DPA Microphones: DDK4000 Drum Mic Kit

DPA's DDK4000 is a selection of their mics packaged as a complete drum recording solution, including the 4055 kick mic, a 2012 compact cardioid mic intended for snare, two 2015 wide cardioid mics for overheads, and three 4099 compact mics for toms. DPA has been making high headroom, low noise, clean output microphones since 1992. While they initially were known for classical and jazz recordings, as well as theater and filmmaking, the past decade has seen DPA branching out into many applications, including mics aimed at specific instruments. See Tape Op #152 for Scott Evans' review of the 4055 kick drum mic. The 4099 instrument mic [#126] in particular (included in this kit) is compact and versatile, with many different clips specifically designed for a variety of instruments such as accordion, mandolin, trumpet, cello, and drums. While many mics designed for drums are dynamic moving coil types, DPA's kit features only phantom powered condenser mics. Although some condenser mics can be larger and prone to overloading, this set of mics is compact and all can handle an extremely high SPL [sound pressure level].

I thought it would be interesting to ask my pal, James Neil, to check out this kit and tell us what he thought. James is one of the best drummers I have recorded and makes recording his drums easy with his solid performances and intent listening to the song. He is more attuned to not only the rhythm of a track, but also the harmonic and sonic nuances of any given song than most drummers I've worked with. Recently, he has been learning how to record his drums by himself. He shares a studio space with Paul Bessenbacher and their band, Opus Orange <opusorange.com>, and he has access to classic Neve preamps and a locker full of new and old mics. Here's what James had to say about the mics after using them for several weeks:

"Clean and accurate are likely the two best descriptive words for these DPA microphones. I've tried them on a variety of drum sounds and aesthetic settings, and the thing I keep landing on is simply how cleanly they reproduce the source. Channeling Fleetwood Mac's 1976 Rumours vibe with no resonant heads? Sure, no problem. Capturing some pitched up old Gretsch drums without any muffling to get a late-'50s jazz fix? Can do. These are excellent microphones, and they do a fantastic job of what they're designed to do, which is to accurately capture a source. The 4099 tom microphones, with their proprietary rim-mount mic clips, are especially useful. Because the mics are so small and the clips so versatile, I can get a full 90 degree angle off the drum head. They sound modern, with quite a bit of headroom. The off-axis rejection of the mics is also pretty good. The 2012 mic, designed for snare, is similar to the 2015 overhead mics and while it sounded fine I preferred the 4099 mic for snare. It sounded better to my ears and was easier to place. I ended up using, and liking, the 2012 as a high-hat mic, with it aimed away from the snare.

The one feature I'd like to see in this kit would be room mics. Capturing a good room sound is quite often a critical ingredient for rad drum recordings. If you're a drummer getting into recording yourself and saving your pennies for important gear purchases, I would personally steer you in the direction of a great pair of room mics before worrying about close mic'd toms. But there are no wrong answers, and – while not inexpensive – this DPA package is a perfect addition or start to an essential drum mic palette, and they'll be in your mic locker for the rest of your days."