Jule Amps Monique part 5

[maisbass]

Susan offers the 2nd compartment as an option.

 

[srcTW]

Hm thats weird. My bag has two compartments. One for the Minnie and one for all my cables....that was supposed to be a standard thing on it....

Nope - mine only has the one side compartment for the Minnie.

 

[Mitchthebassplayer]

Nope - mine only has the one side compartment for the Minnie.

Damn, that sucks! Where are you supposed to put all your cables!?

My bag was definitely the first because i designed it with susan and the first one she sent me did not fit correctly as she didnt take into account the baseball bat switch on the front of the minnie. I also had her enlarge the other pocket for cables as the first one was way too small. Strange that she wouldnt have kept that as a standard pocket....

 

[srcTW]

It's probably a sell up option for her . I just didn't think about it when I grabbed mine from Jule as part of my overall purchase.

 

[jambua]

Just want to add to the Monique love here.

I've had my dovecage for just over 6 months now. Originally was running (P Bass w/flats 95% of the time) Monique -> Peavey 900w power amp -> Eden 4x10. This was an eye opener for me in terms of tone - warmth, dynamics, clarity, HEFT. (I'd come from running micro solid state amps all my 9yr bass playing career. Night and day difference.)
For the last 2 months or so I've been running Monique into a Bergantino IP112, with an added HD112 for larger rooms. The sound is crazy good. It's such a pleasure to set up the rig, plug in, and feel the first few notes wash over you.
In the studio Monique kills. The engineers I've worked with love it (her?). IMO smokes the typical bass studio DI/preamp solutions - clarity, cleanliness and strength of signal, useable tone control.
I'm still learning to use the EQ and Sensitivity controls to their full effect. It is of course effortless to pull a good sound, but the seemingly simple controls belie a great depth of useful tonal shaping. Most of the time in a band setting, I'll run the EQ (more or less) flat, ride the sensitivity knob, and use a ParaEQ pedal to tame any particularly offensive room frequencies.

Jule Potter was an absolute pleasure to deal with (hi from Sydney Jule!) and is running one heck of a classy operation. Thanks again for the great tool! I can't say enough positive things about Monique.

 

[Luke Sheridan]

My M-700 has arrived, I just wish my band can schedule a night to rehearse. Gigging it next Friday. Can't wait.
Find it odd that no comparison has been made to Rosie.

 

[Dominick C.]

You guys seem like you might have the contacts I needto get this made. took me all day but I just got the PM out to Jule with a terrible drawing. We will see

 

[nostatic]

So my new original project was in the studio today tracking our first album. The engineer (young guy) says, "we'll mic you through an amp," to which I say, "no need - just run this direct." He looks skeptical. We get everything set up and run the first few tracks. On break for some food, he comes up to me and says, "that just sounds incredible. There is just a hint of compression and it sounds perfect." Yes, Monique certainly does...

 

[Guitarodeo]

I'm in. Picked up a used dove cage here on TB. Another member I've done some trading with asked me what I thought about it. My response after one week of knob twiddling:

"Absolutely silly good! I just can't get a bad sound out of it. I have been playing it through a QSC k10 and my small Allen Heath mixer to simulate what front of house would hear. No effects. I can get layers of tube richness, or start to get some break up if I dig in. It's all different levels of goodness as you spin the dials. Subtle, yet always satisfying. I'm going to take it to play with a few different folks over the next few weeks. I can't wait to hear how it sits in the mix, and the feedback from others. I also took the bottom off to check the workmanship. Old school point-to-point craftsmanship. The chassis is solid and unflinching. The entire package oozes quality and cool."

Thanks to those of you that have posted sound clips, and your quality references. I am more excited than ever to plug in and play.

 

[interp]

Just want to add to the Monique love here.

I've had my dovecage for just over 6 months now. Originally was running (P Bass w/flats 95% of the time) Monique -> Peavey 900w power amp -> Eden 4x10. This was an eye opener for me in terms of tone - warmth, dynamics, clarity, HEFT. (I'd come from running micro solid state amps all my 9yr bass playing career. Night and day difference.)
For the last 2 months or so I've been running Monique into a Bergantino IP112, with an added HD112 for larger rooms. The sound is crazy good. It's such a pleasure to set up the rig, plug in, and feel the first few notes wash over you.
In the studio Monique kills. The engineers I've worked with love it (her?). IMO smokes the typical bass studio DI/preamp solutions - clarity, cleanliness and strength of signal, useable tone control.
I'm still learning to use the EQ and Sensitivity controls to their full effect. It is of course effortless to pull a good sound, but the seemingly simple controls belie a great depth of useful tonal shaping. Most of the time in a band setting, I'll run the EQ (more or less) flat, ride the sensitivity knob, and use a ParaEQ pedal to tame any particularly offensive room frequencies.

