Well, that's a bit oxymoronic, eh?
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Jule Amps Monique part 5
- Thread starter Chef
- Start date
This was the prototype...........OOOH - now I get it
Are any of you using anything larger than a 410 or 212 cab configuration with your Monique? I'll have my Monique 700 Tardis in about two weeks, and I'm considering a cab configuration that will push more air than my Bergantino CN212. I've thought about two vertically stacked Bergantino HD210's. Even though that would just be a 410 configuration, it would get the sound higher up, closer to my ears. And it would move a little more air than my CN212.
Thanks Chadds. Yes. When any of us set out on the road to deliver a new product (or a combination of bits to make up a new product) the good part is that we get to choose every detail, and that is also the bad part because there are so many details. Many of the choices are not at all musical. It is "stuff" like weight, dimensions, temperature moderation, transport-ability, aesthetics and longevity. Even silly details like the types and sizes of screws. It is all important because it all becomes part of the playing experience.
No part of the above is a complaint. It is a lot of fun.
I am proud to say Monique 700's (Rack Mount and Tardis) out there making music now. Several are on tour. There is also a review coming out very soon in "De Bassist" magazine in The Netherlands. There are players on-the-list, waiting as I am, for this Stand-Alone 700 chassis to come out of the sheet metal house. The Combo Monique 700 then follows the Stand-Alone 700.
Comparisons of playing characteristics and sound in this level of gear are sincere pleasures for me. I think they would be for all of us. I'm just glad to be part of the show. Over these last few months I have enjoyed the opportunity to A/B the absolute best amplification gear in the Bass World. I've learned of gear I hadn't even known of before this. I am grateful to Michael, Mark, Hans, and John for "subjecting" Monique and the 700 to the best of the best. She is pretty darned good.
With all Baxandall based EQ controls, straight up (noon) is truly flat. As to the Sensitivity Control, the only position that matters is what you like. Very much subjective and connected with your pickups/bass/strings/fingers.
The first inkling of an idea for the EQ of Monique was to give basic and quick musical control back to my Bass Player friends as they stood on stage. This "inkling" came from too many dark, smokey, late nights/early mornings in clubs and bars in Colorado and California.+1. I agree. It's amazing how the eq works. It never does sound over bearing, just musical as you stated. You also don't notice much gain boost as you boost the frequencies, it's more of a feel thing. But I can vouch that when boosting the eq levels, it does effect the level of output when looking at the input meters on a mixing board! I also noticed live that when getting aggressive with boosting the bass you can really hear it kick in through the subs of a PA system. My sound engineer can vouch for that!
This talkbass crowd knows better than I do, but Bass Players are different in that they are there much less to twiddle knobs than they are to make music. And that is a very significant thing.
It also seemed to me that the Bass Player was the one who should be tweaking the EQ to make changes, for the environment, for the room, and not someone else.
The same motivation was there for the inclusion of separate level controls for the Line Out and Balanced Out. Hand signals just seemed like a lot of work some times.
Now, years later, it is enriching for me to see those ideas were not entirely without merit.
BurningSkies
CRAZY BALDHEAD
- Feb 20, 2005
- 27,956
- 20,348
- Disclosures
- Endorsing artist: Dingwall Guitars
Just for fun, I stacked 3 GS112 cabs and used Monique paired with a Crest ProLite 2.0 to power them. That is way more power than I would ever need for my current gig. But, it was fun!
BurningSkies
CRAZY BALDHEAD
- Feb 20, 2005
- 27,956
- 20,348
- Disclosures
- Endorsing artist: Dingwall Guitars
The less I touch my amp, the happier I am. And while I love the variety of tonal range from the Sensitivity control alone, once I'm on stage, I don't usually want to even mess with that. Once I tweak my sound on setup, I don't usually screw with my EQ except on my bass doing some micro-adjustments along the way.
I'm of the mindset where I pretty much leave everything the same on stage from when we start the set to when we finish unless the rare occasion where something sounds drastically off while we are playing (usually something I overlooked as far as knob position during setup).
Moniques new love partner is my Epifani DIST 310 Limited Edition. She screams silk out of this cab as well as my Epifani Ul2 210
Plays nice with Hathors. Outdoor festival, closing night. No FOH needed...
Grazie! Read the book transfixedly as a kid -- will have to check out the film!
