch) without problem, only switching it to ground after noise on a stage with a dodgy electrical situation.
 
#1,124
BurningSkies said:
That's the answer I got out of it too, Ken. I also ran mine lifted for over a year gigs (due to my own confusion on the switch) without problem, only switching it to ground after noise on a stage with a dodgy electrical situation.
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+1 And per Liam's comment above, if I do have an issue with noise, that is a nice opening for the discussion with the sound person to make sure the phantom power is disabled on my channel prior to grounding. Cool... zero issue.
 
#1,125
KJung said:
+1 And per Liam's comment above, if I do have an issue with noise, that is a nice opening for the discussion with the sound person to make sure the phantom power is disables on my channel prior to grounding. Cool... zero issue.
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it was also during the time that I had the DI lifted that I know I had a line with phantom applied and have had no problems since. I've played some gigs where the 'soundman' may not even know what phantom power actually is.

Last week we played a fantastic place for the first time and the guy hoodwinked into running the board had no idea what was going on. I was forced into the troubleshooting role and had to say things like "you have no front end because your power amps aren't plugged in" followed by "yes, you plugged in the amps, but you don't have sound because the speakons aren't plugged into that amp, you've plugged them into the one you're not using. "...and later "...I'm pretty sure that those 31 band EQ's should have power lights...I don't think they're turned on" ;)

I try my best to be the 'bass player', especially on gigs I didn't book or say I'd do sound for, but sometimes its hard.
 
#1,126
BurningSkies said:
it was also during the time that I had the DI lifted that I know I had a line with phantom applied and have had no problems since. I've played some gigs where the 'soundman' may not even know what phantom power actually is.

Last week we played a fantastic place for the first time and the guy hoodwinked into running the board had no idea what was going on. I was forced into the troubleshooting role and had to say things like "you have no front end because your power amps aren't plugged in" followed by "yes, you plugged in the amps, but you don't have sound because the speakons aren't plugged into that amp, you've plugged them into the one you're not using. "...and later "...I'm pretty sure that those 31 band EQ's should have power lights...I don't think they're turned on" ;)

I try my best to be the 'bass player', especially on gigs I didn't book or say I'd do sound for, but sometimes its hard.
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:D It can be a strange world out there
 
#1,127
KJung said:
:D It can be a strange world out there
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...In a room that holds over 400 people. Now, if the guys had been more intent on getting the PA setup and less intent on the silly amount of flashy seizure inducing lighting (and smoke machines), it might have gone more smoothly.

The other odd part of the night is they have several 'stage areas' and they switch sets...so someone plays an hour, then takes a break, you play for however long, then when you take a break the other act goes again for a bit until you go again. So, the opener doing an hour before us precluded us actually sound checking, meaning that we played the first half of the first set not knowing they had no front end. We switched to a mostly instrumental song list, ran with our amps while they sorted it out, and later, spun our working stage monitors around to the audience when the fix wasn't a quick 5 minute one.

...you never know what you may find. That's why Monique+3000w power+double fEARful makes sense.

Eh. we got some extra cash at the end of the night for our troubles.
 
#1,128
And I did run my Monique last night for a bit with the Sensitivity knob pushed in. On the whole cleaner, clearer and more well behaved. As mentioned, the sensitivity control has less apparent affect on your sound, although its still there. It makes the tone appear to be 'wider' across the mids and top end. Pretty much as I remember it.
 
#1,129
BurningSkies said:
And I did run my Monique last night for a bit with the Sensitivity knob pushed in. On the whole cleaner, clearer and more well behaved. As mentioned, the sensitivity control has less apparent affect on your sound, although its still there. It makes the tone appear to be 'wider' across the mids and top end. Pretty much as I remember it.
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+1 Exactly what I experience. I keep going back and forth with the P. With my active, modern, clean, smooth sounding Roscoe 5, the 'in' position with the EQ flat sounds simply beautiful, and not that far away from my Glock Blue Soul, but with more warmth up top. Sensitivity doesn't really impact much... just sounds 'good'!

With the passive P, it gets VERY interesting. Never really experienced anything like this. Keeping the 'in' position, nice, wide, clean but not sterile... good. However, 'out' it gets fatter/hairier:D and more 'touch sensitive' to the point of 'whoa' when you use different technique (i.e., harder softer, toward the neck toward the bridge, tumb muting, etc.... like a part of your hand or something... interesting). Not so much different 'tone' like changing EQ, and not the obvious 'linear' cranking the gain on a more traditional preamp that gets you 'more of everything'.

Anyway, blah, blah..... you guys all know more about this than me. Just having a grand old time turning knobs and switching basses, etc. Very much a chameleon amp... more than any I've experienced. At the same volume levels, you can go from about as clean and transparent as you want, and then go all the way into 'somewhat pushed B15' land.

It is good this thread will be closed and started new soon (Chef is still out of town, or he would have done it already). I promise I won't post my every daily experience in the new thread... I'm like a kid with a new bike:hiding:. (it goes really fast and it has a bunch of gears and everthing:p) Fun, fun, fun, and the power of the Minnie is impressive.
 
#1,130
KJung said:
Anyway, blah, blah..... you guys all know more about this than me. Just having a grand old time turning knobs and switching basses, etc. Very much a chameleon amp... more than any I've experienced. At the same volume levels, you can go from about as clean and transparent as you want, and then go all the way into 'somewhat pushed B15' land.
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Koolaid consumed :D

There is a reason I've ditched everything else except for a Puma as backup. And on the rare gig where I don't bring Monique, I feel like something is missing from my arsenal. She's an instrument, not an amp.
 
#1,131
nostatic said:
Koolaid consumed :D

There is a reason I've ditched everything else except for a Puma as backup. And on the rare gig where I don't bring Monique, I feel like something is missing from my arsenal. She's an instrument, not an amp.
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:D It sounds great with the CN212, but with the P, it is really looking for a mid driver loaded cab I think. It does sound good pushed a bit with the CN tweeter at 9 o'clock (and of course, with the Roscoe with the tweet at noon, it is glorious).

I think if Roger Baer gets that ML115 in production, that might get the call with the Monique and the P. The Minnie seems to have plenty of power to push a reasonably high sensitivity 8ohm cab to some pretty good volume, and I would guess I would get close to the CN212 volume (or two ML112's, etc.).
 
#1,138
nostatic said:
Koolaid consumed :D

There is a reason I've ditched everything else except for a Puma as backup. And on the rare gig where I don't bring Monique, I feel like something is missing from my arsenal. She's an instrument, not an amp.
Click to expand...

agreed. I still keep my EA Micro as a backup but I use my Monique/Minnie as much as possible, including touring. And in case anyone's wondering....the old Series 1 Epifani UL cabs sound INCREDIBLE with Monique/Minnie....especially with Foderas :)
 
#1,140
bassdoubler said:
agreed. I still keep my EA Micro as a backup but I use my Monique/Minnie as much as possible, including touring. And in case anyone's wondering....the old Series 1 Epifani UL cabs sound INCREDIBLE with Monique/Minnie....especially with Foderas :)
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You see what you did there?? You see?? Not cool... Lol! I'm selling my epi ul212 series 1 in the classifieds here. I have not used it in years. I've been using my Baer ML112 with Monique which I love, and just obtained a berg ae112b which I'm digging too with Monique.

Now you're gonna make me hook up my epi to see how it sounds! Just when I was finally content on selling it! Haha!
 
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