BurningSkies said:
They ran out in their whites put her on the gurney and wheeled her in.
Skies? She's gonna be okay. Don't worry. She has a strong constitution.
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Jule Amps Monique
- Thread starter Fretless5verfan
- Start date
- Status
They ran out in their whites put her on the gurney and wheeled her in.
Skies? She's gonna be okay. Don't worry. She has a strong constitution.
should be sometime this week.
BurningSkies
CRAZY BALDHEAD
- Feb 20, 2005
- 27,956
- 20,348
- Disclosures
- Endorsing artist: Dingwall Guitars
For any of the Monique worriers out there, I just got a voice mail from Jule (I'm at work and can't regularly answer personal/cell calls). He said that he found that it was NOT a wiring problem but indeed a tube problem. I'm guessing it was the rectifier tube, since I subbed the other tubes and didn't have any changes.
Anyway, he says a tube exhibited some truly bizarre behavior and that it's all sorted now along with any of the updates.
I'll give him a call later, once time and location permits (tomorrow probably), but I want everyone to know that Jule is a complete standup guy who has worked hard to make me happy.
Anyway, he says a tube exhibited some truly bizarre behavior and that it's all sorted now along with any of the updates.
I'll give him a call later, once time and location permits (tomorrow probably), but I want everyone to know that Jule is a complete standup guy who has worked hard to make me happy.
Hi Guys
I've placed my order and can't wait to receive my rack mount. I'm glad to hear of the revised design as I need mine too drive a power amp as well. I'm really looking forward to hearing/feeling the 'tubeiness' I've been looking for.
Ahhh the search for tone
Cheers
Ben
I've placed my order and can't wait to receive my rack mount. I'm glad to hear of the revised design as I need mine too drive a power amp as well. I'm really looking forward to hearing/feeling the 'tubeiness' I've been looking for.
Ahhh the search for tone
Cheers
Ben
Session Friday with Keys, Guitar and Drums. The Monique was fat and warm while holding clear. The DI out was perfect into a Motu 828.
Gig at Artomatic. Wow.
I plugged in and said, "Hey who was playing this, this loud?" (me last night) With an Ashbory bass it was studio fat, live on stage. I asked the sound engineer to leave me out of the monitors. The DI was perfect.
Both engineers had enough level. I asked. In fact they both looked at me funny for asking.
Also the Monique is just warm after hours of playing. The ventilation physics really work as mine is in a two space Protec rack bag. Go Jule!
Monique is affecting my playing. It's so responsive that even without the sensitivity cranked the gentler you play the clearer your tone. This effect could be heightened because of the NOS tubes but it saves my hands from over exertion and potential injury.
The tone? Imagine hearing all the highs and mids and feeling a clear deep low thunder wafting across the stage. Add all the complex harmonics we play tubes for and you still have to hear it to believe it.
Whoa, Jule!!
Gig at Artomatic. Wow.
I plugged in and said, "Hey who was playing this, this loud?" (me last night) With an Ashbory bass it was studio fat, live on stage. I asked the sound engineer to leave me out of the monitors. The DI was perfect.
Both engineers had enough level. I asked. In fact they both looked at me funny for asking.
Also the Monique is just warm after hours of playing. The ventilation physics really work as mine is in a two space Protec rack bag. Go Jule!
Monique is affecting my playing. It's so responsive that even without the sensitivity cranked the gentler you play the clearer your tone. This effect could be heightened because of the NOS tubes but it saves my hands from over exertion and potential injury.
The tone? Imagine hearing all the highs and mids and feeling a clear deep low thunder wafting across the stage. Add all the complex harmonics we play tubes for and you still have to hear it to believe it.
Whoa, Jule!!
BurningSkies
CRAZY BALDHEAD
- Feb 20, 2005
- 27,956
- 20,348
- Disclosures
- Endorsing artist: Dingwall Guitars
Session Friday with Keys, Guitar and Drums. The Monique was fat and warm while holding clear. The DI out was perfect into a Motu 828.
Gig at Artomatic. Wow.
I plugged in and said, "Hey who was playing this, this loud?" (me last night) With an Ashbory bass it was studio fat, live on stage. I asked the sound engineer to leave me out of the monitors. The DI was perfect.
Both engineers had enough level. I asked. In fact they both looked at me funny for asking.
Also the Monique is just warm after hours of playing. The ventilation physics really work as mine is in a two space Protec rack bag. Go Jule!
Monique is affecting my playing. It's so responsive that even without the sensitivity cranked the gentler you play the clearer your tone. This effect could be heightened because of the NOS tubes but it saves my hands from over exertion and potential injury.
The tone? Imagine hearing all the highs and mids and feeling a clear deep low thunder wafting across the stage. Add all the complex harmonics we play tubes for and you still have to hear it to believe it.
