If you use the DPA 4099, I'd suggest using it as designed, with their mount; it's effective, lightweight, and easy to deal with. You'd have to "hack" it to mount it on an H-Clamp, and I'm not sure it would be worth the trouble.
While a condenser can be more detailed, more realistic sounding, and have more output, there are some advantages to using a dynamic. For one, they are often less sensitive in the upper frequencies, and thereby less prone to the screeching type of feedback. This decreased upper frequency sensitivity also "warms up" the sound a bit, which can be nice with bass (reduces the clackiness and finger noises). The AT mic I mentioned above does that nicely; it rounds off the top end in a musical way, reducing harsh upper frequencies and giving nice girth to the tone. Many dynamics are meant for the stage, and are rather robust and up to being bounced around in a gig bag, while many condensers are really meant for studio use and are more fragile. I've found crosstalk with other instruments to be less of a problem with some dynamics -- they often feature tightly-focused hypercardioid elements, which reject side and rear sounds better than cardioid, figure 8 and omni elements. And, of course, a dynamic mic doesn't require phantom power, which can make it easier to deal with on stage.
But everyone has their preferences; really, the only way to know what you like best is to try it out. And when you do, to have someone play your bass so you can get out front and hear what the amplified sound really sounds like (without the acoustic sound of the bass directly under you).
