DPA 4099 G Mic of Choice

For me my microphone of choice when playing live is the DPA 4099G when I play my Lester Devoe Flamenco Negra. I have used it with the Bose L1 S system with great results only needing to cut a few decibels on the bass (4-6db) for live playability without feedback.

Shure ULX & ULXS4 with DPA 4099G

Shure ULX and ULXS4 with DPA 4099-G and micro dot adapter. I personally am so tired of how pickups sound, I understand why we need them, however given the chance I will always go for a mic to capture what I am trying to do when playing a quality flamenco guitar. I have come to like what the DPA 4099 can do when positioned just right you can capture a very nice tone with out too much proximity effect or low bass/ boom frequency. I also like adding the Schertler DYN-G attached to the bridge on treble string side. Thanks to Marija Temo for sharing this system with me. And Mark Magdich at Sweetwater.

Shure ULXS4

I’ve been using the DP4099-G and Schertler DYN-G on my guitars with my Bose L1S system. I’ve had the DPA4099-G on a wirless system but there is a bit of static/ white noise with the system. So I pulled the trigger and purchased a Shure ULXS4 system. I have heard it used when I saw Marijia Temo use it with her guitar and it sounded great and when I was able to ask her she told me about the Shure ULXS4. It should be hear by Wed this week and I hope to try it out this Thursday at a small reception 150+ in attendance.

Bose L1S Rig

I’ve really been enjoying the ease and tone as well as the complements from patrons/ fans who have been giving me positive feedback and re bookings. For me I do like the sound of the QSC series but last year with over 100 shows I was getting sore and tired from the set up and tear down as well as playing 3 to 5 hours. Not to mention the set up time. Last year I met a famous Guitar Player at Guitar Center and we talked for about two hours and he introduced me to the Bose L1 system. He encouraged me to try it and having use the Bose years ago I was hesitant but it did decide I would try it. It’s really imperative that you also get the tone match. Now set up as about 2 to 3 minutes I press one of my pre programed presets and turn everything on plugging in and I’m ready to go with live sound sounding excellent in less than five minutes. When I’m playing straight Flamenco Guitar I use a DPA Microphone 4099G wirelessly and a Schechter DYN-G transducer microphone. They go in channel 2 and three. Channel 1 is MP3 playback, backing tracks iPad running One Track app. Channel 4 is a wireless speech vocal microphone. I have a seven presets for various size rooms and various inputs and outputs. I use very little reverb and some of the parametric graphic equalizer and some mid cut on the Guitars. The Bose L1 gets transported in SKB hardshell case is on wheels and then the other gear is packed in a rack roller or small bag and I have 2 to 3 various bags with extra cables extensions and such. Below is the most current picture of what everything looks like when it’s packed. And a picture of my current live set up.

MOTU Track 16 Review “I Love It”

I love the MOTU Track 16 the below first file is with the Track 16 into my MBP (Mac Book Pro) running OS 10.7.4 to Pro Tools 9.0.6 and I used the API plugins from Waves. Mic used was the DPA 4099. The one thing that I did do was a fresh restart and power up on the Track 16 and now there’s no hiss or noise in any of the signals. The second track is with my (MP) Mac Pro OS 10.6.7 and Pro Tools 9.0.6 running on fire wire. The Motu Cue Mix sounds great too and I will be using it when I head out to CA later in the month to use as my live set up. Im going to try using the MIDI in line with my Roland GI-20 Interface to use to trigger synth sounds such as Spectrasonics Omnisphere.

Update:
After a week of use. 8.7.12 I have to say this really is one great pice of gear. I have been using the MOTU Track 16 with Cue Mix and for Live its awesome. I have in mic channel one my DPA 4099 G mic and in Chanel 2 from the RMC Pickups and Poly-Drive II to the Fishman Aura Spectrum DI then in to the input for ZERO (0) Latency with EQ and Reverb, Then I run Pro Tools 9.0.6 and use Omnisphere and Stylus RMX and run them thorough the MOTU Track 16 and out to my main monitors for an amazingly great live sounding set up.

