Lewitt Pure Tube LDC Mic

[Pathfinder]

Hi

Anyone familiar with these vocal mics? Reviews seem amazing. I am thinking of getting one for recording vocals in my home studio. 

https://www.bhphotovideo.com/c/product/1765753-REG/lewitt_puretube_es_tube_microphone_with_1.html/overview

 

Thanks

Frank

[DeeringAmps]

The Sondelux (Bock Audio) 251 gets/got amazing reviews as well, and it was/is a fine microphone.
BUT, tube mics are a PITA frankly, and it DID NOT magically  elevate my vocals to new "heights".
There are lots of LDC mics in that price range that are "very good"; the TLM 103 comes to mind.

HTH, YMMV

t

"A compact, energy saving power supply unit and 7-pin XLR cable are included"
I would have to confirm that this is actually a high voltage power supply and NOT running the 12AU7 at 50 volts
(so called "starved plate")

Edited February 5 by DeeringAmps

[Terry Kelley]

3 hours ago, DeeringAmps said:

The Sondelux (Bock Audio) 251 gets/got amazing reviews as well, and it was/is a fine microphone.
BUT, tube mics are a PITA frankly, and it DID NOT magically  elevate my vocals to new "heights".
There are lots of LDC mics in that price range that are "very good"; the TLM 103 comes to mind.

HTH, YMMV

t

"A compact, energy saving power supply unit and 7-pin XLR cable are included"
I would have to confirm that this is actually a high voltage power supply and NOT running the 12AU7 at 50 volts
(so called "starved plate")

Yeah, I sound just as bad in my SM58, GT55, vac tube condenser and 2" ribbon mics. The ribbon just better shows how bad.

But they are are great for acoustic guitars.

[Pathfinder]

5 hours ago, DeeringAmps said:

The Sondelux (Bock Audio) 251 gets/got amazing reviews as well, and it was/is a fine microphone.
BUT, tube mics are a PITA frankly, and it DID NOT magically  elevate my vocals to new "heights".
There are lots of LDC mics in that price range that are "very good"; the TLM 103 comes to mind.

HTH, YMMV

t

"A compact, energy saving power supply unit and 7-pin XLR cable are included"
I would have to confirm that this is actually a high voltage power supply and NOT running the 12AU7 at 50 volts
(so called "starved plate")

My mileage definitely varies-My vocals are much better with a tube mic. I have tried many, many mics at friends studios etc. Tube vocal mics just have something that tubeless mics cannot touch imho. 
But honestly, I was just asking about the Lewitt Pure Tube

[Pathfinder]

5 hours ago, DeeringAmps said:

The Sondelux (Bock Audio) 251 gets/got amazing reviews as well, and it was/is a fine microphone.
BUT, tube mics are a PITA frankly, and it DID NOT magically  elevate my vocals to new "heights".
There are lots of LDC mics in that price range that are "very good"; the TLM 103 comes to mind.

HTH, YMMV

t

"A compact, energy saving power supply unit and 7-pin XLR cable are included"
I would have to confirm that this is actually a high voltage power supply and NOT running the 12AU7 at 50 volts
(so called "starved plate")

Once again, I was NOT asking for recommendations. I was ONLY asking about the Lewitt Pure Tube-Hmmmm?

BTW-If I could afford a $4K mic I would love to have one-I cannot   😞 The Sondelux 251 looks like a great mic!

Edited February 6 by Pathfinder

[Duncan Stitt]

See if you can find some "shootout" videos on Youtube. Just like all mics, tube mics come in many flavors. Some are brighter than others. Depending on your voice, the "shape" of the response curve can flatter a voice, or the opposite. RecordingHacks dot com has a microphone database with short reviews on mics, and in most cases, a frequency response curve. If you find yourself boosting - or cutting - a certain frequency range when EQing your vocal, you'd look for a mic with a frequency response curve would accomplish your EQ corrections without having to reach for the EQ controls in the mixer.

I just got a used Lauten 320 tube mic. It has a fairly flat (natural) response curve until you get to the high end, where a crisp edge is added. This can be a problem when running the mic through a compressor, resulting in hashy Ss. Tube mics do have some built in compression due to the tube circuit. That's part of why singers like them so much, but if you get hashy Ss before you use your compressor plugin (or hardware compressor) you're SOL.

In an untreated room, a dynamic mic would be a better choice. Running an SM7b through a $100 Cathedral Pipes phantom powered booster can be a nice combination. Plus, dynamic mics can handle a loud singer where a tube mic might break up due to being overloaded.

