Recording - June 2010 - 25

change and remount with ease. It is also perfect for blending with a second traditional large-diaphragm mic and/or an onboard pickup. This mic is the epitome of “set it and forget it”, and it’s nice to not have to worry about fidgety musicians with a tendency to change your “perfect” mic set up by dancing, swaying and moving. Assume the position If it seems like I am focusing more on the mounting and positioning of the 4099 than its sound, it is because the positioning is the key to its sound. Interestingly, at 7.9" away from the source the 4099’s low-end response is essentially flat. As you move closer the lows and low mids increase gently starting at 200 Hz down to 80 Hz (which is of course shelved by the DAD4099). Of course the gooseneck is only 5.5" so the mic is never meant to be flat, but it goes to illustrate that you can get both subtle and substantial tonal changes through placement. It also gives you the ability to highlight or downplay parts of the instrument like the strings vs. the body vs. the sound hole and such, all with the usual DPA clarity. Honest to a fault One of the 4099’s biggest strengths leads to the one place where I feel I should give potential users a warning. Depending on the player and/or the quality of the instrument, the 4099’s attention to nuance can be a blessing or a curse. During one performance when the player was using a studentquality violin, I had to switch out the 4099 for a different mic that would mask rather than highlight the instrument’s squeaky inadequacies. The lesson here is that if you have a great instrument played well, the DPA will showcase the performance brilliantly...

and if you have a weak instrument or a sloppy player, alas, the DPA will showcase that with equal clarity and detail. Final thoughts On the one hand the 4099 is a microphone system that is purpose-built for specific instruments and applications, but on the other hand it is ultimately quite versatile. If the source sounds good, then the 4099 sounds good on almost everything. It’s not a vibe piece that will replace your favorite studio mics, but I preferred it in almost every instance to both the built-in piezo pickups and clip mics I usually use in live and orchestral recording situations. Each DPA 4099 kit sells for a street price of $599 and additional instrument mounts can be purchased for $79. So it’s also quite easy to grab one or two mics and purchase other mounts as your needs require. These mics don’t replace vibey character mics in the studio; they and their mounts are designed for consistent and reliable accuracy no matter where the player is situated, whether in a studio or on a stage. If that sounds like a solution you need— whether you’re an engineer frequently faced with instruments that aren’t miking up well, or a player who’s tired of inconsistent sound on your instrument from gig to gig— then you should definitely check these mics out. Prices: $599 each; extra mounts, $79 each More from: DPA Microphones, Inc., 2432 N. Main St. Suite 200, Longmont, CO 80501. 303/485-1025, www.dpamicrophones.com.

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Recording - June 2010

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