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Thread: Question about the DPA 4099

  1. #1

    Default Question about the DPA 4099

    I just bought my new mandolin, The Loar 420 f style, and I'm looking for a pickup or clip on mic for performibg live. I want something that will sound good, not internal (!!) so I won't have to drill a hole on my instrument.. And something that will be easy to take off and get back on.

    I thought about the LR baggs Radius, but I saw here on the café many bad reviews on this one. I heard good things about the DPA 4099, but will it be good for live situations, Due to the fact it's a condenser mic? Again, I'm not looking for recording solution but a performing one.

    And another question - Is the DPA 4099 a clip + mic, or just the clip (with the mic selled seperately)

    Thanks!

    EDIT:
    If the DPA is not a good solution for my needs - the LR baggs will satisfy me?
    Most of my gigs will be mandolin (me), acoustic guitar, cajon and sometimes sax. (No drums or electric guitar involved)

  2. #2
    Registered User foldedpath's Avatar
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    Default Re: Question about the DPA 4099

    If your gigs aren't on a stage with loud monitors (it sounds like they aren't), then the DPA 4099 should work fine. Just make sure that the PA system you're using can feed it phantom power. It's sold together with the clip, and the version you want is the violin model that will also fit a mandolin.

    I think most of us who use the 4099 and similar clip-on mics aim it at the bottom of the treble-side F-hole. That's how I use mine:

    Click image for larger version. 

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  3. #3
    Mandolin user MontanaMatt's Avatar
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    Default Re: Question about the DPA 4099

    Are you actually planning to buy a mic that costs more than your mando? dpa is a sweet mic, the M version comes with the clip.
    Cheaper alternative for a clip mic is available from audio technica AT35 $150
    Take the $savings and start a mandolin fund for the future
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  5. #4
    Registered User foldedpath's Avatar
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    Default Re: Question about the DPA 4099

    The 4099 ain't cheap, but it's still a good investment for the future. It'll work just as well on a better mandolin later on. Or if your taste in instrument changes, get a clip that works on guitar, octave mandolin, or just about any other acoustic instrument.

    The AT Pro35 is a decent option for less money, but the mounting is more tricky. Some folks have adapted the DPA violin mount for the AT mic, so that's another option.

  6. #5
    Registered User Mark Seale's Avatar
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    Default Re: Question about the DPA 4099

    I've used a DPA4099 on both fiddle and mandolin for the past 8 years with no issues. Yes, it's pricey, but the quality of the gear is top notch. I've had little to no feedback issues. I typically play with either personal amp as amp/monitor/DI into a small PA or Bose Tower with little to no monitor. On a bigger stage with full monitors, I just work the placement and my path on stage to minimize any potential for feedback.

  7. #6

    Default Re: Question about the DPA 4099

    Thanks for all the comments!

    As some have said - Investing in DPA now (even though its more expensive than my mando) is indeed a good investment for the future.
    I thought about the AT 35 also, but couln't figure out how to attach it to the instrument with its clip machine.. I guess the best way to do so is to clip it on a tone guard, but I don't have one.

    As for now the DPA really seems to be the best match for me.
    Mark - you said you had no feedback issues on stage. Do you always perform live with the DPA? I shouldn't worry too much about it? Because this is the main aspect that prevent me from buying it already.

  8. #7
    Registered User jim simpson's Avatar
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    Default Re: Question about the DPA 4099

    Here's a photo of my Pro35 clipped to the DPA mount. It's secure enough and simple to use.
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    Registered User almeriastrings's Avatar
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    Default Re: Question about the DPA 4099

    I use both DPA 4099's and the ATM 350.... they are both excellent, excellent microphones. The (much cheaper) AT PRO35 does a darn good job too.... You can indeed attach an AT mic in a DPA holder... if you have a finger-guard, you can also attach like this...

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    ATM 350 in DPA clip:

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    As to whether the DPA 4099 is "better" than the ATM350, there is (in my view) almost nothing in it one way or the other. They both sound superb, they are both beautifully engineered, and it really comes down to personal preferences. I am perfectly satisfied with both of them.
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  11. #9

    Default Re: Question about the DPA 4099

    Quote Originally Posted by jim simpson View Post
    Here's a photo of my Pro35 clipped to the DPA mount. It's secure enough and simple to use.
    Can't see the photo

    Quote Originally Posted by almeriastrings View Post
    I use both DPA 4099's and the ATM 350.... they are both excellent, excellent microphones. The (much cheaper) AT PRO35 does a darn good job too.... You can indeed attach an AT mic in a DPA holder... if you have a finger-guard, you can also attach like this...

    Click image for larger version. 

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    ATM 350 in DPA clip:

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    As to whether the DPA 4099 is "better" than the ATM350, there is (in my view) almost nothing in it one way or the other. They both sound superb, they are both beautifully engineered, and it really comes down to personal preferences. I am perfectly satisfied with both of them.
    So buying only the clip of DPA 4099 and the pro35 should be good enough for live?
    And is it easy to attach the both of them together?

    Where do you guys recommend buying from? Since I don't have any shop dealing with mandolin things in my country.

  12. #10
    Registered User almeriastrings's Avatar
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    Default Re: Question about the DPA 4099

    Quote Originally Posted by DinEzra View Post
    Can't see the photo


    So buying only the clip of DPA 4099 and the pro35 should be good enough for live?
    And is it easy to attach the both of them together?

