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Double Bass The new "Nadine" mic?

#21
rickwolff said:
Today's existential dilemma:

A. Order a Nadine and risk losing my wife (or my life), or

B. Not order a Nadine and risk losing my CGJ designation.

Solution: Christmas present ?
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You can do what ever you wish, remember, the Ischell is lighter, less bother and works really well for you guys. At that $600.00 price point there are many exceptional Double Bass Microphones. My Remic Red was in the ballpark of the Nadine, because they sold of their B Stock last summer when they sponsored the Riverboat Jazz Festival in Denmark. I still think the DPA 4099B is a incredible FOH Mic and they are frequently offered up here on Talkbass.

Ric
 
#22
Ric Vice said:
You can do what ever you wish, remember, the Ischell is lighter, less bother and works really well for you guys. At that $600.00 price point there are many exceptional Double Bass Microphones. My Remic Red was in the ballpark of the Nadine, because they sold of their B Stock last summer when they sponsored the Riverboat Jazz Festival in Denmark. I still think the DPA 4099B is a incredible FOH Mic and they are frequently offered up here on Talkbass.

Ric
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I'm actually happy with my rig, Ric. I just enjoy seeing (and sometimes playing with) new gear. I've recently been getting some very nice live gig recordings with my Zoom H6.
 
#25
Ric Vice said:
You can do what ever you wish, remember, the Ischell is lighter, less bother and works really well for you guys. At that $600.00 price point there are many exceptional Double Bass Microphones. My Remic Red was in the ballpark of the Nadine, because they sold of their B Stock last summer when they sponsored the Riverboat Jazz Festival in Denmark. I still think the DPA 4099B is a incredible FOH Mic and they are frequently offered up here on Talkbass.

Ric
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I don't use a mic, although I'd like to try one sometime. Nadine appeals to me, much more than any others I've seen, for the elegance of the mounting system. I know that performance should be the primary measure of value, but for the less knowledgeable like me that slick attachment setup is tempting. The Ischell seems to be another from the Erlund school and I couldn't find the right spot for that on either of my basses.
 
#26
yeah....visually appealing but i've had mixed results with mics.

if most of our shows were in theaters and outdoor stages, i'd consider it more seriously. but sonce many of our gigs are in loud bars, i have to stick with the pickup. if it was cheaper, i'd definitely buy one for the few, but increasing number of "stage gigs" as we call them.

also, here's a pic of us using louise in our quazi-one mic setup
mb45.JPG
 
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#27
Hi friends. I have one that Phillip (Ear Trumpet Labs founder...all around awesome guy) gave me when we were in Portland to beta-test. I'm up to my eyeballs right now, but I have plans to put up some recordings here so you can hear it. Jon Hamar (DB prof at UT here in Knoxville) and I also have plans for a shootout between the Nadine and the DPA 4099. I'll TRY TRY TRY to get these up by the end of November. I can say that I've taken it on a duo tour or PACs in Canada and the FOH engineers loved it. I'll be right back...DK
 
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#29
I've been able to use the Nadine mic a couple more times, in club gigs where I can mess with it myself and use my amp, rather than just send it to FOH and use my pickup for the wedges (no backline on most recent tour). Apparently one of the XLR channels on my preamp isn't working correctly, so last Friday I was really disappointed with the lack of level I could coax out of the mic...really had to crank the input gain, which is problematic for obvious reasons. Well, that all changed when I switched channels. I played with it on the WDVX Blue Plate Special yesterday, and once I'd sussed out the preamp issue, man, big big improvement. Yeah, there's a lot of bleed from the other instruments (drums especially), but I love how it sounds through my amplifier. Like, a lot. I'm really surprised with how much of mic I can use in the amp (it doesn't sound quite as "bleedy" as the DPA 4099 to me...but like I said above we'll do an A/B test on those soon). It's a "warm" sounding mic I think. I'm not a fan of abstract adjectives when describing tones/sounds, but it does sound "warm"..like I remember it sounding when I got to play around with it for the first time over in Portland. All of those complex lower midrange sounds that make the double bass such a complicated monster to accurately reproduce are right there in my amp, and what I could hear of the PA in the room had me grinning like a jackass chewing on sawbriars.
I'm currently using it blended with a piezo pickup, but tomorrow night I'm gonna try using the mic solo (softer jazz trio). FYI I'm using it thru a DTAR Solstice Preamp, then into an Aguilar TH 500 -> SL112. (Aguilar deserves some credit here, I LOVE the way DBs sound through their SL112 cabs).
Will try to get some recordings with this thing before too long...couple more road runs coming up and then I can spend some time on that. DK
 
#30
One of the things I find with the Remic Mic which is an omni (with some baffling), is that though there is bleed, the fat loud bass sound is so present that you dont mind a little bleed (to a point)...that point is where I turn up the piezo and down the mic. But even with just a little mic in there (on louder gigs) it is still worth having the complexity of the sound as you say....I sure love the aesthetic and steampunk over builtness and the crazy xlr connection (although I dont think I'd want to hang that big thing off my tailpiece...maybe a demure option?
 
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#31
I hear you on the weight thing...I'm not noticing a difference in response with it on the TP. But it is a little big. I really like the way it mounts though. Very easy on/off. I would be pretty annoyed with a mic designed to look "cool" that sounded bad...but the ETL mics are really useful for some applications, depending on the model you choose. It's a very stable mounting system all around. I'd like to hear that Remic sometime. DK
 
#32
Hey D,
I play with a pianist who sings sometimes, and I think that she should get an elegant vintage looking vocal mic for presentation as much as anything else, but listening to those vocal mics they sound great. She sings jazz stuff, which one do you thing would be a good choice?
 
