Crowley and Tripp Naked Eye

[dreezon]

This mic is becoming a strong contender for my mid-level mic decision, but I have found precious little on it that wasn't professional review. Has anyone used this much for vocals?

[matt thomas]

how about the crowley and trip vocalist?

narco

[dreezon]

Originally Posted by narco

how about the crowley and trip vocalist?

narco

Yeah, that one too. I've considered both, but it's hard to find any non-biased commentary on either. Are they just too new?

[johnbohn]

I'm interested too. I'd actually like to find a ribbon mic that's just a little looser sounding than a royer-121.

[Reptil]

any information or first hand reports regarding the naked eye roswellite are very welcome!

[dreezon]

It would appear no one on earth has actually used any of the Crowley and Tripp mics. Supposedly they have sold a ton of those naked eyes. Who's buying them? I've checked other forums too. They get mentioned, but no one has anything to say about their experience with one. Seems strange.

[Roc Mixwell]

I've used the Naked Eye, plenty of times!

It's an amazing microphone, it has a very smooth character throughout the frequency response. To my ears it does have a very forward midrange that seems to "poke" instruments right out of the mix. It also has a very sweet, colorful top end clarity that works extremely well for certain vocal ranges. If the front of the ribbon doesn't do it for you, flip it around for a completely different tone! This trick can also be useful when looking for tone on a GTR cab. Simply angle the microphone slightly to achieve a variation of tone from the different voicing on the back of the microphone.

I personally love using the Naked Eye for drum applications, I like it about 4 feet of the center of the Kick drum (for smoother styles of music). I also find it useful for snare shell, for a very 70's "disco" tone. Another choice place for the Naked Eye is stringed instruments and wind instruments, because it brings out the life in the upper octaves, while maintaining the smoothness of a traditional ribbon microphone.

peace
mixwell

[radu.ionescu]

i've tested one against an AEA R84 and a condenser mic on some sound sources (gtr cab, drums, acoustic gtr). the result (of the Naked Eye logo side) is more towards a condenser without the HF harshness than the smooth & dark sound of the R84. i think those 2 ribbons complement well together.

i'm gettin both soon

[balaperdida]

This is more to answer dreezon's question: apologies for any hijacking.

I have 2 Prosceniums and 1 Vocalist mics, but no experience with the Naked Eye. I love both, but both are somewhat flabby. The Vocalist is good for voices that are too harsh for either a LDC but too thin for an RE-20. I also came to favor it for overly bright sources in general (e.g. mandolin, banjo, e. guitars that needed to be classic-fied). It is a strange mic, though: it can sound pinched AND tubby at times, if that makes any sense. If the RE-20 was a ribbon, it would be a Vocalist.

The Prosceniums are nice for drum OH and generally as room mics for vocal/string ensembles, and to get some darkness out of the high strings of a piano. I can't think of a time I've used them exclusively on anything, however -- always in combination with other, brighter, mics. They remind me of Cole horseshoes.

Both models are much thicker than my Royer 121. Both models are built like tanks. Neither is a desert island mic.

[Reptil]

bumpski

-how does the naked eye fare on (powerful female) vocals? it's marketed mostly towards recording instruments.
-off axis response? any good? my Beyers have pretty narrow patterns.

[Croaker]

I have a Naked eye and so far I am loving it on guitar amps. I also got some nice sax tracks with it. Great price and built like a tank. I haven't tried it on vocals yet.
The only negative for me would be the weird mounting system that comes with it.

I cant compare it to other ribbons because it was my first one.

aloha

[dreezon]

Thanks, those of you who have offered comments.

Regarding the flabby descriptions, do you mean by that that they are sloppy or just very thick or a little of both.

To further clarify my inquiry. I am need something primarily for my vocals, so I was hoping that one side (probably the bright one) would do nicely for my voice, but the second most important usage is guitar, both acoustic and electric. I didn't hear a lot here about the Naked Eye as a vocal mic, so anything more on that would be helpful.

For reference, the AT4047 I'm demoing seems a little tubby and dark to me, and the opposite of effortless. I would like something that has an effortless feel with a reasonable amount of air. The C1 I own is too thin, bright and harsh, but my voice at least cuts through the mix a little better. On the AT I want to bring down a lot in the 330 or 350 hz area, but even then, I find myself wishing for more air and harmonic content on the top.

[Silverhammernz]

I use my Naked Eye a lot, I am a documented fan of the Naked Eye, but no I am not an endorsee. I bought my mic fair and square like everybody else. For certain applications I simply love ribbon mics and especially the Naked Eye.

When I'm doing jingles a ribbon mic is the only way to go on Saxaphone I reckon.

