Designed to help deliver the clear natural sound of a drum set, DPA introduces the DDK4000 Drum Microphone Kit. Comprised of several instrument mics with similar sonic personalities, the DDK4000 enables the engineer to capture a uniform, uncolored drum sound. Every microphone in the kit is designed with linear on- and off-axis response allowing for the best starting point to shape the sound desired for the application. Working together, the microphones capture the kit’s natural, direct sound, along with the desired organic bleed between the drums and cymbals, offering creative possibilities with the high quality performance for which DPA is known.
The Lineup
Presented in a compact Pelican case with custom-fitted foam cutouts for the mics and accessories, the DDK4000 kit contains: a 4055 Kick Drum Mic; one 2012 Compact Cardioid Condenser Mic; two 2015 Compact Wide-Cardioid Condenser Mics (stereo pair); three 4099 CORE Instrument Mics (Extreme SPL) with drum clips; three 6-foot MicroDot cables; and three DAD6001 MicroDot to XLR-M adapters.
The DPA 4055 Kick Drum Mic (reviewed in the July 2022 issue of FRONT of HOUSE) offers a flat, untailored response with wide dynamics to capture a solid low end with detailed mids and highs. Its compact asymmetrical design makes it easy to position on the kick drum, while the large housing and ample wind damping foam deal with air turbulence without compromising sound quality.
With their wide dynamic range, high SPL handling and excellent gain before feedback characteristics, the DPA 4099 CORE Extreme SPL Instrument Mics can handle 152 dB SPL levels before clipping. Known for their discreet size, these lightweight, compact condensers (with their easy-to-position flexible gooseneck that stays in place once set) are a go-to for instrument miking. With a plethora of mounting accessories, the 4099 is at home on toms, hi-hat, snare, percussion and other instruments.
Rounding out the DDK4000 kit are the new DPA 2012 and 2015 compact cardioid and wide cardioid pencil condensers. Featuring durable reinforced construction designed to withstand the rigors of live touring, the mics offer DPA’s renowned natural sound, excellent transient response and the ability to handle high SPL sources with ease. Both models are pre-polarized condensers with specifically designed 0.67” (17mm) capsules tailored for their intended application. Each comes with DPA’s UA0961 mic holder. Unlike a typical mic clip, this compact, locking mount secures the mic while allowing for easy positioning.
With the 2012’s uniform cardioid pattern, flat frequency response and extended range, the mic is ideal for single instrument close miking. Its unsurpassed transient response easily tames high-SPL sources while still being able to capture the most subtle of sounds.
The 2015 wide cardioid — with its linear response and exceptional off-axis rejection — offers high gain-before-feedback while helping handle bleed from other nearby instruments. As a drum overhead, the 2015 can be placed closer to the kit without sacrificing any coverage. When used in pairs, it is easy to achieve a spacious, balanced sound from the entire instrument with less stage bleed. These are also ideal for capturing detailed sound from vibraphones, xylophones and other large instruments.
Initial Checkout
Upon receiving my DDK4000 Pelican case, I noticed that — unlike many drum mic kits — DPA used a premium rigid foam with custom fitted laser-cut spaces for each microphone and accessory. Although it is done exceptionally well, I prefer individual zipper pouches for each mic, as I would carry these with other stage mics in my large microphone trunk. My other comment on the fitted compartments is, I would prefer a space large enough to hold the completely assembled 4099s. In its current form, you need to remove the cable and drum mount to properly fit the 4099s in their cutouts. However, for forgetful drummers packing out, having individual cutouts for each part means they should leave nothing behind. And you can leave the stand mounts attached to the 4055, 2012 and 2015s while they are in the case — I like that.
Before my first gig, I attached the DC4099 drum clips to the 4099 mics and connected the cables. The gooseneck simply snaps into the drum clip and a small plastic “keeper” secures it. The gooseneck and XLR-M adapters attach using MicroDot connectors. The six-foot cables were long enough to reach the drum snake without a lot of extra cable to get in the way. Should you break or damage a cable, in a pinch you can screw the XLR adapter directly to the gooseneck. I also like the rubbery material used for the drum clip. It opens wide and is flexible enough to attach to just about any size rim. The gooseneck stays in place when flexed and the 4099’s compact size makes it easy to aim, while keeping it away from errant stick hits.
Drums Away
My first gig with the DDK4000 was with a jazz quartet. The drummer had a four-piece kit. The 4055 placed just outside the bass drum hole captured the fullness of the bass drum and a small amount of EQ gave me a little more beater smack.
The 4099’s open and detailed sound easily captured the round tones of the rack and floor toms. One of my favorite DPA mics, I have used these on piano, upright bass and strings, but was quite pleased to hear them on toms.
