Lewitt LCT 240 PRO User Manual - User Manual

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THE NEX

LEVEL

PLA

THE

GAME

OFESSIONAL CONDENSER

TUDIO MICR

OPHONE

LCT 240

PRO

USER MANUAL

1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

2. Box contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

3. Features / Top applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

4. About condenser microphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

4 .1 . The basic principle of a condenser capsule    .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 3
4 .2 . Phantom power explained   .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 4
4 .3 . Polar patterns   .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 4
4 .4 . Important specs of a condenser microphone   .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 5

5. Before you start . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

6. Setting up your LCT 240 PRO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

7. Recording tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

8. Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

8 .1 . Vocals  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 8
8 .2 . Guitar amps  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 8
8 .3 . Acoustic guitar   .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 8
8 .4 . Drums  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 9
8 .5 . Stage use    .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 9

9. Tech graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

10. Specs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Index

11. Accessories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

12. Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

13. Safety guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

14. Regulatory information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

15. Warranty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

About condenser microphones

4.1.

The basic principle of a condenser capsule

A condenser capsule consists of a diaphragm, that is positioned in close proximity

to a solid metal plate hence forming a capacitor . This diaphragm is electrically
conductive .

The lower the mass of the diaphragm, the more sensitive it is to changes in

sound pressure . In an audible frequency range, we can perceive these changes of
sound pressure, and commonly refer to them as sound .

Sound waves hit the diaphragm, making it moving back and forth . As the

capacitance changes according to the rhythm of incidental sound waves,
the electronics transform the change in capacitance into alternating voltage
- mechanical waves are converted into an electrical signal .

Although the induced voltage is relatively high and could, in theory, be audible

on your headphones, the signal breaks down in an instant due to the internal
impedance of the capsule . An impedance converter and other electronics like an
internal amplifier are used to process the induced voltage so that it can be safely
transmitted to following equipment .

The condenser microphone has to be supplied with external power to generate

polarization voltage for the capsule and to power the internal electronics . This
external power source is commonly known as “Phantom Power” . (Microphones
with permanently polarized condenser capsules still need phantom power to make
the internal electronics work .)

Introduction

Thank you for choosing a LEWITT product! In this operating manual, you can
learn more about your LEWITT microphone and its proper usage . We have put all
our knowledge and passion for audio technology into building microphones for
people, whose standards for work and performance are as high as our own .

Box contents

LCT 240 PRO - Condenser microphone

DTP 40 Mts - Mic mount with 5/8" thread and 3/8" adapter

LCT 40 Wx - Windscreen

DTP 40 Lb - Leatherette transport bag

Features / Top applications

The LCT 240 PRO is an extremely versatile cardioid condenser microphone
designed for everyone who’s eager to take the next step in professional recording .
Equipped with a high-performance condenser capsule it enables clean, modern,
and detailed recordings . To accomplish an intimate and direct sound, especially
on vocals, we have added a boost on the airy frequencies .

How to read a polar pattern diagram

First of all, you have to be able to read a polar pattern diagram properly . It contains
all necessary information you need to foresee the result during recording .

Think of a a 360° field surrounding the microphone. 0° is the “front” of the
microphone and the angle where the microphone has its maximum sensitivity .
The scale of the circle consists of smaller circles, each representing a 5 dB
decrease in sensitivity .

The decibel (dB) is a logarithmic unit to compare two values. If the specification
of a cardioid pattern microphone states it has a rear rejection of 25 dB, it means
that the most sensitive part (0°) is compared with the least sensitive part (180°)

For (sound) pressure, current and voltage +6 dB is double the signal strength,
+20 dB leads to 10 times the signal . A typical rear rejection for a cardioid pattern
is about -20 dB . Sound coming from the back of the microphone is picked up at
1/10th sensitivity relative to the front signal .

Cardioid

The most commonly used polar
pattern is most sensitive at 0° and
least sensitive at 180° . You cannot go
wrong using this for most recording
applications . It is easy to get a dry
signal as the cardioid pattern blends
out a bad sounding room, a noisy fan
in the background, etc .

4.2.

Phantom power explained

All condenser microphones require an external power source called “Phantom

Power” to generate polarization voltage for the capsule and to power the circuitry .
Without phantom power, a condenser microphone will not work .

