DPA 4099 vs pickup

**pawlowski6132** · 09-01-2025, 04:31 PM

I don't understand why I don't see more acoustic arch tops at small gigs using a clip-on mic like the DPA 4099. Why does everyone use pickups?

I'm sure that answer is obvious but does someone that doesn't gig but would like to, it's a question I have since I spent a lot of time and money finding the perfect acoustic arch tops. I would love to amplify that sound and not get something different.

Blue J · 09-01-2025, 05:35 PM

Hello. For playing at home, recording, or a quiet solo/duo gig with low crowd noise a mic can be used. Mic’s are generally feed back prone and pick up unwanted crowd noise.
Pickups offer a louder signal with higher gain before feedback and no unwanted crowd noise in the signal.
In conclusion: Microphones=Pro: captures natural and realistic sound of instrument. Con: feed back prone and struggle with room noise

Pickup=Pro: louder signal before feedback, no room noise. Con: less natural sounding than a mic.

**gitman** · 09-01-2025, 05:52 PM

The small mics on goosenecks are cool in a lot of ways but since they are not permanently fixed to the instrument and you need to secure a very thin and fragile cable PLUS an outboard preamp of sorts the affair is a lot more complicated and unstable compared to any pickup. I play many gigs with several bigbands : I use a Tele (sort of) with those that have a more varied book and my 16" Trenier (lam-top) archtop for the more trad stuff. With both very different guitars I manage to get a good sound that doesn't have to be loud to cut through. When comping Green-Style I play 3 note voicings, double stops or sometimes even just a single note and I get heard without getting in the way. The true TIMBRE of my guitars does not really matter that much, it's more important to find/choose the right frequency range within the sound of the band.

In an intimate chamber-jazz situation I could imagine using a mic IN FRONT of my guitar, in addition to the magnetic pickup. As soon as a drumset is involved it usually gets too loud for hassle-free micing unless it's only brushes, cajon or hand-percussion.

Another aspect to think about is the placement of the clip-on mics : with a classical guitar or a flat-top the spot where the neck joins the body usually works pretty good but IMHO that is not the case with an archtop guitar which is a very different beast. In my experience the sweet spot is much further out from the guitar and in front of the body mid-riff.

**Cunamara** · 09-01-2025, 06:36 PM

Originally Posted by pawlowski6132

I don't understand why I don't see more acoustic arch tops at small gigs using a clip-on mic like the DPA 4099. Why does everyone use pickups?

I'm sure that answer is obvious but does someone that doesn't gig but would like to, it's a question I have since I spent a lot of time and money finding the perfect acoustic arch tops. I would love to amplify that sound and not get something different.

I think using a pickup is an automatic choice that most everyone knows how to do, whereas using something like the DPA 4099 takes us out of the comfort zone and confronts us with having to learn an unfamiliar technology.

Hopefully Jonathan Stout will spot this and weigh in, since he uses the DPA 4099 firthe majority of his playing at gigs. He's figured out how to make it work without feedback problems, picking up crowd noise, etc.

**MarkA** · 09-01-2025, 08:49 PM

I have been using an Audio Technica 831b on an AT clip on gooseneck for some time playing rhythm in a couple of quartets without drums. It works well in small clubs though a Henricksen or into a PA in bigger settings, use it on a 36 L-5, late 30’s Gibson made Recording King M4, and a Gypsy jazz guitar. I also bring along an Ischell contact mic which used to be my main choice but I have liked the AT quite a lot for the acoustic sound.

**Gustavo Eiriz** · 09-01-2025, 09:30 PM

Reliability is the key. For recording is very practical. But it doesnt get the best of all sounds, so it is always a compromise

**Cunamara** · 09-01-2025, 10:01 PM

DPA d:vote 4099 Guitar Microphone

Audiotechnica ATM350:

Just a moment...

Jonathan Stout clips his DPA4099 to the tailpiece (scroll down a few posts):

Acoustic Guitar for Chord Melody Jazz

**stevo58** · 09-02-2025, 04:55 AM

The DPA is highly directional. I tested by recording my acoustic with the DPA, sitting directly in front of my monitors at a “normal” playback volume. The recorded guitar had the pre-recorded track very faintly. I’ve never had a feedback problem on stage with the DPA, but I don’t play in loud bands, either.

A preamp was mentioned earlier; there’s no preamp for the DPA. It’s a condenser mic and needs phantom power, but that’s all.