But I also make my own pop/rock albums, and often use the Naked Eye to record my electric guitar through my fender "The Twin" amp. For acoustic guitar try the reverse "brighter" side about 12 inches away from the soundboard. I use an ADL600 presonus valve pre and it has impedance switching which helps, on that unit I find the upper settings (900 - 1500 ohms) open the mic right up. The pre you use is very important as the relationship between a ribbon mic and the pre amp that follows is a delicate thing.

I also use the reverse side sometimes for vocals, my voice is somewhat midrange, a ribbon mic helps give it more body. Granted a great capacitor mic can have wonderful presence but with a little work and attention to detail the results from a great ribbon mic like the Naked Eye can be remarkable especially in the right context. And by the way, I am not above adding a tad top eq to the NE when recording to give it a bit of the Cap mic sound we have all gotten so used to. Whatever it takes...then we have best of both worlds. For example I did an album of classic swing material and the Naked eye was just what the doctor ordered for my vocal. A trad sound with modern overtones.

But..different choices for different voices of course, some singers will record great others may not. I only have a Naked Eye, I'd love to try their other top end mics.

Capacitor mics are nice and bright and kinda work well all round but it's very much a middle ground...unless you have a valve U87 or similar...with a good ribbon mic you put it in the right place (never too close - even with vocals) set your rpre right and NIRVANA!

Hope I don't sound like I'm preaching folks...just loved those little suckers since I first recorded on a Ferrograph recorder that came with a Lustraphone ribbon mic... man that was something to a 16 year old.

[maxy]

I tried the naked eye along with a royer 122 and an aea 82. I thought the naked eye was fairly similar to the royer but less low end and a bit more upper mids. It works great on acoustic and electric guitars. The aea has a cool charater but there was always too much low end for me, it has more lows and highs and less mids than the ne. I kept the naked eye. I did try it on vox and it wasn't my favorite soloed but it sat the best in the mix. I usually don't use ribons on vox.

I'm finding more and more that everybody hears things differently, I really like the mic but its worth trying with another if you can.

Good luck.

[SpiderM69]

Anyone tried the Roswellite? If so, does it sound any different? I'm wondering if it's worth spending the extra $475 if you don't plan to use it in "extreme" conditions, such as live use.

[DBlakely]

I have a naked eye, and for me, it is the best guitar amp mic in my closet (Dragonfly, 57's, SM7, Beta 57, Baby bottle, Oktava Mod 319, MC012, MD421). I use the logo side toward the cab - it seems to give the guitar, both clean and dirty a really incredible attack, and on overdriven stuff it brings out the midrange grind in my Bogner. Overall it is a smooth sound. Be careful with the hump with close placement though. It seems to do better about 8-10 inches from the cone rather than right up on the grill.

I've tried it on vocals and it works well with the baritone I'm recording right now.

[DBlakely]

Originally Posted by dreezon

Thanks, those of you who have offered comments.

Regarding the flabby descriptions, do you mean by that that they are sloppy or just very thick or a little of both.

To further clarify my inquiry. I am need something primarily for my vocals, so I was hoping that one side (probably the bright one) would do nicely for my voice, but the second most important usage is guitar, both acoustic and electric. I didn't hear a lot here about the Naked Eye as a vocal mic, so anything more on that would be helpful.

For reference, the AT4047 I'm demoing seems a little tubby and dark to me, and the opposite of effortless. I would like something that has an effortless feel with a reasonable amount of air. The C1 I own is too thin, bright and harsh, but my voice at least cuts through the mix a little better. On the AT I want to bring down a lot in the 330 or 350 hz area, but even then, I find myself wishing for more air and harmonic content on the top.

I can only speak to what I've tried, but I think you might do well with the OktavaMod 319 (or 219) based on your description. Nice top, great mid-range, and not so much money.

[Roc Mixwell]

Originally Posted by SpiderM69

Anyone tried the Roswellite? If so, does it sound any different? I'm wondering if it's worth spending the extra $475 if you don't plan to use it in "extreme" conditions, such as live use.

There is a different response between them,

There seems to be more "push" in the low-mids to low end on the front of the Roswellite Naked Eye ribbon, whereas the front of the Naked Eye ribbon (Classic) has more forward upper octave "bite" and cut through.

The back of the Roswellite Naked Eye is slightly darker by a red c-hair than the front, but I did not detect as much of an extreme voicing on the back, that I did with the Naked Eye (Classic). The back of the Naked Eye sounds even more present in the upper octaves than the front.

I love either microphone for live stuff, when tone, loudness and rejection are the very important factors. It would be fantastic for guitar and bass cabs in a live situation. I also think the Roswellite would be killer for vocals that might need more intimate low end tone.

Both are very flexible ribbons, that offer the revolutionary design, and traditional ribbon character.

peace
mixwell

[mltamisin]

Adam,
You try sticking the Roswellite in a kick yet?

