Recording April 2022 - 10

REVIEW
A shocking package
The mic attaches to either a simple swivel
clip or one of the most overbuilt shock
mounts I have ever seen or used-made of
carbon fiber, spanning 7.5 " and quickly
adjustable with two compression clamps.
It features an open-front design that accommodates
an attachable magnetic dual-layer
pop screen. The mic, mounts, cables,
power supply and accessories nest
into one of the most well designed cases
I have ever seen. At 19 " x 16 " x 8 " , this
resin-based container features tiered layers
and magnetic, clamshell zipper cases
for the cable and documents-a beautiful
example of everything in its perfect place.
LEWITT LCT 1040
Ultimate microphone system
A high-tech blend of solid state
clarity and flexible tube flavors
REVIEW BY PAUL VNUK JR.
H
eadquartered in Austria, LEWITT blends European design
with global production to offer affordable microphones with
a reputation for clear sound and sonic versatility. Billed as an
'ultimate microphone system', the new LCT 1040 breaks the clear and
neutral LEWITT mold to offer its most flavorfully varied microphone to
date, and that's just the start.
Working the system
Not just a mic, the LCT 1040 is a
multi-faceted system. At its heart, the 7.7 "
x 2.6 " microphone is similar in size and
style to the tube-based LCT 840 and LCT
940 models (reviewed May 2013). At the
center of its body lives a glowing E88CC
/ 6DJ8 tube visible behind clear plexiglass
10 RECORDING April 2022
(the 840 and 940 models use a 12AX7).
The capsule is a custom Austrian-designed
1 " center-terminated true condenser with
the distinct LEWITT neon green plastic ring
behind a dual-layer grille. On the opposite
side of the metallic dark-gray body is
a backlit LEWITT logo. There are no controls
on the body of the mic.
More than meets the eye
The external power supply features a cast
metal enclosure matching the microphone's
finish. It measures 9.4 " x 6.7 " x 3.9 " and
weighs 10 lb. On its slanted top are a pair
of 2 " knobs. While equipped with stepped
indentations, both can be operated continuously
as well, with in-between settings
available. The left dial blends between the
FET and tube circuits (similar to the LEWITT
LCT 940); the one on the right selects the
polar patterns (omni, wide cardioid, cardioid,
supercardioid, fig.-8).
Above these are stepped switches
for attenuation (0, -6dB, -12dB, -24dB),
highpass filter (linear, 40 Hz @ 12dB/
oct., 80 Hz @ 12dB/oct., 120 Hz @
6dB/oct.) and tube tone (clear, warm,
dark, saturated). A dip switch flips the
direction of the capsule, allowing you to
choose which side of the mic is the front.
All functions are digitally controlled.
Three LED lights indicate power, mic connection
status, and operation mode. When
making changes that affect the capsule
voltage (polar pattern, capsule direction, attenuation),
the operation light will flash. The
time needed to make a change depends on
how much the voltage changes-quicker
when moving from cardioid to wide cardioid,
longer when moving from omni mode
to fig.-8. The light becomes steady again
after the control changes are complete.
Cables, connections and
remote control
On the back of the mic are a pair of
male XLR audio outputs. One is a direct
feed from the FET circuit and the other
Recording April 2022

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