The Lewitt brand grabbed my attention a couple if years ago when I deeply researched useful XLR mics for my H5 to lift it beyond it’s capsules capsules.
The mission was tough, as a videographer will balance practicality with performance, but I did manage it, even though the mics, a matched pair of 040 Match pencil condensers were rarely used.
They added a level of sound capture different to the capsules I owned, technically better, but mainly different in application and made the most of the H5’s full feature set.
They were an unlikely win for someone new to all this.
Lewitt seem set to add more dissent to the strangle hold Shure have had on the dynamic mic market for years, but it is in their condensers they produce some low cost winners.
The LCT 240 Pro is a medium diaphragm vocal and general instrument specialist. Like the 040’s this seemed to be one of those “punch above your weight” mics, although being a condenser it produced a problem, something that the H5 could not fix. The Zoom could only power two condenser microphones and I would have three to pick from.
It could however manage two dynamic mics with the EXH-6 adapter. I then went looking for dynamic mics and settled on the sE V series as the best modern upgrade to the venerable Shure pair (SM57/58).
I also picked up the Lewitt MTP 440, the polar opposite of the 040’s, but equally well reviewed and another “Shure killer”.
This quickly led to more mics, then the H8. The H8 opened up options, powering up to six condenser mics.
After this I did still get the LCT 240, deciding to use it as an either/or with the 040’s, then the a second 240, thanks to some stock shortages and mix-ups with other choices, which happened literally minutes after committing to the Zoom H8 so I can now use all together.
I finished the set with a second 440.
Two 040’s for all things high and clear, with area coverage as a bonus.
Two 240’s as the work horse mid-range vocal and instrument specialists.
Two 440’s as low end and high sound pressure beasts designed to do their job without effecting their more sensitive friends.
The last 440 is on the way and I consider myself lucky to get the last one I could find. Some Lewitt mics seem to be scarce in these parts at the moment. No 340tt, 340 Rex, or 440’s and few of the others. I almost bought the Beat kit (340 Rex, 440 and 2x 040’s), because nothing would be wasted (and you get a cool box).
All three mics are gaining strong reputations as respective class leaders. All stand out, even in Lewitts own impressive and growing pack.
Why pairs?
Mainly because with pairs of the same mic, matched or not, you have consistent and predictable problem solvers with room coverage and stereo imaging.
Why the same brand?
Because when a brand makes a set of mics, they often have simialr tonal properties designed to overlap harmoniously. The 040’s cover all thing except the bass heavy. The 440’s are solid and smooth through the lower range, but effectively absent in the high register and the 240’s sit somewhere in the middle to high end.
(The thought has crossed my mind that 2x 040 and 2x 440 would have likely fixed most needs)
They compliment each other, without sonically fighting each other for space. High frequencies especially blocking up is a genuine issue apparently, something the 440’s help reduce by adding depth without adding top end unless wanted. They can work as a one mic solution up to probably strings or acoustic guitar, then show their weakness in very high registers.
These personify my philosophy of hunting down balanced and complimentary, best performers in their class, in reasonably priced forms of all types.
The sE series are the same. I have the presence pushy V3, neutral and solid V7 and wide ranged and versatile V7x, but being dynamics, their role is limited.