sales rank2348 at thomann.de20 in this category (Details)
DPA d:vote 4099 Guitar - condenser clip microphone for acoustic guitar, super-cardioid polar pattern, frequency response: 20Hz-20kHz, 2dB soft boost at 10 - 12 kHz, 142dB maximum SPL, gooseneck length 140 mm (optional extension up to 220 mm with 294624), detachable cable, length 1,8 meter, cable diameter 1,6mm (optional heavy duty cable with 2,2 mm available, art. 289926), improved shockmount for the capsule, B&K connector, includes special holder for guitar, XLR phantom adapter DAD 4099
3-year Thomann warranty
30-day money-back guarantee
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This DPA mic was bought for an expensive luthier guitar: a Goodall Concert steel string acoustic. I had been reluctant to install an inbuilt system as this would have meant drilling and/or routing the guitar. Also, I'm not really sold on the 'piezo-compensated-through-an-EQ-box' sound that is commonly heard. Before getting the DPA I was using a Sennheiser MKH 40 cardioid SDC routed through nice EQs (Neve, UREI) and the results were great only one had to remain very still to stay in the right position for the mic.
First impressions of the DPA 4099 upon opening the box are positive - it comes across as a well-thought-out microphone system. The cables, gooseneck, clamp and phantom adapter assemble in a matter of seconds. I clamped the mount to the guitar and adjusted the gooseneck so that the mic was about equidistant between the end of the fingerboard and the soundhole. It must be said that, once placed, the mic and clamp stay put - the gooseneck does not drift up as can be the case with cheaper systems. I ran the XLR through the Neve and onto a pair of Dynaudio monitors. The mic sounds good flat, and only a minimal amount of EQ was required to get a most pleasing sound that rivals the dynamic range and bandwidth of much more expensive mics. The sound is open and detailed with a warm low register. The higher harmonics are very well preserved: there is a pleasing 'air-in-the-mix' when using this mic. Not like an emphasis - more like an expensive-sounding smooth treble. In addition, the selection of well-engineered clamping and fixing solutions that come as accessories basically mean that it would be hard to find an acoustic instrument upon which you could not mount a DPA on effectively and in a fuss-free manner.
So, to summarize, not only is the DPA a viable sonic solution for mic'ing standard and idiosyncratic acoustic instruments, it comes with a range of well-engineered adapters, clamps and mounts to facilitate the reinforcement and recording of almost any instrument. Oh, and the sound is only matched by very expensive studio/broadcast mics.
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