Whoa, Jule!!
Awesome!
I like those 828's. I use the MOTU 8pre's for my recording setup.I can't wait for mine to come back. Jule was going to keep her over the weekend just to make sure then send her back the beginning of next week.
Awesome!
I can't wait for mine to come back. Jule was going to keep her over the weekend just to make sure then send her back the beginning of next week.
She's being kept for observation.
BurningSkies
CRAZY BALDHEAD
- Feb 20, 2005
- 27,956
- 20,348
- Disclosures
- Endorsing artist: Dingwall Guitars
Can anyone on the thread be kind enough to explain the best way to run Monique through a micro head (ie. effects return)? I was using a poweramp with her, but i would like to use a micro head for power only and don't want to blow anything with wrong connections.
bongomania
Commercial User
thumbs&fingers said:
It's mostly the same, and you won't blow anything. I use a MB500 as a power amp, and I've used other heads that way too.
The reason I say "mostly" is that you'll use an unbalanced (instrument) cable to connect to the fx loop return, whereas a balanced connection is better for most PA power amps.
So instrument cable to the front of Monique, then 1/4 line out to head units effects return in?
- Dec 10, 2006
- 1,338
- 2,180
- Disclosures
- Owner and creator of Jule Amps: Monique and Simone and Bass Amps
This has been a very trying week.
When three customers get their brand new Moniques and call you with problems, it is time to react very strongly.
Without a defective Monique to look at (I should have waited) I decided that there must have been a mis-wiring. Made some sense - new physical configuration of the proven Monique - the problem must be me.
Turns out that some of the latest batch of 6SL7 tubes have badly soldered wiring in the pins that stick out of the base of the tube. It passes a burn-in fine. As long as it isn't physically moved all is well. Ship it and a variety of nasty failures can occur. In addition, I have identified that I must change from the JJ EZ81 tube rectifier to the EH EZ81 because of failures during burn-in and for two post burn-in customers (one in Portugal).
While waiting for the problem Monique to arrive I called in my most able engineering mentors (three actually) for brainstorming. From that came the idea of boosting Monique's output so she could drive a PA power amp. Nice feature. Bad idea.
Monique puts out 0db from Line Out. From the balanced XLR Out she puts out -14db. She sounds incredible that way. To increase the output another 40db would mean changing Monique significantly. She would not be the same.
I like her the way she is and I've been contacted by several customers this week who have very strongly suggested that I do not change her. I won't. While in this effort, I did identify an XLR balanced buffer change going forward, but this will only make only Monique easier to connect to other devices.
The only good part of this failure caused by tubes, and delay for my customers, and long hours of work this last week is that I have found that I have a community of support stronger than any I could have imagined. We all create what we believe in, but to find that others are anxious to create right along with us is a wonderful feeling I can not begin to describe. But you are musicians - you know what it's like.
Thank you.
When three customers get their brand new Moniques and call you with problems, it is time to react very strongly.
Without a defective Monique to look at (I should have waited) I decided that there must have been a mis-wiring. Made some sense - new physical configuration of the proven Monique - the problem must be me.
Turns out that some of the latest batch of 6SL7 tubes have badly soldered wiring in the pins that stick out of the base of the tube. It passes a burn-in fine. As long as it isn't physically moved all is well. Ship it and a variety of nasty failures can occur. In addition, I have identified that I must change from the JJ EZ81 tube rectifier to the EH EZ81 because of failures during burn-in and for two post burn-in customers (one in Portugal).
While waiting for the problem Monique to arrive I called in my most able engineering mentors (three actually) for brainstorming. From that came the idea of boosting Monique's output so she could drive a PA power amp. Nice feature. Bad idea.
Monique puts out 0db from Line Out. From the balanced XLR Out she puts out -14db. She sounds incredible that way. To increase the output another 40db would mean changing Monique significantly. She would not be the same.
I like her the way she is and I've been contacted by several customers this week who have very strongly suggested that I do not change her. I won't. While in this effort, I did identify an XLR balanced buffer change going forward, but this will only make only Monique easier to connect to other devices.
The only good part of this failure caused by tubes, and delay for my customers, and long hours of work this last week is that I have found that I have a community of support stronger than any I could have imagined. We all create what we believe in, but to find that others are anxious to create right along with us is a wonderful feeling I can not begin to describe. But you are musicians - you know what it's like.
Thank you.
Jazzdogg
Less barking, more wagging!
This has been a very trying week.
When three customers get their brand new Moniques and call you with problems, it is time to react very strongly.
Without a defective Monique to look at (I should have waited) I decided that there must have been a mis-wiring. Made some sense - new physical configuration of the proven Monique - the problem must be me.
