Jule Amps Monique part 5

[BuffaloBob4343]

Heh. I run with the Line Out pushed, but all the way up...around 3 o'clock would be low for me. I prefer it to the line level pulled (boosted). It just sounds different.

On the other hand, I like the sensitivity knob pulled out. For the same reason. It just sounds better to me.

The beauty of Monique! Dial in what sounds good to you. Then push play!

 

[BobaMosfett]

Heh. I run with the Line Out pushed, but all the way up...around 3 o'clock would be low for me. I prefer it to the line level pulled (boosted). It just sounds different.

Line out all the way up; I assume you use an external power amp with a master volume?

Anyway, nice to see so many different ways to use Monique, and all without issues. I guess it is all about what sounds good to you!

 

[BurningSkies]

Line out all the way up; I assume you use an external power amp with a master volume?

Anyway, nice to see so many different ways to use Monique, and all without issues. I guess it is all about what sounds good to you!

Yes. I do. I use a Peavey IPR2-3000 DSP power amp. Most often on stage run bridged. I usually during soundcheck get within a reasonable volume that's in the range that I'll have once a room fills up. I do this by backing off the volume on my bass to about 75% and then using the attenuators on the power amp. Once I'm on stage I've got enough wiggle room to go up or down depending on what I want to hear. Because my bass is active I don't sacrifice tone by not running the volume all the way up.

 

[dmrogers]

Yes. I do. I use a Peavey IPR2-3000 DSP power amp. Most often on stage run bridged. I usually during soundcheck get within a reasonable volume that's in the range that I'll have once a room fills up. I do this by backing off the volume on my bass to about 75% and then using the attenuators on the power amp. Once I'm on stage I've got enough wiggle room to go up or down depending on what I want to hear. Because my bass is active I don't sacrifice tone by not running the volume all the way up.

Very similar situation with me.
When I was running Monique with the Crest ProLITE, the Monique line level would be between 3:00 to 5:00. On the Crest, I would parallel the signal and run both sides at around 3:00. I play a P bass 90% of the time and would set the volume at about 75%. That would give me an easy way to bump the volume if needed. The Sensitivity hovers between 8:00 and 1:00, depending on the song.
I would also vary the switches on the top 1203 cab depending on the song.

I have my first gig coming up with the Monique 700 soon (more on that later). It will be interesting to see how different it is.

 

[BurningSkies]

Very similar situation with me.
When I was running Monique with the Crest ProLITE, the Monique line level would be between 3:00 to 5:00. On the Crest, I would parallel the signal and run both sides at around 3:00. I play a P bass 90% of the time and would set the volume at about 75%. That would give me an easy way to bump the volume if needed. The Sensitivity hovers between 8:00 and 1:00, depending on the song.
I would also vary the switches on the top 1203 cab depending on the song.

I have my first gig coming up with the Monique 700 soon (more on that later). It will be interesting to see how different it is.

The sweep on the line level isn't all that linear to my ear. Most of the 'action' is in that 3 o'clock to the end of it's throw. In that range, small adjustments change the volume pretty significantly. At one point I was talking to a certain tube amp and preamp builder and maker and I asked "does that tube have an effect on the overall tone?" and the reply was, "ALL the tubes effect the tone". The Line level is pushed (as is the DI level) by the 12AU7...so yeah, I'm pushing that tube a bit.

 

[dmrogers]

The sweep on the line level isn't all that linear to my ear. Most of the 'action' is in that 3 o'clock to the end of it's throw. In that range, small adjustments change the volume pretty significantly. At one point I was talking to a certain tube amp and preamp builder and maker and I asked "does that tube have an effect on the overall tone?" and the reply was, "ALL the tubes effect the tone". The Line level is pushed (as is the DI level) by the 12AU7...so yeah, I'm pushing that tube a bit.

My experience as well with the Line Level pot on the Monique pre. I don't know if you remember me mentioning in a PM that I never could warm up to the pot on the Monique pre. But you are right, at around 3:00 to full clockwise, you have a huge amount of volume.

