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Jule Amps Monique part 5
- Thread starter Chef
- Start date
My Bamboo Monique went to visit its creator Jule.
It is one of the early ones. It had the original Cinemag transformer for the DI. It was clinically clean. Fantastic but didn't sound like the line out output. When you're playing it how do you part with it to send it back? Especially when it sounds so good. So I finally let it go.
Okay it's back. Sounds luscious! All the buttery syrupy tone clinging to each note. What is amazing is it is really loud! I know Jule had a pull out knob function that boosted the output voltage from .775 to 1.4. I tried that option a while ago and my amps that wanted to see .775 didn't sound so great. Whatever he has done is amazing. It also speaks better. It was always perfect, it's more 3D. Notes really project. Boy this is hard to explain!
Thanks again, Jule. Just WOW!
It is one of the early ones. It had the original Cinemag transformer for the DI. It was clinically clean. Fantastic but didn't sound like the line out output. When you're playing it how do you part with it to send it back? Especially when it sounds so good. So I finally let it go.
Okay it's back. Sounds luscious! All the buttery syrupy tone clinging to each note. What is amazing is it is really loud! I know Jule had a pull out knob function that boosted the output voltage from .775 to 1.4. I tried that option a while ago and my amps that wanted to see .775 didn't sound so great. Whatever he has done is amazing. It also speaks better. It was always perfect, it's more 3D. Notes really project. Boy this is hard to explain!
Thanks again, Jule. Just WOW!
Your patience with me as I worked through the final-final details years ago is something I am deeply grateful for. Without your wonderfully critical ear, your skills, and your patience, Monique would not be what it is today. We all benefited from your gifts.
I do remember the lengthy exchange between David at Cinemag as we worked toward the final output DI transformer. It was a challenge. Several times, after the "final" version was determined, we went back to the drawing board. But that's why I'm here. A bit of Monique trivia: the first DI transformers were the same units used in the Burl equipment (Rich is a friend). They were made by Adtran. Beautiful devices. In the end they were all replaced. Then we tried the clinical clean nickel chromium plated Cinemag 15Ks. But there is already the Avalon. The end result DI output transformer uses a black steel plated 10k:600 beauty. It works.
All of the Cinemag 15Ks have been replaced now too.
In this last year I have heard from several bands who re-recorded all their bass tracks (that they had thought done well) as soon as they received their Monique. I know that is additional work, but it is fun to hear.
Thank you.
BurningSkies
CRAZY BALDHEAD
- Feb 20, 2005
- 27,956
- 20,348
- Disclosures
- Endorsing artist: Dingwall Guitars
Your patience with me as I worked through the final-final details years ago is something I am deeply grateful for. Without your wonderfully critical ear, your skills, and your patience, Monique would not be what it is today. We all benefited from your gifts.
I do remember the lengthy exchange between David at Cinemag as we worked toward the final output DI transformer. It was a challenge. Several times, after the "final" version was determined, we went back to the drawing board. But that's why I'm here. A bit of Monique trivia: the first DI transformers were the same units used in the Burl equipment (Rich is a friend). They were made by Adtran. Beautiful devices. In the end they were all replaced. Then we tried the clinical clean nickel chromium plated Cinemag 15Ks. But there is already the Avalon. The end result DI output transformer uses a black steel plated 10k:600 beauty. It works.
All of the Cinemag 15Ks have been replaced now too.
In this last year I have heard from several bands who re-recorded all their bass tracks (that they had thought done well) as soon as they received their Monique. I know that is additional work, but it is fun to hear.
Thank you.
For clarification, which DI transformer do I have? Here's a picture of it when I first got it, but it's been back and forth a few times.
Also, what's the feasibility of using the main out instead of the DI out in a recording situation? We do pre-production in about 3 weeks then the album sessions will happen in mid-October. Just trying to work out a strategy in advance.
Yours is the current (and for years) standard Cinemag Output transformer. Deliciousness you will feel you can spread all over you.For clarification, which DI transformer do I have? Here's a picture of it when I first got it, but it's been back and forth a few times.
Also, what's the feasibility of using the main out instead of the DI out in a recording situation? We do pre-production in about 3 weeks then the album sessions will happen in mid-October. Just trying to work out a strategy in advance.
Using the Line Out is perfectly OK. The DI out is matched to the low impedance most consoles look for, but the Line Out will work. You will find them slightly different. The DI out will give you a larger envelope around the notes, but both will work.For clarification, which DI transformer do I have? Here's a picture of it when I first got it, but it's been back and forth a few times.
