Yes, the lack of an XLR-out is mysterious (there's no channel-mute or "break" switches, no mid-eq either), but the 1/4" line-out seems to work fine going to another mixer or my AI Coda channel-2 input (which has it's own mute button).
- Martin
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Double Bass DPA 4099 vs AMT SP25B
- Thread starter Ric Vice
- Start date
Yes, the lack of an XLR-out is mysterious (there's no channel-mute or "break" switches, no mid-eq either), but the 1/4" line-out seems to work fine going to another mixer or my AI Coda channel-2 input (which has it's own mute button).
- Martin
That certainly explains why I had to crank the gain so high when using the DPA with the Solstice's 15v phantom power.
I would expect a similar situation with the Headway pre that has been mentioned (18v phantom power). Has anybody tried the DPA with one?
While it is true that you have to open up the volume control on the Headway EDB-1 past 6 to fire the DPA 4099 up once you run it into your amplifier it's got plenty of gain, probably to much. In my experiences with increasing the gain, it will feed back through the amp if you crank it. Since I send it FOH most of the time the 18 vs 48 volt differential isn't an issue. As JR mentioned, the noise floor is raised so you hear that but it isn't that noticeable when you are actually playing.
Ric
The noise I got using the DPA with the 15v Solstice was noticeable and very annoying. The Headway, with 18v, might work a bit better. It looks like a very nice unit (as was the Solstice).
Anyway, last night I finally got to try the Mackie 4-channel mixer (48v phantom power) + AI Coda solution at a gig... the DPA mic + Turner pickup went to the mixer which fed channel 2 of the Coda (EBG was in channel 1).
It all worked great... best amplified URB sound I've ever had plus I was able to easily switch between URB and EBG.
YMMV.
- Martin
Anyway, last night I finally got to try the Mackie 4-channel mixer (48v phantom power) + AI Coda solution at a gig... the DPA mic + Turner pickup went to the mixer which fed channel 2 of the Coda (EBG was in channel 1).
It all worked great... best amplified URB sound I've ever had plus I was able to easily switch between URB and EBG.
YMMV.
- Martin
A few questions, please, about the DPA 4099B:
1. Will it serve as a recording mic? (I'm about to do some recording at home, and the idea of just plugging in the 4099B every time I want to record, rather than setting up a mic and stand and standing in the same spot each time, is appealing.)
2. There's been talk here about putting the 4099B into the front of house, and using one's pickup to go into one's amp for monitoring duty. On some gigs there is no FOH, just my bass and my GK MB150S amp. Will the 4099B sound good going thru my amp, provided I keep it away from a feedback loop?
3. My bass's sweet spot is the hole at the top of the f-hole on the of the G-string side. Will the 4099B reach this far, and will it sound good miking this hole, which is about 2" above the foot of the bridge? or will it only sound good miking the table?
MTIA.
Best regards to all,
Bill Amatneek
1. Will it serve as a recording mic? (I'm about to do some recording at home, and the idea of just plugging in the 4099B every time I want to record, rather than setting up a mic and stand and standing in the same spot each time, is appealing.)
2. There's been talk here about putting the 4099B into the front of house, and using one's pickup to go into one's amp for monitoring duty. On some gigs there is no FOH, just my bass and my GK MB150S amp. Will the 4099B sound good going thru my amp, provided I keep it away from a feedback loop?
3. My bass's sweet spot is the hole at the top of the f-hole on the of the G-string side. Will the 4099B reach this far, and will it sound good miking this hole, which is about 2" above the foot of the bridge? or will it only sound good miking the table?
MTIA.
Best regards to all,
Bill Amatneek
1: yes. 2: yes. 3: doubtful, but i don't think that's the best mic placement. credit where credit is due: these dpa guys know their microphones, and the rig they sell works great.
jeff.
jeff.
Bill,
Here's a picture of the 4099 B mounted. As you can see it won't quite reach that far. On my bass the best sound is achieved placing the mic directly in the in the center, above the bridge, right above the top. Of course that varies from bass to bass.