    Where do you guys recommend buying from? Since I don't have any shop dealing with mandolin things in my country.
    The Pro35 is 'good enough' for most live situations, easily. If you demand the ultimate in performance then the DPA 4099 or the ATM 350 might be worth it (though you will have to be using a very good sound system to hear any real difference). Any professional audio supplier or online retailer should have all three available.

    I would certainly avoid the Baggs transducer... simply no comparison to the any of the microphones above.
    Gibson F5 'Harvey' Fern, Gibson F5 'Derrington' Fern
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    '39 & '45 D-18's, 1950 D-28.

  13. #11

    Default Re: Question about the DPA 4099

    Ok great! So I guess I'll go with the pro 35.

    How is it attached to the DPA clip? can anyone take a picture please?

  14. #12
    Registered User jim simpson's Avatar
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    Default Re: Question about the DPA 4099

    I'll post again, hope you can see the pictures.
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  15. #13

    Default Re: Question about the DPA 4099

    Quote Originally Posted by jim simpson View Post
    I'll post again, hope you can see the pictures.
    Unfortunately not (((
    It is written "attached thumbnails" but I can't click on it.

  16. #14
    Registered User Mark Seale's Avatar
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    Default Re: Question about the DPA 4099

    Quote Originally Posted by DinEzra View Post
    Mark - you said you had no feedback issues on stage. Do you always perform live with the DPA? I shouldn't worry too much about it? Because this is the main aspect that prevent me from buying it already.
    Yes, both on fiddle and mandolin, that is my primary use microphone. I always carry an SM57B for backup, but I haven't used it except when I only had one phantom powered adapter available and used the 57 for the other instrument. That's not to say you can just not worry about it, be aware of the sound situation and learn where the possibilities for feedback exist. With that in mind, it has been worry free for me.

  17. #15
    Registered User almeriastrings's Avatar
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    Default Re: Question about the DPA 4099

    Quote Originally Posted by DinEzra View Post
    Ok great! So I guess I'll go with the pro 35.

    How is it attached to the DPA clip? can anyone take a picture please?
    Already posted... here it is again....

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    Wire tie....

    All mics can feed back... good monitor position, reasonable stage volumes and other techniques and equipment such as suitable EQ and anti-feedback suppressors all help to reduce the problem. I use the DPA and ATM350 live with no issues at all even in quite difficult venues.
    Gibson F5 'Harvey' Fern, Gibson F5 'Derrington' Fern
    Distressed Silverangel F 'Esmerelda' aka 'Maxx'
    Northfield Big Mon #127
    Ellis F5 Special #288
    '39 & '45 D-18's, 1950 D-28.

  18. #16

    Default Re: Question about the DPA 4099

    Ok great! Thank you all very much for the big help!

  19. #17
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    Default Re: Question about the DPA 4099

    Hi,

    nobody mentioned the John Bartlett mandolin mic here. I use it since three years now and like it even better then the DPA 4099 ( I sold it recently) and the ATM 350 (still in my mic locker). Here is a link to the company's website: https://www.bartlettaudio.com/products/mandolin-mic.
    Right now I have no pics or sound files because I gave it to friend who wants to try it out.
    Reason why I prefer it over the DPA 4099 and ATM 350 who are both sonically very nice is mounting it to the mandolin: As said before the ATM mounting can be a bit tricky. The DPA clamp is perfect, but I tend to touch the mic with my right hand.
    The Bartlett mic is clamped to the f-hole with a clamp but no gooseneck.
    Another mic I recommend is the DPA 4061, mounted on the edge of the f-hole. Its omni pattern produces a nice open sound and enough gain before feedback - definitely not worse than DPA 4099, ATM 350 and Bartlett.
    Yesterday I posted a comparison here in the "equipment" category where you can see and listen to DPA 4061, ATM 350 and Countryman Isomax and as reference a Schoeps MK 4.

  20. #18
    Registered User foldedpath's Avatar
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    Default Re: Question about the DPA 4099

    The one big problem I have with mics like the Bartlett (and similar ideas with lav mics) is that I really don't like the idea of clamping to the edge of the F-hole, for several reasons:

    If for whatever reason you can't leave the mic clamped there full-time, and have to place it and remove it on each gig, then that's a lot of wear on the soundboard finish. I think I'd need it to be a semi-permanent setup, maybe with a shortened jack connector at the tailpiece to fit in the case.

    I also have a horrible image in my mind of what would happen if you accidentally step on the cable and pull on the clip. I've actually done that a couple of times with my DPA4099 and pulled the mic off the mandolin (before I learned to not do that!). I know you could run a strain relief from the tailpiece, but it still makes me nervous seeing something clipped to the soundboard like that. I always avoided that kind of mic on guitar soundboards for similar reasons. Of course that objection disappears, or at least is minimized, if you're using a wireless bodypack. Especially if it's nestled in a ToneGard and not connected to your belt.

    One final objection is that anything clamped to the soundboard will usually pick up more non-musical handling noise than something on a gooseneck like the 4099 or Pro 35. I haven't tried the Bartlett so it may be less prone to that, but contact noise is usually a drawback with that approach, compared to a gooseneck.

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