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Jule Amps Monique part 5
- Thread starter Chef
- Start date
So is this basically the same rack version, but with new layout and face plate?
I like how the pre and power amp switches are side by side. The graphic is cool, as well.
So I take it on the 700 (racked or Tardis), that you have one volume control, that being the line out from the pre-amp. The amplifier is essentially cranked to maximum and you simply feed Monique at line level?
You mean Mike, right? I don't recall putting anyone's switches anywhere, but I have been known to misplace things.
I've put Monique atop a poweramp atop the 112, but I'm pretty sure it would fit okay on its own. I'll take a look. If really cranking the cab, though, it would be a good idea to put some sort of vibration-absorbing material between the cab and Monique.
I've had a TH500, BTW. To my ear, Monique sounds and feels pretty different, but it would be closer to the Aggie than the GK.
D'oh, beat me to it. That's what I get for posting before reading through.Congrats BBob!
Here are a couple of action shots- yes a little wide but feet width fit fine.
I did setup once with the amp facing to the side on a very shallow stage, I was standing with my back against the wall so it worked out fine that way too.
This rig is a workhorse!
It doesn't bother me at all the Monique doesn't have a master. After playing one for a couple of years (in a variety of venues) I can't see a need for a master volume. I just adjust the gain accordingly, and use the Sensitivity to adjust the "drive" for lack of a better term (I don't like to use the term "crunch" because to me, it's not "crunch" it's magic)!
In fact I love the simplicity of 5 adjustment knobs which create the tone I want.
Just my two cents. YMMV.
BurningSkies
CRAZY BALDHEAD
- Feb 20, 2005
- 27,956
- 20,348
- Disclosures
- Endorsing artist: Dingwall Guitars
Had a guy sit in on saturday on my rig and he was giddy with both my cabs and the Monique. He commented how much it seemed like the fewer knobs the better tone and how he couldn't believe it could sound so good with so little on the front.
Yup, meant MIKE!! I'm under the gun today, and really tired.You mean Mike, right? I don't recall putting anyone's switches anywhere, but I have been known to misplace things.
I've put Monique atop a poweramp atop the 112, but I'm pretty sure it would fit okay on its own. I'll take a look. If really cranking the cab, though, it would be a good idea to put some sort of vibration-absorbing material between the cab and Monique.
I've had a TH500, BTW. To my ear, Monique sounds and feels pretty different, but it would be closer to the Aggie than the GK.
I've been listening to tons of clips of Monique, and I really dig what I hear. I have been looking for a tone that is a bit more refined than my Genz Streamliner, but still has that low-end extension and warmth. The TH is a bit more behaved than the Streamliner, and I am really digging it. I am only going to keep the Genz or the TH, and right now I am leaning toward the TH for my micro.
How do you like Monique through the MAS112?
Dominick C.
Guest
I just let go of my Dingwall, but it sounded great through Monique. So has everything I have tried. My Smith is my personal favorite.
I usually play through a pedal board, but I'm going to rebuild right now and for the last few days have just been plugging directly into Monique. She's so incredible and sweet on our own. She does work absolutely incredibly with Pedals, but it's nice not to "need" them.
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I dig it. Someone mentioned liking it with the Hathor cabs because of the presence and quality of the mids. While I haven't heard a Hathor, I feel the same way about the 112. That and the controlled-but-extended low end pair up well with Monique, IMO. Monique is articulate and detailed but thicker and darker than many amps. With my fretted P/J, it has a nice fingerstyle feel and heft but is a bit darker than I'd prefer (then again, it lets harmonics ring nicely without being as sensitive to fret clack or string noise as other pres). With my fretless Clement, which is passive with a single, Nordstrand dual-coil in 60s Jazz position, it is again too dark and thick for me in series mode (again, others might not feel that way), but absolute magic in parallel mode. Everything is clear, everything pops, and the mids have this amazing growl and character. Thickness through Monique with the pickup coils in parallel is about the same as in series through a Demeter 201, but the Monique still has more pop, detail, and texture.
So, of course, I just sold this bass, just as I was starting to rediscover it and just as I discovered playing it in parallel through Mo. Sigh. Somewhere, over the rainbow, there is a special fretless, just for me.