Ric
Attachments
the dpa is not the best choice for a recording mic. its designed as a live mic with maximum rejection, but that does not necessarily work well for recording mics. i have recorded many times with the dpa while running another track at the same time with another mic, a mic that is not even in the same league price wise as the dpa (its much cheaper) and the other mic always sounds better. if you were to use a very high end recording mic then im sure it would sound better still. i, like you, like the idea of having the mic attached to the bass with no mic stand and not having to worry about position while recording. the H clamp works very well in this regard, and i can never record without it for those exact reasons. i usually also have a mic a few feet in front of the bass as well, but position is not as critical as with a close mic.
also, the dpa will absolutely reach the upper part of your F hole. i have the violin mount, which i like better because you can attatch it to the after lengths if you want, or you can attach it to other places too. i believe there is a pic somewhere in this thread where someone clipped it to the side of the f hole and aimed it at the center of the bridge feet, but there is no reason why you cant bend the gooseneck upwards to the position you like. i have tried that position myself, and did not prefer it, but i was definately able to reach it.
http://www.talkbass.com/forum/attachment.php?attachmentid=152211&d=1263055850
since that pic was posted i havent had to experiment with position anymore.
also, the dpa will absolutely reach the upper part of your F hole. i have the violin mount, which i like better because you can attatch it to the after lengths if you want, or you can attach it to other places too. i believe there is a pic somewhere in this thread where someone clipped it to the side of the f hole and aimed it at the center of the bridge feet, but there is no reason why you cant bend the gooseneck upwards to the position you like. i have tried that position myself, and did not prefer it, but i was definately able to reach it.
http://www.talkbass.com/forum/attachment.php?attachmentid=152211&d=1263055850
since that pic was posted i havent had to experiment with position anymore.
I recently recorded at a higher end studio and the engineer tried my dpa and really liked it. He said he wanted to buy one himself now. I haven't heard the end result, but this was his opinion.
Maybe a stupid question but ... How do you find the sweet spot on your bass? I use a DPA 4099B for FOH. I put the mic between the legs and just hope it sounds good.
Do you record yourself with the mic in differnt positions or do you go FOH and listen while another person play your bass or do you trust other people to tell you what position sounds best?
Do you record yourself with the mic in differnt positions or do you go FOH and listen while another person play your bass or do you trust other people to tell you what position sounds best?
I have been A/B-ing the DeVote 4099 and the SP25b-TP for a few days now. Going to take both to a big band rehearsal tomorrow night and run them FOH with a realist to the amp.
Though they are quite similar, I think the DPA seems to have a bigger, richer sound. They're about the same price once you figure in a high quality pre like the one that comes with the AMT.
I've been using an ART Tube PAC to test the DPA but that noisy piece of crap is going back. Only $30 and worth every penny.
I see a lot of you suggesting the Headway but it lacks 1/4" out, which is necessary for me.
Anyone, ever tried something like this: http://www.musiciansfriend.com/pro-audio/electro-harmonix-12ay7-tube-microphone-preamp
Though they are quite similar, I think the DPA seems to have a bigger, richer sound. They're about the same price once you figure in a high quality pre like the one that comes with the AMT.
I've been using an ART Tube PAC to test the DPA but that noisy piece of crap is going back. Only $30 and worth every penny.
I see a lot of you suggesting the Headway but it lacks 1/4" out, which is necessary for me.
Anyone, ever tried something like this: http://www.musiciansfriend.com/pro-audio/electro-harmonix-12ay7-tube-microphone-preamp
Here are some recordings I made for comparison. Sorry about the Koussevitzky. I had one shot and no warm-up.
Pizz: [Invalid or Expired Link Removed]
Arco: [Invalid or Expired Link Removed]
Pizz: [Invalid or Expired Link Removed]
Arco: [Invalid or Expired Link Removed]
Very nice! my impression is that the AMT would sound a lot better as a standalone amplification source onstage, where the DPA would sound better as an addition to onstage sound in the FOH. Both sound good here.
OK, not sure how I missed it. I shouldn't need that with the AI Ten2 I just ordered??