What some of my friends are saying about the MOTU Track 16 after listing to the finished result:
Vic
I think you have found a winner
Sounds great very clean and I think there is a tad.of high end detail not
Heard since you had the ensemble
(Silver Sound Taz)
Hello Victor,
Sounds lovely. I was more taken by the sound of the guitar…which tells me
the quality is great.
(Mike)
Sounds excellent! I would not have guessed that is was recorded on such a small device.
Peace
(Jay S)

The folks at Sweetwater were great in helping me get the MOTU Track 16 Mark Magdich 1800-222-4700×1265 and the flex pay makes it easier on the wallet.

Track 16 in Pro Tools I received my MOTU Track 16 it looks nice. I am using it with my 2011 MBP (Mac Book Pro 13) and Mac Pro. I found the install to be a little tricky in that the cd did not have the drivers that were needed so the Track 16 would be recognized. After about 10 min I was able to get the MBP to recognize the Track 16. I found that using Fire wire to hook up the Track 16 works on both computers but while using buss power on MBP it seems that the mic and line in are a bit nosey, may be the drivers I have a tech support question in the cue. I am waiting a bit before I conclude my opinion. Check back later.

DeVoe Blanca Live Setup

I’m now using on my DeVoe Blanca RMC Acoustic Gold Tall Pickups RMC Poly-Drive-II, Fishman Aura Spectrum DI, Roland GI-20, Roland XV 5050 and a Ernie Ball Volume Pedal and a Roland EV-5 Volume Pedal all of this goes to a Fishman SA 220 amp. I am very happy with the sound of the pickups from RMC and the Aura Spectrum. It really sounds very (mic) like with out feedback problems.

Plugins for Live Playing

A gift from my buddy Taz Sellers, the SSL Channel Strip, CLA-2A Compression and BBE D82 Sonic Maximizer with Lexicion Hall Verb running on my MacBook Pro. I’m using the Apogee One as my interface with either the LR Baggs pickup or my DPA 4099G mic then out to two QSC K8 speakers for live playing.

Apogee One, DPA 4099, DeVoe Negra, MacBook Pro, Pro Tools 9.5 and QSC K’s

Ive been wondering if there would be a way that I would be able to play live and travel with just my guitar case and a laptop.  I think the answer is yes.  I have been using the Apogee One a very small (size of iPhone) interface that allows me to hook up the DPA 4099G mic that clips onto my DeVoe (phantom power supplied from Apogee One) the Apogee One hooks up to my MacBook Pro with USB 2 and then I run either Pro Tools 9.5 which to my ears sounds better than Logic or Main Stage (However Logic and Main Stage do sound ok just not as smoth or more bright inho).  Then in Pro Tools I am using three tracks on for the Gutiar Mic, then two different drum programs Strike and Boom.  Then off the one I have a stereo line out to to XLR connectors that run to the QSC K8’s.  The sound is fantastic I do use the BBE sonic max plug in for my main mix as well. 

Flamenco Fusion at Hopewell Valley Vineyards on 11.4.11

DPA 4099 G Mic

Used the DPA 4099g Mic with the DeVoe Blanca, ran the mic into a Mackie Pro FX8, and QSC K8. I was very happy with the sound and no feedback. Was told that you were able to hear the music inside the wine tasting room as well as outside.

QSC K8, Mackie ProFX 8,DPA 4099G, DeVoe Best Live set up I’ve used

I have found a live PA set up that I really like and I think captures the sound of my playing on the DeVoe’s very faithfully and clean. I am using one my DeVoe’s either a Negra or Blanca, with the DPA 4099 G mic that goes straight to the Mackie Pro Fx 8 Mixer. On the mixer I have the mic pre at about 4 o’clock, all the mic channel eq are at 12 noon and then I use effects number 8 at 50% and cut a few of the frequencies on the graphic eq. Then straight to the QSC K 8. Thats it and it sounds like I am in my studio.