That's more than you asked for, but there you go. If you have a fretless Jazz bass, it (Monique + 112) should be magic on the bridge pickup. It'll do good stuff with a bunch of other basses as well. I leave the tweeter engaged with Mo and the mids in the default setting most of the time. With the Demmie, which is brighter up top and a bit scooped, I like the mids full open and sometimes switch off the tweet. But the switches are easy to play with and find what you want. As others have mentioned, the sensitivity control makes a real difference in feel and note envelope.
EDIT: "Switches" above are on the cab, not Mo.
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On FedEx vehicle for delivery. I guess sometime in the next 4-6 hours, I'm going to know first hand. But thanks for the teases guys. This has to be the most anticipated piece of gear I've acquired in some time!
Rob
Rob
Dominick C.
Guest
Just a little friendly advice. Take some time to get used to Monique. Although the controls seem minimal and subtle, they offer a lot of real adjustability. Keep in mind the EQ section is based on the Baxandall EQ circuitry. That in itself is enough, but add to that the Sensitivity Control and you have a lot to wrap your head around. You are going to find so many different awesome sounds you will be smiling for days.
Then you have the switches on your cab and the various combinations, another area of exploration. You will be digging it for days. Then you take your rig to rehearsal and it starts all over again!
I see people on this forum all too often flipping gear with giving it proper time to adjust to it. It takes time to warm up to changes. But it is worth it!
Enjoy!
Thanks for the advice dm. I am not typically a gear flipper, and I know exactly what you are saying.
I plan to spend lots of time with this amp for sure. I am in between gigs at the moment, and I have been spending a lot of time really listening to my tone lately. I am also taking skype lessons with Rufus Philpot (Rufusbass here on TB), and that is another reason my ear has me on a new tone quest. He is a phenomenal player, and an equally great teacher as well.
I have enjoyed my Streamliner 900 and Uber 410 in a heavier rock context, but I now find myself looking for something that is more refined, while retaining a bit of the dark side so that it still has that ability to work well in the rock genre.
Unfortunately, I won't be able to spend much time with Monique immediately, as I am off to an out-of-town wedding and won't be back until Sunday morning.
OK, Monique has arrived and my first impression is, she is everything that I have read about her 
. She is as advertised. What an awesome experience it is to play at volume, all of the way up and down the neck, and not hear out of control harmonics, etc. Just beautiful, even, sound reproduction all over the board. Great reproduction of right and left hand technique variations as well.
I can definitely hear the slightly dark flavor, and I love it. It is a very subtle (to me) flavoring that I happen to personally favor.
Monique is like a beautiful cross between what one might describe as a vintage tone, but with clarity and control. And this compliments my Dingwall basses in ways that I haven't heard before. My Super P sounds better than I've ever heard it. Monique really lets the middy P-bass character out, but somehow keeps it all under control over volume and frequency. The TH500 took me in that direction from the Streamliner, and Monique has taken me the rest of the way.
The EQ is perfect. I am not a guy that likes or needs extremes in available EQ. I like that Monique puts me where I want to be, and then let's me FINE tune it with subtlety around that point.
The sensitivity control is way cool. Also subtle, but I like it for when you switch basses, as it allows you to accommodate different bases with just turn here or there.
And the combination with the MAS112 is wonderful. I so far like it with the mid boost and tweeter off. But the 4 mid drivers really bring out those complex mids beautifully, and the 12 just punches on the attack perfectly.
My only question is, will this box me loud enough by itself with a single 8 ohm super 12 for the rock gigs I tend to be involved in? It is always hard to project until you are in the environment. But I'm sure all I would need to do is simply add another of Mike's 112s. Yeah that's the ticket. It's ONLY MONEY!
Anyway, now I have too much work to do and a trip to pack for to play with her any more until I get back on Sunday morning. I will probably proceed to blow the whole day playing with her, and then I can add my Darkglass Vintage Microtubes into the chain to see how that plays.
Lot's of good times ahead!
