DPA is renowned in professional audio circles for the performance of its miniature microphones, used for close-mic’ing acoustic instruments, voices, and other sources requiring an unobtrusive mic. In mid-2017, the company incorporated a new technology in its microphones, beginning with its headset and lavalier products and, over time, worked into additional lines. This Core by DPA amplification technology complements the existing condenser transducers with a new design to the mic’s electronics, yielding measurable improvements in dynamic range, transient response, and signal-to-noise ratio.
The company’s model 4099 supercardioid instrument microphone has just been upgraded with Core by DPA. As purchased, the package includes the microphone on a flexible gooseneck, a choice of mounting clips to fit different types of instruments, and a choice of adapters that allow a connection with a standard XLR mic connector or with most brands of wireless bodypack transmitters. I was sent an evaluation sample to test with a variety of acoustic guitars and other stringed instruments--the DPA d:vote Core 4099G Instrument Microphone, with a guitar adapter and XLR connector.
Core by DPA technology
Basically, DPA has re-engineered the amplification circuitry contained within its microphones, taking advantage of technological improvements in miniaturization and the consistency of component manufacturing to create an even lower noise, audibly transparent preamplifier for their mic transducers. This Core by DPA circuitry lies between the tiny signal generated by the movement of the microphone diaphragm and the resulting output that goes into your mixing console or wireless transmitter.
According to the company, the new circuitry decreases distortion across the entire audio bandwidth from its already low levels, so that louder sounds can still be captured before the output reaches the 1% THD level. The result is up to a 14 dB increase in dynamic range before noticeable distortion, and an overall increase in the perceived transparency of the audio signal. The company describe this with the phrase “from a whisper to a scream.”
The d:vote Core 4099G Instrument Microphone
The microphone itself is concealed within a fitted acoustic foam windscreen “jacket” that measures about 1¾-inch long and a bit over a half inch wide. A flexible shockmount isolates it from the approximately 5½-inch gooseneck/connector base to which it is attached, providing excellent damping of any bumps or movements of the instrument. The thin mic cable threads to the mic assembly with a MicroDot connector, and measures about six feet (1.8 meters). Optionally, a slightly heftier 2.2 mm diameter cable can be substituted. Via another MicroDot connector, the cable can be terminated with a three-pin XLR mic adapter, with integral beltclip, or with a variety of miniature adapters for different wireless brands.
The microphone fits into a selection of clips, designed to hold securely on different musical instruments. Clips are available for guitar and similar instruments, violin family, acoustic bass, cello, drums, piano, saxophone, horns, accordion, woodwinds, flutes, and more. These clips are quite clever, and appear to keep the mic stably in place and in a good location for sound reinforcement, without getting in the player’s way or damaging the instrument. For circumstances when you need to position the mic a bit farther from the source, an optional three-inch (80 mm) gooseneck extension with a MicroDot connector on each end is available.
Dynamic range is 108 dB, with a peak SPL of 131 dB to remain below 1% THD, and a maximum SPL of 142 dB before clipping.
The mic element itself is a prepolarized condenser, and runs on phantom power from a mixing console or from the bodypack transmitter, within a voltage range of 5V to 50V. Dynamic range is 108 dB, with a peak SPL of 131 dB to remain below 1% THD, and a maximum SPL of 142 dB before clipping. Frequency response is nominally 20 Hz to 20kHz, and at a distance of about 8 inches (20 cm) it is specified at 80 Hz to 15kHz, +/-2 dB, with a 2 dB soft boost at 10-12kHz. Normal positioning of the mic on its gooseneck is typically much closer to the instrument – around two to three inches. The d:vote Core 4099 is available in two sensitivities, for typical close-mic’ing applications and an “extreme SPL” version for use with drums, saxophone, and other very loud instruments.
Testing the d:vote Core 4099G on guitar
My first goal was to hear the differences that the d:vote Core 4099 technology brings. I already own an earlier version of the d:vote 4099G microphone, so I began by comparing the new one with the mic I have. In these comparisons, I placed both mics on an acoustic guitar with their capsules right next to each other at the same distance from the soundboard, and ran the mics into adjacent channels on a mixer with flat EQ and identical level and trim settings (also swapped channels during the test). I repeated this method in several positions on the guitar, pointing toward the 14th fret where the neck meets the body, closer to the soundhole, and below the bridge.