Live Set Up DeVoe, Shure or DPA, Mackie, QSC

In the ever evolving set up for that ultimate tone I have stumbled across a set up that I actually like quite a bit. Its my DeVoe guitars Blanca and Negra, with a Shure KSM 141 Mic (bass rolled off) or the DPA 4099G Mic (which is nice in that I don’t need a mic stand), Mackie ProFX 8 (number 8 verb@12 noon) eq. on mic pre flat, graphic eq a few frequencies tamed (see pic) QSC K 8 Speaker and Powered amp in one 1000watt package at 28 Lbs.

DPA 4099G and Lester DeVoe Blanca no/eq no/compression

DPA 4099G & DeVoe Blanca

I wanted to see how the DPA 4099G and DeVoe Blanca sound with the 002 Digidesign Rack that was moded by Black Lion (Sig Mod) no eq or compression was used. I had the mic pointing at the 14th freet. I called thise peace Shore Longings

DoVoe and DPA

I keep comming back to this set up for simplisity and great sound. I used the DeVoes Negra and Blanca with a DPA 4099G mic. I hope to start running the mic throught the Martech MSS 10. I really like how the DeVoes and DPA 4099G mic sound. Theres no comparison for me. I have tried lots of systems, and when volume is needed I will just have to use the Cordoba F7 with the Fishman Ellipse Blend System and Pro EQ and Aura Nylon. I have had good reseults with that set up. My prefrence is DeVoe and DPA.

DPA 4099 G Mic

This is a recoding using just the DPA 409 G Mic into a Digidesing 002 Black Lion Sig Mod using Pro Tools 8.4

I did use one track for Trillian for the bass.

DeVoe, DPA, Martech, Bose (Sounds is just pure and amazing)

Since the Godin is getting all set up by Audric, I tied the DeVoe with the DPA 4099 and the Martech MSS-10 Mic Pre into the Bose L1 Compact and was blown away by the amazing tone and purity of the sound. This is by far the best system I have played into with the DeVoe. I was looking a pic of Ottmar Liebert on his web photo blog and noticed that he was using the Martech MSS-10 Mic pre on stage. I wondered how it would sound using the DPA 4099 Guitar Mic and DeVoe running into the Bose L1 Compact. I hooked it up and was just blown away it just sounds pure and clean like the guitar made by Lester DeVoe. NO effects eq, limiting, compression etc. Just Pure DeVoe Guitar into the Bose L1 and the sound is pure real magic. The DPA dose a great job at taking the sound of the guitar to the Martech MSS-10 Mic Pre and does its magic then the Bose amplifies the signal with no coloration and makes it amazing.

New Live Set Up DeVoe, DPA 4099G, Martech MSS-10 to board or House Board

My new live set up consists of The Devoe, DPA 4099G Mic, Martech MSS-10 Mic Pre. Then to my Carvin Board or House Board.

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DeVoe, DPA 4099G, Carvin C1644u

Flamenco In Princeton 5.1.2010

Some pics from the show.

For the sound gear we use Carvin, 1644U Mixer, Carvin 1500wt Power Amp, DPA 4099G, Shure KSM 141 &SM57, Carvin Mics, American DJ Lights and On Stage Stands and Supports, The System that Carvin sent us was fantastic.

DPA 4099 G

I will using the DPA 4099G on most of my live performances when I am playing with others and the volume gets louder on stage. I also really like the Shure KSM 141mic. The other advantage the DPA has is that it attaches to the guitar no mic stand its also very easy to set up with a wireless system.