. She is as advertised. What an awesome experience it is to play at volume, all of the way up and down the neck, and not hear out of control harmonics, etc. Just beautiful, even, sound reproduction all over the board. Great reproduction of right and left hand technique variations as well.I can definitely hear the slightly dark flavor, and I love it. It is a very subtle (to me) flavoring that I happen to personally favor.
Monique is like a beautiful cross between what one might describe as a vintage tone, but with clarity and control. And this compliments my Dingwall basses in ways that I haven't heard before. My Super P sounds better than I've ever heard it. Monique really lets the middy P-bass character out, but somehow keeps it all under control over volume and frequency. The TH500 took me in that direction from the Streamliner, and Monique has taken me the rest of the way.
The EQ is perfect. I am not a guy that likes or needs extremes in available EQ. I like that Monique puts me where I want to be, and then let's me FINE tune it with subtlety around that point.
The sensitivity control is way cool. Also subtle, but I like it for when you switch basses, as it allows you to accommodate different bases with just turn here or there.
And the combination with the MAS112 is wonderful. I so far like it with the mid boost and tweeter off. But the 4 mid drivers really bring out those complex mids beautifully, and the 12 just punches on the attack perfectly.
My only question is, will this box me loud enough by itself with a single 8 ohm super 12 for the rock gigs I tend to be involved in? It is always hard to project until you are in the environment. But I'm sure all I would need to do is simply add another of Mike's 112s. Yeah that's the ticket. It's ONLY MONEY!
Anyway, now I have too much work to do and a trip to pack for to play with her any more until I get back on Sunday morning. I will probably proceed to blow the whole day playing with her, and then I can add my Darkglass Vintage Microtubes into the chain to see how that plays.
Lot's of good times ahead!
BurningSkies
CRAZY BALDHEAD
- Feb 20, 2005
- 27,956
- 20,348
- Disclosures
- Endorsing artist: Dingwall Guitars
OK, Monique has arrived and my first impression is, she is everything that I have read about her
I can definitely hear the slightly dark flavor, and I love it. It is a very subtle (to me) flavoring that I happen to personally favor.
Monique is like a beautiful cross between what one might describe as a vintage tone, but with clarity and control. And this compliments my Dingwall basses in ways that I haven't heard before. My Super P sounds better than I've ever heard it. Monique really lets the middy P-bass character out, but somehow keeps it all under control over volume and frequency. The TH500 took me in that direction from the Streamliner, and Monique has taken me the rest of the way.
The EQ is perfect. I am not a guy that likes or needs extremes in available EQ. I like that Monique puts me where I want to be, and then let's me FINE tune it with subtlety around that point.
The sensitivity control is way cool. Also subtle, but I like it for when you switch basses, as it allows you to accommodate different bases with just turn here or there.
And the combination with the MAS112 is wonderful. I so far like it with the mid boost and tweeter off. But the 4 mid drivers really bring out those complex mids beautifully, and the 12 just punches on the attack perfectly.
My only question is, will this box me loud enough by itself with a single 8 ohm super 12 for the rock gigs I tend to be involved in? It is always hard to project until you are in the environment. But I'm sure all I would need to do is simply add another of Mike's 112s. Yeah that's the ticket. It's ONLY MONEY!
Anyway, now I have too much work to do and a trip to pack for to play with her any more until I get back on Sunday morning. I will probably proceed to blow the whole day playing with her, and then I can add my Darkglass Vintage Microtubes into the chain to see how that plays.
Lot's of good times ahead!
Have you tried messing around with the push/pulls on the Sensitivity and the line out?
Oh, now look what you've done!! I'm going to have to do that instead of work and packing!! LOL!Have you tried messing around with the push/pulls on the Sensitivity and the line out?
I forgot about that. I know I've read about those additional controls before, but forgot already. Thanks B Skies.
BurningSkies
CRAZY BALDHEAD
- Feb 20, 2005
- 27,956
- 20,348
- Disclosures
- Endorsing artist: Dingwall Guitars
I only recently got the push/pull added to the line out on mine. So far I've sort of played with it but leave it 'pushed' and run the line level open all the way. On the Sensitivity I favor it pulled, but it definitely is a different tonal character from pushed.
