@@stewie3128 you could try putting it over the piano so both sides of the capsule capture it in stereo equally! It's easily the best stereo mic I've ever heard!
God damn it, I love Lewitt! I have a 440 I bought for our podcast. It is the best mic I’ve ever used and I’ve been in radio forever. So clean!! But full and not harsh. Lewitt is the Reaper of mics.
I love my 440. Something about it all being one package that sits neatly with a desktop mic stand and i can pull it out anytime to practice singing really puts it over the edge for me. Full frequency response monitoring is way way better than using a handheld mic, but I still like using my other dozen handhelds too. The problem with handheld mics is they completely engineered to mitigate feedback and it shows in the frequency response. That said, I like hazing tons of options just like any guitarist likes different pickups in his guitar.
@@christopherbass4521 We had Shure Beta 58A's before hand. Which were great (or so I thought). The only issue now is that we are doing our show remote because of covid and once that's done, I feel like I'll need to spring for another 440 for my cohost when she's back in this room. Good audio nerding with you!
@@getstew I love my Beta 58 too. It really is a great mic. Doing voice over or broadcasting isn't really where it shines though. Big step up from a SM58, which really shows it's age and limitations at this point.
@dylans voice I had to return mine. SUPER detailed... too detailed for a boomy room. Was using it for podcast. This is a phenomenal mic, it just couldn't work for me.
Definitely nailed that Black Album rhythm tone with this one. I was really aiming for the OC818, but this seems to do the same thing for less. If the Austrian Audio polar designer works for this, I’m grabbing it.
I was considering buying an AKG C414 until I watched this video. The possibilities that this microphone offers are simply amazing - now I can only think of the Lewitt LCT 640 TS. I'm in love.
hey glenn, getting back into this channel now that i am pursuing a small time production role in my own band, which is in its early forming stages. i am returning after watching a countless amount of your videos just for entertainment and by reason of my own fascination. keep pumpin out that fuckin content man. thank you
Great Job Brother, you know I'm a Big supporter or both you and Warren. I love my Lewitt Beat Kit Pro 7. Just need This 640 For my Bass Cab. And yes this BASS PLAYER got your Message.
It seems like a good idea for a pair of overheads and couple of different tom mics. I would be more excited how it does as a stereo pair than "just" changing the directionality.
The Austrian Audio Plugin can change the polar pattern for different frequency bands independently. Does the Lewitt Plugin also provide that? Does maybe the AA-Plugin work with recordings done with the Lewitt Microphone as well? And Vice Versa? Technically it should be pretty much the same thing, isn't it?
Indeed. The functionality of this mic is very impressive. I'm assuming you've recorded voice right through this mix as well when you were in studio? The polar pattern changing plugin is very flexible tool. Thanks for representing. That guitar sounded super tight but yet still round.
so basically we could do this by manually stereo micing and downloading the blending app/vst and get similar results. I do consider eventually getting this mic because of the tweakability. That’s one of the reasons I often prefer amp sims, just because you can tweak it to better fit the song instead of reamping or re-recording. With this method I can satisfy my inner tweaker.. edit: I play in the same room i’m recording, I guess it’ll pick up my playing since it’s an condenser microphone
I think as far as metal mixing goes, 8:19 is my favorite kind of sound. Maybe I'd lower the treble/click on the kick drums a bit, but overall this is massive.
FUUUUCKKKK.... that snare sound is on point, Glenn. Great lead tone, too. Is that a plug-in or a live amp? 5150, I bet.... Edit: The Engl amps are slept on... they are killer
I wonder how you would rate a microphone like my old Sennheiser MD 42-2. Can it still compete with the more modern microphones ? THX for a most excellent show
I’d like to see you do a series on entry level/budget friendly recording mics for people learning how to record at home like myself. Does you Recording Heavy series work well for Punk as well as it does for Metal?
Been looking into these mics, as I'm in need of a new room mic, but something that can be used in other avenues as well! Also as always, price is not limited! This is intriguing, but it seems to good to be true!
Hey Glenn!! I can't thank you enough for another terrific video!! if we let aside these expensive mics, what would you think is the best mic to pair with a sm57 for modern rock/metal (not necessarily extreme sounds)? I mean, would you use the Friedman technique with two 57s or would you stick with the 57 + some different flavor like the Lewitt DTP 340 TT? THANKSSSSSSSSSSSSSSSSSSS!!!!
Man Warren made me lil laugh out loud and wake up my son...now hes all "peekaboo"-ing at Warren lol!! Awesome mic.. heres an idea.. is it really bullet proof.. fearless gear review.. shoot the mic thru the case..lol pateekn guys let's make it happen!!
can you do a review of the Townsend Labs L22? would love to hear your opinion of that mic, as I just ordered it from Sweetwater but it is back ordered so I have to wait
When stereo micing an amp, does one of the mic HAVE to be a condenser mic ? I've bought a Lewitt MTP 440 mic. And I've notice the Lewitt mic has a nice amount of bottom end. And I'm wondering if anyone has ever taken an SM57 put it on axis on the cone. Then use the Lewitt off axis ?
