Lewitt LCT 440 PURE User manual

1
1" TRUE-CONDENSER MICROPHONE FOR ALL APPLICATIONS
// LCT 440 PURE
USER MANUAL
THE ESSENCE OF A TRUE
CONDENSER MICROPHONE

2
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 440 PURE....................................... 6
7. Recording tips....................................................... 7
8. Applications ........................................................ 8
8.1. Vocals.......................................................... 8
8.2. Guitar amps..................................................... 8
8.3. Acoustic guitar .................................................. 9
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

3
4. 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. For our large diaphragm
microphones of the LCT series, we use 3 μm-thin gold-sputtered Mylar.
// 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 amplier 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.)
1. 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.
With the LCT 440 PURE, LEWITT introduces a new large diaphragm condenser
microphone, which features high-end capsule technology in a sleek and sturdy
casing. Exceptionally low self-noise, an outstanding dynamic range, and high
sensitivity allow for recordings of any source with great detail and precision.
2. Box contents
// LCT 40 SH- Shock mount with 5/8" thread and 3/8" adapter
// LCT 50 PSx - Magnetic pop lter
// LCT 40 Wx - Windscreen
// DTP 40 Lb - Leatherette transport bag
3. Features / Top applications
The LCT 440 PURE is built to record any sound source at a high level of detail and
precision. In doing so, it will always retain the musical characterof the recorded sound
source. Use it to record vocals, drums, guitar amps, acoustic instruments or any other
instrument, and you will be astonished by its versatility and clarity. Due to its sturdy
and compact housing, it is as suitable for live situations as it is for studio work, where
it will never grow tired of surprising you with its quality sound, over and over again.

4
// 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° eld 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 specication
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-amplier 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 denes 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˚
0
-10
30˚330˚
150˚210˚
60˚
120˚
300˚
240˚
90˚270˚
Figure 4.1

5
Example: if a microphone has an equivalent noise level (self-noise) 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.
A low noise level helps to keep the signal clean when recording quiet sources!
The range between the equivalent noise level and the maximum sound pressure
level is referred to as the dynamic range of a microphone.
Spoken in practical terms, low self-noise does not limit your freedom of
microphone positioning. With noisy microphones, you need to get very close to
the recorded sound source to get a good signal-to-noise ratio. A low self-noise
microphone, on the other hand, can record not only distant but also very quiet
sound sources. With its 7 dB (A) of equivalent noise level it is guaranteed that
your studio microphone is never the cause of noise problems.
// Frequency response
The frequency response shows the sensitivity over the microphone’s frequency
spectrum and has a huge inuence on the “sound” of a microphone. See section
9 Tech graph for the frequency response chart.
// MAX SPL
LCT 440 PURE - Max. SPL for 0.5 % THD: 140 dBSPL
Manufacturers state the maximum sound pressure level a microphone can
handle before the signal starts to distort. In sound reproduction, 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 440 PURE - Sensitivity: 27.4 mV/Pa, -31.2 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 (amplication) to achieve
a certain output level. You can specify a microphone’s sensitivity in two ways:
in mV/Pa or dBV/Pa.
“27.4 mV/Pa” means, the microphone produces an output signal of 27.4 mV
when it is being exposed to 1 Pascal (1Pa = 94 dB SPL). “-31.2 dBV/Pa“ means,
the microphone produces an output signal of -32.7 dBV when it is being exposed
to 1 Pascal (1Pa = 94 dB SPL). This value is more practical, as dB values are easily
comparable.
LCT 440 PURE: -31.2 dBV/Pa.
Microphone X: -51.2 dBV/Pa. Microphone X would need an extra gain of 20 dB to
produce the same output level as the LCT 440 PURE.
// Equivalent noise level or self-noise
LCT440 PURE - Equivalent noise level: 7 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. In other
words, there is a sound pressure level that matches the inherent self-noise of the
microphone. This sound pressure level is the equivalent noise level (self-noise) of
the microphone.

6
// If you are planning to record vocals or spoken word, make sure to use the
supplied LCT 50 PSx magnetic pop lter. The pop lter 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.
// The pop lter also prevents the capsule being exposed to moisture, and in
addition to that, it looks great.
// Loosen the adjustment screw on the back of the shock mount. Adjust the angle
and then fastened it securely.
// 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 440 PURE 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 loud switch-on sound.
// 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 nd 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.
5. 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-efcient recording solution.
// Make sure that your audio interface has an XLR-input channel that can supply
48V phantom power.
// You are also going to 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.
6. Setting up your LCT 440 PURE
// The LCT 440 PURE comes with the LCT 40 SH shock mount. A shock mount
isolates the microphone from structure-borne noise. Attach the LCT 40 SH
shock mount to a stable and sturdy microphone stand. Place the LCT 440 PURE
in the shock mount and secure it by fastening the threaded nut turning it counter-
clockwise. Make sure the LEWITT logo faces the open side of the shock mount!

