DPA d:vote 4099-B CORE Upright Bass Microphone and Accessories
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Now with CORE by DPA technology
The d:vote™ CORE (released in 2018) version is now what we have in stock. (If you're price-matching, make sure that the "great deal" you found is for the current model!) The new d:vote™ CORE 4099 brings more clarity and details to your music, across the entire dynamic range. CORE by DPA is a powerful new technology at the heart of DPA miniature microphones; with minimized distortion, improved headroom and SPL ratings, and increased clarity and openness. The d:vote™ CORE 4099 also features an enhanced shock mount design, providing excellent isolation from handling noise and rumble.
ALL of the 4099-B mics in stock at Gollihur Music are the NEW (May 2018) "d: vote CORE" version of the mic, which is fully compatible with the add-on options (extendable gooseneck, thicker cable, wireless adapters, various instrument mounts).
The d:vote 4099-B 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 properly 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.
Accessories for the DPA 4099B microphone!
The Gooseneck Extension (only compatible with the d-Vote versions of the DPA mic) can extend the existing goosneck by an extra 80mm of length, for more precise positioning. It simply plugs "inline" with the existing gooseneck for simple installation.
You can now upgrade to a thicker, more robust cable than the one included with the DPA (which is designed to be very thin and light). The cable simply replaces the one you have; the microdot connectors disconnect from the mic end and the XLR connector and you connect the new cable in its place.
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 131 dB SPL peak
- Dynamic range: 108 dB
- Max. SPL, peak before clipping: 142 dB
- Output impedance: From MicroDot: 30 to 40 ohm, from DAD6001: 100 ohm
- Cable drive capability: Up to 300 m (984 ft) with DAD4099 or DAD6001-BC XLR Adapter
- Output balance principle: Signal balanced with DAD4099 or DAD6001-BC XLR Adapter
- Common Mode Rejection Ratio (CMRR): > 60 dB from 50 Hz to 15 kHz with DAD4099 or DAD6001-BC 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: 27 g (.95 oz)
- Microphone length: 45 mm (1.8 in)
- Cable length: 1.8 m (6 ft)
- Polarity: +V at MicroDot pin for positive sound pressure (and pin 2 on DAD4099 or DAD6001-BC 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)
Complete Package with Mic Preamp also available
If you'd like to use a specialized condenser microphone like The DPA 4099B with a "standard" bass amplifier, you can't just buy a cable and plug it in, for several reasons:
- The Microphone is "Active" and requires Phantom Power to operate - most amps don't provide this phantom power
- The Microphone puts out a "Mic-Level" signal, and most amps expect an "Instrument-Level" signal - you'll end up with a less-than-optimal signal
- The Microphone has an XLR (three-pin, balanced) output, and most amps have a ¼" input - an adapter cable is a less-than-ideal way to connect the mic to an unbalanced connection
To solve this problem, we can offer a bundled package with the ART Studio V3 Microphone Preamp, which provides the needed phantom power so you can integrate with your exisiting setup and get studio-quality microphone sound.
The Studio V3 preamp can accept mic-level signals, line signals, or high-impedance instrument signals; it has both a balanced XLR and a ¼" input - you can even use this as a high-impedance pickup preamp! The unit outputs both on a balanced XLR and an unbalanced ¼" jack (XLR for the mixing board, ¼" for your amp!).
The unit puts out enough gain to drive most amps even when bypassing the internal preamp - and there's a cool old-school VU meter to monitor the output level. You also get input and output gain controls, a 20dB gain boost switch, and a phase reverse. It also has a built-in limiter.
Unique to this unit is a series of voicing presets - along with a neutral response, the preamp has several presets which impart varying degrees of tube warmth (did I mention that the unit has a preamp tube built-in?), limiting, and mild EQ. The presets include settings optimized for: Bass (2), Keyboard, Guitar, Valve (Tube), Multi, and Limit - and many more. Dialing up a preset provides subtle tonal changes that are optimized for the instrument being mic'd. But of course, you don't have to use the "Bass" setting for your bass - experiment! You might find that you like how the electric-guitar setting works with your bass!
Dimensions: 5-1/2"W x 2"H x 5"D
Also included is a FREE 20ft. Microphone Cable so you can hook it all up!
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.
Need to figure out some of the more in-depth features of this product? Here's a copy of the manual, in PDF format, here.
You may wish to visit the manufacturer's website to see if a more recent version is available.
- Only the microphone
- Mechanical functionality
- Documented specifications
- Faults caused by mistreatment, abuse, wear and tear, alteration or modification in any way (please refer to the Users Manual)
- Accessories supplied with the product
- Minor faults or deviations in the quality of a product which do not affect the products value or fitness for its intended purpose
- The warranty is void if the product serial number has been altered or removed
I've seen a lot of professional orchestras in performances using these mics, so it wasn't a big stretch to get one for myself. I've used it in the studio as well as on stage, and it's just so easy to get a good sound from my instrument. You just set it up where it's designed to go and you get great mic sound. Big win.
For whatever it is worth I recently had the good fortune to do a live jazz recording in a club here in Virginia. The engineer is very highly regarded, designed and was lead engineer on sound system for Lincoln Center/Dizzy's Club Coca Cola build out, Kimball Theater in Philly, currently doing the Apollo in NYC. He brought the DPA in and used it to record my bass in this live setting. It was amazing. Sound quality superb and very easy to mount on the bass. Can't recommend it enough.