Finally, I used the 2012 on snare and one 2015 close in on a hi-hat with the other working the overhead. As expected, the 2012 captured all the nuances of the drummer’s playing, including the brush work. The 2012’s compact size made it easy to place the mic and kept it out of the player’s way.
The 2015, with its wide cardioid pattern on overheads, allowed me to get in closer while still capturing the entire kit. Although a 2015 on hi-hat worked, I would have liked a second 2012 in this instance, as I felt the wide pattern was getting a bit of bleed.
The next gig was an ‘80s pop cover band. Their drummer had a classic 80’s five-piece kit with a 24” open front bass drum, two deep power rack toms and a 20” floor tom. Unlike the jazz gig, this guy hit ‘em hard and loud. But the DPA mics stood up to his pounding and gave me the sound I wanted. In this case, the 4055’s flat response allowed me to dial in that beefy beater click and still get tone.
For snare, I mounted the 2012 on an existing drum clamp that I had and clipped it to the snare rim. The tight cardioid pattern allowed me to get the snare crack desired with minimal bleed.
The 4099s on both rack toms and the floor tom rocked the power hits without overload. Again, their compact size and sturdy gooseneck allowed me to keep them out of the way, yet still get the sound I wanted. And yes, the drummer whacked one, but it came through unscathed.
For this gig, I used both 2015s as overheads. Along with a large complement of cymbals, this drummer had several other percussion goodies including cowbells, woodblocks and chimes. Here, the wide cardioid pattern enabled me to get the mics in closer to minimize bleed from the loud stage sound while still capturing all the percussive toys.
In both instances, I enjoyed the consistency of the DPA mics, as I could quickly dial in the sound desired with minimal EQ work.
Stepping Outside the Drum Circle…
I do sound for a local symphony and took the opportunity to try the DPA mics on other instruments. I needed a spot mic on a harp. Taking advantage of the 4055’s linear response, I placed it about 12” away from the strings and added a slight boost at the high-end for detail. The harp had a warm, lush sound with low-end body and nice detail at the top-end.
For solo violin, I typically use a small diaphragm condenser with a tight cardioid pattern. Here, the 2012 excelled, capturing the detail of the soloist without bleed from the adjacent player.
Since I had two 2015s in the kit, I used one on a pair of violas and the second on the marimba. Again, the 2015’s wide pattern enabled the mics to be positioned closer to the sound sources while still capturing the entire range of the instruments.
Finally, I used the two 4099s for grand piano. Since I didn’t have the proper DPA piano mounts, I had to get creative. I simply removed the drum clip, plastic keeper and cable from the gooseneck and attached the XLR-M MicroDot adapter directly to the gooseneck. I had some generic spring-type mic stand clips that securely held the XLR-M connector, allowing me to use a standard mic boom stand. Although the proper DPA piano mount would have been preferable, my rig worked quite well, and I was pleased with the results.
The Verdict…
Although I knew what to expect with the DPA 4055 Kick Drum Mic and the 4099 Instrument Mics, as I have used them in previous situations, the 2012 and 2015 pencil condensers were the stars of the show. Their compact size, secure mounting clip, and rugged construction made them a joy to work with. Sound-wise, they were exceptional, handling everything I put them on with ease. They captured all the subtle nuances of the quiet jazz player and easily handled the loud transients of the ‘80s rocker with no degradation in performance.
Other than a couple of minor issues with the fitted case, the DPA DDK4000 is a first-class solution for drum miking and more. For the discriminating engineer that desires a high-performance, versatile microphone package, the DDK4000 is at the top of the list.
At a Glance
Ready to (Drum) Roll
This premium condenser drum mic package in a Pelican case includes a dedicated kick drum mic, three gooseneck tom mics, cardioid snare mic and two wide cardioid overhead mics. Each of the mics perform as expected for a variety of drumming styles, from soft jazz brushwork to hard-hitting rock. And they can be used to capture musical nuances from other instruments.
DPA Microphones DDK4000 Drum Microphone Kit
PROS
- Consistent sound across the line
- High SPL handling
- Excellent gain before feedback
- UA0961 microphone holder
- Quality construction
CONS
- Prefer individual mic pouches
- Must disassemble 4099s to fit
in case cutouts - Somewhat pricey
Stats
Includes: 2012 Compact Cardioid Condenser; stereo pair of 2015 Compact Wide-Cardioid Condensers; 4055 Kick Drum Mic; three 4099 CORE Extreme SPL Mics with drum clips and XLR-M adapters; fitted Pelican case
Price: $5,100
Manufacturer
DPA Microphones
More Info
www.dpamicrophones.com