I must say that I LOVE the new Line Level pot on the Monique 700. It has a much firmer feel to it, all the way through it's range of motion. I don't really know just how linear it is compared to the old pot. My guess is that it is fairly linear in it's range. I haven't gigged with it yet, and in practice, it has only been set as high as about 2:00.
It's been super busy since I got her and I haven't had as much time as I want to explore the new toy. I hope to do a blog on it later sharing my thoughts. So far though, it's all positive.

 

[BuffaloBob4343]

I have never used a Monique other than as part of my Tardis and run through the 700. But my experience is the same: the line level volume seems pretty linear, at least when pushed in.

I have not yet gigged my Monique Tardis either, except for a single set garage show at a party. But what I love most is how you just can't get a bad tone out of her. Just subtle variations of good.

 

[dmrogers]

I have never used a Monique other than as part of my Tardis and run through the 700. But my experience is the same: the line level volume seems pretty linear, at least when pushed in.

I have not yet gigged my Monique Tardis either, except for a single set garage show at a party. But what I love most is how you just can't get a bad tone out of her. Just subtle variations of good.

Yes, Jule mentioned to me that he was using a different pot on the 700s. I really like it.

 

[Yaphet]

Just picked up my M700 and Dove cage from fedex after the dreaded missed delivery yesterday!

Stuck at work, but I am preparing to bounce early and settle in for a long secluded evening in my home studio!

 

[Guitarodeo]

Just picked up my M700 and Dove cage from fedex after the dreaded missed delivery yesterday!

Stuck at work, but I am preparing to bounce early and settle in for a long secluded evening in my home studio!

We won't be hearing from you for a while. Just back from playing a party. Mind blowing tone, live and in practice. I took a DI from the board to a new sub out front. It was kickin'. I hope to have caught some good tracks to the zoom. Enjoy!

 

[ahc]

I hope to have caught some good tracks to the zoom. Enjoy!

Please post 'em if you can.

 

[juledude]

Yes, Jule mentioned to me that he was using a different pot on the 700s. I really like it.

Yes, for the 700 Watt versions of Monique we are using special CTS enclosed/switched pot. Slightly different sweep that is appropriate for pushing the Hypex. Quite robust.

 

[juledude]

Yes. I do. I use a Peavey IPR2-3000 DSP power amp. Most often on stage run bridged. I usually during soundcheck get within a reasonable volume that's in the range that I'll have once a room fills up. I do this by backing off the volume on my bass to about 75% and then using the attenuators on the power amp. Once I'm on stage I've got enough wiggle room to go up or down depending on what I want to hear. Because my bass is active I don't sacrifice tone by not running the volume all the way up.

I sincerely hope Monique pleases in a a whole lot of different environments, and from what I am reading here I "did good."A primary goal (way back when) was to avoid boxing Monique players in to specific equipment or environments. If we have to go through the PA or (I have seen it) a guitar cab, or the built-from-unobtainium super rig, it all has to work, and it has to be fun.

 

[Yaphet]

Ok, I've had some quality time to spend with the M700 and Monique through a few different speaker configurations as well as Monique straight into my recording interface. This is it! Absolute tonal perfection- such a full, dynamic, creamy texture.

I think the biggest difference between this rig and my other rig is the incredible clarity and character that represents the B string on my fretless smith. I absolutely can't wait to get my Fodera 6 back from the shop- I'm sure it's a match made in heaven. I bought this rig with the 6-string in mind, hoping to achieve the best representation of the full and complex character across the whole range of the instrument.

The photo with my berg "modular 322" stack was just for kicks (I didnt actually plug in, as it's likely too intense for home studio volume), but ran it through both the CN112 and CN210 separately with my drummer and it just plain kills.

Jule- it's a very, very cool niche you've carved out for yourself, and I truly appreciate your dedication to building a superior product.

 

[BurningSkies]

I sincerely hope Monique pleases in a a whole lot of different environments, and from what I am reading here I "did good."A primary goal (way back when) was to avoid boxing Monique players in to specific equipment or environments. If we have to go through the PA or (I have seen it) a guitar cab, or the built-from-unobtainium super rig, it all has to work, and it has to be fun.

