I've used both 4090's and 4061's within the past year.
The 4090's have the same capsules as 4060's, except they're housed in pencil bodies and are hardwired to XLR connectors that can be plugged into 48v power. Oh yeah, they supposedly have slightly different grids that sound more neutral than either the low-boost or high-boost grids for the 4060/4061's. The 4061's, wired to microdots, came in an SMK4061 box that includes 48v adapters, among other (very) useful bits such as clips and boundary mounts.
I use a Littlebox when I run two channels, or a Roland R-44 when I need three or four inputs, usually when I have one of my DPA pairs spread out and one or two directional mics in the middle. I am quite happy with the sound quality of any of the small DPA omnis that I've tried.
I record amplified music in small clubs or outdoors and, since I know the bands, my mics are always on stage or right in front of the stage, no more than 10-12 feet from the bass and guitar amps but usually closer. I don't record big stacks in stadiums or large venues; for those situations, I'd probably use cardioids or hypers. For what I do, however, I haven't had any problems with the more sensitive capsules in the 4090's. I think that 4060's do just fine with loud music unless you stick them inches from absurdly loud woofers being driven to inhumanly high levels, but that scenario doesn't exist with the kind of rock and blues bands that I tape. The 4060/4090's are also useful for softer acoustic music. If I were you, I'd go for 4060's in a kit. I got my SMK4061 set for $500 from a European ebayer who had several to sell at the time. This was just a little more than the price of a pair of 4060's or 4061's by themselves but had two advantages. One, I think that the capsules are matched when they come in a kit. Two, an SMK, if bought second hand, has likely been used by a taper and so has not been painted over, drowned in sweat, trampled on or otherwise abused in a theatrical environment
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