Phantom power is a DC voltage, that can be supplied by an audio interface,

mixing console, pre-amplifier or a designated phantom power supply unit.

Phantom power needs to be switched on using a designated button located

on the audio interface, preamp, or other recording devices . In most cases,
the designated button reads “P48” or “Phantom Power” .

Phantom power is always supplied via the connected standard 3-pin XLR cable

and does not require any other connector or cable in addition to that .

When activating phantom power, a sound can be audible - this is perfectly

normal . You can mute the microphone channel while turning on phantom power
to avoid this sound .

4.3.

Polar patterns

It is important to understand the basic principles of polar patterns to get the best out
of every recording . The polar pattern of a microphone determines the sensitivity on
different angles. In other words, it defines how much of the signal will be picked up
by the microphone from different directions . By selecting the right pattern, you can
avoid unwanted sound sources to bleed into your signal, adjust the mix between dry
and room sound or change the frequency response and handling noise sensitivity .

Polar graph frequency

1 .000 Hz

0˚

180˚

-10

30˚

330˚

150˚

210˚

60˚

120˚

300˚

240˚

90˚

270˚

Figure 4 .1

In other words, there is a sound pressure level that matches the inherent noise of
the microphone . This sound pressure level is the equivalent noise level (self-noise)
of a microphone .

Example: if a microphone has a self-noise value of 10 dB (A) SPL and picks up
a sound source with 10 dB (A) SPL the signal to noise ratio is 1:1 or 50/50 .

Frequency response

The frequency response shows the sensitivity over the microphone’s frequency
spectrum and has a huge influence on the “sound” of a microphone. See tech
graph section for the frequency response chart .

MAX SPL

LCT 240 PRO - Max . SPL for 0 .5 % THD: 142 dBSPL

Manufacturers state the maximum sound pressure level a microphone can handle
before the signal starts to distort . In sound recording, we often aim for a “pure”,
undistorted signal . When distortion becomes audible, depends on the source
material and the listener‘s perception . Most manufacturers state the MAX SPL at
0 .5% THD (Total Harmonic Distortion), measured at 1kHz .

4.4.

Important specs of a condenser microphone

Sensitivity

LCT 240 PRO - Sensitivity: 16 .7 mV/Pa, -35 .5 dBV/Pa

You can often read that a condenser microphone has a “high” sensitivity . What
does that mean in practical terms? In short, it means that a more sensitive
microphone is “hotter” – i.e. it requires less gain (amplification) to achieve
a certain output level . You can specify a microphone’s sensitivity in two ways:
in mV/Pa or dBV/Pa .

“16 .7 mV/Pa” means, the microphone produces an output signal of 16 .7 mV
when it is being exposed to 1 Pascal (1Pa = 94 dB SPL) . “-35 .5 dBV/Pa“ means,
the microphone produces an output signal of -35 .5 dBV when it is being exposed
to 1 Pascal (1Pa = 94 dB SPL) . This value is practical, as dB values are easily
comparable .

LCT 240 PRO: -35 .5 dBV/Pa .
Microphone X: -55 .5 dBV/Pa .
Microphone X would need an extra gain of 20 dB to produce the same output
level as the LCT 240 PRO .

Equivalent noise level or

self-noise

LCT 240 PRO - Equivalent noise level: 19 dB (A)

Self-noise or, more accurately, equivalent noise level is the sound pressure level
that is equal to the RMS voltage that can be measured at the output connector of
a microphone without an external sound source being recorded .

The LEWITT logo indicates the front of the microphone . The front should always

face the sound source you are planning to record .

Connect the LCT 240 PRO via standard 3-pin XLR cable to your recording

device or preamp . Make sure it is capable of providing 48V phantom power (P48) .

Mute your microphone channel before you turn the phantom power on - it

produces a switch-on sound .

Finding the right gain setting - Set the input gain on your recording interface

according to the sound source you want to record . Just play or sing the loudest
part of the track you are about to record and find the right gain setting. With having
your peaks around -12 dBFS you will be save in most cases, and do not need to
worry about ugly distortions but still have a good signal-to-noise ratio .

Before you start

Before you can start recording, you should check if you have all the necessary
equipment . A microphone alone is not able to complete this task - not even ours .

Nowadays the easiest and most uncomplicated way is to buy a microphone and

an audio interface that you can connect to your computer . This setup is the most
cost-efficient recording solution.

