The 4099 Core+ with gooseneck and piano mount.

DPA’s new Core+ technology represents a significant upgrade for their already class‑leading miniature microphones.

Released in 1995, the DPA 4060 and 4061 not only propelled Danish Pro Audio (as DPA Microphones were known back then) onto the world stage, but also redefined expectations of what miniature microphones were capable of. By combining measurement microphone and hearing aid technology, DPA created a capsule for those microphones that became the foundation of their miniature microphones for many years. The 4099 supercardioid instrument microphone, released in 2009, married a 4060‑type capsule with an interference tube to produce the world’s first miniature shotgun microphone.

In 2018, DPA introduced their Core technology, with the aim of reducing harmonic distortion at higher sound pressure levels. That was incorporated in the d:screet 4060 and the d:vote 4099, which were released later that year. Most recently, in January 2025, DPA announced their new Core+ by DPA technology, which they describe as “a groundbreaking, patent‑pending innovation that sets a new standard for distortion‑free microphone sound”. At the same time, DPA also introduced the new MicroLock miniature locking connectors, which are backwards‑ and forwards‑compatible with DPA’s own existing MicroDot connectors, and an extensive and comprehensive range of new and revised stand and instrument mounts for 4060 and 4099 series microphones. The first microphone to benefit from DPA’s latest technological development is the DPA 4099 Core+, which made its debut at InfoComm in June 2025, and was followed, shortly thereafter, by the DPA 4060 Core+.

Evolving Technology

The driving force behind the Core and Core+ technologies was and is DPA Microphones’ desire to obtain the clearest possible sound from their microphones by minimising distortion and increasing dynamic range. The original Core development focused on the impedance converter that sits inside the electret microphone capsule. DPA engineers implemented a fully compensated circuit topology that linearised the performance of the impedance converter. This resulted in a significant reduction in distortion, increasing the SPL that the capsule could handle before its THD reaches 1% — the point at which a loss of sound quality will be perceived by most listeners.

DPA’s engineers then turned their attention to the analysis and correction of the distortion that arises from non‑linear displacement of the microphone capsule diaphragm. With a very small volume of air such as that located behind the diaphragm of a capacitor microphone, the forces acting on the diaphgram are different when the diaphgram is forced inwards compared to when it is being sucked outwards. The patent‑pending Core+ design corrects these non‑linearities in diaphragm displacement, right up to SPLs that approach the 1% THD level of the electronics. The combination of Core impedance converter linearisation and Core+ diaphragm linearisation is said to result in essentially unmeasurable distortion, from the level of the microphone capsule’s self‑noise up to a few dB below clipping.

4060

The frequency response ranges, sensitivity and typical A‑weighted equivalent noise levels of the original 4060, the Core Normal SPL and Core+ Normal SPL variants are identical. (Ever since the Core range, the 4060 is available in Normal, Loud and Extreme SPL versions; the 4099 comes in either Loud or Extreme SPL.) All three generations of 4060 have specified frequency responses of 20Hz‑20kHz (±2dB), with their removable soft boost grids adding a 3dB boost between 8‑20 kHz and their high boost grids adding a 10dB boost at 12kHz. Their sensitivities and self‑noise figures are also identical, at 20mV/Pa and 23dB A‑weighted, respectively.

A close‑up of the 4060 Core+ capsule. Like all Core+ mics, the capsule has been double gold‑plated, hermetically sealed and protected with a hydrophobic coating, giving the mics an IP58 rating.

Where differences do appear are in the total harmonic distortion (THD) and typical dynamic range specifications. The original 4060 had a THD of under 1% up to 123dB SPL peak and a typical dynamic range of 100dB. The d:screet Core Normal SPL version improved both figures by 6dB, and the Core+ Normal SPL improves things yet further, with a THD of under 1% up to 132dB SPL, and a typical dynamic range of 109dB.

4099

The original 4099 had a specified frequency range at 20cm of 80Hz‑15kHz (±3dB) with a +2dB soft boost at 10‑12 kHz and a nominal sensitivity of 6mV/Pa. This sensitivity is the same as those of the Loud SPL versions of both the 4099 Core and Core+. Both the Loud SPL Core and Core+ versions of the 4099 have specified effective frequency ranges at 20cm of 80Hz‑15kHz (Core) and 80Hz‑17kHz (Core+), both with a +2dB soft boost at 10‑12 kHz. These figures, together with the three variants’ typical A‑weighted self‑noise levels of 23dBA, highlight these microphones’ similarities, rather than illustrating their differences — despite the 2kHz frequency range extension in the 4099 Core+.

As a footnote to the above, these mics are obviously designed for very close placement to the sound source, where the supercardioid pattern’s proximity effect inherently boosts low frequencies. Consequently, DPA have tailored the frequency responses of these mics to be nominally flat at a distance of 20cm.

As in the 4060, the differences between the three versions of the 4099 are seen in their THD, typical dynamic range and SPL specifications. The original 4099 had a THD of under 1% up to 123dB SPL and a typical dynamic range of 100dB. The Core Loud SPL variant had equivalent figures of 131dB and 108dB, while for the 4099 Core+ Loud SPL they are 141dB and 118dB. So, the Core Loud SPL 4099 has a dynamic range 8dB greater than that of the original 4099, while the Core+ Loud SPL 4099’s dynamic range is 10dB greater still.

