The LCT 940 combines a premium large-diaphragm FET condenser microphone and a top-notch tube microphone in a single housing. All functions are controlled from the PSU and the two impedance circuits (tube and transistor) can be combined. The mic comes in a rugged case which houses PSU, cable and shock-mount.
The only complaint that you could possibly have with this mic is all the options, some might say too many options! Lewitt has crammed all you could possibly want in an LDC mic and put it at an incredible price point. This is what happens when great design, high tolerance and affordable manufacturing is really implemented properly. The only knocks I can give this mic are in the visual aesthetics department, it has a very industrial sci-fi look which might not be everyone's cup of tea, it is also heavy. This is not the mic to put up in front of the singer that is new to the studio as it might be intimidating.
How does it sound, quiet and open to this persons ears. The FET and the tube circuits can be mixed via a single pan like control. Mixing offers a lot of sonic options. The best way I can describe in words the FET to tube sonics is imagine having an LDC mic that you can warm up or tighten up for the desired result, change the impedance amp instead of EQ'ing, it's like having a U47 tube or a U47 FET on the same source and preamp and being able to blend them. That Sax or Violin sounding a little harsh for the track, head for the tube side that acoustic or electric guitar not clear or punchy enough head FET'wards and you can just imagine what you might be able to achieve with vocals or spoken word work. This might very well be the best foley mic I have ever seen. The pattern selection is easy and quiet (no loud popping when switching) great versatility as well, it literally offers them all from omni to Figure of 8 and everything in-between, the pad is a real pad and the high pass filter has multiple steps with more low end roll off than any other mic I know of. Lets face it quite handy in the less than optimal rooms we work in these days.
There is a built in limiting circuit also included in the feature set. This is a bit odd to implement (refer to the manual), I don't think I would ever use it myself, it could come in handy though in a guerilla recording set-up.
There is a bit of a learning curve with how all these features are accessed and implemented. They are all done at the PSU and only a few controls do multiple functions. It becomes quickly intuitive though. In short you are going to have to read the manual and keep a copy available for your engineering staff.
This mic would be my answer to the often asked "if I was going to buy one mic for everything what should I get" question (we all know that this mic and unicorns are on the same availability list) I would say look at the Lewitt 940.
The only complaint that you could possibly have with this mic is all the options, some might say too many options! Lewitt has crammed all you could possibly want in an LDC mic and put it at an incredible price point. This is what happens when great design, high tolerance and affordable manufacturing is really implemented properly. The only knocks I can give this mic are in the visual aesthetics department, it has a very industrial sci-fi look which might not be everyone's cup of tea, it is also heavy. This is not the mic to put up in front of the singer that is new to the studio as it might be intimidating.
How does it sound, quiet and open to this persons ears. The FET and the tube circuits can be mixed via a single pan like control. Mixing offers a lot of sonic options. The best way I can describe in words the FET to tube sonics is imagine having an LDC mic that you can warm up or tighten up for the desired result, change the impedance amp instead of EQ'ing, it's like having a U47 tube or a U47 FET on the same source and preamp and being able to blend them. That Sax or Violin sounding a little harsh for the track, head for the tube side that acoustic or electric guitar not clear or punchy enough head FET'wards and you can just imagine what you might be able to achieve with vocals or spoken word work. This might very well be the best foley mic I have ever seen. The pattern selection is easy and quiet (no loud popping when switching) great versatility as well, it literally offers them all from omni to Figure of 8 and everything in-between, the pad is a real pad and the high pass filter has multiple steps with more low end roll off than any other mic I know of. Lets face it quite handy in the less than optimal rooms we work in these days.
There is a built in limiting circuit also included in the feature set. This is a bit odd to implement (refer to the manual), I don't think I would ever use it myself, it could come in handy though in a guerilla recording set-up.
There is a bit of a learning curve with how all these features are accessed and implemented. They are all done at the PSU and only a few controls do multiple functions. It becomes quickly intuitive though. In short you are going to have to read the manual and keep a copy available for your engineering staff.
This mic would be my answer to the often asked "if I was going to buy one mic for everything what should I get" question (we all know that this mic and unicorns are on the same availability list) I would say look at the Lewitt 940.