Also, what's the feasibility of using the main out instead of the DI out in a recording situation? We do pre-production in about 3 weeks then the album sessions will happen in mid-October. Just trying to work out a strategy in advance.
I got to listen to first cut tracks by Darryl Anders (AgapêSoul) yesterday that were made straight out of his Monique to the board. Huge notes. Very powerful. Straight from his Tom Stenback (and a Lull) passive pickups to Monique. Difficult to describe the dimension of the sound, but it was impressive. I am looking forward to his next album.
BurningSkies
CRAZY BALDHEAD
- Feb 20, 2005
- 27,956
- 20,348
- Disclosures
- Endorsing artist: Dingwall Guitars
Cool. I've listened to both of them, and they're definitely a bit different from each other. I'm going to ponder for a bit because obviously the line out is what I'm used to hearing and what my sound is 'in the band,' but that may or may not necessarily be what I need for the recording. I feel like they've got different characters. The DI is definitely wider, and to me a bit more mannered and smooth. The Line has a bit more bubble and thickness and maybe is a little rougher around the edges.
I can not think of a better description of the difference between the DI and the Line Out myself. The recording engineers out there have shown serious prejudice toward the DI out, but the flexibility is nice to have.
Curiously I still get an occasional opportunity to help players who don't know the DI Level control is on the back of the Dove Cage. What happens is that they turn the Line Level Control and expect that the DI will change. Not a big thing. It takes a while to get the whole story.
Hey gang,
I have a Mono bag that fit my Bamboo and Minnie perfect up for sale - believe it would fit the dove cage and minnie also..
For Sale - Mono M80-DP | TalkBass.com
I have a Mono bag that fit my Bamboo and Minnie perfect up for sale - believe it would fit the dove cage and minnie also..
For Sale - Mono M80-DP | TalkBass.com
I have the Tardis 700, but have never heard the Demeter. I'm sure you won't go wrong with either version.
I know there been a lot of tracks posted but see below a rehearsal recording of a soul band project I am working on. Without the backing singer but you still get to hear the goodness of Mo in a band setting.
With P bass
With J bass
I know Mo is very versatile, but I can't help thinking this retro soul sound is where she is very much at home.
Both tracks recorded with sensitivity pulled and at 12.00.
With P bass
With J bass
I know Mo is very versatile, but I can't help thinking this retro soul sound is where she is very much at home.
Both tracks recorded with sensitivity pulled and at 12.00.
Stacked! Today I received a mint LDS 28WET3W cabinet (2 x 8", variable 5", variable tweeter; 450 w, 8 ohms). As the cabinet acclimated to indoors, I took a long lunch break and rescued my Acoustic Image Focus 1 Series III from storage. I have other amps and cabinets in storage. But I wanted something "Monique sized" and good for playing in an apartment situation. So I went for the LDS cabinet.
Though I played only briefly and at low volumes, in my first try today the new stack sounded good.After a while, I boosted the volume of the 5" speaker, but that was it. No other tweaking. Just the old Precision and the new stack. It was great to play not in headphones.
I think they all look good together, these three. In addition to the preamp fitting perfectly atop the amp, the grilles on the Monique and the cabinet match.
View attachment 554816
View attachment 554817
It has been a while. After my post about my Monique inhibiting hum, there wasn't really much for me to say. With the possible exception of an Ampeg V4B that was my main gigging and recording amp 25 years ago or so, my Monique is the best bass preamp I ever owned. Just sayin'.
About a month ago, a scant half year after I posted about my Monique/Acoustic Image/LDS rig, I decided that the old Acoustic Image amp wasn't getting it paired with the Monique. It sounded good, but I am just too old school. For solid state amplification, I needed Class AB. Get the lead out!
It doesn't matter that I have not gigged for so many years. That is my background and my standard. I have to hear and feel it, even at low volume. But I knew that Class D improved since my Acoustic Image Focus 1 Series III was made, so I researched two paths: M700 for Class D and whatever looked promising for Class AB. As always, Jule was helpful in answering my questions. In the end, economy and the lure of iron conspired to steer me to a modest, high quality rackmount amp. Independently reaching the same conclusion that other bass guitarists did before me in recent years, I chose the QSC PLX1104. I found a new one at an absurdly low price and was done.
Man, does the Monique/QSC/LDS stack sound good. Comparatively, it sounds better all around: more present, open, raw, immediate, detailed, thick, and punchy than with the old Class D amp. Both refined and visceral, this new setup almost makes me want to play with living musicians again... and perform for an audience. Almost.
More likely, though, is that soon I'll stop obsessing about bass guitars, pickups and processors, and get set up for recording. That's my real deal anyway. I look forward to learning what my Monique can do when recording.