[Roc Mixwell]

Originally Posted by mltamisin

Adam,
You try sticking the Roswellite in a kick yet?

hmmmm....Interesting

I will have to try it,

I use the "El Diablo" for that, because it works every time!!

[SpiderM69]

Hey Adam, thanks for your impressions. Now I'm wondering if the Naked Eye might be too bright. Anyone find this to be a bright mic; too much bite, not enough smooth?

[maxy]

well, its slightly bright for a ribbon but I certainly wouldn't call it a bright mic. Its smooth and 3d. I think its amazing and especially concidering the price.

[MarkVan]

I have a bit of experience with the Naked Eye Roswellite. Fairly new to the boards, but here goes my take on them. Hope somebody finds it useful.

Every Thursday night I mic up the guitars, drums, and vocals, and the guys come over for our weekly jam. Been doing this for 20 years--started with a basic pa with sm58's for vocals. Had typical problems with feedback, bleed, and balance. So we evolved to the point where I chucked the PA and mic almost everything. Now we wear headphones--with individual (more-me) mixes. People are generally amazed at how good it sounds. I started using vintage ribbon mics on guitar cabs before the Chinese ribbons started coming through a few years back. Tried a Nady....nope. Tried a Trion 7000...better but still not great. I preferred some of my vintage ribbons, (Amperite, Universal, EV, Shure, and Film Industries), mics that sound better to me than the Nady and Trion.

My interest was piqued when Crowley and Tripp introduced the Diablo--It just seemed a little too expensive for me. But when they introduced the Naked Eye Roswellite, I had to bite. It sounded so good on my Deluxe Reverb that my other guitar player wanted it on his amp. The only solution was to buy another. I'm finally done experimenting with electric guitar mics. I've gotten good tones with SM57's, M88's, MD409's and 421's. Used all my condensers from time to time as well, but the NER's take the cake.

I tried the NER on kick, both inside and out, and it just doesn't do much for me there. I still prefer an M88 on kick...works best for my setup.

I don't pretend to have words to describe the NER sound. What comes through in the mix sounds just the way the amp sounds in open air--but now I can get that sound into the headphones.

One point I don't see mentioned around here too often: the null spots on ribbon mics are very useful at eliminating bleed if you can set them up with that in mind. I have the room laid out so the drums and other loud sources sit in the null spots of each ribbon mic. It cuts the bleed like nothing else.

I haven't tried the original version of the Naked Eye. I'm sure it sounds great, but I like the idea of an indestructible ribbon. As I mentioned, I like vintage ribbon mics and have quite a few...several of which never get used because they need re-ribboning. So they just sit there looking pretty on my display shelf. (Problem solved with a lifetime warranty on the Roswellite ribbon.)

Mark Van Buskirk

[warhead]

n/a

War

[Crowley]

Here's the polar plot of front vs back from Herb Singleton's Lab. Click on the plot for a close up.

Latest News from Crowley and Tripp's Lab: Naked Eye Polar Plot

We probably should have put this into the little pamphlet, but it wouldn't fit.

Warren's tracks are worth hearing, and we learned things we didn't know listening to them. Great dealer too.


Bob

[TAVD]

The first few times I tried the Naked Eye on a 4x12 cab, I thought it was a bit on the bright side as well. Then I jammed it in closer and all was right in the world again.

[buzzjoe]

So it seems that the NE is a great mic for electric guitars. But how do you like it for acoustic stringed instruments (steel- and nylon string guitars, mandolin, violin)? Is the NE less noisy than e.g. a AEA R84 (often I record very quiet sources using a Forsell SMP-2 pre)? Have you tried M/S with the NE (I know due to it's dual voicing it's not ideal for this)? Are there better ribbons for this than the NE (or the NE roswellite)? Has anbody compared the NE to a Royer (R122, R121 or SF1)?

Would you prefer the roswellite over the classic for this applications (if yes: why?)?

Oliver

[Crowley]

I posted my ""commercial" opinions on the question at
Latest News from Crowley and Tripp's Lab
The instruments I play tend not to be loud - classical guitar and Japanese end blown flute. The shakuhachi repertoire specifically include periods of silence, BTW. Room noise is the source the user has to control, but ingress is not. Wendy Mittlestadt wendywaves.com is a violinist who uses Naked Eye Classic on much or most of her work.

Bob

[buzzjoe]

Thank you Bob for posting this!

[Slikjmuzik]

Is the Naked Eye still the way to go if you can't afford the r121 for distortion electric guitars? Looking for a good ribbon mic that can handle loud distortion(and clean) guitars and the ribbons I have now are folding in a big way. I could go Woddpecker, Naked Eye or Beyer M160 really...gimme your best advice...