Adrian Odle, who hails from Bridgetown, Barbados, works with a huge assortment of Caribbean artists as a production manager, FOH engineer, and monitor engineer. In his 15 year career Adrian has worked with Maxi Priest, Third World, Alison Hinds, En Vogue, Elan Trotman, Arturo Tappin, Nicholas Brancker, 2 Mile Hill and many others. Since 2007, he has been touring consistently with International Reggae Legend Beres Hammond and is currently the Production Manager and Head Engineer.

[LEWITT] Can you tell us a little bit about your favorite mics in the studio?

[Adrian Odle] I’ve used a lot of microphones, and it was not too long ago that I started using ones by LEWITT when I got myself an LCT 840 tube mic. It’s a really warm-sounding microphone, and it captures what I actually hear coming from the instruments. I’ve used it on vocals, horns, acoustic guitars, drums … and it translates very well and can handle high SPLs. Recently I did some horn section recordings, and I was amazed by how well it stood up to what the guys threw at it – it was clear, warm, smooth, and really transparent in the mix. Everything was as I heard it in the room, and that was really good.

[LEWITT] You also use LEWITT microphones live; can you tell us about your experiences?

[Adrian Odle] I’m currently using the MTP 440 DM, and that’s a great mic for snares. I do different genres, and the MTP 440 DM works really well for R&B stuff, since it’s not too dark and it’s right up where I need it to be in the mix. I also use it on guitar amps, where it gives me a really good, warm guitar sound.

Then there’s the DTP 640 REX, which – to me – is a savior. This is the mic that has a condenser and a dynamic capsule in one housing, so I no longer have to worry about phasing issues ... and it also gives a good punch, it gives a good click on the high end, and you get the full sound of the kick drum: that’s where I use this mic most of all, but I’m using it on the cajón, too, which works very well. I’m also using a pair of LCT 550’s on overheads – and they really do give me a great image of the sound, with lots of clarity and a nice sizzle.

On vocals, I’m using the MTP 550 DM. I used to use a lot of other mics, and they were all kind of muddy in the middle, but the MTP 550 DM delivers a very warm sound with a smooth high-end. I gave the mic to some of my engineer friends to try it out, and they loved it too and couldn’t stop talking about its clarity. I also like this mic’s design: it’s very robust and sturdy, and it does very well on the road.

[LEWITT] Is there anything else you’d like to say about LEWITT microphones?

[Adrian Odle] First of all, I’d say that the guys at LEWITT understand what we – the technicians and musicians – want to hear and what we’re looking for in a microphone. I’ve been able to get the sound that I’ve been looking for from the LEWITT microphones, and they’re very strong both in the studio and onstage. I like the fact that they translate very well, that what I hear is what I get back. And the musicians are happy: they like what they hear, they like what they feel – and everyone is asking me if I can bring them to their gigs. So I’m very happy with these mics!

DTP 640 REX Teaser

Dual-element kick drum microphone with switchable sound characteristics. Suitable for all bass-heavy applications.

LCT 550 Teaser
LCT 550

0 dB (A) self-noise from electronics and circuitry.

LCT 840 Teaser
LCT 840

Super-low self-noise multi-pattern tube microphone with a spectacular view.

MTP 440 Teaser
MTP 440 DM

Highly versatile dynamic instrument microphone.

MTP 550 Teaser
MTP 550 DM

High gain before feedback, low handling noise, zero hassle.
The new vocal performance standard.