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Double Bass The new "Nadine" mic?

#104
I tried a Nadine for a few days. Very nice build quality. Recording quality was good, not as nice as a Peluso 22 251 LDC on a stand in front of the bass, but quite usable. However, I felt the difference in resonance with Nadine on versus off the afterlengths. It was not a huge difference in resonance and would probably not be a big deal to many players. I returned it.
 
#107
Mr Sidecar, plug your Nadine in one channel and your Lifeline(?) in the other of your Doubler...fire your cabinet backwards (ricochet off back wall) and blend the two transducers to your personal taste. I've had higher volume before feedback with this setup and it sounds fine to me. To be honest, I use a Lifeline and Nadine on my Czech flatback for recording and have a Lifeline and Krivo rigged for live on my plywood Upton.
 
#108
I watched and listened to Chuck play on several recent videos, he's trying different things out. There's one with a DPA, several with the Xlson, and newer ones with the Nadine. Using microphones is a learning process

and different rooms require different solutions. If you need a lot of isolation from the rest of the band then the DPA which is essentially a min "shot gun" is likely to be your best bet and they keep upgrading that particular

microphone because DPA has a very robust research arm, that gathers data and testing to incorporate it into their designs. Remic is a different approach using what I believe is miniature omni, l mic which to my

ears has a warmer and fuller sound, but will feedback sooner. Ultimately, you have to adjust to any microphone and learn how to get the best sound out of it, if that's the sound source you choose. Personally, I think the way a particular

microphone mounts and how reliable and non evasive that particular mount is a critical factor in choosing a microphone. The Nadine has a well thought out mounting system and sounds great.
 
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#110
Drew Tanner said:
Chiming in, as kerrycares PM’d me after spotting the Nadine on my bass in the Doubleshot thread. I’ve been using it for almost a year now after scoring a good used deal and am pleased with it.

I have used it through my amps (usually blended with the Fishman Full Circle) in several different small venues. It’s surprisingly feedback resistant at tame drummer volumes in the six-piece Americana/alt-Country group I play with, though there is a fair amount of bleed. Smart positioning of the amp, your own body, and the bass go a long way toward controlling feedback. I usually blend through the Grace Felix which has a notch filter and parametric mid controls for the the occasional problem frequencies. However, I’ve also run it straight into a Markbass LM Tube 500 and a pair of 121 cabinets at moderate-to-loud volume without feed back, using the VLE to gently roll off the highest highs, if necessary. At larger venues or festivals, I’ll use the Felix, as others do, to send the mic to FOH and Full Circle to my amp. It might seem like a lot to fiddle with, but it really adds a warmth and roundness to the tone that the piezo alone lacks on my bass and that my bandmates notice. Our fiddler/mandolin player has asked, “where’s the Nadine?” the few times I’ve left it at home.
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So front of house does not get the blend between the nadine and full cirlce? Would you ever not bring your amp and just bring the felix?
 
#111
Elliot Kuhlman said:
So front of house does not get the blend between the nadine and full cirlce? Would you ever not bring your amp and just bring the felix?
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Well, all of that was prepandemic. We had one indoor gig for a livestream summer of 2020, and it was the biggest empty theatre we ever played.

And on that livestream, we were fully acoustic. I left the amp and Felix at home and just ran the Nadine directly to FOH for the folks watching online. The other players were single mic’d around Ear Trumpet’s ‘Myrtle,’ and the sound engineer mixed Nadine and Myrtle with a couple of room mics.

The handful of times I’ve blended and sent signal to FOH with the Felix, FOH just wanted the mic when I gave them the option. (The Felix DI channel(s) can be changed with a flip of a switch.)

This past summer of exclusively outdoor gigs, I have just run Nadine directly to our PA for our string band trio configuration. (Bass through Nadine, Banjo and Fiddle through Myrtle.) When it has been all six of us with drums, I’ve been running my Full Circle through a Sarno V-8 tube preamp into either an Acoustic Image DoubleShot or pair of Aguilar SL112s powered by an AI Focus.
 
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#112
Having read all the comments it appears that the Nadine isn't very suitable for plugging straight into an amp for onstage sound. Years ago I used to use a blender with the Crown GLM 200 and the Fishman BP-100 into a GK combo whereby the mic was about 20-30% of the sound...and it sounded pretty decent (subject to the technology of the time). I'm wondering if anyone has tried a similar thing with the Nadine into a AI clarus or similar. My intention would be to use a Lifeline into Fishman Plat pro to one channel of a Clarus and the Nadine direct to the other channel. The clarus has phantom power. I do lots of quieter gigs with a quiet drummer. ($1000 AUD is way too much money to send a signal out the front and not hear it myself.)
 
#114
Mouldy said:
……….. Years ago I used to use a blender with the Crown GLM 200 and the Fishman BP-100 into a GK combo whereby the mic was about 20-30% of the sound...and it sounded pretty decent (subject to the technology of the time)……………. My intention would be to use a Lifeline into Fishman Plat pro to one channel of a Clarus and the Nadine direct to the other channel. The clarus has phantom power. I do lots of quieter gigs with a quiet drummer. ($1000 AUD is way too much money to send a signal out the front and not hear it myself.)
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I’ve certainly done that with a Grace Design Felix, Ehrlund EAP, and the Remic 5400LB. The Remic 5400LB will work fine by itself on quieter gigs. I haven’t
found that blending the two gives me that more refined sound for all the additional EQ and mixing required. If the volume overtakes the Remic I switch over
and use the Ehrlund. For the most part I just go with the Ehrlund. That’s not to say that the Nadine/Lifeline wouldn’t sound incredible. It just less hassle. :)

P.S. I also owned the Fishman Bass Blender with with a Underwood Pickup and the Crown GLM 200. I never found that blending those two devices yielded a better sound. Just my take however.
 
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#115
Hello,
I have a DPA 4099 since years and now I'm interested to buy a Nadine. Has anyone tried both, on the same bass? Differences? A friend of mine, a great bassist here in Italy, said to me that the DPA is a little more clear, less warm than Nadine, exspecially with steel strings (but I play gut) and this is the reason because he don't like DPA.
I have a doubt: can the Nadine's positioning intefere with the bass sound? I wouldn't want it to dampen the sound...
 
#118
Yes. The DPA by design is more clinically accurate. The Nadine (also, assuming by design) has a bit more "character." The low end is more prominent and the highs are less detailed, but not in a bad way. They both sound great. It's a matter of "Do you like Vanilla or French Vanilla?"
 
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#119
Mark Gollihur said:
Yes. The DPA by design is more clinically accurate. The Nadine (also, assuming by design) has a bit more "character." The low end is more prominent and the highs are less detailed, but not in a bad way. They both sound great. It's a matter of "Do you like Vanilla or French Vanilla?"
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Mark, but what if I like Rocky Road???
 
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