Oh, and yes, there is a Kern preamp in the new stack, too. For now, I alternate between it and the Monique, for variety and to learn. When I first got the Kern, I wrote to the seller my observations about it and the Monique:
"To my ear, the Monique sounds spatial, relaxed, refined, and natural by comparison. It also has a voice, but it is much more subtle. In summary, to me, the Monique sounds like the 1950s and the Kern sounds like the 1970s. For plug and play excellence, the Monique trounces the Kern. But for tweaking, each goes into a different useful territory. It's all good."
Comparisons of these two preamps have been made before. There was mine. It's been some weeks since then, and now I know and like the Kern better. Yet for me, the Kern is a fine and musical tool and instrument, whereas the Monique is the one. Thanks again, Jule.
Well you're definitely not slumming with that combination! Lol!It has been a while. After my post about my Monique inhibiting hum, there wasn't really much for me to say. With the possible exception of an Ampeg V4B that was my main gigging and recording amp 25 years ago or so, my Monique is the best bass preamp I ever owned. Just sayin'.
About a month ago, a scant half year after I posted about my Monique/Acoustic Image/LDS rig, I decided that the old Acoustic Image amp wasn't getting it paired with the Monique. It sounded good, but I am just too old school. For solid state amplification, I needed Class AB. Get the lead out!
It doesn't matter that I have not gigged for so many years. That is my background and my standard. I have to hear and feel it, even at low volume. But I knew that Class D improved since my Acoustic Image Focus 1 Series III was made, so I researched two paths: M700 for Class D and whatever looked promising for Class AB. As always, Jule was helpful in answering my questions. In the end, economy and the lure of iron conspired to steer me to a modest, high quality rackmount amp. Independently reaching the same conclusion that other bass guitarists did before me in recent years, I chose the QSC PLX1104. I found a new one at an absurdly low price and was done.
Man, does the Monique/QSC/LDS stack sound good. Comparatively, it sounds better all around: more present, open, raw, immediate, detailed, thick, and punchy than with the old Class D amp. Both refined and visceral, this new setup almost makes me want to play with living musicians again... and perform for an audience. Almost.
More likely, though, is that soon I'll stop obsessing about bass guitars, pickups and processors, and get set up for recording. That's my real deal anyway. I look forward to learning what my Monique can do when recording.
Oh, and yes, there is a Kern preamp in the new stack, too. For now, I alternate between it and the Monique, for variety and to learn. When I first got the Kern, I wrote to the seller my observations about it and the Monique:
"To my ear, the Monique sounds spatial, relaxed, refined, and natural by comparison. It also has a voice, but it is much more subtle. In summary, to me, the Monique sounds like the 1950s and the Kern sounds like the 1970s. For plug and play excellence, the Monique trounces the Kern. But for tweaking, each goes into a different useful territory. It's all good."
Comparisons of these two preamps have been made before. There was mine. It's been some weeks since then, and now I know and like the Kern better. Yet for me, the Kern is a fine and musical tool and instrument, whereas the Monique is the one. Thanks again, Jule.
View attachment 683986
Pretty sweet! Nice!!
Well you're definitely not slumming with that combination! Lol!
Pretty sweet! Nice!!
Thank you, Mike. I know it's indulgent.
But if I don't do this now, when will I get to?Also, I think I am at least fit to use these instruments. Rising above obsession and materialism, I do sit down with a bass guitar and get into it. I strive; and striving I make the beautiful sounds. That has to be good.
Great instruments don't fall in the realm of materialism. You may know better about yourself but I see it this way.
You learn to play your ear becomes more critical you then search for what will deliver that sound or stay out of the way while you deliver that sound. Then others from one to thousands enjoy your expression. It's just all good.
Do you want your surgeon to use the best tools?
You learn to play your ear becomes more critical you then search for what will deliver that sound or stay out of the way while you deliver that sound. Then others from one to thousands enjoy your expression. It's just all good.
Do you want your surgeon to use the best tools?
Done some reading up on the M700 and, needless to say, and very intrigued. The Hypex is rated down to 2 ohms, but the Jule website says it shouldn't be played at that impedance for long periods. Can anyone give me some idea whether I should (1) even think about using it at 2 ohms, and (2) if it's okay to, how long should I expect to be able to do that safely (I assume higher volume would lead to more heat would mean less time). Any time estimates anyone? Thanks for any input, DM
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I've been using at 2.6 ohms with NO issues at all. I've been using it with my tc112v1 (4ohms) and Hathor 1203 (8ohms). Sounds huge and Amp stayed cool as a cucumber.
