I don't mind paying the significantly higher price for the DPA if it's truly worth it. Will those who have experience with BOTH please comment. Thanks
I don't mind paying the significantly higher price for the DPA if it's truly worth it. Will those who have experience with BOTH please comment. Thanks
I have, and still use, both models... although the ATM350 is now in the category of backup or extra mic, for guest performers. Which, I guess tells you which one I prefer, but the ATM350 is still a fine mic for the money. Here's a basic comparison:
1) Sound quality: The DPA 4099 usually needs less EQ to dial in than the ATM350 (mostly a little reduction of high EQ), but it's not a huge difference to my ears. The DPA 4099's mounting system does have more flexibility in getting the mic into just the right spot (see below), so ultimately that's an advantage in sound quality, I think.
2) Feedback rejection: The DPA 4099 is better by a small margin, due to the "mini shotgun" design of the mic. It will still feed back on a loud stage, but there's just a decibel or two more gain before feedback to work with.
3) Mounting system: The DPA 4099 wins here by a landslide. If you have a ToneGard on your mandolin, the ATM350 is easy to mount by clipping onto it, then curving the gooseneck up over the lower body. But the 4099 offers more placement options, and unlike the ATM350 you can adjust the length of gooseneck from the mount. Add in all the accessory mounts for using on other instruments like guitars, and there is simply no comparison. DPA came up with a great series of mounting options (which they charge a fortune for, when bought separately).
4) Durability: Hard to tell, since I haven't had a failure with either mic yet. The DPA 4099 certainly looks a bit delicate, and that "microdot" connector to the XLR adapter is something you have to be careful about, but any clip-on mic has to be handled with care. I'd call it a toss up here.
To sum up... I've switched from the ATM350 to the DPA 4099 for reasons that are about 40% sound quality/feedback rejection, and 60% for the mounting system. I hope that helps. Either mic does the job, the 4099 just has lots of ways to make it a little easier.
Good points and well thought out comparison. Thanks....
I used the ATM 350 for about a year before i discovered the 4099, and now that's all I use. I found the gain before before feedback to be noticeably higher with the 4099, and I have the mic fairly loud in my monitor ( I play in a swing band with drums, bass, guitar and horn) without feedback issues. On gigs where i've recorded the band, when i solo the mandolin channel there's much less of the other instruments bleeding into the 4099 than with the 350. The 4099 has a slightly rising frequency response up high, and I find i like the sound a bit better if I roll off a little treble on the channel eq. Overall, I've been really happy with the 4099.
One issue with any clip-on mic is that you can't vary the volume on it in real time, and for that reason I usually play with a Shure beta 57A or other mic that I lean into when I'm soloing. It gives me enough extra volume that the solo stands out. Of course , if there's an on-the-ball soundman, this wouldn't be necessary, but that's not usually an option.
Very cool comparison......thanks for posting.......just looking into microphone options myself.
Gibson F-5G
Kentucky KM-505
Kentucky KM-855 (sold)
You can watch a video clip of my bluegrass band Copperwood here
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Or find out more about Copperwood here
http://www.lemonrock.com/copperwoodbluegrassband
any chance of seeing mounting/placement pictures for these mics?
Here are some photos of how I mount my DPA 4099, from an earlier thread:
http://www.mandolincafe.com/forum/sh...l=1#post720520
When I used an ATM350, I had the alligator clip at the end of the gooseneck attached to one of the Tonegard bars, with the gooseneck curling around the edge of the mandolin and pointing at the same spot (bottom end of treble F-hole).
Lebeda F-5 mandolin, redwood top
Weber Yellowstone F-5 octave mandolin
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