RECORDING January 2023 - 36
REVIEW
LEWITT BEATKIT PRO
the MTP 440 DM for reference, as it's
a well-known sound. In comparison, I
found the MTP 440 DM slightly darker
than the SM57, with a bit more throaty
mid-range. Nicely, it's not so dark that
you lose the stick attack or snare buzz,
though. I tried metal and wood snare
drums at various tunings, and the MTP
440 DM kept up with me the whole
time, delivering a great punchy sound.
At higher tunings, it did a great job
of taking some of the " edge " off, while
with lower gut-punch tunings, it enhanced
the low-end and offered a controlled
and hefty punch. The MTP 440
DM is undoubtedly versatile enough for
any drummer or engineer to have in
their mic locker. According to LEWITT,
the legendary session drummer Kenny
Aronoff has crowned it as his favorite
snare drum mic. [It's also a great flavor
to have on hand for electric guitar
amps.-Ed]
two signals into individual XLR outputs
to dial in your perfect blend of dynamic
punch and condenser clarity. With the
included tone switch, you can set each
capsule flat, boost the low-end of just
the dynamic capsule, or simultaneously
boost the mids of the dynamic (4-6 kHz)
and low frequencies of the condenser.
Kick It!
I was surprised at just how different
the two capsules sound when positioned
just inside the port hole of my kick
drum. The dynamic capsule delivered
the sound I am typically accustomed
to with most dynamic kick offerings-
tight, defined and with just the right
amount of boom.
The condenser picked up considerably
more of the beater attack and offered
substantially more low-end reach
with the third tone setting than the dynamic
capsule on its own.
A wide range of sounds are produced
by using it inside the sound hole,
on the outer kick head alone, or even
with an additional kick mic to use in the
mix down.
It also sounded absolutely killer on
my 16 " floor tom. I have always been a
36 RECORDING January 2023
fan of kick drum mics as tom mics, and
the DPT 640 REX is no exception. Having
one mic sonically cover this much
ground in the studio is invaluable.
MTP 440 DM
The MTP 440 DM snare mic is a
cardioid pattern dynamic mic tailored
to make your snare drum sound shine.
After the heft of the DTP 640 REX, I
was surprised to feel the light weight. It
comes with a standard mic clip and a
common sawtooth-style drum mounting
clip (favored by many mic companies).
As I began clipping the included
mount onto my snare drum rim I ran
into the same problem I often do with
my main drum kit. My Gretsch Brooklyn
kit is fitted with 302 vintage-style " stick
chopper " hoops, which are significantly
higher than standard triple flange or diecast
hoops. After a bit of force, I did get
them on successfully. This shouldn't be a
problem for most common drumsets. Just
be aware that some drum rims might not
be ideal for these types of clips.
Ensnared
As I always do on snare drum mic reviews,
I placed a Shure SM57 next to
DTP 340 TT
The BEATKIT PRO comes with three
DTP 340 TT dynamic mics designed for
toms. These have a supercardiod pattern
and are about half the size of the
MTP 440 DM and, again, surprisingly
light. Each one comes with a custom adjustable
mic clip and one of the drum
clamps mentioned earlier.
Focusing In
The supercardioid pattern does an
excellent job of reducing bleed from
the cymbals and other parts of the kit.
The DTP 340 TT delivers a balanced,
tight, and what I might call a bit of a
dry sound. While I prefer cardioid mics
on toms bleed and all, I could still get
plenty of use out of the DTP 340 TT with
a bit of tweaking in post to coax out my
preferred sound.
LCT 140 AIR
Last is the matched stereo pair of
LCT 140 AIR cardioid condenser mics.
The name is entirely appropriate, as
these are incredibly lightweight. There
are three switches on the top of the
mic. The first switch selects between
a flat frequency response or the " Air "
setting. Air adds a 5dB 10 kHz boost
accentuating a sparkling, but never
harsh high-end. The second switch is
an 80 Hz low cut, and the third switch
engages a -12dB pad.