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#33
flatback said:
Hey D,
I play with a pianist who sings sometimes, and I think that she should get an elegant vintage looking vocal mic for presentation as much as anything else, but listening to those vocal mics they sound great. She sings jazz stuff, which one do you thing would be a good choice?
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The ETL mic with which I've worked the most is the "Edwina." I've used it on pretty much everything (drum overheads, mandolins, acoustic guitars, resonator guitars, electric guitar cabs, and double basses as a neck mic). If I've understood my conversations with Phillip, it's sort of the "base" model upon which their other mics are more or less based. I'm biased, but I think this mic is a swiss-army knife, but it handles fast-transient sounds particularly well, and it rejects very well from 180deg off axis (directly behind). I also use two aforementioned of the "Louise" mics. These mics "hear" a lot, and I don't recommend them for live use, unless you have a very competent FOH engineer that knows these mics, and you're amplifying singers/musicians that move a lot of air, because otherwise you're really cranking input gain, and you're going to hear anything within ear shot of the mic.
I think if you're going to use it as a close-address mic, you can't lose with the Edwina. It looks like the Myrtle is very similar (looks like an Edwina capsule with a fancier mount), so that's likely a good option too. The Edwina's mount is adjustable in a way that allows a singer to get nice and close, but it's small enough that is doesn't obscure his/her face.
One caveat, I've not used the Chantelle mic, but it's designed for live vocals, so that might be a better option, but I unfortunately don't have any experience with it. Hope this way too long response is helpful. DK
 
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#34
Cool looking mic, but will have to be pretty incredible to warrant the price tag. I would still be skeptical that this mic has the same problems as most others in louder situations. Will wait for more reviews to form a general consensus as i suspect very few people have used this mic.
 
#37
neddyrow said:
yeah....visually appealing but i've had mixed results with mics.

if most of our shows were in theaters and outdoor stages, i'd consider it more seriously. but sonce many of our gigs are in loud bars, i have to stick with the pickup. if it was cheaper, i'd definitely buy one for the few, but increasing number of "stage gigs" as we call them.

also, here's a pic of us using louise in our quazi-one mic setup
View attachment 982182
Click to expand...

Hey neddyrow. How does this group mic setup work for your group? Especially with the bass amp on stage. My band recently got one of these mics for this sort of setup, and we still need the amp on stage as there is not enough room for myself to get right up to it as i use a music stand.

Do you have to keep the amp at a fairly low level? Does the mic pickup your amp sound? Or do you point the amp away from the mic?
 
#39
sean_on_bass said:
Hey neddyrow. How does this group mic setup work for your group? Especially with the bass amp on stage. My band recently got one of these mics for this sort of setup, and we still need the amp on stage as there is not enough room for myself to get right up to it as i use a music stand.

Do you have to keep the amp at a fairly low level? Does the mic pickup your amp sound? Or do you point the amp away from the mic?
Click to expand...

I would recommend NOT using any Microphone into a Bass amp, as thats not really what their designed for (and only a few are even designed for Upright, you'd be better off with a Powered PA Speaker.) I would recommend just running either the Ear Trumpet Nadine or DPA 4099 directly into the PA for the Front Of House mix and then some in the Monitor as well. If you need more volume you can use your amp with a Pickup as a Monitor. This way the audience will hear the true acoustic sound of your Bass (not even the best pick-ups can compare to a microphone) I'm a full time musician in a 6pc. band and we use only a DPA 4099 for the Upright Bass (w/ full Guts which aren't even as loud as Steel Strings & right nest to the Drummer with no Pick-up or amp.) We have no issues whatsoever and usually have a good amount of it in the Monitors as well. As far as EQ, we usually roll out a little of the highs an lows (around 80-200Hz depending on the Sound System, Room etc.) but only to make the sound more natural, not because we have any feedback issues.
 
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#40
Hotrhythmjunkie said:
I would recommend NOT using any Microphone into a Bass amp, as thats not really what their designed for (and only a few are even designed for Upright, you'd be better off with a Powered PA Speaker.) I would recommend just running either the Ear Trumpet Nadine or DPA 4099 directly into the PA for the Front Of House mix and then some in the Monitor as well. If you need more volume you can use your amp with a Pickup as a Monitor. This way the audience will hear the true acoustic sound of your Bass (not even the best pick-ups can compare to a microphone) I'm a full time musician in a 6pc. band and we use only a DPA 4099 for the Upright Bass (w/ full Guts which aren't even as loud as Steel Strings & right nest to the Drummer with no Pick-up or amp.) We have no issues whatsoever and usually have a good amount of it in the Monitors as well. As far as EQ, we usually roll out a little of the highs an lows (around 80-200Hz depending on the Sound System, Room etc.) but only to make the sound more natural, not because we have any feedback issues.
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Hey hot,

In this case i am referring to neddyrow's groups setup with the whole group sharing one mic, not necessarily micing the bass directly and running that signal into my amp. Amp is still driven by my realist pickup. His bluegrass group had everyone grouped around one mic, not the Nadine but other by same brand, and he was plugged into an amp. Was curious how that worked out since my group was recently trying to do a similar setup. At this point i think we are just dropping the one mic thing since with music stands on stage it becomes hard for the group to get up close to the mic. We will just be micing everyone seperate.
 

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