GLENNNNNNNN. I was confused in getting this or the Austrian Audio OC818 and how 'changing the polar pattern' function on both of them differs. Does anyone else has experience with both? And the AKGC414? Which do you prefer out of the three and why?
Glenn... when you used this did you have the primary portion of the mic facing the speaker ? Have you tried turning it sideways in between speakers of the amp yet? I can’t remember where I read it but this mic is supposed to record excellent metal sounds from the cab facing sideways too so that each capsule captures a different speaker.
Hi glenn, maybe a stupid question, but can i record multiple mics seperatly (like you would do on drums, 1snare mic/track, 1kick etc) using a usb mixer, and if so, how? great video and greetings from the Netherlands.
Hey Glenn, lately I’ve been getting into to the concept of “reamping” drums and wanted to get your thoughts on it. Do you see it as a “legitimate” way of recording and enhancing drums, or a cheap sample-like trick? I wanted to try reamping a snare (with correct gating to prevent bleed) to get an additional massive room sound just for the snare without having to rely on samples, but I don’t know if there’s something I’m missing. Thanks for the content, hope Canada is treatin you well 👍👍
guitars sound very dark and cool but the snare sounds like no black album at all. Sounds thin and like shit actually. This VST polariser sounds sick though.
Sounds amazing! But costs like 8 sm57's! When it becomes cheaper, or something like that becomes cheaper I would buy those. And yes, I understand that that is not the most expensive mic, but definitely not on a cheap side.
Okay, how do you get stereo out of a single microphone that has a single 3 pin XLR connector? Yes it's great putting a Figure of 8 microphone. Aiming the dead side toward the guitar amplifier. To pick the ambience off of its 2 perpendicular walls. And then when you matrix that. With whatever other microphone you have pointed at the guitar speaker. In a, stereo MS matrix decoder. On your audio console. You create with patch cords on your audio console. I know a huge concept for someone with a college degree. So while this was a sponsored video for that microphone company that makes good, solid, professional, fine sounding microphones. Nobody should stick their noses up at. But that line about tired of the SM-57 sound on a snare drum? Oh really? So you are one of those people Glenn. That went with a 57 and pencil condenser microphone on snare drums. So what are you saying, buddy? Look. I know you wanted this to be a good infomercial for Lewit. Because Warren is letting you crash. I mean, stay at his Spitfire home studio. And he's also sponsored by them. That lucky boy. So he really can't use anybody else's microphones with any kind of endorsements. You don't do that if you want to keep your sponsorship. And well, that sounds, pretty good and totally reasonable. When you have a good thing going like that. With a reasonable microphone company. Then there isn't any reason not to use them. Because they also pick up sound. Where then any competent engineer such as myself and Warren and maybe even you Glenn. Can figure out. Ridiculous places. To place microphones. To cop a sound. For your fucking recordings! That's what it means to be an actual Audio Engineer like myself and Warren. We already know about this stuff and these techniques. So plenty of times I used an AKG, C-451, with the cardioid capsule. But first. I had to screw-on the, -10 DB capacitive pad. Before I put it on the snare drum. I bet you've never seen one of those pads for a, AKG C-451. That's why you can't find the switch on, That microphone. Because it doesn't have one built-in. You have to screw around with those. To screw one into those. Isn't that amazing! Or just use a SHURE, SM-81. With the pad switch on the collar of the microphone, turned on. And you get a different snare drum sound. Oh my goodness! I wonder what that sounds like??? It sounds like a condenser microphone on the snare drum. That's what. And sometimes you want that sound. But how would you know? You don't do any jazz recording. So, Glenn. You only know how to record a single musical genre. You've got no experience in anything other than Heavy Mental. That's not an actual Audio Engineer. You talk about your last 20 years in the business. With your nice cheesy degree in sound recordin'. Of heavy metal rock. What a complete and fucking accomplishment. And so how much jazz, gospel, Symphony Orchestra, operatic, Mississippi Delta blues, rockin' blues, bluegrass, country music, spoken word recordings, advertising agency commercial productions, have you ever done? Answer? Zero. And how many live television shows have you done audio for where your director gives you a directive. They don't want to see a single microphone on camera. And you still get an Emmy nomination for best audio. With a total 100% cluster FUCK compromise of using lavalier microphones. Taped to musical instrument stands. So you can't see the microphones. And where you might even have a rock drummer. And the director doesn't want to see any microphones on the drums. What kind of microphones do you then use and where do you place them? Good thing I had a batch of those Sennheiser MKE-2's and Sony ECM-50/60 & 66's. You run the wires, up the back of pole on the, cymbals. Placed underneath them. Out of any shot. You artfully tape those same lavalier microphones. Overtop the drum heads. And you turn the pad switch is on your console. If your console has pad switches. Not all do. Not all require them. Such as the Neve 1073, 1084, 1081, 3115, 33 115, 3114, 33 114's etc., etc. They have no pad switches. Barringer's do, API does. Some others also. It depends on what kind of sound you want. And what kind of audio console you got. And what kind of processing. You might be using. Like some EQ followed by an 1176 followed by a KEPEX-1. And, the drums sound great. And where are the