Jule Amps Monique part 5

[chadds]

Thank you for your kindness. It means a great deal.
NAMM is a bit strange for me in that I spend little time on other products. I get to show people how Monique and the amps work, and that is fun, but it is connecting with the people I admire that makes NAMM a positive experience for me. This NAMM was also the first time I have been able to watch Marsha meet you all, and be a part of this strange world of the low end. That was very much a pleasure.

As you in-the-know know, she is the one who really gets the products to you.

Then please thank her for us!!

 

[Dave W]

Those of you that use a Mo + M700 (in any config), how are you getting your desired volume level?

I've typically set my Line Level knob about 12:00 and pulled out, then set my master to taste on whatever power amp I'm running.
Other times I'll dime the master on the power amp and use the LL (still pulled) to get me where I want to be.

 

[Lowendtech]

Those of you that use a Mo + M700 (in any config), how are you getting your desired volume level?

I've typically set my Line Level knob about 12:00 and pulled out, then set my master to taste on whatever power amp I'm running.
Other times I'll dime the master on the power amp and use the LL (still pulled) to get me where I want to be.

I have the Monique 700 Tardis so I have no separate level control for a master. I’m ass-u-me’ing that the power amp module is permanently dimed internally.
Please fill me in if I’m clued out here. I’m kind of curious in a related way.

 

[peterpalmieri]

Those of you that use a Mo + M700 (in any config), how are you getting your desired volume level?

I've typically set my Line Level knob about 12:00 and pulled out, then set my master to taste on whatever power amp I'm running.
Other times I'll dime the master on the power amp and use the LL (still pulled) to get me where I want to be.

I always run the master at the appropriate level where the line pulled out is ideally at 11 not below 10 and never has to go past 1 o’clock.

Ocassionally I will do the same set up with the line pushed in for the benefit of a FOH who can’t handle a hot signal.

 

[juledude]

That was way cool. My wife has mentioned possibly going next year, which would throw a much different spin on my energy. And I mean that in the best possible way.

Yup. Sure made it a more enjoyable experience for me.

Good hanging with you my friend. Skip's subs (powered by the M2500) were pretty impressive, huh? Wouldn't mind those at home either.

All my wife would say the ENTIRE time would be "you don't need another guitar, bass, amp, cab, effect, etc."

We ended up purchasing a second HAPI Drum for her in A minor. She scored.

 

[juledude]

I have the Monique 700 Tardis so I have no separate level control for a master. I’m ass-u-me’ing that the power amp module is permanently dimed internally.
Please fill me in if I’m clued out here. I’m kind of curious in a related way.

Not dimed.

The Line Level on your Tardis is just like the Volume control on any amp. At zero - no signal to the amp. CW adds more level to the amp.

On the M2500 and M700 the volume control is pretty much as you describe, "dimed" and the volume is only an attenuator. Reality is that the volume control holds the amp down all the time, but more CW allows more signal in when you say so.

Subtle difference.

 

[juledude]

Those of you that use a Mo + M700 (in any config), how are you getting your desired volume level?

I've typically set my Line Level knob about 12:00 and pulled out, then set my master to taste on whatever power amp I'm running.
Other times I'll dime the master on the power amp and use the LL (still pulled) to get me where I want to be.

I am hearing more frequently of players running with the Line Level pulled out. Originally a way to give plenty of level to several good level hungry amps, this has the tone advantage of adding another complete tube section to the mix. We end up with a bit thicker tone, small bump in harmonics.

Some will not like this sound for much of their work, but it is there when needed.

As for the Volume control on the M2500 and M700, it is a convenience only. It is an attenuator. You will find little changes through the entire sweep except level.

The controls on Monique are quite different. As above, the Line Level pulled out is a different story. Also, we will find tone and playing characteristic changes in the sweep of the Line Level and Sensitivity Controls - and then there is the EQ.

I will remain concerned, or maybe just aware of the potential negative experience of pulling that Line Level out while in the middle of a performance. Even with the new (little?) 500 watt, insantly adding +10db to the level is asking a lot from even the most forgiving audience. Don't do it, or just make sure to pull it out at zero.

 

[juledude]

I always run the master at the appropriate level where the line pulled out is ideally at 11 not below 10 and never has to go past 1 o’clock.

Ocassionally I will do the same set up with the line pushed in for the benefit of a FOH who can’t handle a hot signal.

This FOH level issue is important. One, we have to keep the FOH happy, but we also need to keep that console working. Too much level can be a very bad thing. This is why it is always best to offer up the DI xlr output to the FOH first, before going with the 1/4" Line Level if needed.

The DI output of Monique is in the range of -10db to as high as 0db. Perfect for consoles.

The Monique Line Level can be +15db. That is not a level I would pump into a console - unless I was in an extremely bad state of mind. . . I jest. I just wouldn't do it.