7
Most of the time it is unlikely 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 440 PURE 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 nd 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.
7. 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 simplied
analogy, you can think of the mic as a ashlight. 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
reective 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 nal results. Remember that mic
positioning is one of the things that heavily dene 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 at 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 oors and so on.

8
// A cardioid pattern is perfect to get a very dened, 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 difcult to almost impossible to reduce your room sound in post-production
without loss of signal quality.
// If your vocals sound too bright, try to sing into the microphone slightly from
the side. The sound changes depending on the angle and you might nd a more
suitable one 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 nd
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.
8. 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. Of course, it can also be used for many stage applications,
for example cymbals, ampliers, overheads, background vocals, acoustic
instruments, and more.
8.1. Vocals
// Start by attaching the LCT 50 PSx magnetic pop lter to the LCT 40 SH shock
mount. It not only helps to avoid plosives and hisses on your recording but also
protects the condenser capsule from being exposed to moisture.
//Dene 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 oor.
// 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 nd the right balance, as too much low end in your vocals
might get in the way of the frequency range of other instruments.

9
8.4. Drums
// Although you often see drums being miked with lots of microphones, you can
achieve good results using a single large-diaphragm 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:
1) 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 satised.
Without hole: position it close to the skin, starting from the center, moving
outwards until you nd 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.
2) 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, ampliers, overheads, vocals, acoustic instruments, and
more. Although condenser microphones are highprecision 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 appropriate care. It helps to sustain
their longevity.

10
9. 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˚
0
-10
30˚330˚
150˚210˚
20 Hz
-20 dB
-10 dB
0 dB
10 dB
20 dB
50 100 200 500 1.000 2k 5k 10k 20k
60˚
120˚
300˚
240˚
90˚270˚
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˚
0
-10
30˚330˚
150˚210˚
20 Hz
-20 dB
-10 dB
0 dB
10 dB
20 dB
50 100 200 500 1.000 2k 5k 10k 20k
60˚
120˚
300˚
240˚
90
˚
270˚
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˚
0
-10
30˚330˚
150˚210˚
20 Hz
-20 dB
-10 dB
0 dB
10 dB
20 dB
50 100 200 500 1.000 2k 5k 10k 20k
60˚
120˚
300˚
240˚
90˚270˚
Figure 9.1 - Frequency response of the LCT 440 PURE
Figure 9.2 - Polar graph of the LCT 440 PURE

11
10. Specications
Type Condenser, externally polarized
Acoustical operating principle Pressure gradient transducer
Diaphragm 3 micron gold sputtered Mylar
Transducer Ø 25.4 mm, 1 in
Polar pattern Cardioid
Sensitivity 27.4 mV/Pa, -31.2 dBV/Pa
Signal / noise ratio 87 dB (A)
Dynamic range 133 dB (A)
Equivalent noise level 7 dB (A)
Max. SPL for 0.5 % THD 140 dBSPL
Supply voltage 48 V +/- 4 V
Current consumption 2.63 mA
Internal impedance 110 Ω
Rated load impedance 1,000 Ω
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
// LCT 40 SH - shock mount
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 lter
The magnetic pop lter was designed to perfectly integrate with the design of the
microphone and its shock mount. A pop lter not only helps to avoid plosives and
hisses on your recording, but also protects the condenser capsule from being
exposed to moisture.
// 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 from the shock mount and
put it into the supplied DTP 40 Lb transport bag.
// DTP 40 Mts - Mic mount (optional)
Rubber microphone mount. Provides rm grip and attenuates structure-borne
noise. Compatible with 3/8“ and 5/8“ threads.

12
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 sufcient 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 sufcient headroom.
// Plosives sounds during vocal recordings can overload the capsule – use the
supplied pop lter and/or keep a greater distance between source and microphone.
// Structure-borne noise – use a tting shock mount (preferably the supplied
accessory).
My recording sounds mufed!
// 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
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 x 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
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 inf[email protected]
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 specic 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 dealertogether with original proofof purchase.
To avoid any damages in transit, please use the original packaging if available.
Please do not sendyour product to LEWITT GmbH directly as it will notbe serviced.
Freight charges have to be covered by the owner of the product.
For further information, please visit www.lewitt-audio.com.