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Jule Amps Monique

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Apparently Monique likes to play 'hard to get'.

I curse you, 'on vehicle for delivery'.

Monique isn't hard to get if you bust into the mail room two minutes after notice of delivery and grab your package (don't say it). She's currently sitting across the room from me on top of my Bergantino HT112ER stack (yes, at work). I will say that she's solidly built--very rugged with great feel to the controls. Funny observation: when first opened, you can just catch the smell of Jule's workshop; a little bit of Santa Cruz in a box.

May your driver be swift and safe!
 

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:hyper:

Great pack job.

Sadly, I have to say we may need to do more shock absorbing packing. One Rack Mount Monique arrived with what sounds like a broken tube. I've already sent a complete replacement tube set and a loaner Monique to help this friend and customer get back up on stage quick.

This isn't something a builder likes to talk about, but sadly it can happen. It is terrible.

It is difficult to imagine the abuse required to break gear that is double packed.
 
Ok, first off, just got back from about 2 hours in the practice room putting my Monique through the paces. I won't really have a good handle on things until I get a chance to play with the band, but I think I can give some insight and some of the nuts and bolts of things.

We'll start off with some crappy phone pics:

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See, it's real. ;)

Now...on to some general impressions and some specifics. First off, it does feel much more like its part of the Ampeg bloodline than the Fender bloodline.

At the same time, its certainly its own thing. For anyone who thinks that Ampeg means muffled and lack of highs, that's not the case. I rarely roll all the treble off on my bass, and I could get away with doing that with the monique and still sound good. The tone controls are simple, so they're not that sorta 'interactive-rubberband' of a Fender tone stack. I found my usual tone with the Bass at about 2 o'clock, the treble rolled almost all the way back and the mid either flat at noon or up to about 2 o'clock.

The real magic is that 'SENSITIVITY' control. Its not an input gain control per se. When it's all the way rolled off, its not 'no volume', and when you have it cranked its not like you've maxed out the unit. It works as a 'how much tube saturation' kind of vibe. Not in a clipped/distorted way, as much as it feels clean and clear and hi-fi in the before- 12 o'clock position, and after 12 you start getting big fat tube width more extreme tube harmonic richness and that sort of old school beef and saturation sustain, if you lean into it a bit you get that SVT sort of snarl out of it, but in a good way. I found that I best liked the sensitivity between about 12 and 3.

The overall feel of the amp is punchier than a 12AX7 preamp. It feels faster but then also gives a bit of sponge after the initial attack, again, a feel that I associate with an SVT run hot and hard. The more you hit the the sensitivity, the more you feel that. It DOES make it fun to play things tight and quick. Very different from the last few amp setups I've used, where I felt like I was lacking mids and the 'punch' or 'attack' that I wanted to hear.

The Sensitivity control is also a PULL pot, that when out give you a bit more input level (I think Jule said it's about 4db?). I sort of forgot about that for the first hour, then remembered and pulled it. I'll most likely always have it pulled even though my bass is active.

Some of the mechanics:
This is a well built box. It's not heavy but it's solid and has no vibration. After running it hard for two hours, the case was warm over where the tubes are (both the 6SL7's and the JJ that's in there) but not hot in the least.

I did tighten up three screws in the outside of the chassis that were pretty lose, that probably was temperature change and shipping.

The Output volume of the unit isn't as hot as my other preamp (the Kern). I found with the line out I was running it full out or nearly full up and my power amp attenuators, which normally sit around 1/3rd up I had at high noon to get roughly the same volume. For me with a 3000w amp, I still have plenty of headroom, but for guys with a lower input sensitivity on their power amps or have lower wattage power amps, that could be problematic.

I would guess that this is because part of the intention is that you can drive the input of a standard bass amp with this unit rather than a power amp. I only have the Kern to compare it to, but I ran both the pre and post on the Kern at about 2/3rds up and never had my power amp attenuators past about 1/3rd up even for large rooms or outdoor stages. The good news is that the Monique didn't seem to mind me running the line out full up and the Sensitivity fairly well cranked either. The unit is quiet with no noticeable noise with the output level pinned and the Sensitivity cranked too.

