LEWITT LCT 440 PURE XLR condenser microphone for voice, singing, instrument recording, and streaming

Product Information

I’ve never had the pleasure of working with a Neumann TLM-103 or a Shure KSM32, but based on the data collected on these microphones… Trying to find things i don't like is hard as the LCT440 is a dynamite performer on everything i've put in front of it so far.The leap in quality of recorded sound has made a big impression upon me and i'm over the moon i made the choice of Lewitt. I cant believe it’s been five years since we first met Austria-based LEWITT Microphones. In that short time, LEWITT has built quite the lineup, with a reputation for sonically clean, technologically innovative, and visually unique microphones. The various lines of handheld, dynamic, and digital-interface mics are headed up by the LCT line of studio condenser mics. That could come in handy if you’re recording instruments like the electric guitar, but I personally prefer the Lewitt LCT 440 PURE because it remains flat even in the top-end. It’s also one of the few budget large-diaphragm condenser microphones that doesn’t roll-off any of the high-frequencies. It’s very transparent and has LOTS of clarity.

On my voice (baritone) it just kills.On acoustic it kills again.On electric guitar near and far it kills. The 1-inch true condenser capsule captures your audio source with immense detail, retaining every nuance of your sound for exceptional audio fidelity. The clarity and depth the Lewitt Pure delivers preserve the tonality and emotion of your performance. High-end clarity for a natural sound However, if I had the choice between all 4… I’d go with the Lewitt. That’s partly because the TLM-103 has a high-frequency roll-off after 16 kHz. It’s made even more versatile by its three polar patterns (cardioid, omni and figure-eight); a -10dB pad, great for capturing louder sources, and a low-cut for curbing unwanted proximity induced low-mid boost while in either of the directional modes.You should get an instant answer on whether your application has been successful, though in some rare cases Klarna or V12 may need to look at the application in more detail. Both versions offer five polar patterns (nine if you include blended options), three pad and low cut filter options that make them applicable on numerous instruments. The 80Hz low-cut, in particular, is handy for rolling off low-end rumble mitigating environmental noise.

Conversely, the more honest sound of the LCT 440 Pure is more suited to simpler mixes, perhaps just a guitar and voice, where the extra bottom end won’t be getting in the way of other instrumentation. However, the broader, flatter response of this microphone also makes it easier to EQ into shape, should the natural tone of the mic not suit the mix. Head-to-head: vocals A real studio workhorse, AKG’s C414 comes in two modern editions, with the difference being capsule design. While the C414 XLS provides a flatter frequency response and is suited to a wide range of sources, the C414 XLII’s capsule design, based on the revered C12, introduces a 3kHz presence boost that’s particularly flattering for female vocalists.

Now, it’s important to make the distinction between the RODE NT1 and the RODE NT1-A. Although these two microphones share many similarities, there’s ONE major difference that made me go with the NT1. The 440 actually has a very similar curve to the Sennheiser MKH 416 (which I use all the time). Both of these mics are known to increase sibilance though, so keep that in mind! Both of these two microphones clearly have their place: the LCT 240 Pro is more suited to guitars used alongside other instrumentation, particularly bass and drums, where the more mid-forward presence would help the acoustic guitar to sit in the mix without getting in the way of the other instruments. Lastly, the industry-leading 10-year warranty offered by RODE is also something to consider. However, all of the microphones we’ve talked about so far (especially the Sennheiser MKH 416) are incredibly durable and should last you MANY years.

Alright, I just wanted to talk about some of the problems with “budget” large-diaphragm condenser microphones. That’s probably why you liked it so much on drums (as overheads, right?), it’s great for taming the harshness of cymbals! Same thing for the KSM32. If you’re unfamiliar, the Lewitt brand is relatively - in the world of microphones - quite young. Founded in Austria in 2009, it has built a reputation for creating high-quality, beautifully designed recording microphones that offer an alternative to familiar brands like Shure and Neumann.Sonically, it sounded a little more mix-ready, balancing out the woody tones of the body with the bright strings and subtly rolling off the low end in a pleasant manner. By contrast, the LCT 440 Pure had a more honest tonality, with a stronger bottom end, flatter, less-hyped midrange and smooth, open top. I think most will agree with me that the strength of a condenser microphone lies in its ability to capture high-frequencies with crystal-clear response.