This content is sponsored by Sweetwater and I get compensated for my work. However, they did not provide me with any talking points or anything like that. All the thoughts and opinions are purely my own.
Specifications
Lewitt LCT-240 PRO
- Microphone Type: Pressure Gradient Condenser
- Polar Pattern: Cardioid
- Diaphragm Size: 0.67″ (17mm)
- Max SPL: 142dB SPL (0.5% THD)
- Output Impedance: 100 ohms
- Sensitivity: 16.7mV/Pa (-35.5dBV/Pa)
- Self Noise: 19dB A weighted
- Connector: XLR
- Color: Black
- Power Source: 48V phantom power
- Dimensions: 5.43″ x 2.04″ x 1.42″
- Weight: 0.68 lbs.
- Included Accessories: Mic Mount, Windscreen, Carry Bag
Lewitt RAY
- Microphone Type: Condenser
- Polar Pattern: Cardioid
- Diaphragm Size: 1″ (25.4mm)
- Frequency Range: 20Hz-20kHz
- Max SPL: 131 dB SPL
- Output Impedance: 120 ohms
- Sensitivity: 22mV/Pa
- Signal to Noise Ratio: 86dB A weighted
- Self Noise: 8dB A weighted
- Connector: XLR
- Color: Black
- Power Source: 48V phantom power
- Dimensions: 5.43″ x 2.04″ x 1.42″
- Weight: 0.72 lbs.
- Included Accessories: Shockmount, Windscreen, Mic Bag, Pop Filter
Key Differences between the two
In non-audio-technician terms, the main difference is that the LCT-240 Pro has a higher SPL rating, meaning it can handle louder sources without clipping. You can use it on anything from recording vocals to miking a snare drum.
But it also has a higher self-noise rating, meaning at higher input gain levels you might hear a bit of hiss in your signal.
The RAY, on the other hand, has lower self-noise and offers better sensitivity, so you can capture even more detail without having to crank the gain on your audio interface.
How are we going to compare?
I decided to compare the microphones in three different situations I most often find myself in: recording vocals, recording a podcast, and recording acoustic guitar. This should cover most situations where you might need a microphone like this.
If you want to get the full (audio) picture, I strongly recommend checking out the video above.
Vocals
First, I positioned the microphones in a way where I’m kind of in the middle of the two microphones and would sing into the small gap between them. Then I matched the input gain on my audio interface for both microphones as close as I could.
The idea here was that I could use the same vocal take on both microphones for a more fair comparison, so slight variations in my singing wouldn’t affect the end result.
After recording, I level-matched both microphones in Logic Pro and created two versions: a level-matched raw tone and a processed tone—something I would actually use in a song.
I’m really familiar with both of these microphones, so I kind of knew what to expect: the Lewitt RAY sounds full and detailed, and it really shines on vocals. I don’t claim to be an amazing singer, but it makes even me sound decent.
The LCT-240 Pro is also great for vocals, but there’s definitely a difference, especially in the low end. I’m using a higher-end audio interface (Audient ID44 MkII) that has great preamps, so I had no trouble achieving the desired signal level without introducing a lot of hiss or anything like that. It doesn’t sound as rich and full as the RAY, but you can get pretty close with a bit of EQ.
podcasting
For the podcasting test, I kept the same setup and again recorded the same takes at the same time. I feel this is where you can really hear the differences in the microphones, especially when listening to the level-matched raw clips. The RAY again captures more nuances, but with a bit of EQ in post, you can make the LCT-240 Pro sound very… well, professional!
I also love that both of these microphones come with a shock mount, pop filter, and windscreen. Especially when you take into account how much the LCT-240 Pro costs, this is a ridiculously great deal.
Acoustic Guitar
As the last test, I recorded some acoustic guitar. I went with a very simple one-microphone setup and tried to keep my playing as consistent as possible across the takes.
This test had the biggest surprise for me: I didn’t have a clear winner for this one!
Sure, the RAY captures more detail and sounds more “rich,” but the LCT-240 Pro seemed to bring out other tones in the guitar I was using, and I felt there was no clear winner here. The takes both sounded great, but surprisingly different!
Actually, this gave me a great idea: next time I need to double-track acoustic guitar, instead of using two different guitars, I could just use one and record the second take with a different microphone, then pan those left and right. I think it would sound great!
Which one is for you?
Surprisingly, as of writing this, I find myself a bit conflicted: I’ve used both of these microphones for at least a year now, and I’ve kind of pigeonholed them for certain tasks like podcasting or miking a guitar amp.
However, really taking the time to compare the two opened my eyes to how versatile both of these microphones are! Even though it’s a great all-arounder, you can absolutely make the LCT-240 Pro sound great for a podcast with a bit of EQ and compression, as demonstrated in the video above. And it works great on vocals too.
On the other hand, I had never used the RAY on acoustic guitar before—but I definitely will from now on. It captured the nuances of the acoustic in such detail that I felt my job as a mixing engineer was just not to mess it up.
I’m fortunate to be in a position where I don’t have to choose between the two, but if I had to pick my favourite, it would be the RAY by a slight margin—just because it suits my needs as a YouTuber and podcaster the best.
If your’re interested in getting either of these microphones, you can use the affiliate links here:
►►Get Lewitt LCT-240 Pro Here: https://sweetwater.sjv.io/N9EZJ7
►►Get Lewitt RAY Here: https://sweetwater.sjv.io/XmEbRo
►►Acoustic Guitar Recording Tutorial: https://youtu.be/OZcdrUHsSj4