Listening through headphones, I was able to detect a slightly lower noise floor with the Core version (from an already very quiet starting place) and noticeably more “openness” to the sound quality of the instrument. The instrument sounded more natural, “acoustic,” with less of the perception that it was being amplified. The subtleties of fingerpicking and strumming came through, highlighting the dynamics, attack, and the harmonic overtones of the guitar.
Both versions of the d:vote 4099 mic have a tight supercardioid pattern, and when closely positioned, accurately capture the sound of the instrument at that particular point. Both have a more focused sound than using a stand-mounted directional mic at a greater distance, and perhaps less complex than hearing the instrument acoustically from across a quiet room. However, with the flexibility of the gooseneck and the ease of moving the instrument mounting adapter, I was rapidly able to find a position where the acoustic balance of the instrument was pleasing--and the closely placed mic provides increased gain-before-feedback compared to other mic’ing techniques when run through a live speaker system.
[An] advantage of this microphone system is that it is affixed to the instrument, so that the performer’s movements will not affect the level or frequency response of the signal.
Another advantage of this microphone system is that it is affixed to the instrument, so that the performer’s movements will not affect the level or frequency response of the signal. The mic remains focused on the same spot whether they’re standing, turning, or otherwise in motion. Just as a note, since this is an actual condenser microphone, don’t expect to achieve quite the gain before feedback as you would have from an undersaddle piezo or magnetic soundhole pickup--this is a tradeoff between maximum loudness and accurate sound reproduction.
The clip mechanism that holds the mic to the guitar body is fairly easy to attach, using one hand to hold it in place and the other to slide the tightening clamp home. I found that if I pushed the clamp to where it was just snug, and then pushed for one more “click,” the assembly would remain secured on the instrument. The clip will stay put on the instrument if it is accidentally pushed sideways, but could be knocked off if bumped firmly enough straight back from the top/microphone part of the mounting where it has only one modest point of contact with the instrument--though it’s not too likely if the mic is placed out of the player’s way.
Other instruments
I tried the d:vote Core 4099 on several other stringed instruments to see how it fit and sounded. On a mandolin, the clarity of the reproduction was quite accurate. This particular instrument is a vintage Supertone from the 1940s and its tonality is quite bright and punchy, so to my ears I like the sound better from more of a distance. Some EQ would be in order to tone down the upper harmonics. The clip grabbed on securely, but since the mandolin is so much thinner than a guitar, about two inches of the clip’s “tail” stuck out the back and I accidentally knocked off the mic. If mandolin is your main instrument, get a spare clip and modify its length to fit. (DPA recommends the violin clip for a mandolin on its website for this very reason.)
Using the mic with one of my handmade dulcimers, the clip held tightly. This instrument is also shallow, so a modified clip would be best. The sound was clear and bright in the lower center of the body where I placed it. I’ve found that dulcimer is a difficult instrument to mic well, especially when playing with louder instruments, so this appears to be a useful solution. I also wanted to hear the mic on a10-stringed Andean charango, though I was unable to clip it to the round-back body. Positioning the mic toward the soundboard at the bridge, the sound quality was full and with good separation of the strings, and reproduced this fairly loud, higher pitched instrument without harshness when fingerpicked or strummed--sounding like studio recordings I’ve heard featuring the instrument.
The d:vote Core 4099 also worked well with classical guitar, although I would shape the sound with equalization because I prefer how that instrument sounds at a greater distance rather than close-mic’d.
An excellent instrument mic
All in all, the DPA d:vote 4099 microphone is an excellent performer, and a fine solution for getting natural, detailed sound from acoustic instruments. Its full-range, uncolored frequency response captures an accurate picture of the instrument that can then be further shaped as needed by the audio engineer. And because it is unobtrusively attached to the instrument, the level and audio quality remains consistent throughout the performance. Orienting the mic and the performer so that the mic’s nulls interact with the main and monitor speakers, plus the judicious use of notch filters to attenuate any feedback ringing, will allow the maximum output level in live applications.
List price for the d:vote Core 4099G guitar microphone system is $619.95. A spare guitar clip lists at $42.95, and clips for other instruments are priced the same. The gooseneck extension is $99.95, and adapters for most wireless transmitters are $100.
Learn more at: https://www.dpamicrophones.com/dvote/4099-instrument-microphone