DPA 4099 Guitar Mic Review for a Flamenco Guitar

DPA sent the 4099 Guitar Mic for me to audition. It’s a great mic. It’s a side mount clip on with a mini goose neck for placement. It is not a perminat mouted mic. Great for live performances. The mic itself is a super caritiod mic wich allows for signifacant gain without feedback. The mic ataches to the side of the guitar with a very unique clip. See photos below. It also is very easy to use with a wireless system, I will use it with the Sennhizer Wirless system. I’m very glad to be a DPA artist who uses there mics. I tried the mic in my living room using a second generation Trace Elliot RA 50 R amp. I knotched out a bit on the lower freq. Using the 5 band eq. Then just a bit on lower using the notch filter. Great results so far. Look forward to using the mic on live performances. Will write more in the next few weeks. Initial Impression: Awsome Design and Sound.

I think I like it mounted on the top of the guitar that way my hand can go up the neck w/o bumping into the mic. My only concern is if I will capture more of the bass and have a boomyness to the sound. Will post more later.

My DeVoe Live System

The Pic is of the DeVoe wired up for use live with the Bose L1 with Tone Match System.  I have attached the wirless system to the Guitano guitar support and purchased a adapter plug from DPA to allow the mic to pluged into the Sennheiser.

DPA 4099 G Mic with Bose L1 0- Feedback (pics)

And yes I am sitting right in front of the Bose L1 II System using the DPA 4099 G Mic with ****0**** fedback YEAH!

I LOVE THE DPA 4099 Guitar Mic

I just got this mic and tested the DPA 4099 guitar mic with the Bose L1 System and compared to the Shure KSM 141 well you can’t even really compare the DPA, it just blew our socks off its like having a Neumann M149 Tube mic Live sound with out picking up everyone thats in your audience. The mic is so controlled and just picked up the sound of the DeVoe with beauty. We were in guitar heaven with this mic. We will be keeping our demo no matter what the price is I would not send this back to DPA. DPA is just great to deal with as well they have been so kind and easy to work with. Emily Thompson was great to work with. You can look them up by clicking I am really looking forward to using DPA mics in our Studio. Hear is what DPA says about the mic

– Superior gain-before-feedback
– Wireless compatible
– Flexible and easy one-hand mounting
– Holder gentle to the instrument

Perfect for acoustic guitar, mandolin, banjo and dobro, the 4099 Guitar offers practically unlimited placement possibilities as well as a sound that is considerably more natural than an internal microphone or pick-up.

The 4099 Guitar is a unique clip microphone inheriting the sonic approach from the legendary DPA studio microphones to a new instrument microphone. No multipurpose microphone, the 4099 microphone and mounting system is meticulously designed and optimized for the guitar family. This is to ensure the best possible mount and audio reinforcement is achieved when performing live.

Representing years of research and development, the 4099 condenser microphones feature supercardioid polar patterns for superior gain-before-feedback. Fully capable of handling the guitar’s dynamic range and subtle details, these microphones live up to their pedigree with sound as accurate as DPA’s other world-class microphones.

Despite its tiny, discreet size and elegant, lightweight design, 4099 Guitar is extremely rugged. The versatile gooseneck provides stable and repeatable positioning. The mics can be easily unclipped and repositioned or moved to another instrument with only one hand, while the mounting system is designed never to mar or scratch the finish of your instrument.

Through the use of our extensive adapter system, the 4099 is compatible with virtually any wireless system and can also be used as a standard 48V phantom powered microphone via the included XLR connector.

Reduce cable clutter on stage by using the DAO4099-G Guitar Double Cable. This cable runs both the 4099 mic and a pick-up jack connection in one split cable.

Fleet owners of 4099s will appreciate the multiplicity of using the microphone for a number of different instruments simply by moving the microphone/gooseneck part to another instrument clip from the range.

With its very flexible design for a wide variety of mounting and positioning possibilities along with its extremely natural sound, the 4099 is truly a musician’s mic without equal. Continuing DPA’s heritage of sonic excellence, this series of microphones achieves the purest reproduction of your instrument and therefore your full range of expression.