Daniel Weltlinger – born in Sydney but based in Berlin – composes and plays Gypsy-swing, jazz, Yiddish-klezmer and experimental/free-improvised music. He has long been a fan of DPA’s d:vote 4099 Instrument Microphones, but when one of the two he owns was recently damaged during a live show, he decided it was time to upgrade.
DPA’s Australian distributor Amber Technologies recommended him a d:vote CORE 4099 microphone and when he tried one, he got charmed by its clarity, warmth and natural sound.
The d:vote CORE 4099 line is designed for use with every woodwind and acoustical instrument, the most popular being guitar, violin, cello and trumpet/saxophone. In contrast to the “old” mics mr Weltlinger owned, the new models incorporate “CORE by DPA” amplification technology. The result is that the d:vote CORE 4099 minimises distortion and expands dynamic range, thus delivering an even clearer sound from the ‘highest of the highs’ to the ‘lowest of the lows’.
“I have been a huge fan of the d:vote 4099 from the first day I started using one and this new version is even better in terms of detail across the entire dynamic range,” Weltlinger said. “The d:vote 4099 Instrument Microphones are also super easy to set up and carry everywhere, plus the clip is non-destructive to the surface of my violins, which is very important to me. They really are fantastic microphones.”
Weltlinger is a graduate of the Sydney Conservatorium of Music. He has performed and recorded in major concert venues and theatres around the world and collaborated with many renowned artists and ensembles including German-Sinti guitarist and composer Lulo Reinhardt, Berlin-based Yiddish singer-actor Karsten Troyke and the Australian multi-ARIA Award-winning Gyp-rock band Monsieur Camembert.
His most recent album release is Szolnok, recorded with the Daniel Weltlinger Quartet in which the concept behind the newly created ensemble is to perform original material that takes inspiration from real situational stories. In this case, the story is Weltlinger’s violin, which he inherited from his Hungarian grandfather Zoltan Fischmann (changed to Fishman when he emigrated to Australia). Between 1920 and 1922, Zoltan carried the violin with him when he walked by foot from Hungary to France. After 18 years in Marseilles, the violin was taken to Casablanca, then later to Sydney, before finally being brought back to Europe by Weltlinger in 2017 after some 75 years absence from the continent.
Released in May on DMG Germany in conjunction with Weltlinger’s own label Rectify Records, Szolnok was recorded at Blackbird Studios in Berlin with Uri Gincel at the piano, Paul Kleber on the contrabass and Mathias Ruppnig on drums. Weltlinger also added some field recordings that he created over several months to convey the locations in the world where the violin had travelled.