microphones? This is what it means to be a real Audio Engineer. Not a frozen Canadian Popsicle that has not yet thawed in, 20 years. That's why all of that fat is melting off of you in Los Angeles. You finally had a reason. To make yourself look a little bit more like other Californians. Healthier. In spite of all the smoke. Hopefully. That smoke also contains plenty of marijuana. Which should make dealing with the smoke so much easier. For everyone. All those others states that still not have legalized marijuana. And have confiscated tons of marijuana. Should send it all to California to be burnt. So people can enjoy the smoke a little bit more in the air they are being bombarded with daily. They will all then stagger around in blissful harmony together. Thinking they are smelling the rain. When it's a firehose nearby. Just don't wander back into your burning home. It's not good for your health. Your marijuana has already been used up. And you can be proud of serving your country. Some marijuana smoke to ease their losses of their homes that had no marijuana within them. And you will go down in history as a Great American, I mean Canadian-American. I mean British American. Whatever the hell you are? Here in my country. Where I am no longer allowed in your country. I'm no different from you. So why not? 9/11, that's why. Now Canada thinks I am a Caucasian Jewish terrorist. And am no longer allowed in Canada. Unless they extort a large fine from me. Due to our freedom of information act and the USA they can access. But my employers here can't. So you Canadians don't play fairly either. And Warren is trying to help you. Because you did not get married to an American girl. What's the matter with you? What? You think you're going to record Rush, again? How about the Guests Who? What about Helen Ready. I heard she ain't ready no more? That she is now sort of kind of like Eddie Van Halen? Yet she does not play guitar. What does that mean? It means you're not going to record her either. She's dead. And of course a stream of rock 'n' roll hits has been coming out of Canada since you graduated. Yeah no. And you knew. You had to make it to New York City or LA as an, audio engineer. What your wife going to say when you want a divorce? Okay you can keep my studio honey. They won't let me bring that into the United States anyhow. Use it in good health. And here's my Fredman microphone adapter. Because you were too lazy to position a couple of microphones yourself. You need a gizmo. Real audio engineers never had nor used little kid consumer audio gizmos. Now you might also realize why that electric guitars sounds so much better with that condenser microphone. You're plugging it into a Neve 1073 or something like that. It's not going into your Behringer $30 2 input microphone mixer thingy. Geez it sounds so much better and fuller smoother fatter now. Sweeter also. It's not just that microphone Glenn. Now you're using the real things. The real stuff. Not the re-created reincarnated re-emulated, stuff. Great River, not so great. Close but no cigar. Avalon, was an animated movie. For children. So is there microphone preamp. Because it's not a Neve. It's not an API. It's not an 1176. Nor does an SSL 4000 exactly have KEPEX''s built into them. They have gates. That work as gates. But they don't work like a KEPEX nor sound like one. And the key able and downward expansion capabilities of a KEPEX. No one else has seemed to be able to effectively re-create or emulate in that manner. There are plenty of others. That do similar things. They don't function like them KEPEX's. And acoustics? Give me a break. No small studio room generally has any decent usable acoustics, for anything. Let algorithmic digital reverbs be your guide. You don't need room samples for convoluted reverb software. You need to know what you're doing with an algorithmic digital reverb generator. What to EQ on the input. What to EQ on the output. What to downwardly expand and/or gate at the output. When you don't have multiple Plate Reverbs. Like my studio used to have. Until I needed to downsize. And the plates had to go bye-bye. Oh well. Too bad. I miss them.. One was an EMT Plate the other a Studio Technologies, Stainless Steel Plate. Talk about a world of different reverb character and sound. You'll get the hang of this one day before you die. RemyRAD
Regarding your first question: The LCT 640 TS features an additional mini 3-pin xlr on the side to give you front and back of the capsule on separate tracks. This way you can create the polar patterns in post production. Greetings from the LEWITT HQ in Austria!
So what I can ascertain is that it changes the phase relationship between the two microphone elements, thereby changing the cancelation and summing relationship between the two. This will in turn change the frequency response and the "Eq" of the signal.
@@patrickdudgeon9315 yes, but all that amounts to is editing a preexisting recording of both capsules full on. It's about as effective as having two mics with phase adjustment on each, and 2x less flexible--then another minus for only being any useful if you always record with a computer around.
Hi, actually the LCT 640 TS is creating the actual polar pattern in post. Normally, a multipattern microphone uses the voltage of the front and the back membrane of the capsule to create the different polar patterns. The LCT 640 TS gives you the front and the back signal on two separate outputs. By mixing the two, you can create any possible polar pattern during post-production, that's what the plugin does. But you can also create the polar patterns manually and page 11 of the manual shows you how: www.lewitt-audio.com/sites/default/files/2016-10/Manual-LCT-640-TS_web.pdf So it's not marketing bullshit, it's just simply how a multi-pattern microphone works anyways but with the additional choice of WHEN you want to create the patterns. If you have any further questions, we are happy to clarify stuff. All the best from Austria!
