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The 4099B is a pro-level bass microphone from Danish company DPA; with super-lightweight construction, an integrated mounting clip system, and top-notch sound quality, could it be the perfect microphone for live upright bass?
Perhaps! Only one way to find out, though. So I sat down with the mic on one of the shop basses and checked it out.
The mic uses a small-diaphragm element which has a measured frequency range all the way down to 20 Hz, which is well below the fundamental pitch of your low E string. The mic's highly focused supercardioid polar pattern is designed to provide the most possible gain-before-feedback. The 4099B uses a special lightweight rubber clip (see photo at right), which attaches to the E and G string below the bridge; it is intended to allow you to place the mic capsule in-between the bridge and fingerboard, a popular spot for open, realistic mic'ing. Mounted to a flexible gooseneck, the mic capsule can be aimed right at the "sweet spot" on your particular bass (it's usually different on every bass!) to get the best sound.
When I put it on the bass here, I found that pointing directly at the bass top produced a detailed, somewhat "middy" sort of tone. If I tilted the mic a little off-axis towards one of the f-holes, the sound grew beefier, but lost a bit of detail. I'm sure that a bit more experimentation would have provided some other interesting results. It is a hot mic, though - all of the typical recommendations about amp placement (to avoid feedback) will apply - just as they do with any mic onstage. But the sound was warm and realistic - the tiny size of the mic belies its big sound.
Despite its diminutive size and light weight, the 4099B mic is definitely road-worthy. The mic seems as sturdy as any, and the rubber clip should hold up just fine. And I really like the small travel case that comes with it - it is made of rubberized plastic, with a solid sliding clip. And inside the case is a padded canvas bag with a zipper closure. Even though the hard case is quite small and light, you could even just use the canvas bag for going back and forth to gigs - it could easily fit into one of your bass bag's accessory pockets! It's nice to know that the included accessories were not an afterthought at DPA.
As for the mic itself, The gooseneck is stable and well-made; I found it easy to point the mic where I wanted to, and it held its position confidently. Since the clip mount doesn't contact the body of your bass, you don't have to worry about scratches or marks in the bass finish. To be able to mount the mic directly to the instrument is far more convenient and consistent than the traditional "mic stand approach" - we all know that it's virtually impossible to stand stock still while playing a performance (and it's not very interesting for the audience, either!) With the mic "on the bass," you can keep the mic pointed squarely at the spot you have chosen, no matter how happy your feet get. And its super-focused element should be more resistant to feedback on a gig - and less likely to pick up other instruments on stage - than many other general-purpose mics are.
Phantom Power: The 4099 can use standard 48V phantom power (what is phantom power?) via the included XLR connector - but will function on any voltage from 12-48v - so it is compatible with most any wireless system, as well as a large variety of amps and preamps*.
Expected Microphone Performance at Various Voltage Levels * Important note: the DTAR Solstice (also sold at Gollihur Music) uses 9v phantom power and has proven to not supply adequate voltage to the DPA mic.
The phantom power supplied by the Euphonic Audio Doubler and Acoustic Image amplifiers IS compatible with this microphone.
Specifications for 4099B Clip Microphone for Bass
- Directional characteristics: Supercardioid
- Principle of operation: Pressure gradient
- Cartridge type: Pre-polarized condenser
- Frequency range: 20 Hz to 20 kHz
- Frequency range, ± 2 dB, 20 cm (7.9 in) distance: 80 Hz to 15 kHz with 2 dB soft boost at 10 to 12 kHz
- Sensitivity, nominal, ±3 dB: 6 mV/Pa; -44.5 dB re. 1 V/Pa
- Equivalent noise level, A-weighted: Typ. 23 dB(A) re. 20 µPa (max. 26 dB(A))
- S/N ratio, re. 1 kHz at 1 Pa (94 dB SPL): 71 dB
- Total harmonic distortion (THD): < 1 % up to 123 dB SPL peak; < 1 % up to 120 dB SPL RMS sine
- Dynamic range: 100 dB
- Max. SPL, peak before clipping: 142 dB
- Output impedance: From MicroDot: 30 to 40 ohm, from DAD6001: 100 ohm
- Cable drive capability: 300 m (984 ft) with DAD6001
- Output balance principle: Signal balanced with DAD6001 XLR adapter
- Common Mode Rejection Ratio (CMRR): > 60 dB at 50 Hz to 15 kHz with DAD6001 XLR adapter
- Power supply: Min. 5 V to max. 50 V through DPA adapter for wireless systems; 48 V phantom power ±4 V with DAD6001 XLR adapter
- Current consumption: 1.5 mA; 3.5 mA with DAD6001 XLR adapter
- Connector: MicroDot
- Color: Black
- Weight: 33 g (1.16 oz)
- Microphone length: 45 mm (1.8 in)
- Cable length: 1.8 m (6 ft)
- Polarity: Positively increasing sound pressure produces positive going voltage at MicroDot pin (and pin 2 on DAD6001 XLR adapter)
- Operating temperature range: -40 °C to 45 °C (-40 °F to 113 °F)
- Relative humidity: Up to 90 %
- Gooseneck, length: 140 mm (5.5 in)
Please note: If you have never used a microphone with your bass before, please realize that there are limitations to microphone use - that's why transducers were developed! There can be greater feedback potential, and using a mic will usually require greater care to position your bass, mic, and speakers -- and adjust EQ -- to avoid feedback, "squeal," or unwanted resonances. We include a helpful sheet with tips for avoiding feedback with every mic and pickup order. |
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