Comments

• Jazzaferri Victoria B.C.Moderator Dunn Ultrafox, DuPont MDC20 Gretsch Chet Atkins CG

  July 2012 Posts: 3,707

  My experience is On a Dunn Oval hole with no internal soundbox it sounded and worked great. Other than the usual care to avoid feedback it was a great mic.
  
  On my oval hole Dunn with internal sound box the audio technica i got from Michael several years ago ounded better. The DPA sounded boomey until it was far enough away a la mic stand distance. Then it souned really good but 12 " on a guitar mount mic , assuming one can find a boom, is unwieldy to say the least.
  
  Like all things mic try before you buy. aB comparisons are best bet
  
  I am thinking about the dpa for my sax though. Not cheap byt for the money an excellent mic in the right situation.

  The Magic really starts to happen when you can play it with your eyes closed
• MichaelHorowitz SeattleAdministrator

  July 2012 Posts: 6,178

  Antione Boyer used a 4099G at this years Django in June and it sounded fantastic! I've had great success with the DPA mics on not only guitar, but bass and violin as well. The sound is far better than the Audio Technical mics with a better frequency response and greater detail. They are also less prone to feedback which is essential on the gig. The mounting system is the best I've seen, positioning the mic in the ideal spot for best sound sans the proximity effect bass boost you inevitably get with the AT mics.
• Jazzaferri Victoria B.C.Moderator Dunn Ultrafox, DuPont MDC20 Gretsch Chet Atkins CG

  July 2012 Posts: 3,707

  Yes it is a much superior mic than the AT. I wasnt clear about that in my post.
  
  Michael. Eric and i tried for a few hours back and forth between the AT and the DPA. We tried all sorts of hand held off axis odd positions and For some reason, on the Ultrafox when used up close it seemed to really pick up the bass in an unbalanced way.
  
  Once about 12 inches it sounded great, way better than the AT. Do you have any thoughts or suggestions, couldnt figure it out between us.
  
  On erics Dunn, the DPA was great.

  The Magic really starts to happen when you can play it with your eyes closed
• bluetrain Finland✭✭✭ Cach, Epiphone Triumph, Gibson ES-300

  July 2012 Posts: 156

  Is it less prone to feedback than some other condenser microphones with a stand for example AKG C 451 B?
  
  I've noticed that the oval hole guitars themselves are very prone to feedback around 100Hz so the feedback is not only a microphone issue but more of a quality in these instruments that we just have to learn to live with. In many situations unexperienced sound technicians are unable to use the notch filters and phase inversions (!) to tackle it.

  www.tomikettunen.com
  
• klaatu Nova ScotiaProdigy Rodrigo Shopis D'Artagnan, 1950s Jacques Castelluccia

  July 2012 Posts: 1,665

  It's far better to do any needed sound contouring as close to the source as you can. There are a number of preamps on the market that give you a good deal of control right at your fingertips. I've noticed that experienced sound techs prefer to make adjustments on our preamps before messing with the board. Most of my band members use Baggs Para DIs, I use a Headway EDB-1, which has even more function (including a sweepable notch filter). We use them with both the AT and Ischell mikes, depending on the venue. And I am envious of those who have the DPAs, I am too broke right now to be able to afford one.

  Benny
  
  "It's a great feeling to be dealing with material which is better than yourself, that you know you can never live up to."
  -- Orson Welles