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Top quality studio condenser.
Lewitt’s LCT 640 is designed to raise the bar in its class of reference-quality large-diaphragm condenser microphones. This Austrian-designed and engineered pro-mic delivers a smooth, unsurpassably rich and exceptionally nuanced sound, and exhibits a remarkable set of qualities that enthuses even the most discerning users. The LCT 640 excels in a variety of demanding studio applications and stands for unrivaled performance in miking lead and background vocals, drums, percussion instruments, grand pianos, brass and woodwinds, classical music ensembles.
In addition to the standard omni-directional, cardioid and figure-8 polar patterns, the LCT 640 offers a wide-cardioid and super-cardioid characteristic. It offers a dynamic range of 135 dB and stands out for its extremely low self-noise of 10 dB. In combination with a 4-level high-pass filter and 4-level switchable pre-attenuation, the LCT 640 provides maximum versatility in all recording situations. Automatic attenuation, key-lock, clipping history, push buttons and a light-up user interface round off the features of this outstanding microphone.
Order today and find a new best friend in the studio.
Reviewed by 1 customer
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Comments about Lewitt Audio Microphones LCT 640 FET Large Diaphragm Condenser Microphone:
So I'm about to write a review which is more of an ode to a microphone. Just when you think there is nothing much new, along comes the Lewitt LCT 640. It is remarkable in numerous ways. First, I've never, ever, handled a mic with less self noise. Yet, it picks up everything. How they do that is a mystery. It is also, so far, the most honest mic I've ever used. Mics do lots of things for us, often improving sounds by adding mids that would otherwise be missing from the source. Sometimes they add presence. But the 640 does none of that. And that is remarkable. Typically we pick mics for the additions, or the frequency range that they cover. Yet here is a mic that seems to treat every frequency with an even hand. And it does well even with loud sources (135dB). The polar patterns are remarkably well defined. The omni, for example, really sounds like a listening device inside of a sphere, which is quite unlike the sound I usually hear from omni's. The figure 8 is about as dead outside the pattern as you could ever want, making it perfect for excluding unwanted sources or in mid-side applications. It is not perfect in every way. Obviously if we want tube bloom it is not the right device. The mount is "ok." But these are minor quibbles. I can't see going back to the C414 line after using this mic. Is it expensive? A little. But still less than a C414. Great, great addition to the studio.
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