 

[peterpalmieri]

This FOH level issue is important. One, we have to keep the FOH happy, but we also need to keep that console working. Too much level can be a very bad thing. This is why it is always best to offer up the DI xlr output to the FOH first, before going with the 1/4" Line Level if needed.

The DI output of Monique is in the range of -10db to as high as 0db. Perfect for consoles.

The Monique Line Level can be +15db. That is not a level I would pump into a console - unless I was in an extremely bad state of mind. . . I jest. I just wouldn't do it.

Pulling my line level out increases the signal going to the XLR? I generally run the attenuators on the back full open. Ocassionally a FOh will say the signal is too hot. I push in the line knob (turning it fully off first) and increase the master out to readjust the stage volume.

 

[juledude]

Pulling my line level out increases the signal going to the XLR? I generally run the attenuators on the back full open. Ocassionally a FOh will say the signal is too hot. I push in the line knob (turning it fully off first) and increase the master out to readjust the stage volume.

Yup. Both the Line Level and DI level go up with Line Level pulled out.

 

[looper]

Just to fully understand because I have only used the DI a few times. The DI out level is unaffected by changes to the Line level, with the exception the Line level push/pull boost?

 

[peterpalmieri]

Just to fully understand because I have only used the DI a few times. The DI out level is unaffected by changes to the Line level, with the exception the Line level push/pull boost?

Yes

 

[krispn]

Just to fully understand because I have only used the DI a few times. The DI out level is unaffected by changes to the Line level, with the exception the Line level push/pull boost?

Pulling the line level engages another valve and an output boost into the circuit so you get that added oomph... it’s good to try out both in/out in a rehearsal/sound check and hear if your tone is needing that extra dimension or if it’s driving thing just a little too far. I tend to leave the LL control pushed in and use the sensitivity pulled out and tuned up to taste. I do have a Hudson Broadcast pedal in my signal chain so that’s already adding in some character (it’s a preamp/transformer based pedal) to my basic tone. If I was using Monique without my pedalboard I would consider the LL knob pulled out for that added harmonic and dynamic content but only if it’s fitting for the gig.

It’s great having that option in an already great sounding amp. It can really add that classic tube tone and feel especially with the sensitivity control dialed up. Delicious!

 

[husky123]

Hey everyone, I'm thinking about getting back into the Monique game. I'm looking at a Tardis with the Demeter power amp. Much difference between it and the newer Hypex module? I apologize if this question has been rehashed.

 

[juledude]

Just to fully understand because I have only used the DI a few times. The DI out level is unaffected by changes to the Line level, with the exception the Line level push/pull boost?

Spot on.

 

[whirledpeas]

Hey everyone, I'm thinking about getting back into the Monique game. I'm looking at a Tardis with the Demeter power amp. Much difference between it and the newer Hypex module? I apologize if this question has been rehashed.

I'd be interested in hearing this topic rehashed as well. Seems I recall folks saying the Hypex units had more "slam" perhaps, but that the Minnie power section was no slouch. I remember mention of tonal differences as well, but details have faded from memory

 

[chadds]

While I was having an epiphany by changing to a completely different maker of strings on a ‘57 ri, I had another hunch. I’ve had a Monique for a long time. Played many gigs and studio dates barely touching the controls. I said hey make all the tone controls flat like it says in the owners manual.

Well sports fans. Try it. You hear Monique anew. Then as you dial up stuff, you see for real what’s happening in your ears. She has a lot under the hood. A lot of tonal surprise.

 

[krispn]

One of my favourite things to do at soundcheck/rehearsal is to just boost one tone control and hear what it does then reset between songs then boost another. Not like full whack all the bass at 5 o'clock just increments say up at 2 o'clock, 4 o'clock etc I allows you to understand what happening within the context of the band. Plus it's hard to make this amp sound bad.

 

[BunchyMutt]

I've seen some talk about this but I'm just wanting to cover all my basses before potentially getting an FDeck HPF series 3...

My chain consists of bass --> effects -->rack eq -->Monique --> Crest pro-lite 2.0 -->fearful 12/6/1.

With both the sensitivity and the line level knobs pulled out, should I expect to have a hard time not overloading the HPF?

@BurningSkies you have experience with this, right?

 

[peterpalmieri]

I've seen some talk about this but I'm just wanting to cover all my basses before potentially getting an FDeck HPF series 3...

My chain consists of bass --> effects -->rack eq -->Monique --> Crest pro-lite 2.0 -->fearful 12/6/1.

With both the sensitivity and the line level knobs pulled out, should I expect to have a hard time not overloading the HPF?

@BurningSkies you have experience with this, right?

I would put the Broughton HPF on the pedal board with your effects and call it a day.