Make sure that your audio interface has an XLR-input channel that can supply

48V phantom power .

You also need a 3-pin XLR cable and a sturdy microphone stand .

There are several software solutions (DAW = Digital Audio Workstation) available

that serve as your digital studio . Their functionality ranges from basic recording
functions to studio professionality .

Setting up your LCT 240 PRO

The LCT 240 PRO comes with a mic mount . Attach the mount to a stable and

sturdy microphone stand . Put the LCT 240 PRO into the mount and secure it by
fastening the screw by turning it clockwise . Make sure the LEWITT logo faces
your sound source .

If you are planning to record vocals or spoken word, make sure to use a pop

filter. A pop filter prevents plosive sounds that are overloading the signal. Plosive
sounds are occurring when pronouncing aspirated plosives, which are sounds that
are accompanied by a strong burst of breath, e .g . P(opping) in spoken language .

to get a completely quiet room, but that is not a big problem . Try to position
the microphone and sound sources you like to record away from unwanted noise
sources . As the LCT 240 PRO features a cardioid pattern with an excellent rear
rejection, meaning that your microphone is a lot less sensitive to sound coming
from the back .

The proximity effect

The closer you position your microphone to your sound source, the more
pronounced is the lower frequency range . This effect is called the proximity
effect, and names the phenomenon of the increase of low frequency response .
It helps your vocals or instruments to sound fuller and warmer, but it is essential
to find the right balance, as too much low end in your vocals might get in the way
of the frequency range of other instruments . And guitar recordings, for example,
tend to sound muddy with too much low-end being recorded .

Recording tips

In the following chapters we will provide you with some basic tips about recording .
Take this as a rough guide, not as hard rules . Take your time to experiment and
don’t be afraid to try different things. Always listen to your ears! In a very simplified
analogy, you can think of the mic as a flashlight. Whatever your “beam of light”
illuminates, will be in the focus of your recording .

Room sound

Try different rooms if you have the possibility, every location sounds different . A
living room with shelves, couches, and carpet will sound balanced, quite dry and
will be suitable for most situations . A bathroom will sound more lively due to its
reflective tiles. For some scenarios, it can be an interesting place to record vocals
or acoustic instruments . Long story short: Finding the right location can make a
big difference . Just be creative .

Microphone positioning

Always spend enough time on positioning your microphone . Even the smallest
changes can make a huge difference to the final results. Remember that mic
positioning is one of the things that heavily define the quality and sound of your
recording, but cannot be changed after the recording process is completed . If you
are trying out different microphone positions, make sure that your EQ settings
are flat on your DAW, channel strip, audio interface, mixing console, etc. This
way you can clearly hear the differences in frequency response that occur from
different microphone positions relative to your sound source .

Sensitive microphones

Sensitive microphones pick up all sounds in a room . You may not notice
unwanted sounds right away, take a minute to check for noises from outside,
fans, air conditioners, creaking floors and so on. Most of the time it is unlikely

A cardioid pattern is perfect to get a very defined, articulated, and dry recording.

A dry recording gives you the freedom to add reverb (or other effects) to your
vocal track later on according to your needs . You can always add reverb, but it is
very difficult to almost impossible to reduce your room sound in post-production
without loss of signal quality .

If the vocals sound too bright, try to sing a little bit from the side . The frequency

response changes slightly depending on the angle and you might get a more
suitable sound for your recording .

8.2.

Guitar amps

To record a guitar or bass cabinet, start with pointing your microphone towards

the speaker’s center. From there, start moving your mic outwards until you find
a suitable sound . In the center, the speaker’s cone, the sound is the brightest .
Especially when miking speakers, slight changes in position can produce a
completely different sound . Experiment with the position (angle and distance)
of the mic, or use more than one mic to get a fuller and more unique sound .
We suggest using an additional MTP 440 DM .

8.3.

Acoustic guitar

An easy and very common way to record acoustic guitar using only one

microphone is to place it 20-30 cm away from the instrument, pointing towards
the area where the neck and body meet . If you are using two microphones, point
one towards the 12th fret, the other one points towards the soundhole .

Applications

A condenser microphone is a classic go-to microphone for studio work, as it can
capture every subtle nuance of the sound source, therefore delivering natural
and detailed sound .