RECORDING January 2023
Table of Contents for the Digital Edition of RECORDING January 2023
Fade In
Fast Forward
Roland SPD-SX PRO Sampling Pad
Session Log with Marc Urselli: Trasfrontera Japan, taiko drums, Kaoru Watanabe and Anna Sato
Soundware Showcase: Toontrack Hitmaker SDX
PreSonus Studio One Version 6
Hugh Padgham: Behind the Gates of the Hitmaker
LEWITT BEATKIT PRO
Soundware Showcase: Spitfire Audio Abbey Road Orchestra: Low Percussion
Studio 101 with Joe Albano: An Intro to Drum Recording
sE Electronics T2
Solid State Logic SSL CONNEX
API 3122V
Inside the Studio with Mark Hornsby: Steve Gadd
Plugin Outlet: Strymon BigSky Plugin
Panda Audio Future Impact v3
EFNOTE 3X & EFNOTE 7
Readers’ Tracks
Fade Out: New (Year’s) Studio Resolutions
RECORDING January 2023 - Intro
RECORDING January 2023 - Cover1
RECORDING January 2023 - Cover2
RECORDING January 2023 - 1
RECORDING January 2023 - 2
RECORDING January 2023 - 3
RECORDING January 2023 - Fade In
RECORDING January 2023 - 5
RECORDING January 2023 - 6
RECORDING January 2023 - 7
RECORDING January 2023 - Fast Forward
RECORDING January 2023 - 9
RECORDING January 2023 - Roland SPD-SX PRO Sampling Pad
RECORDING January 2023 - 11
RECORDING January 2023 - 12
RECORDING January 2023 - 13
RECORDING January 2023 - Session Log with Marc Urselli: Trasfrontera Japan, taiko drums, Kaoru Watanabe and Anna Sato
RECORDING January 2023 - 15
RECORDING January 2023 - 16
RECORDING January 2023 - 17
RECORDING January 2023 - 18
RECORDING January 2023 - 19
RECORDING January 2023 - Soundware Showcase: Toontrack Hitmaker SDX
RECORDING January 2023 - 21
RECORDING January 2023 - 22
RECORDING January 2023 - 23
RECORDING January 2023 - PreSonus Studio One Version 6
RECORDING January 2023 - 25
RECORDING January 2023 - 26
RECORDING January 2023 - 27
RECORDING January 2023 - Hugh Padgham: Behind the Gates of the Hitmaker
RECORDING January 2023 - 29
RECORDING January 2023 - 30
RECORDING January 2023 - 31
RECORDING January 2023 - 32
RECORDING January 2023 - 33
RECORDING January 2023 - LEWITT BEATKIT PRO
RECORDING January 2023 - 35
RECORDING January 2023 - 36
RECORDING January 2023 - 37
RECORDING January 2023 - Soundware Showcase: Spitfire Audio Abbey Road Orchestra: Low Percussion
RECORDING January 2023 - 39
RECORDING January 2023 - Studio 101 with Joe Albano: An Intro to Drum Recording
RECORDING January 2023 - 41
RECORDING January 2023 - 42
RECORDING January 2023 - 43
RECORDING January 2023 - sE Electronics T2
RECORDING January 2023 - 45
RECORDING January 2023 - Solid State Logic SSL CONNEX
RECORDING January 2023 - 47
RECORDING January 2023 - API 3122V
RECORDING January 2023 - 49
RECORDING January 2023 - Inside the Studio with Mark Hornsby: Steve Gadd
RECORDING January 2023 - 51
RECORDING January 2023 - 52
RECORDING January 2023 - 53
RECORDING January 2023 - 54
RECORDING January 2023 - 55
RECORDING January 2023 - Plugin Outlet: Strymon BigSky Plugin
RECORDING January 2023 - 57
RECORDING January 2023 - Panda Audio Future Impact v3
RECORDING January 2023 - 59
RECORDING January 2023 - EFNOTE 3X & EFNOTE 7
RECORDING January 2023 - 61
RECORDING January 2023 - 62
RECORDING January 2023 - 63
RECORDING January 2023 - Readers’ Tracks
RECORDING January 2023 - 65
RECORDING January 2023 - 66
RECORDING January 2023 - 67
RECORDING January 2023 - 68
RECORDING January 2023 - 69
RECORDING January 2023 - 70
RECORDING January 2023 - 71
RECORDING January 2023 - Fade Out: New (Year’s) Studio Resolutions
RECORDING January 2023 - Cover3
RECORDING January 2023 - Cover4
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