My last mic (surely), for a very long time, or maybe for ever, depending on my future with video, sound, photography in general.
Asking the question”what do I really need to close the loop?” I came up with this.
A safe purchase, a logical purchase and as I have said before, a mic that will add something needed to an already over serviced area.
The Lewitt LCT 240 Pro kit, the one with the better shock mount. This is the mic I first looked at before the whole distraction that was dynamics, but I still feel it is a sound (ugh!) choice. It would not have been the best fit if I did not also incorporate some dynamics, but after the dust of that interesting little excursion has settled, it is still compelling. Reviews are mixed, but all agree, it has its place in the world of sound, a very different place to the dynamics I have coming, different enough to be the other option.
In hind sight, the MTP 440 and this (maybe with the MTP 250/550 for handling also) would have been ideal, but I only found the MTP 440 by going the long way around.
Impressive huh! The mic is made better than its price would suggest, the mount is top tier.
Lots of mics were in the mix but were either too much for my quality chain (LCT 440/441), much the same as I already have (Prodipe M85, more sE V’s) or were going this way anyway towards clearer and brighter sound, but probably not enough to make a real difference (Lewitt MTP 250/550).
The more neutral and open MTP Lewitt’s were close and cheaper again than the street price of the equivalent sE’s (but I got bargains so broke about even), but the reality is, a condenser is the only type that will truly add that higher level of detail and cover the full human hearing range with a “booth-studio” like sound. It may be a slight compromise (depending on who’s review you read), but if so, it is a compromise that retains for me the all important element of balance.
The only smallish issue is I cannot run both 040’s and the 240 at the same time as I only have 2 phantom power XLR ports. This is not a big deal as my use cases will likely be either a solo artist (2 condensers or a dynamic and 2 condensers) or a larger group (2 condensers and 2 dynamics or 4 dynamics), so my kit will suffice, I just need to choose well. I felt I needed both a stronger, fuller option in my condensers and a more subtle, sensitive option to my stronger mics. The LCT 240 offers both.
It is often reviewed as a little brighter and more opinionated than the neutral and malleable LCT 440 Pure, which for less engineering savvy folk like me, making up front choices with other options available can be a help.
The power issue I can get around by adding the AMS-24 interface and running that to the H5 giving me 4 phantom powered inputs (or a ‘44 for 4 straight up and 2 in the H5), while also allowing me the XYH-5 capsule for backup or just use the interface as a portable option (which the F1 and EXH-6 were bought to do, but cannot supply power). I may even do a Scarlett or similar for mini studio or am I getting carried away again? Of course there are cheap phantom power connectors available like the BEH-PS400.
Self noise is noticeably higher than the 440 Pure, but lower than many at this price point (AT 2020) and it all depends on your uses and processing. As for sound I actually prefer the slightly tighter sound of the 240 as a point of difference to the 440 (and my dynamic mics) and it is over $100 cheaper even with the highly recommended shock mount and magnetic pop filter (potentially paying for an AMS-24). The dynamics have a similar sound, which the 240 contrasts with.
The frequency chart makes it look like it is possibly a more sibilant mic peaking in the 6-8k range, but most sound samples reveal a sharper, more delicate sound, more a “sis” than a “shush”. The 440 fills more the role of the rich and gravely sE V7 or MTP 440. The dual pop filtering options also change the tone slightly.
So, I now have (accounting for multiple role mics);
4 hand held Dynamics (TT1, sE V3, sE V7, MTP 440).
A studio style upright condenser (LCT 240).
A matched pair of pencil condensers (LCT 040).
Field shotguns (SSH-6 mid-side, MKE-400).
X/Y area/ambient (H1n, XYH-5, 040’s-also A/B).
Or to put it another way;
Soft or deep voices needing a lift (LCT 240, sE V3).
General instrumental (LCT 240, TT1, sE V7 & 3).
Bassey instruments or adding body to higher voices (sE V7, MTP 440, SSH-6, TT1).
Acoustics and strings (LCT 240, 040 Match, sE V3, SSH-6).
Maximum detail-field/studio recording (LCT 040 Match, 240).
High sound pressure levels and messy sources (MTP 440, sE V7, TT1).
Overheads, wide coverage (040 Match, 240, SSH-6)
Rough handling (sE V7 & 3, TT1, MTP 440).
That is it.
Maybe too much, or sometimes not enough. I am splitting myself between a full service sound and visual offer or just too much sound stuff for a videographer, but it has been fun and to this point has still only cost me roughly as much as an ill-considered camera or lens above the minimum needed*.
Unless I suddenly become a sound engineer or go full-nerd in field recording, I need nothing more, until I do that is.
*Sennheisser MKE-400 and some LAV’s.