The disadvantages (imho) are:

1) it has a delicate cable. I always make sure the heavy end is fixed somehow in a way so it isn’t swinging like a pendulum. Usually this means duct-taping it to my strap (if I’m using one). A clip is included for the XLR to hang it on a belt or whatever, so that gets used sometimes. I tend to forget, though, so I have accidents if I switch instruments or at the end of a set, when I set the guitar down and forget to take it off my belt.

2) the guitar mount is in my opinion useless. I use the cello mount instead for my Devon (with a Frequensator) as well as on any mandolin or banjo I may use it on (rarely banjo). The cello mount is solid.

3) You do have to experiment with placement a bit to get the results you want.

That said, recently I switched to a vintage Rhythm Chief, the mounting of which has its own issues.

**mrwoland** · 09-02-2025, 05:38 AM

I’ve used the DPA 4099 on a few gigs, but only rarely.
What I really like is that it clips directly to the guitar, so the position stays consistent even if you move. I never had any real issues with feedback.
That said, I personally prefer getting my signal from a pickup (whether magnetic, optical, piezo, or something else) because it’s not affected by external noise and always gives me a clean, strong signal that I can shape with EQ, reverb, compression, IRs, or whatever else I need.
I think part of it is also psychological: microphones tend to pick up too many little noises for my taste. In the studio that’s fine, but live, with higher amplification, it makes me a bit self-conscious. I notice the sound of the guitar rubbing against my body, or I’m constantly aware of not accidentally hitting the mic capsule, which takes me out of the performance. On top of that, I don’t really enjoy playing at high volumes. With my electric project Simple Music for Difficult People, I use IEMs mainly to protect my ears, and I keep the overall level very low.

**gitman** · 09-02-2025, 09:14 AM

For amplifying my resonator guitar I recently switched to a combination of a cheapo "Feather" mic and a KRIVO pickup. This pickup is fixed to the body of the guitar and since it's slightly microphonic it also picks up
body resonance. The mic is pointed towards the cone and is not in the way of my right hand when strumming. I can plug both leads into my BUD6 amp (2 identical channels) and the results are absolutely fine, it works flawlessly on stage. Needing two separate cables is not ideal but since I play sitting down it's not a biggie.

**Christian Miller** · 09-02-2025, 11:58 AM

Originally Posted by pawlowski6132

I don't understand why I don't see more acoustic arch tops at small gigs using a clip-on mic like the DPA 4099. Why does everyone use pickups?

I'm sure that answer is obvious but does someone that doesn't gig but would like to, it's a question I have since I spent a lot of time and money finding the perfect acoustic arch tops. I would love to amplify that sound and not get something different.

The usual complaint I hear about using DPA's on acoustics is that it tends to get bleed from the drums. I expect it depends on the drummer! I have a friend who plays cello through a DPA and mostly it's great, but for loud bands she switches to an AKG contact mic.

I understand the DPA has a lot more feedback rejection compared to cheaper options. TBH apart from mobility I can't see why using a DPA would be much different from using a boom mic, which I have done on gigs and sounds lovely - if you have a nice quiet band and a sound engineer who is on side.

In terms of being in the trenches in bar gigs and so on, lav/clip on mics like the AT Pro 70's that the Manouche players often use have generally proven to be a bit of a nightmare. They probably work great on gigs in theatres and dance shows with a good sound engineer etc. I notice Matt Munisteri generally goes electric for his bar gigs, even though he's noted as an acoustic early style player.

These days I would personally recommend the slightly unconventional combination of a Krivo Djangobucker through a LR Baggs Para Driver DI. Best sound I've had outside of mics - very acoustic sounding - and pretty feedback resistant. Works with bronze strings too.

**Gustavo Eiriz** · 09-02-2025, 01:21 PM

It usually feedbacks on low mids, and yes, you have bleed. Guitar is a very soft instrument, and everyother thing is usually louder.
In a very good stage it can be used.

Anyway:

Playing an L-5CES and a L-5C is a completely different approach, almost another instrument. So if you play acoustic jazz guitar DPA, audiotechnica, or Neumann MCM is the best solution, better than a mic in a stand (if the clamp allows you to point the mic to the sweet spot). Always for live situation where you wanna avoid bleed.
Not for recording. For recording i would use someother thing, at least 30cm away.

Now if you play a L5ces or es-175 and want to pick the acoustical tone i think it wont work, its a middle road that doesnt work cause you play softer in such instruments, not enough to drive the top and produce a clear acoustic sound.

Like in life, the middle road always is the hardest things, many time it should be avoided.

Like trying to have a jazz box with great acoustical tone and a great amplified magnetic pickup sound, they are just incompatible.