Jule Potter was an absolute pleasure to deal with (hi from Sydney Jule!) and is running one heck of a classy operation. Thanks again for the great tool! I can't say enough positive things about Monique.

I concur 100%. I've had my Monique for about three months now, running it through a Bergantino IP112ER and sometimes an EX112ER cab. I immediately got a very, very pleasing sound from it and did not experiment too much with tone shaping, as I was not playing a lot of gigs and was dealing with a hearing problem that put a crimp in my playing out.

I was playing mostly a Lakland 55-94 and a Yamaha BB5000AF fretless, both active basses. Just recently I sat down with my '62 Jazz with TI flats and started experimenting with the Monique's tone stack and Sensitivity knob. What an eye and ear opener! Monique is just a tone beast with this particular configuration! Clarity, warmth, and a different dimension of dynamics.

Like you, I feel like I am just beginning to learn how to use the EQ and Sensitivity controls. In particular, pulling the Sensitivity knob out with a passive Jazz with flats opens a whole new world of tonal nuance.

This is really a lot of fun!

 

[Baird6869]

I concur 100%. I've had my Monique for about three months now, running it through a Bergantino IP112ER and sometimes an EX112ER cab. I immediately got a very, very pleasing sound from it and did not experiment too much with tone shaping, as I was not playing a lot of gigs and was dealing with a hearing problem that put a crimp in my playing out.

I was playing mostly a Lakland 55-94 and a Yamaha BB5000AF fretless, both active basses. Just recently I sat down with my '62 Jazz with TI flats and started experimenting with the Monique's tone stack and Sensitivity knob. What an eye and ear opener! Monique is just a tone beast with this particular configuration! Clarity, warmth, and a different dimension of dynamics.

Like you, I feel like I am just beginning to learn how to use the EQ and Sensitivity controls. In particular, pulling the Sensitivity knob out with a passive Jazz with flats opens a whole new world of tonal nuance.

This is really a lot of fun!

Monique with the IP/EX cabs sounds amazing. I ended up going the AE210/Minnie route and I am more than happy.

I like your post, but for folks like me that are more "set and forget" types, Monique is also killer. I only tweak my EQ a bit based on different rooms and I rarely adjust the Sensitivity or pull out either control. Good amp for almost everyone IMO.

 

[Dark Barn]

So, I just picked up a used Monique from the classifieds here. I will be pairing it with a rack mount power amp. And one of them I have my eye on (might have a line on an affordable QSC pl325 used) can be set to an input sensitivity of either 1.2v or 1.6v. My question is which setting would pair better with Monique's output with the line level knob pulled out (1.4v).

I'm guessing the 1.2v setting but I have no practical experience in this area. Any thoughts or advice is appreciated.

I'm also considering a CA9 which pairs perfectly on paper, it's just a heavy beast.

 

[Killens84]

So, I just picked up a used Monique from the classifieds here. I will be pairing it with a rack mount power amp. And one of them I have my eye on (might have a line on an affordable QSC pl325 used) can be set to an input sensitivity of either 1.2v or 1.6v. My question is which setting would pair better with Monique's output with the line level knob pulled out (1.4v).

I'm guessing the 1.2v setting but I have no practical experience in this area. Any thoughts or advice is appreciated.

I'm also considering a CA9 which pairs perfectly on paper, it's just a heavy beast.

If the weight of that CA9 is manageable you, then I'd go for that. I think that'll give you the most heft to your sound. For lighter weight, I'd consider a Crest Pro-lite 2.0 or 3.0, depending on your power needs.

 

[iamthebassplayr]

So, I just picked up a used Monique from the classifieds here. I will be pairing it with a rack mount power amp. And one of them I have my eye on (might have a line on an affordable QSC pl325 used) can be set to an input sensitivity of either 1.2v or 1.6v. My question is which setting would pair better with Monique's output with the line level knob pulled out (1.4v).

I'm guessing the 1.2v setting but I have no practical experience in this area. Any thoughts or advice is appreciated.

I'm also considering a CA9 which pairs perfectly on paper, it's just a heavy beast.

From the website
"Monique has two outputs: Line Level output (1/4" Single Ended TRS) and a separate XLR balanced DI output that is driven by a beautiful Cinemag transformer. Both outputs have their own separate level controls. The Line Level control is also a push-pull switch. Left in, the Line Level control gives you the original Monique (0db .775volt) output. When you pull the Line Level control out you get a 4db increase in both the Line Level and the Balanced XLR outputs. That gives you up to (+4db 1.25volts) from the Line Out and (-10db .775volts) from the Balanced XLR output."

I'm guessing pulling the line level control out and sending 1.25v from Monique to match your amps 1.2v setting would be the closest? Ultimately unsure and I would say play around with all your options!

