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Double Bass Ear Trumpet Labs Nadine Position Test!!

Dutch Williams

Dutch Williams

Apr 14, 2021
311
151
#1
thought I'd post for those who are curious about Nadine ...

blown away by the construction of this thing. heirloom quality.

first half of clip is the mic low by the tailpiece (relatively scooped sounding), second half is smack in the middle (less scooped, mids slightly more pronounced). i had a recording where it's riding up high by the bridge, but it sounded ... unusable. mids were way too pronounced.

bass is an Upton standard laminate ... eudoxa E, chorda A, global gut D+G (plain gut)
 

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#3
Sounds great! Just got the Nadine, but haven't tried it on a gig with drums etc. Sounds great at the house. Great design,build etc. Super nice people to deal with also.
One question, have you left the mic on with the bass bag on ,or do you take it off after each use?
 
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#4
I spoke to ETL when I first got mine and told them that they should put an elbow where the cable comes out of the copper so that users can keep the mic on the bass when putting it in it's case. That was over a year ago and apparently they are resting on their laurels rather than making the microphone practical for a real world gigging bassist. I have mulled over how to keep Nadine mounted for travel between gigs, etc. and the potential solution that I've come up with is turning the mic 180 degrees so the capsule faces out and the wiring faces the top of the instrument. I haven't tried it yet (pandemic and lazy). Since I put Evah Pirazzi Slaps on my Upton, I can't use my Krivo. I figured this year I'd embrace Nadine along with my Lifeline on the Upton. 30+ gigs on the schedule...30+ times I use Nadine, I doubt it.
 
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#5
lrhbass said:
Sounds great! Just got the Nadine, but haven't tried it on a gig with drums etc. Sounds great at the house. Great design,build etc. Super nice people to deal with also.
One question, have you left the mic on with the bass bag on ,or do you take it off after each use?
Click to expand...
im leaving it on all the time for now ... hopefully get that aged copper patina rocking :)
 
#13
Had a bandmate dropbox me a demo of a song he was working on just so I could get an idea of what he wanted before we went into the studio. I recorded one track on my Nadine (through my ancient tascam interface into audacity) and asked him about it at the next band practice. Turns out he just used that bass track on his final recording :laugh: that was easy.

Looking forward to using it in a live setting, have not yet had the chance
 
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#14
unbrokenchain said:
Had a bandmate dropbox me a demo of a song he was working on just so I could get an idea of what he wanted before we went into the studio. I recorded one track on my Nadine (through my ancient tascam interface into audacity) and asked him about it at the next band practice. Turns out he just used that bass track on his final recording :laugh: that was easy.

Looking forward to using it in a live setting, have not yet had the chance
Click to expand...
it is as good or better than any mic i've used in the studio (Blue, Neumann) ...
very "mixable" sound to an engineer's ear (my own :) ) ...
 
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#15
It seems like the weight of the Nadine body Velcro’d to the tailpiece has a dampening effect on the sound and feel of my instrument. I think overall the amplified sound is improved because The Nadine sounds so good. It might even help a little with Gain before feedback. But when practicing i find it’s better to remove it. anybody else notice this?
 
#16
downunder said:
It seems like the weight of the Nadine body Velcro’d to the tailpiece has a dampening effect on the sound and feel of my instrument. I think overall the amplified sound is improved because The Nadine sounds so good. It might even help a little with Gain before feedback. But when practicing i find it’s better to remove it. anybody else notice this?
Click to expand...
it is slightly noticeable ... physically + sonically its optimal with it removed ... BUT that does not transfer to the recording when using it, if that makes any sense. not bugging me enough to keep taking it on and off and on and off and ....
 
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#17
downunder said:
It seems like the weight of the Nadine body Velcro’d to the tailpiece has a dampening effect on the sound and feel of my instrument. I think overall the amplified sound is improved because The Nadine sounds so good. It might even help a little with Gain before feedback. But when practicing i find it’s better to remove it. anybody else notice this?
Click to expand...

i tried Nadine. The mic was pretty good. Very limited in terms of placement. The suspension on the underlengths is handy. But There was a mild dampening of resonance and feel of plucking the strings. I returned it.
 
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#19
Dutch Williams said:
im curious what you use to amplify/record?
Click to expand...

Several ways. Tracked direct into a Zoom F8 solid state field recorder (also 48v phantom source). Also ran the signal through a phantom box and into a Noble tube preamp DI, and into the Zoom F8. I simultaneously tracked two other mics: a Telefunken M60 and M61 (omni and cardioid options) small diaphragm condenser and a Peluso 22 251 large diaphragm condenser (in omni and cardioid modes). There were two Telefunkens: one next to the Peluso LDC about 2-3 feet in front front of the bass; the other was on an H-Clamp about 8 inches above the bass side F-hole.

The room monitor was a Phil Jones BG-150 combo amp.

The room is a home studio completely treated for sound and recording.

At the end of the day, the Nadine is a pretty good mic. Not in the same class as the Telefunken or Peluso, but very decent. It has obvious placement limitations. My biggest complaint with Nadine was it hampered resonance of my bass. After extensive experimentation, I prefer to have nothing touching or hanging off the afterlengths or tailplate. Could be different with your bass. Nadine does not work to my satisfaction with my bass. Otherwise, it's an ingenious idea, especially for live sound.

P.S. I agree with your assessment of build quality. It's A+ for sure!
 
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#20
N. Kentucky Bass said:
Several ways. Tracked direct into a Zoom F8 solid state field recorder (also 48v phantom source). Also ran the signal through a phantom box and into a Noble tube preamp DI, and into the Zoom F8. I simultaneously tracked two other mics: a Telefunken M60 and M61 (omni and cardioid options) small diaphragm condenser and a Peluso 22 251 large diaphragm condenser (in omni and cardioid modes). There were two Telefunkens: one next to the Peluso LDC about 2-3 feet in front front of the bass; the other was on an H-Clamp about 8 inches above the bass side F-hole.

The room monitor was a Phil Jones BG-150 combo amp.

The room is a home studio completely treated for sound and recording.

At the end of the day, the Nadine is a pretty good mic. Not in the same class as the Telefunken or Peluso, but very decent. It has obvious placement limitations. My biggest complaint with Nadine was it hampered resonance of my bass. After extensive experimentation, I prefer to have nothing touching or hanging off the afterlengths or tailplate. Could be different with your bass. Nadine does not work to my satisfaction with my bass. Otherwise, it's an ingenious idea, especially for live sound.

P.S. I agree with your assessment of build quality. It's A+ for sure!
Click to expand...

definitely. i feel you on the tailpiece. its pure physics.

its never "translated" to any recordings i've made with it though, and i doubt it could be "spotted" (audio wise) in a live setting ..
 

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