Turns out that some of the latest batch of 6SL7 tubes have badly soldered wiring in the pins that stick out of the base of the tube. It passes a burn-in fine. As long as it isn't physically moved all is well. Ship it and a variety of nasty failures can occur. In addition, I have identified that I must change from the JJ EZ81 tube rectifier to the EH EZ81 because of failures during burn-in and for two post burn-in customers (one in Portugal).
While waiting for the problem Monique to arrive I called in my most able engineering mentors (three actually) for brainstorming. From that came the idea of boosting Monique's output so she could drive a PA power amp. Nice feature. Bad idea.
Monique puts out 0db from Line Out. From the balanced XLR Out she puts out -14db. She sounds incredible that way. To increase the output another 40db would mean changing Monique significantly. She would not be the same.
I like her the way she is and I've been contacted by several customers this week who have very strongly suggested that I do not change her. I won't. While in this effort, I did identify an XLR balanced buffer change going forward, but this will only make only Monique easier to connect to other devices.
The only good part of this failure caused by tubes, and delay for my customers, and long hours of work this last week is that I have found that I have a community of support stronger than any I could have imagined. We all create what we believe in, but to find that others are anxious to create right along with us is a wonderful feeling I can not begin to describe. But you are musicians - you know what it's like.
Thank you.
Pragmatically speaking, how does this limit the way Monique can be used by working musicians?
I presume Monique remains valuable as a DI sending a mic-level signal to FOH.
In which applications can Monique be used while maintaining optimal sign-to-noise ratio?
bongomania
Commercial User
Man oh man, I'm sorry to hear about such a crummy time.
???? That's just bizarre to me. I get it that from the inside, on a deep technical level, you have made some discoveries and realizations about what will work best for your design; but for someone on the outside to tell you not to make improvements... what?
Again, I mean no doubt or disrespect to your own decision process.
My DI was scoped by Pete Cage the amp designer and it was perfect. I detailed my experiences this weekend to say that the XLR out is just what two engineers expected from DIs from commercial amp heads or pres.
The line out works great driving .775 volts.
Remember these have been in service for a while in pro's hands in studios and on stage all over the world. Those folks who play with some prominent people are saying don't change the sound.
There are by present count four different voltages that commercially available power amps want to see, shouldn't we be educated consumers and choose accordingly? I'm not sure if either the pre makers or the power amp makers should be blamed.
One PA engineer who does sound for the Ravens (Football) noted that the market is quite small for bass pres compared to the market for power amps.
If we are to be wise here why not pick out the power amp last when indeed it should have the least effect on our sound.
When looking at the Monique some bassists assumed that the output that is 1/4" must be consumer level and the XLR pro.
Actually the design allows for the XLR to be the DI and the line to drive your head through an effects loop or a power amp with a T/S to XLR. The Kern uses 1/4" T/S line out.
The Glock has parallel XLR and 1/4" line outs distinct from it's
DI out.
That's it. It works.
While Jule drove himself crazy the issues weren't about design but bad tubes.
My original has a year old batch of tubes that are excellent sounding and reliable.
My rack arrived and worked for an evening. Then turned on but silent the next morning. The JJ rectifier tube died. I put in an old '50s British bottle and it's been sailing ever since. Meanwhile, Sir Jule sent me a rectifier tube. Then one 6SL7 started gurgling. It tested fine on a tube tester but was bad.
Bad tube batches from two manufacturers started the tube rolling I chronicled earlier.
The line out works great driving .775 volts.
Remember these have been in service for a while in pro's hands in studios and on stage all over the world. Those folks who play with some prominent people are saying don't change the sound.
There are by present count four different voltages that commercially available power amps want to see, shouldn't we be educated consumers and choose accordingly? I'm not sure if either the pre makers or the power amp makers should be blamed.
One PA engineer who does sound for the Ravens (Football) noted that the market is quite small for bass pres compared to the market for power amps.
If we are to be wise here why not pick out the power amp last when indeed it should have the least effect on our sound.
When looking at the Monique some bassists assumed that the output that is 1/4" must be consumer level and the XLR pro.
Actually the design allows for the XLR to be the DI and the line to drive your head through an effects loop or a power amp with a T/S to XLR. The Kern uses 1/4" T/S line out.
The Glock has parallel XLR and 1/4" line outs distinct from it's
DI out.
That's it. It works.
While Jule drove himself crazy the issues weren't about design but bad tubes.
My original has a year old batch of tubes that are excellent sounding and reliable.
My rack arrived and worked for an evening. Then turned on but silent the next morning. The JJ rectifier tube died. I put in an old '50s British bottle and it's been sailing ever since. Meanwhile, Sir Jule sent me a rectifier tube. Then one 6SL7 started gurgling. It tested fine on a tube tester but was bad.
Bad tube batches from two manufacturers started the tube rolling I chronicled earlier.
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