As a testament of your good design work and choices, Jule, the Monique sounds really good no matter how extreme the knobs are twisted and in a whole different bunch of environments and utilizations. When I was in the studio I didn't need to 'set it flat' to have a good recorded tone, and I've used it live with a number of amps and setups very effectively.

I personally love it because I don't want to spend my night with my back to the crowd twisting twisters and sliding sliders. I want to know that it will be consistently great all the time. It also matters more now as we're sharing our backline with whomever we've invited to open for us on a given night. Sometimes that has meant other bass players, sometimes it's meant keys players. I know that THEY can set a tone that they'll enjoy in moments and that I'll have no trouble getting back to my settings.

Many times in the amp world we're faced with gear that doesn't sound good 'at the limits' of the controls. We're sort of conditioned to not max out the bass, treble, the gain, the volume, etc. Because many amps just sound bad when you push the controls that way. It took a while to get comfortable with not being afraid to do things like max the line level...but really it works for me. The Sensitivity control is just a smooth sweep of different textures of 'good'.

 

[juledude]

As a testament of your good design work and choices, Jule, the Monique sounds really good no matter how extreme the knobs are twisted and in a whole different bunch of environments and utilizations. When I was in the studio I didn't need to 'set it flat' to have a good recorded tone, and I've used it live with a number of amps and setups very effectively.

I personally love it because I don't want to spend my night with my back to the crowd twisting twisters and sliding sliders. I want to know that it will be consistently great all the time. It also matters more now as we're sharing our backline with whomever we've invited to open for us on a given night. Sometimes that has meant other bass players, sometimes it's meant keys players. I know that THEY can set a tone that they'll enjoy in moments and that I'll have no trouble getting back to my settings.

Many times in the amp world we're faced with gear that doesn't sound good 'at the limits' of the controls. We're sort of conditioned to not max out the bass, treble, the gain, the volume, etc. Because many amps just sound bad when you push the controls that way. It took a while to get comfortable with not being afraid to do things like max the line level...but really it works for me. The Sensitivity control is just a smooth sweep of different textures of 'good'.

What if there was a 1400 RMS watt version?

 

[John Marat]

Sign me up for the 1400 watt version!

 

[BurningSkies]

What if there was a 1400 RMS watt version?

You KNOW I'd find that interesting. More FYYAH. That's the sweetspot for my gigging needs. Lots of us (especially using 'supercabs' like Greeboy, AK, Barefaced) can utilize that kind of firepower.

 

[tombowlus]

What if there was a 1400 RMS watt version?

Oh, really?!?!?

 

[BurningSkies]

The only downside I see from a 'double' sized power amp for me would be my high pass filtering. Right now I have a steep ~32hz filter in my power stage (amp DSP), which cleans up the infrasonic stuff that I don't want my cabs to see. Once you're above 1000w, you're increasing your potential for speaker frying. In the past I've run a HPF in a few places; between the preamp and amp, in front of the preamp, and now as part of my power stage. My findings were that having it integrated in the power stage was the best option.

-Before the preamp is the easiest most unfussy way to do it. BUT (and there's a big but) if you're using the Monique DI (and why wouldn't you? ), you're not giving as wide a signal to the board. I prefer to give the sound engineer content as deep as possible so if they DO want it in the FOH they have it.

-Between the preamp and the amp...gives you full signal to your DI which is great...but you're going to have to contend with worrying about your gain and levels in the middle of your chain. In using the HPF-3 (FDeck), I found that it's an awesome unit but can run into headroom problems. In jockeying with my bass volume, EQ levels and the elasticity of the Sensitivity control, it wasn't always easy to make sure I wasn't clipping the HPF.

-In the amp stage has been ideal. I have it set to 32hz, and my slope is either 24db per octave or steeper (I can't remember where I have it set). I can change it, but have never had an instance on stage where I've needed to. It basically acts as speaker protection while also removing wash from the room at volume. I share my rig regularly as provided backline for bands opening for us and I've yet to have a keys or bass player even notice that it's there.