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Jule Amps Monique

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#962
Codger said:
The Summit has a separate impedance control? I wonder if it is changing the input capacitance? That's a known method of tweaking the tone of a passive. Neutrik even has a Invalid Link Removed that lets one tweak the capacitance loading on the instrument cable. (That's my speculation - Neutrik doesn't actually say but their response plots sort of imply it by changing the resonant frequency of the pickup.) If the impedance change were purely resistive I'm not seeing how it would do anything except change the loss.
Click to expand...

A passive pickup has a fairly large inductive reactance component. Just using different value volume pots in your instrument changes tonality in a well known way, no?

There's a short thread on this with a few relevant posts from R.G. Keen Invalid Link Removed.
 
#963
chadds said:
One thing that works is after you set your tone, crank your volume so you can play gently. This works for your hand wrist health anyway. Then when you hit hard it's not louder but will grind up nice.:)
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Yep. I've been sort of playing with this for a while, but as of this week have really nailed down how I gain stage to take most advantage of this. For me it's not so much a 'grind' as it is that tube compression aspect.

We were running a few songs last night that are soul/reggae crossovers (Use Me, and the Liquidator Riddim as used by the Staple Singers as "I'll Take You There"), and our keyboard player was laying into B3/Leslie sounds and bringing it way up and I was digging in harder and faster underneath it and the Monique deals with it very gracefully, making it fuller and bolder without it becoming overly 'loud' or really distorting. All the good tube stuff I like, but none of the bad overly swampy stuff. And of course, it's wicked fun. I could play like that all night long, and everyone in the band could also 'feel it'.
 
#964
AmazingMumford said:
That's always been my assumption--when Stew hits the chord at about 1:42, you can hear the signal completely overdrive the camera mic with that solid-state crackle, and that has a similar flavor to the other "fuzz" you hear in the clip. While you get some idea of Monique's punch and tone, I've always thought of that clip as more of a demo of the Nordstrand bridge humbucker and Stew's playing. Of course, we'd need the input of someone who was actually there--this is all pure conjecture.
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I assumed as much. Thanks for confirming my suspicions
 
#965
Codger said:
It (impedance change) shouldn't make any difference with an active bass. Why would I want it to with a passive? How is this a Good Thing?
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It can be a good thing. It can be a bad thing. I like the question.

Changing an input or output impedance changes how efficiently electrical representations of sound waves travel from one device to another, and more importantly to us Bass-Folk, impedance is frequency specific. It is a rather quick and often dramatic way to allow tone shaping and playing characteristic changes.

The math is tedious and the verbal explanation boring (like this reply), but providing an Impedance adjustment is simply another tool for the user, much like an EQ or a gain control.

It applies to all transfers of electrical representations of audio regardless of the Active or Passive nature of the device.
 
#966
Passinwind said:
A passive pickup has a fairly large inductive reactance component. Just using different value volume pots in your instrument changes tonality in a well known way, no?
Click to expand...

I would not expect volume pots on the bass to affect tone, from a practical perspective, for this reason. A volume pot provides variable resistance. Zero resistance = max volume. In the reseistance range where the two pots overlap they would sound the same, because they are providing the same resistance. Putting in a larger value volume pot would only give you more volume attenuation when you exceeded the resistance of the smaller value pot. The tone might be different at the lower volume settings, but you wouldn't hear it because the volume is attenuated. Not sure about this, but is what I would expect.

Jim
 
#967
It's not that simple. Re-read the posts from passinwind and juledude. Altering resistance doesn't just change the levels, it also changes the peak and slope of an LCR filter created by the pickups, pots, cable, and the input of the device you plug into.
 
#968
bongomania said:
It's not that simple. Re-read the posts from passinwind and juledude. Altering resistance doesn't just change the levels, it also changes the peak and slope of an LCR filter created by the pickups, pots, cable, and the input of the device you plug into.
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It de-Qs the resonant peak. At very low values it starts looking like a low-pass whose cutoff frequency decreases with the load resistance.

Nice feature.

Ideal pickup spice model. Load resistance varying from 10k to 1M.

pickup.png
 
#969
jsbarber said:
I would not expect volume pots on the bass to affect tone, from a practical perspective, for this reason. A volume pot provides variable resistance. Zero resistance = max volume. In the reseistance range where the two pots overlap they would sound the same, because they are providing the same resistance. Putting in a larger value volume pot would only give you more volume attenuation when you exceeded the resistance of the smaller value pot. The tone might be different at the lower volume settings, but you wouldn't hear it because the volume is attenuated. Not sure about this, but is what I would expect.

Jim
Click to expand...


The volume pot actually forms a series/shunt resistive divider network in either of the two standard wiring schemes. In other words, it changes two resistances at once in this sort of circuit, with one leg going higher as the other goes lower.

Try 1 meg and 10k on your bass and get back to us, or just look at Codger's model, which saved me having to make one. ;)
 
#975
I'm sure someone has already made this point elsewhere in this thread, but I just wanted to say that I think it's really cool that Jule decided to provide his Monique bass preamp in a rack mount configuration.

Until recently, I was only familiar with the dove cage and the wooden box configurations. Big-time kudos to Mr. Potter for making a 2-space rack mount version as well. (Plus, it costs less than the other two versions.) WIN!

For some reason, I keep having a vision in my mind of having a four space rack containing a Monique directly above a Crest CA-9 driving a pair of Berg HD212's. This causes my mouth to water rather profusely.
 
#976
SactoBass said:
For some reason, I keep having a vision in my mind of having a four space rack containing a Monique directly above a Crest CA-9 driving a pair of Berg HD212's. This causes my mouth to water.
Click to expand...

That would certainly get the job done, and put you in the realm of "as good as it gets". :)
 
#978
SactoBass said:
I'm sure someone has already made this point elsewhere in this thread, but I just wanted to say that I think it's really cool that Jule decided to provide his Monique bass preamp in a rack mount configuration.

Until recently, I was only familiar with the dove cage and the wooden box configurations. Big-time kudos to Mr. Potter for making a 2-space rack mount version as well. (Plus, it costs less than the other two versions.) WIN!

For some reason, I keep having a vision in my mind of having a four space rack containing a Monique directly above a Crest CA-9 driving a pair of Berg HD212's. This causes my mouth to water rather profusely.
Click to expand...

The Crest CA9 has a "standard" 0.775 input sensitivity. Same as the IP Bergantinos. That means you will go into the CA9 from Monique's 1/4" Line Out. Yum.
 
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