Nadine and DPA microphones for double bass COMPARED!
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- เผยแพร่เมื่อ 29 ส.ค. 2024
- In this video I compare two microphones:
The NADINE (by Ear Trumpet Labs) with the DPA d:vote 4099
Please also check my review about the Nadine:
• Nadine Microphone For ...
The strings you hear in this video are Gallistrings BSN920 bronze light. the
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My Lord, they all sound great! I love the Nadine for adding weight and clarity while walking, but the DPA solo over the bridge reminds me of Ray Brown's tone!! Clarity of harmonics hands down goes to the DPA, and grit and meat definitely is the Nadine!
I JUST had serial #199 Yamahiko single element pickup installed. Imagining being able to blend those 3 together?!? The ultimate piezo/mic shootout at the OK Corral!
Y/DPA belly, Y/DPA bridge, Y/Nadine belly !!! You would have every bassist/marriage in financial ruin! 😂😂😂
I’ve always favoured the DPA but in this comparison I am really digging Nadine! Thanks for your great work!
Very informative and entertaining video - thank you for your superb playing!
Thank you very much!
Nadine!!!😍
Great Video. For my taste: with pizz i could live with both. I i have to choose i´m prefering the dpa maybe. But when you play arco, for me the DPA is the clear winner. Thanks for doing that stuff!
Maybe it's my phones but I heard slightly *more* bleedthrough, esp. in low-mids, with the Nadine - contrary to what some said below. I also thought the dpa sounded slightly better with arco. Tough choice though - I'd be happy with either. Good video!
Thank you Hervé for the comparison. DPA for me sounds better. More detailed and natural sound. And with the actual price would be better choice for me.
This video is just what I needed! Thank you!!
The DPA position change at the end tells the tale for pizzicato. Less proximity effect makes it sound more natural… and very much like the Nadine. But for arco, the DPA still seems to have an artificial ‘bump’ in the low end. If I were to choose, it would be Nadine. It sounds like the instrument.😊
That’s some amazing playing
I think the DPA is the clear winner, but it could benefit from some additional shock mounting when used over the bridge. This particular DPA seems a *little* low-frequency limited for contrabass, but the deficiency was more evident with the competitor. Were I to choose, personally, I would opt for the DPA. Thanks for a very nice and revealing demonstration.
The DPA has a lot of clarity and high range which certainly is very useful to cut through in a live mix. The Nadine sounds "rounder" on its own, but would rather be a studio option for me, if I didn't have the space for a bigger microphone on a stand.
The DPA above the bridge is clearly the best option and better than the Nadine. The playback bleed seems greater than with the DPA close to the table, under the bridge, but it's not the same playback (piano and cymbals vs guitar alone).
It's a shame because that's precisely the point I'm interested in. How best to manage the bleeding of other acoustic instruments (drums and piano) during a live recording with a DPA or another microphone that's correct for the double bass...
What do you recommend?
Anyway, well done for your always interesting videos.
Hi Herve! DPA sounds more natural for me. I feel Nadine like have a pre EQ, a bit nasal with raised mids and lower treble, maybe this is no problem if you used gut or gut like strings but if you use steel strings, this could emphasises the nasal sound and then need to correct with more EQ (in case you don't like that sound) gettin a too much processed sound. I prefer a sound as plain as possible.
nice work as usual thank you sir!
I prefer the warm sound of the Nadine, ….
I play with nadine and I find it the best mic ever. Some time I play with nadine + remic live mic with grat results too but the only nadine is alright. Going to test the planet wing ( 2 piezos) + nadine. Thanx Gio
for me the DPA gives a better sound
Thank you !!!
This was a great test. I gig a lot. I use the DPA, but for the high register and for arco, pickup is better for me for pizz down low. Tighter and punchier! In larger settings when I have a sound engineer they tend to use more DPA than pickup. Sometimes no pickup at all. It is all so dependent on the gig!
Exactly, there's not really one "best solution" for all situations. So many factors!
Thank for the test !
Both sounds great! But I loved de Nadine's sound.
