These days, product reviews in forums, on shopping sites, and in magazines can help to find out more details about the desired product. So, to make it easier for you to get an overview of these reviews, we did a little roundup on the LCT 540 S. Happy reading!
"I found the mic to be clean and clear with a revealing top end, but it’s not voiced to be a clinical measurement-style mic. It’s not too crisp, has zero muddiness, and is best described as detailed, full, and musically honest. In the past, LEWITT mics have been used by a few companies for recording high-end sample libraries, and this mic will easily continue that trend. [...]
I used the LCT 540 S with a Millennia HV-3 mic preamp, also known for its “straight wire with gain” cleanliness. What I liked about this setup was the space and distance I could impart to my recordings. Setting the mic back 3-4 feet from a singer or instrument yields a great sense of clean and detailed depth. This is not just of benefit for high-end preamps; it allows the user to pair the LCT 540 S with less fancy preamps and interfaces with zero fear of added noise from the mic.
The LCT 540 S is an easy mic to warm up to. It’s not an entry-level mic, but it’s also not a mic that breaks the bank; it sits comfortably in a class of daily-use, any-source microphones. Alone or in pairs, it can easily hold a role as a project studio’s only microphone, as well as finding lots of use on the pro circuit as well. There really is something special about a mic that can get this quiet when the red light comes on."
"Going by the description I expected it to sound airy and detailed, which it does, but I was also pleased to discover that its detailed highs were balanced by a solid mid‑range and supportive lows. Its tonal balance sounded right without the need for EQ in both my male and female spoken-word tests. Of course, different vocalists have different tonalities, so some EQ may be necessary in some cases. That said, because the tonal character of this mic doesn’t lean too far in any particular direction, it should be a good fit for a wide range of vocal styles, with plenty of secondary applications in instrument recording. [...]
I always find acoustic guitar recordings to be very revealing of a microphone’s character and here I got back pretty much what I felt I was hearing from the instrument in the room without any unnaturally glassy highs or phasey-sounding mids. [...]
Given that it is a mid-priced mic with a somewhat lower price tag than I expected from its performance, the LCT 540 S represents extremely good value and is capable of taking on a wide range of recording tasks."
"I found the LCT 540 S noise floor exceptionally quite indeed, so quiet in fact, that the U87 felt particularly loud in that test with the LCT 640 TS sitting somewhere in the middle of the two. […]
All very impressive, but what does it mean in the everyday studio application and does it all matter? Put simply yes, because this gives us blank canvas to work from. This mic offers new possibilities when recording, as noise issues only really arise during the mixing stage, when compression is applied. As we all have experienced the mixing process boosts previously inaudible noise, which can cloud a delicate vocal line, or a sustained acoustic guitar note. All this is far less of an issue with the LCT 540 S. […]
My first impression was, how rich and natural this mic sounded on quiet vocals, the sound was strong, full bodied in tone without being clinical, reflecting the meticulous build quality we’re coming to expect from LEWITT. […]
Next was an acoustic guitar. Again, the sound was very natural, but the detail for a large diaphragm was impressive, whilst retaining warmth that very few mics can achieve with this level of clarity. […]
Thank you LEWITT for pushing innovations and setting new benchmarks for microphone manufacturing. […]
For the price point it is a brilliant achievement, so much so that the bigger, well established players need to pay attention."
"This cardioid condenser shows its quality right away, sitting effortlessly next to a mic more than twice its price across a range of sources.
For vocal work it is ticks all the boxes, possessing great clarity along with an easily worked proximity buildup, a smooth high end and all the low-end richness you need for voiceovers or in-your-face breathy vocals. The condenser mic HF lift is subtle and free from phasey peaks, keeping sibilance natural and easily controlled. There’s plenty of dynamic range and headroom without the pad engaged, and the output level is impressive, helping keep preamp noise low. [...]
Not only that, but it appears to be shaped to be sonically unobtrusive, more pink/brown noise than white. For vocals this means the recorded signal can be processed hard as you like without leaning on the de-noiser.
Though vocals really benefit from the mic's sensitivity and well- balanced tonality, it makes a great mic for pretty much anything you’d use a cardioid condenser for: acoustic instruments, drums or percussion, and amplified guitar and bass.
Bass-heavy sources come out well as the LCT 540 S extends right down low without any muddiness, and densely distorted guitars come through loud and clear without any common condenser mic phase-shift horrors. Acoustic guitar translates with a clear and natural balance between midrange presence and high-end transient articulation, even close-up."