Just for a quick check, I did run the DI out into my power amp to see how hot it ran, and its definitely not aimed at feeding a power amp without additional gain stages.

So, two hours for me is sort of a brief getting to know you thing. I won't really have a good idea until I'm with a drummer at the very least. Definitely a fun unit and
 
Thanks for the thoughtful review. I'm eager to hear more about how this iteration compares with the narrower Moniques.

Q: When you adjust the sensitivity, do you also have to adjust the gain to maintain the same level, or is the sensitivity gain neutral?

My power amp (QSC PLX3002) wants to "see" a hotter input than other amps I've used. I compensate by placing FDeck's HPF/Pre between my pre-amp and power amp. The HPF/Pre provides an additional gain stage (and a variable high-pass filter, and a phase reversal switch) between the pre-amp and power amp, and sounds great. Might work with the Monique, too. :)
 
I love the concept of this as back in my guitar days I always loved the feel of a good tube amp. There is no way I'll ever haul a tube bass amp around - I'm lightweight all the way. I have never found any of the tube micro heads to feel like a tube amp to me. The Streamliner was kinda there, but I found it way too wooly - I could never get enough low-mid out to get it to really speak quickly (one reason I like 10s over 12s in general - yes, I know the cab design is a big part of it - another discussion), and why I love my Rob Allen - the piezo is really quick to respond.
 
Thanks for the thoughtful review. I'm eager to hear more about how this iteration compares with the others - their size fits my my Crazy8 and 88 cabs better. :)

Q: When you adjust the sensitivity, do you also have to adjust the gain to maintain the same level, or is the sensitivity gain neutral?

My power amp (QSC PLX3002) wants to "see" a hotter input than other amps I've used. I compensate by placing FDeck's HPF/Pre between my pre-amp and power amp. The HPF/Pre provides an additional gain stage (and a variable high-pass filter, and a phase reversal switch) between the pre-amp and power amp, and sounds great. Might work with the Monique, too. :)

The answer on the Sensitivity control is that it does effect the end output, but not in an extreme amount. I found when I moved it from 12 o'clock to all the way up, the volume did go up, but only a small adjustment down on the line out balanced things, and vice versa.

I'm sort of holding on considerations with the output level. I did notice that it was a fair amount less hot than the Kern, which I never came close to running full up in either pre gain or post gain stages. The IPR has a sensitivity of .775v, which means that things like the Crowns with 1.4v may have a hard time. The whole two hour session I didn't have the Line out at less than between 4 and 5 o'clock, with 5 being up all the way. At no point did I clip the input on the IPR.
 
Sadly, I have to say we may need to do more shock absorbing packing. One Rack Mount Monique arrived with what sounds like a broken tube. I've already sent a complete replacement tube set and a loaner Monique to help this friend and customer get back up on stage quick.

This isn't something a builder likes to talk about, but sadly it can happen. It is terrible.

It is difficult to imagine the abuse required to break gear that is double packed.

It's always bound to happen at some point. Shipping companies can't be trusted :mad: I'm sure your awesome customer service has made up for the misfortune though! :bassist:
 
The answer on the Sensitivity control is that it does effect the end output, but not in an extreme amount. I found when I moved it from 12 o'clock to all the way up, the volume did go up, but only a small adjustment down on the line out balanced things, and vice versa.

I'm sort of holding on considerations with the output level. I did notice that it was a fair amount less hot than the Kern, which I never came close to running full up in either pre gain or post gain stages. The IPR has a sensitivity of .775v, which means that things like the Crowns with 1.4v may have a hard time. The whole two hour session I didn't have the Line out at less than between 4 and 5 o'clock, with 5 being up all the way. At no point did I clip the input on the IPR.

I concur on the Sensitivity control. It's there for musical reasons. I started playing this new chordal ditty tonight while fooling around with it.

The IPs like to see .775v too.

I knows why you're holding more review until you "give the drummer some". Live, for real, is when things bloom and you hear how your attack works with any gear.

This rack version is the shiz.
The build quality is like mil spec.
It's not heavy yet it's extremely rigid.

Sound.
Same goodness. Opened up the longer I played.
I have one with sessions and gigs on it, when she breaks in you're in for more more. :):bassist:
 
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