Another note, which I am unsure about, is I believe the push/pull on the line out was a feature he added later in production, and while he tries to herd all of the Monique's back in for upgrades, you may want to check that your unit may not have the switch...

 

[Dark Barn]

Thanks for the quick replies. I stand corrected on the line level pull voltage. 1.25v it is and would be the closest match!

The seller informed me that the one I am buying has the push/pull sensitivity and line level knobs.

Still not sure what direction I may go but I feel I am narrowing down the field of options.

Thanks again!

 

[BurningSkies]

From the website
"Monique has two outputs: Line Level output (1/4" Single Ended TRS) and a separate XLR balanced DI output that is driven by a beautiful Cinemag transformer. Both outputs have their own separate level controls. The Line Level control is also a push-pull switch. Left in, the Line Level control gives you the original Monique (0db .775volt) output. When you pull the Line Level control out you get a 4db increase in both the Line Level and the Balanced XLR outputs. That gives you up to (+4db 1.25volts) from the Line Out and (-10db .775volts) from the Balanced XLR output."

Another note, which I am unsure about, is I believe the push/pull on the line out was a feature he added later in production, and while he tries to herd all of the Monique's back in for upgrades, you may want to check that your unit may not have the switch...

This is correct. I have one of the first of the rackmount Moniques (born 5/2012 iirc). It didn't have push/pull and originally didn't use the 12AU7 to 'drive' the line out. I sent mine back to Jule for some work, and at that time he updated the output on the line to utilizing the 12AU7 for more level, but not to the extent that the later upgrade with the 'push/pull'...which came about within by mid-to-late 2012 IIRC.

I'll also point out that people know I like a bit of excess. Last night I was curious and ran my Monique into my Kern double pre-amping. Interesting levels of tube excess. Very different preamps and imagine a tone that is bigger and deeper than the Monique. @chadds probably made a mistake of handing off his Kern to me. It would be a bit of experimentation, but it was pretty outlandish sounding.

 

[juledude]

Thanks Jule. I'll hit you up mid February to make sure that you time window is still looking good and we'll go from there.

Dude. You need to bring her with you. I know where the good burritos are.

 

[BurningSkies]

Dude. You need to bring her with you. I know where the good burritos are.

LOVE TO. And I like a good burrito. Sadly, my wife will be mad if I take my amp on a vacation before I take her on a honeymoon. And, no...I've asked...any trip with musical gear automatically disqualifies it as a honeymoon.

 

[juledude]

Hm thats weird. My bag has two compartments. One for the Minnie and one for all my cables....that was supposed to be a standard thing on it....

The first bags from Susan came in two flavors. One had a rather smallish front pocket that was good for cables, but not big enough for Minnie. The other had a front pouch that was large enough to take Minnie.

Over time, it became obvious that the smaller pouch made smaller sense. So I ordered all of them with the larger pouch.

Studio Slips just came up with a very nice bag for the Tardis 700 (for a customer in Norway) that is great. The Tardis 700 slips down into the bag (much like a bicycle messenger bag) with its side down. That way there is no opportunity to put too much pressure on the front or back bits.

 

[juledude]

Just want to add to the Monique love here.

I've had my dovecage for just over 6 months now. Originally was running (P Bass w/flats 95% of the time) Monique -> Peavey 900w power amp -> Eden 4x10. This was an eye opener for me in terms of tone - warmth, dynamics, clarity, HEFT. (I'd come from running micro solid state amps all my 9yr bass playing career. Night and day difference.)
For the last 2 months or so I've been running Monique into a Bergantino IP112, with an added HD112 for larger rooms. The sound is crazy good. It's such a pleasure to set up the rig, plug in, and feel the first few notes wash over you.
In the studio Monique kills. The engineers I've worked with love it (her?). IMO smokes the typical bass studio DI/preamp solutions - clarity, cleanliness and strength of signal, useable tone control.
I'm still learning to use the EQ and Sensitivity controls to their full effect. It is of course effortless to pull a good sound, but the seemingly simple controls belie a great depth of useful tonal shaping. Most of the time in a band setting, I'll run the EQ (more or less) flat, ride the sensitivity knob, and use a ParaEQ pedal to tame any particularly offensive room frequencies.

Jule Potter was an absolute pleasure to deal with (hi from Sydney Jule!) and is running one heck of a classy operation. Thanks again for the great tool! I can't say enough positive things about Monique.

Unfortunately I never got out of Kings Cross when I visited Sydney (long, long ago), but I do remember the true hospitality and welcome from the people there. I will always cherish that memory. And. . . Mini-skirts where "in" then.

Thank you for your kind words. And yes, the Sensitivity is like those around us we love, not to be "figured out," only to be enjoyed.