Lewitt LCT 240 Pro

ManualsBrandsLewitt ManualsLarge Diaphragm MicsLCT 240 PRO BK Bundle

ewitt stress the words

‘nuanced’ and

‘transparent’ in the

literature for the LCT

240 Pro. At £149, this

is a tall order, as every

cost-cutting decision

can nibble away at the performance

of the capsule, the ampliﬁ er and the

casing. Budget microphones are

rarely transparent and rarely deliver a

nuanced sonic performance. However,

it’s not impossible, and simplicity is

key. In this respect Lewitt start well

with a straightforward rectangular

side-address cardioid condenser

design with no additional controls.

The package includes a basic, good-

quality mic clip, a foam windshield

and a leatherette carry bag.

The LCT 240 Pro uses a 17mm

diameter capsule (small diaphragm),

which I assume is the same as the

LCT 240. The difference is that,

somewhat counterintuitively, the ‘Pro’

model does away with the pad and

low-cut controls, as well as the

automatic attenuation and clip history

features. The simplicity of the LCT

240 Pro is coupled with a rugged

metal casing and grille mesh to keep

it safe. The only frivolous feature is

that it comes in either black or white!

I have been given this mic and the

model above, the LCT 440 Pure

(review next issue), to inspect the two

together, so I tested them side by side

along with my own collection for

reference. For some sources the

differences were slight, with the 240

tending to be brighter with a lighter

(or less extended) low-end. The 240

output is around 6dB lower than the

more expensive 440, with a higher

noise ﬂ oor (some of this due to the

brighter HF response). In front of a

blaring guitar amp, the 240 held out

for an extra few dB before audible

clipping occurred.

The LCT 240 Pro performs well

with pretty much any source. For

vocals it easily delivers a natural and

full sound with enough upper-mid to

minimise presence EQ tweaks in the

mix, but without becoming harsh or

brittle. For regular vocal work it will

need a pop ﬁ lter, though the foam

windshield does an adequate job for

all but the most dynamic or close-up

performances. The proximity build-up

is pleasant and doesn’t get too boomy

with voice/acoustic guitar, while on a

guitar amp it sounds rich and punchy.

The low-end gets a little light below

100Hz, so it may not be suited to

bass amp or kick drum recording. The

high-end can get a little brash with

complex sources, like a distorted

guitar amp, but angling a little can

help adjust its response.

The LCT 240 Pro appears to have

made the LCT 240 more affordable

by removing the least essential parts

(onboard controls), leaving a quality

condenser mic for the studio and

beyond. It performs well in the jack-

of-all-trades role and easily holds its

own against the models I’ve tried in

this price range; the build quality

could be the clincher though as this

THE PROS & CONS

It has a good

all-rounder response

Built to last

High SPL handling

No pad or

low-cut controls

A little light in

the bass

FM VERDICT

8.2

Delivers the requisite bang-

for-buck in a rugged casing.

The sonics do not disappoint

and it will hold its place in

an expanding mic collection