Today, we’ll be reviewing the Lewitt LCT 240 Pro condenser microphone.
Lewitt is a great company, and we’ve come to expect some truly fantastic products from them over the years. Without further adieu, let’s get started.
Our verdict on the LCT 240 Pro
The LCT 240 Pro is a great entry-level microphone, and can be used to great effect in a wide variety of applications.
Its high-end boost can work wonders on the right vocalists and guitars. However, this same strength can prove to be a weakness in the wrong context.
Ultimately, this is an inexpensive microphone with a great performance.Available at: SweetwaterAmazon
Polar pattern and frequency response
The Lewitt LCT 240 Pro is a pressure gradient condenser with a cardioid polar pattern, and a frequency response of 20 Hz – 20 kHz. The microphone has a maximum SPL of 142 dB and a dynamic range of 123 dB (A-weighted).
Overall, the microphone is fairly flat through its frequency response, showcasing a high-end boost starting around 2 kHz, and then peaking around 8 kHz by roughly 5 dB.
While this isn’t the best thing in the world, it can be quite useful when recording vocals or guitars where you’d like to be high-end forward regardless.
In most cases when using this microphone, we found that it actually lessened the work in post to get things to sit right in a mix – at least when used on the right vocalist or instrument.
The LCT 240 Pro is rather colorful, and the highs are fairly hyped. We would still absolutely record vocals with this mic, but its performance is far less malleable than the 440 Pure, for example.
Overall, it performs as well as any other entry-level condenser microphone, if not better. If this microphone works well for your vocalist, however, it will take very little effort in post-production to fit it snuggly within your mix.
Its cardioid polar pattern, as well as high SPL level, makes the LCT 240 Pro a solid candidate for live sound.
The microphone’s off-axis rejection, while perhaps not the greatest, should be good enough to cancel out any oncoming noise from the audience or other band members on stage.
It will need phantom power, so make sure whatever venue you’re playing at can support that (they should be able to but you never know).
The LCT 240 Pro is a perfectly capable microphone when it comes to recording drums and percussion.
While it may not be as malleable as a choice as some other higher-end microphones, its performance is satisfactory.
Its high-end boost might actually help when recording drums you’d like to cut through the mix a bit more.
The Lewitt LCT 240 Pro works perfectly for guitar amps, especially when you’re trying to capture more of that brightness and twang out of your amplifier.
It may be true that some microphones might work better for this application, but when using the 240 Pro, there won’t be anything in your recordings to make listeners think that the quality is “cheap”.
We wouldn’t recommend this microphone for recording bass guitar, at least not by itself. It could be used well as a character microphone in conjunction to another or a DI box.
However, if you’re looking to capture the low rumble or ringing subs of the low-end, the 240 Pro probably won’t deliver the results you had in mind.
The brightness of the LCT 240 Pro is actually perfect for the acoustic guitar, and can achieve some ready-to-go results you may have not been expecting.
We figured that a low-budget microphone like this might have brought forth a little too much grit, but the end results turned out to be great.
The build quality here is superb. The metal body is dense and heavy with an exceptionally solid basket.
The capsule is a bit smaller than what you might see on the more expensive models, but this isn’t an issue, especially for a more entry-level microphone.
Compared to other microphones
Here are a few comparisons to think about in conjunction to the Lewitt LCT 240 Pro.
LCT 240 Pro vs. Audio-Technica AT2035
The AT2035 is a fabulous microphone, and is a fairly close competitor to the 240 Pro.
The Audio-Technica microphone is a bit cheaper and comes with more frills (low pass filter and attenuation pad). The AT2035’s frequency response is a bit more tamed in the high-ends, but the 240 Pro is flatter throughout the mid range.
Ultimately, they’re both great entry-level microphones and you can’t go wrong with either.
LCT 240 Pro vs. Rode NT1-A
The Rode NT1-A is a fabulous microphone, and is trusted by many engineers.
While its frequency response isn’t nearly as flat as the 240 Pro, its performance speaks for itself. Truthfully, either of these microphones will suffice.
Who is the Lewitt LCT 240 Pro best suited for?
The LCT 240 Pro is best for producers on a budget, looking for an entry-level microphone.
Its performance is bright and cutting, which can work in its favor more often than not, will most likely be outshined once you start adding more microphones to your arsenal.
There’s nothing wrong with its performance otherwise, and it is a great microphone. Perhaps just not a microphone you’ll be using forever.
- High SPL level.
- Good for vocals.
- High-end boost may not be great for everything.