8.1.

Vocals

Use the windscreen or a pop filter. It not only helps to avoid plosives and hisses

on your recording but also protects the condenser capsule from being exposed
to moisture .

Define a distance that the vocalist is supposed to keep relative to the microphone.

Depending on the voice and the style of the vocalist this distance may vary (even
during the recording) . Try starting with a short distance of approximately 15 cm .
Use tape to mark a spot on the floor.

The further away you are from the microphone, the more room sound you end

up recording besides your voice .

The closer you are relative to your microphone, the more pronounced is your

lower frequency range . This effect is called the proximity effect, and basically
names the phenomenon of the increase of low frequency response, the closer
you get to the microphone . It helps your vocals to sound fuller and warmer, but
it is very important to find the right balance, as too much low end in your vocals
might get in the way of the frequency range of other instruments .

8.4.

Drums

Although you often see drums being miked with lots of microphones, you can

achieve good results using a single condenser microphone . Especially for pre-
production, or demo-recordings, it is an uncomplicated way to record your ideas
or song-structures . The front-of-kit position is recommended for those scenarios;
it records all parts of the kit, but it also delivers a punchy sound coming from the
kick . If you want to upgrade your sound using another mic:

Take a dynamic microphone like the DTP 340 REX and complement your

setup by miking the kick as well . Move the condenser microphone to an overhead
position . With hole in kick drum skin: A good starting position is half-way in,
pointing towards the beater, try different angles until you are satisfied.

Without hole: position it close to the skin, starting from the center, moving
outwards until you find a pleasant sound. Also vary the distance, but be aware,
the further away, the more bleed you get from other parts of the drum kit .

Adding a snare mic – Try to position the snare mic in a way that it does not pick

up too much sound coming from the hi-hat . Use the rear rejection of the cardioid
pattern to achieve a clean snare recording . Start by positioning the mic above the
rim, pointing to the center of the snare drum . Try varying the angle and also the
distance . A good starting distance is around 5 cm between capsule and rim .

8.5.

Stage use

Of course, a condenser microphone can also be used for many stage

applications, for example, cymbals, amplifiers, overheads, vocals, acoustic
instruments, and more . Although condenser microphones are high-precision tools,
they are not as fragile as their reputation may suggest . Today’s manufacturing
standards allow us to build condenser microphones that can be used in the
studio as well as on stage, so there is no need to worry – just please do not throw
it around . It is always recommended to handle tools with the appropriate care,
which helps to sustain their longevity .

Tech graphs

// Check out the interactive tech graph

here.

Polar graph frequency

125 Hz

250 Hz

500 Hz

1 .000 Hz

2 .000 Hz

4 .000 Hz

8 .000 Hz

16 .000 Hz

0˚

180˚

-10

30˚

330˚

150˚

210˚

20 Hz

-20 dB

-10 dB

0 dB

10 dB

20 dB

100

200

500

1 .000

10k

20k

60˚

120˚

300˚

240˚

90˚

270˚

Figure 9 .1 - Frequency response of the LCT 240 PRO

Figure 9 .2 - Polar graph of the LCT 240 PRO

10.

Specifications

Type

Condenser, permanently polarized

Acoustical operating principle

Pressure gradient transducer

Transducer Ø

17 mm, 0 .67 in

Polar pattern

Cardioid

Sensitivity

16 .7 mV/Pa, -35 .5 dBV/Pa

Dynamic range

123 dB (A)

Equivalent noise level

19 dB (A)

Max. SPL for 0.5 % THD

142 dBSPL

Supply voltage

48 V +/- 4 V

Current consumption

3 .1 mA

Internal impedance

100

Rated load impedance

1,000

Connector

Gold plated 3-pin XLR

Mic enclosure

Zinc die cast

Microphone dimensions

138 x 52 x 36 mm, 5 .43 x 2 .04 x 1 .42 in

Microphone net weight

310 g, 10 .9 oz

Table 10 .1

Microphones measured according to: IEC 60268-4

Phantom power according to: IEC 61938

Noise measurement according to: IEC 60268-1

11.

Accessories

DTP 40 Mts - Mic mount

Rubber microphone mount. Provides firm grip and attenuates structure borne
noise . Compatible with 3/8" and 5/8" threads .

