Drawing on six decades of designing microphones with true-to-life sound, exceptional consistency and roadworthy durability, DPA’s new 4055 takes the traditional kick drum microphone concept and tosses it out the window. Designed primarily for kick drum, the 4055 promises the true tone of the instrument. Street price is $730.
Utilizing an externally polarized condenser capsule, the 4055 provides the detail and clarity DPA mics are known for. With its wide 20 Hz to 20 kHz frequency response, the 4055 works well with any musical style — pop, rock, jazz, folk and others. Its flat on-axis frequency response and very controlled, linear off-axis response result in a tight, natural, well-defined sound — solid low-end with detailed mids and highs. A soft 6 kHz boost helps capture the intimate details of the softer player. Unlike many kick drum microphones that tailor their response to fit a specific musical genre, the 4055 has an overall flat response allowing the sound engineer to create the exact sound desired for their application.
The 4055 has an open cardioid pattern with excellent off-axis rejection, allowing the engineer to control the sound by angling the microphone in front of the kick drum. Move the mic deeper into the drum to capture more beater attack and back it out completely to pick up more shell tone. In contrast to other kick drum mics, you can hear the 4055’s sonic differences when changing the angle of the mic in relation to the drum.
With condenser mics’ sensitive diaphragms, high output level and max SPL limits don’t often come to mind when choosing a mic for kick drum. DPA addressed these issues in 4055’s electrical and mechanical design. Its state-of-the-art active electronics handle a 164 dB max SPL, while its -54 dB output level is in line with traditional dynamic kick mics. The result? A mic that’s fast on transients while producing a tight, clean, round sound even at very high SPLs.
The 4055’s capsule is shock-isolated within the housing, while its rugged headcase with generous internal foam windscreen helps dampen the wind turbulence created by drumhead movement. The 4055’s unique asymmetric shape makes it easy to position the mic without risking a tear in the drumhead. The included DPA UA0961 mount holds the mic securely, and engraved marks on the swivel assembly allow easy angle position recall, so finding ideal placement is quick and effortless.
DPA provides a zippered case with a die-cut insert to hold the 4055 and its attached mount. Additionally, a nice soft zipper pouch is included. I prefer the pouch over the zipper case as it takes up less room in my mic kit trunk.
After unpacking the 4055, the first thing I noticed is that for a large mic, it was not as heavy as my big bomber dynamic kick drum mic. I attribute its lighter weight to the fact there is no need for heavy magnet assemblies on a condenser capsule. I like the look of the 4055 and its build quality reflected that of other DPA mics I have used.
Getting My Kicks
I have a jazz kit with a 20” kick drum (no front hole) in my studio, so the first order of the day was to mic it up and listen to how positioning affected the sound. I set the mic up on a short boom stand. While a friend played the kick, I experimented with different placements and found that positioning the mic slightly off-center and on-axis about 2” from the head gave me a pleasing jazz kick sound without the need for any channel EQ adjustments. Taking advantage of the open cardioid pattern, I rotated the mic off axis to see what would happen. As expected, when I rotated the mic, I could hear less beater attack and more shell tone.
On a power rock gig, the drummer hit hard and his 24” kick had no front head. Seeking lots of beater attack, I placed the mic deep into the shell about 2” away and to the left of where the beater hit. With a slight midrange EQ cut, I had the click and boom sound desired without overload, even when he was slamming the kick.
On a big band jazz show, the drummer had a 20” kick with a small hole in the front head. My big bomber mic would have trouble fitting through the hole, but the 4055’s asymmetric shape and compact swivel mount made it easy to slip the mic into the drum. To get more shell tone, I simply angled the mic slightly off-axis and made a minor EQ tweak.
On a 1940’s swing ensemble, the drummer had a 22” kick drum (no front hole). As the kick was not prominent in his playing style, I used the 4055 off-center and about 4” from the front head. A very slight angle on the swivel mount gave me a nice balance of shell tone to beater attack. Since he played a soft kick drum, I added a slight boost around 200 Hz for a nice round — but not overly punchy — sound.
I do sound and recording for the local symphony and every year they team up with several local church choirs to perform a medley of Gospel numbers. Along with normal symphony percussion, they add a trap set, electric bass and a Hammond B3 with a Leslie speaker. Stage space was at a premium, so the drummer brought a “cocktail” style kit with a 20” vertical bass drum. This arrangement was no problem for the 4055 as I simply miked the drum from underneath. The 4055’s tight cardioid pickup pattern along with a slight notch in the low mid-range on the channel EQ helped reduce unwanted low frequency reflections from the floor. Setting the 4055 at a slight angle provided a pleasing balance of beater attack and shell tone.
Not Just for Kicks…
As the 4055 is not limited to kick drum, I tried it out on some other sources. Before the symphony gig, I put it on a 28” tympani for a nice, rich, full-body tone with minimal EQ. I also tried it with success on French horn. Finally, I put it on the Hammond organ’s low Leslie speaker. I preferred the 4055 over the other mic I was using, but as I only had one 4055, it went back on the kick drum.
Having used other DPA mics, I’m familiar with their sound and quality construction. Once you get over the stigma that “condensers are not designed for kick drums,” this is an amazing sounding mic. I actually prefer the 4055’s flat frequency response, as it allows me to tailor the sound I desire for each situation. The asymmetrical design makes it easy to place the 4055 into smaller front head holes, while the UA 0961 mount is easy to adjust and stays out of the way. In conclusion, I’d say the DPA 4055 really kicks…
At a Glance
Kickin’ It
DPA completes its instrumental microphone offerings with a versatile new design specifically for bass drum applications.
DPA 4055 Kick Drum Mic
PROS
- High SPL handling
- I can tailor the sound
- Asymmetrical design is easy to position
CONS
- Condensers need phantom power
- Might take longer to dial in
- Pricey compared to typical kick drum mics
STATS
- Capsule Type: Pre-polarized condenser
- Directional Pattern: Open cardioid
- Frequency Response: 20 Hz – 20 kHz
- Sensitivity: 2 mV/Pa; -54 dB re. 1 V/Pa
- THD: <1%
- Max Peak SPL: 164 dB
- Output Impedance: 380 ohms
- Street Price: $730
More Info: www.dpamicrophones.com
Steve Savanyu operates Buford T. Hedgehog Productions in Hudson / Macedonia, OH.
