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

Product Information

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.

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.Versatile Studio Allrounder - No creative boundaries here! This microphone is a true studio allrounder, suitable for recording a wide range of audio sources. With an ultra-low self-noise level of only 7 dB (A), it thrives in quiet environments, while its ability to handle ear-shattering sound pressure levels of up to 140 dBSPL results in an impressive dynamic range of 133 dB (A). Whether you're recording vocals or instruments, the LCT 440 PURE - VIDA EDITION empowers your creativity without compromise. Technically speaking, the Sennheiser MKH 416 is also a condenser microphone, but it’s MUCH more directional than the Lewitt LCT 440 PURE. Lewitt Limited Edition LCT 440 Pure Puristic Studio Condenser Microphone, VIDA Edition Specifications: 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. Lewitt’s new vocal and instrument microphone retains the essence of their established models, but at a much more attractive price.

That being said, the 440 definitely wouldn’t be your best choice for overhead drum mics! It’ll sound best on acoustic guitar and vocals (specifically, male vocals). 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 Alright, I just wanted to talk about some of the problems with “budget” large-diaphragm condenser microphones.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

Testing the mic on speech revealed firstly that the LCT 440 is a little more sensitive than the Aston mic I used for comparison, and secondly, that I was right about that gentle lift giving the mic an airy sound. Speech sounds clear and very ‘present’ but without being harsh, while the low end remains solid, making this a good choice of vocal mic for those singers who need a little help with their clarity. The ‘airy’ character is not overstated, but if you do yearn for a warmer sound, you can always turn the mic slightly off axis to lose a little high end. However, what impressed me the most was that the Lewitt LCT 440 PURE produces LESS self-noise than the Sennheiser MKH 416 (7dB vs 13dB). Today we're looking specifically at the Lewitt LCT 440 Pure, which is its mid-range condenser aimed at a range of studio applications including vocals, speech and acoustic instruments, although Lewitt claims it has more than enough ability to be classed as a proper studio all-rounder. Looking through the grille on the two mics reveals a larger, one-inch capsule in the LCT 440 Pure, compared to the 0.67 inch capsule in the LCT 240 Pro, and while the accessories in each box also differ slightly, it’s this difference in the capsule that really sets the two mics apart. 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.All other things being equal, capsule size can have a huge impact on the sonic characteristics of a microphone. A smaller capsule has less mass than a larger capsule, and so can respond to transients faster than a larger capsule. There are also benefits to high-frequency response and to directionality when using small-diaphragm cardioid capsules. The 1" true condenser capsule captures the signal with an impressive amount of depth and clarity. Preserve your individual personality and all the emotion you've put into your performance. PURE recording

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 sE2300 is the multi-pattern sibling of the hugely popular sE2200, famously adopted by vocal powerhouses such as Amy Winehouse. This smooth-sounding microphone builds upon its predecessor by adding an optimised signal path that delivers even lower noise and increased clarity. The RODE NT1 sounds much more neutral and balanced because it doesn’t boost the higher frequencies. The RODE NT1-A actually sounds quite harsh in the top-end.Given that, there is no place or source where I would be hesitant to use the LCT 440 PURE. Despite its slimmed-down feature set compared to its siblings, it provides the LEWITT sound through and through. This is an entry-level mic that no studio would ever outgrow! That being said, the reason you’d pay more for a condenser microphone is for the TOP-END and the fact that these more “budget” microphones compromise on that isn’t acceptable to me. With super-low self-noise and the ability to handle ear-shattering sound pressure levels, one thing is for sure - nothing will limit your performance on the technical side. PURE function 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. 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.