LCT 40 Wx – windscreen

This one is especially useful when using the microphone outdoors, to shield the
capsule from wind . Can also be used for vocal recordings, to protect the capsule
from moisture .

DTP 40 Lb - transport bag

Microphones which are not in use should not remain on the stand gathering dust
or be unnecessarily exposed to humidity . Unmount it and put it into the supplied
DTP 40 Lb transport bag .

LCT 40 SH - shock mount (optional)

A shock mount is recommended for most recording applications as it reduces
unwanted structure-borne noise .The open front of the shock mount allows you
to position the microphone as close as you like to the source .

LCT 50 PSx - magnetic pop filter (optional)

The magnetic pop filter was designed to perfectly integrate with the design of the
microphone and its shock mount. A pop filter not only helps to avoid plosives and
hisses on your recording, but also protects the condenser capsule from being
exposed to moisture .

Compatible with LCT 40 SHx, LCT 40 SHW, LCT 40 SH .

12.

Troubleshooting

I cannot hear anything!

Check if phantom power (P48) is switched on . A condenser microphone always

needs to be supplied with 48V phantom power to work .

Check your whole signal chain one by one and check if all connected equipment

is supplied with sufficient electrical power.

Check if your audio interface, mic-preamp, or other subsequent equipment

receives an input signal .

Check if all cables are well connected and functional .

My signal sounds distorted, what can I do?

Check and adjust input gain on your audio interface, mic-preamp, or other

subsequent equipment – always make sure you leave sufficient headroom.

Plosives sounds during vocal recordings can overload the capsule – use a pop

filter and/or keep a greater distance between source and microphone.

Structure-borne noise – use a shock mount .

My recording sounds muffled!

Make sure the Lewitt logo is facing the sound source during recording .

To record with full sensitivity do not cover any part of the wire mesh .

13.

Safety guidelines

Lewitt GmbH shall not be liable for consequences of an inappropriate use
of the product not complying with the technical allowance in the user manual
such as handling errors, mechanical spoiling, false voltage and using other
than the recommended correspondence devices . Any liability of Lewitt GmbH
for any damages including indirect, consequential, special, incidental and
punitive damages based on the user’s non-compliance with the user manual
or unreasonable utilization of the product is hereby excluded as to the extent
permitted by law . This limitation of liability for damages is not applicable for the
liability under European product liability codes or for users in a state or country
where such damages cannot be limited .

Please note:

The capsule is a sensitive, high precision component . Make sure you do not

drop it from high heights and avoid strong mechanical stress and force .

To make sure that the microphone’s high sensitivity and sound reproduction

quality is sustained, avoid exposing it to moisture, dust or extreme temperatures .

Do not apply extensive force when disconnecting a cable, always pull on the

connector and not on the cable itself .

Microphones which are not in use should not remain on the stand gathering

dust or be unnecessarily exposed to humidity . Store it in a dry and safe space .

Do not attempt to modify or fix the microphone as it would void your product

warranty .

The casing of the microphone can be cleaned easily using a wet cloth, never

use alcohol or another solvent for cleaning .

Keep this product out of the reach of children .

Please also refer to the owner’s manual of the component to be connected

to the microphone .

14.

Regulatory information

This device complies with Part 15 of the FCC Rules .
Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and
(2) This device must accept any interference received,
including interference that may cause undesired operation .

Declaration of conformity can be requested at

info@lewitt-audio.com

Manufacturer Details
Lewitt GmbH
Burggasse 79
1070 Vienna, Austria

DI Roman Perschon

CEO LEWITT GmbH

15.

Warranty

All products manufactured by LEWITT GmbH feature a limited two-year warranty .
This two-year warranty is specific to the date of purchase as shown on your
purchase receipt .

LEWITT GmbH shall satisfy the warranty obligations by remedying any material or
manufacturing faults free of charge at LEWITT’s discretion either by repair or by
exchanging individual parts or the entire appliance . Any defective parts removed
from a product during the course of a warranty claim shall become the property
of LEWITT GmbH . While under warranty period, defective products may be
returned to the authorized LEWITT dealer together with original proof of purchase .
To avoid any damages in transit, please use the original packaging if available .
Please do not send your product to LEWITT GmbH directly as it will not be serviced .
Freight charges have to be covered by the owner of the product .

For further information, please visit www.lewitt-audio.com.

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