Mount & Go

The arrival of the 4099 Core+ was also marked by a revised and expanded set of clips and mounts. This range, which would require its own review if I were to investigate it in any depth, has a sufficient number of components and mounting possibilities and variations that I can’t think of any conventional (or unconventional) instrument that I couldn’t mount any 4099 or a 4060 microphone on — and the new, one‑handed gooseneck G‑Mount is a work of genius in my book!

Although it isn’t technically a mount or a clip, I have to mention DPA’s AIR1 acoustic fur windscreen, which will fit most miniature microphones. It’s a little £42 work of art that will keep your audio usable in winds up to around 15mph.

One feature of the Core series that carries over into Core+ is that the microphones have been hermetically sealed and protected with a hydrophobic coating. These actions, together with dual gold‑plating of the diaphragm, means that the Core/Core+ 4099 (and all Core/Core+ microphones) are now IP58 certified. This Ingress Protection rating means that Core/Core+ microphones are protected from dust and, more importantly in my view, from beer, water, sweat and TV, film and theatre make‑up.

In order to use any 4060 or 4099 you’ll need either the new DAD9099 balanced phantom powered preamplifier (included in the individual instrument kits along with their instrument‑specific mounting clips), its earlier DAD4009 equivalent, or an adaptor (of which DPA have a wide selection) that allows connection to the transmitter of your chosen wireless system. Like the DAD4009 before it, the DAD9099 has an integral fixed 80Hz high‑pass filter. Should you want to exploit the 4060 and 4099’s effective frequency responses to their full extent, you’ll need the new DAD9001 preamplifier, which doesn’t have the 80Hz filter.

Core+ Audition

In order to explore the effect of DPA’s Core+ technology, I decided to rig my original 4060 and its new Core+ counterpart side by side underneath the end of a violin fingerboard and pointed towards the bridge. A violin can generate surprisingly high sound pressure levels in the area of its soundboard in front of the bridge. A 4060 placed in this neighbourhood will always produce noticeable harmonic distortion if the violin is played at volume — which, incidentally, is why I habitually use the less sensitive 4061 as an unobtrusive close mic on violins.

A DPA illustration highlighting the relative THD performance of DPA’s 2061, Core and Core+ mics at different SPLs. Rather than increasing gradually, the Core+ distortion remains consistently low.

Once I had the mics positioned together at a distance from the bridge where I could sense distortion from my 4060 when the violin was played, I switched between it and the 4060 Core+. To say that the difference was astonishing is an understatement, as there was absolutely no distortion in the signal from the 4060 Core+.

I then moved the mics off the violin and taped them to a boom stand so that I could easily change the SPL hitting the mics by varying the distance between them and the violin. What this revealed was that, to my ears, the 4060 Core+ delivers a more open and natural sound across its dynamic range than my original 4060 is capable of doing at any point within its dynamic range. Since the two variants have identical max SPL values (134dB SPL for 10% THD) this result confirms to me that the Core+ technology really has achieved the goal delivering a performance that is as distortion‑free close to its limits as it is at lower levels.

To check out the performance of the 4099 Core+, I mounted the supplied pair on my Feurich upright piano, where they delivered another open, natural and distortion‑free performance across the widest dynamic range that I could achieve. In isolation, I did miss the weight of the lowest two octaves of the piano keyboard that were rolled off by the DAD9099 preamps’ 80Hz high‑pass filter, but I wouldn’t have it any other way for live use on piano or any other instrument.

Not only do the Core+ variants exhibit reduced distortion and increased dynamic range, but these also delivered an enhanced version of everything that I like about the original versions.

Last Words

In the higher reaches of their dynamic ranges, the review models — the 4060 Core+ Normal SPL and the 4099 Core+ Loud SPL — are such significant improvements over my original 4060 and 4099 that I’m going to have great difficulty in resisting the urge to purchase them both. Not only do the Core+ variants exhibit reduced distortion and increased dynamic range, but these also delivered an enhanced version of everything that I like about the original versions: accuracy, an effortlessly natural sense of reality, and the sparkle from the soft boosts that adds a crispness to their character.

DPA’s 4060 Core+ and 4099 Core+, in my view, set new performance standards for professional miniature microphones. The Normal, Loud and Extreme SPL, and presence‑boosted variants of the 4060 Core+, and the Loud and Extreme SPL versions of the 4099 Core+, add significantly to the range of their potential applications. Add in the wide range of mounting options and I’ve little doubt that these microphones will be dominating my spending for the foreseeable future.

Although all DPA microphones are premium products with a commensurate price tag, I’ve always considered my two to be investments that offer real value for money over the long run — which is currently 23 years for my 4060 and 16 years for my 4099.

If you’re searching for best‑in‑class miniature microphones for speech or instrumental use, then the DPA 4060 Core+ and 4099 Core+ (and their variants) should be at the top of your list of potential investments. That’s where they sit on mine!

Information

4060 Core+ Normal SPL with MicroLock £444. 4099 Core+ Loud SPL with MicroLock £450. 4060 & 4099 Instrument Kits (including DAD9099 preamps) £570 each. Prices include VAT.

DPA Microphones UK +44 (0)20 3008 7530

info‑uk@dpamicrophones.com

www.dpamicrophones.com

4060 Core+ Normal SPL with MicroLock $595. 4099 Core+ Loud SPL with MicroLock $760.

DPA Microphones Inc +1 303 485 1025

infousa@dpamicrophones.com

www.dpamicrophones.com

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