I've recorded with both, in my studio. One huge advantage of the Nadine--if you are recording in the same room as a piano, for instance--is the huge difference in leakage from nearby sound sources of the Nadine when compared to the DPA: the Nadine admits MUCH less of outside sound when compared to the DPA. For that reason, I'm selling my DPA!
I had the exact opposite experience but with an audio technica ATM 35 (instead of the DPA) right in front of the bridge (I ran both parallel and compared the audio files). I was recording on a stage with piano and drums. There was definitely less leakage on the ATM 35.
Very interesting that you had a positive "leakage experience" with the Nadine because in my tests my experience was that the Nadine picks up too much of the sources around the bass.
For me, the DPA under the bridge is a little bit brighter than Nadine. Over the strings is very similar. The DPA could be better if blended with a pick-up, that gives some bass frequencies to the mixed sound. The feed from other instruments is for me the the same with the two mics. Maybe greater with the DPA over the strings. If I have to play, or better recording, alone maybe I prefer the Nadine. In a live set with other instruments including drums maybe DPA is better (and this is what actually do in most of my gigs). What do you think?
I know Cristian McBride uses the Nadine, and I really love the organic warmth on it. Has anyone used it in a gig setting and/or in a bigband setting?
thank you for your very informative content!!
i have experimented a lot with the DPA how to mount it, both as intended and in alternative ways. it has been simply impossible for me to get rid of the very soft, hissy rattling sound ("rascheln") that occurs around the mic and it's components - hanging & foam. it's hardly audible but very annoying, and makes it impossible for me to use it in a studio setting or properly record a gig!
despite a few people asking, i have found no solution on this in forums. i also received no support from DPA.
did you ever notice this, or is my bass just too vibrant? (despite its smaller size, it's a rather loud instrument so i would not exclude this possibility.) also, do you think JL's bass ball is suited to avoid this? thanks!
I’m all Nadine. More frequencies, more air. DPA sound compressed and unclear.
I switched to Nadine from DPA because it seemed like a more sturdy option to be kept on the bass (my DPA died on me after 5 years of heavy usage). Also Nadine has lifetime warranty which seemed nice. Havent gigged it that much yet to know for sure whats best to combined with a contact mic. Curious about your choice of ANS ballsereit though, is it the passive or active option you use and why did you choose that? Im considering about this or something like the Schertler stuff. Thanks som much for doing this, you are saving us all for bunch of time❤
I use the passive ANS-BASSBALSEREIT. I like it very much. Once it is in the right position, it doesn't move and it is not "fragile". And it doesn't alter after years of usage. I can really recommend it. I tried the active version but I didn't find the sound to be better, and I like to be able to plug into any bass amp.
Let me know about your experience with the Nadine on concerts!
Thank you! Exactly what I was looking for!
One question though, I have been using a audio-technica mic on my DB (and also tried a DPA) but I have lots of feedback issues when playing on stage with monitors, big band, etc. Have you encoutered any feedback issues with either of them? any workarounds?
I think this is the biggest problem when trying to amplify the bass with a real microphone (along with the fact that the bass mic will also pick up other sounds from the stage). And all mics will produce some feedback at some point. That's why I abandoned quite early trying to amplify my bass with a mic. Maybe some other bassists have more experience with this and good tips. Good luck!
DPA sound better, Nadine sound great but the position is very limited
Thanks for making the video! Just wondering do you feel like condenser microphones naturally have a louder sound compared to dynamic microphones (like SM57)?
I was trying SM57 mounted with an H-Clamp (as you did in one of your videos) on live gigs, and feel like I need to keep turn up the gain to have a large enough sound. Not sure if that's a problem specifically for dynamic mics or is it the same for both dynamic and condenser mics (which means it's hard to get loud anyway with a mic)?
Yes, dynamic microphones generally have less output than a condenser mic (which needs phantom power). But with good equipment you should be able to turn up the (pre-amp) gain to adjust this.
Thanks for this awesome video! May I ask what strings you are using? They're lovely and warm!
Gallistring BSN920 Bronze light. I have to admit: When I edited the video I also thought: This is what a bass string should sound like. I will feature them on an upcoming video.
@@stringmatrix thank you!
Le DPA est bien plus riche en harmoniques.
Et le son le plus naturel dans la deuxième position plus loin de la table.