[DeeringAmps]

9 hours ago, Pathfinder said:

I was ONLY asking about the Lewitt Pure Tube-

I cannot speak directly about the Lewitt, but I would explore this carefully:

15 hours ago, DeeringAmps said:

“A compact, energy saving power supply unit and 7-pin XLR cable are included"
I would have to confirm that this is actually a high voltage power supply and NOT running the 12AU7 at 50 volts

t

I have “tried” numerous tube mics (meaning purchased and resold). If I found one in a friends mic locker that suited me I’d grab it or one just like it…

I have no tube mics in the locker these days. Again, YMMV. 
I wish you well in your quest my friend, truly I do. 

[Duncan Stitt]

Expanding on my earlier comment, here is a "learning experience" situation I went through a while back. A lady singer came in my studio and I put up a Gefell MT71, which is a highly regarded LDC mic (not tube) descendent from the Neumann line. I had just purchased it used and had high hopes, since it was known to be a substitute for the industry standard Neumann U87. Unfortunately, the Gefell was giving us serious sibilance issues.

She had some tracks from a previous recording done in another studio. Her vocal sounded great. No sibilance whatsoever. She said the mic they used was a Shure KSM44 LDC (not tube.) I googled both mics and looked at the frequency response curves. The Geffell had a peak at around 7k. The Shure had a dip in that range. The Gefell was maybe twice the price of the Shure, but it was a bad choice for that particular singer. 

The general rule is to use a dark mic on a bright source, and a bright mic on a dark source, but it's subjective. You won't know until you record with it and see how it sits in a mix. It might sound fabulous soloed, but disappear in a mix, or it might sound tinny soloed but cut through a mix perfectly. It also might depend on the context. For a more exposed vocal, a warmer mic might sound better than the brighter mic that cuts through a busy mix.

As long as you have a return policy with whatever mic you get, you should be okay.

I have three budget tube mics at the moment, the Lauten 320, a Stellar CM6, and a modded Apex 460 with a RK7 capsule. They all sound different.  The Apex is dark and beefy, the Steller is more like a U87 but with less low end, and the Lauten is more of a flat response, but with a crispy high end. I can get sibilance from the latter two, so it's tricky. Originally, the Apex 460 had a Peluso C12 style capsule, but dealing with sibilance was never ending. I ended up sending it back for the RK7 capsule replacement.

If you're into soldering, you can get DIY kits from microphone parts dot com, with parts tailored to whatever sort of sound you're looking for.

[Pathfinder]

1 hour ago, Duncan Stitt said:

Expanding on my earlier comment, here is a "learning experience" situation I went through a while back. A lady singer came in my studio and I put up a Gefell MT71, which is a highly regarded LDC mic (not tube) descendent from the Neumann line. I had just purchased it used and had high hopes, since it was known to be a substitute for the industry standard Neumann U87. Unfortunately, the Gefell was giving us serious sibilance issues.

She had some tracks from a previous recording done in another studio. Her vocal sounded great. No sibilance whatsoever. She said the mic they used was a Shure KSM44 LDC (not tube.) I googled both mics and looked at the frequency response curves. The Geffell had a peak at around 7k. The Shure had a dip in that range. The Gefell was maybe twice the price of the Shure, but it was a bad choice for that particular singer. 

The general rule is to use a dark mic on a bright source, and a bright mic on a dark source, but it's subjective. You won't know until you record with it and see how it sits in a mix. It might sound fabulous soloed, but disappear in a mix, or it might sound tinny soloed but cut through a mix perfectly. It also might depend on the context. For a more exposed vocal, a warmer mic might sound better than the brighter mic that cuts through a busy mix.

As long as you have a return policy with whatever mic you get, you should be okay.

I have three budget tube mics at the moment, the Lauten 320, a Stellar CM6, and a modded Apex 460 with a RK7 capsule. They all sound different.  The Apex is dark and beefy, the Steller is more like a U87 but with less low end, and the Lauten is more of a flat response, but with a crispy high end. I can get sibilance from the latter two, so it's tricky. Originally, the Apex 460 had a Peluso C12 style capsule, but dealing with sibilance was never ending. I ended up sending it back for the RK7 capsule replacement.

If you're into soldering, you can get DIY kits from microphone parts dot com, with parts tailored to whatever sort of sound you're looking for.

Hey duncan

I had the original Stellar CM5. I sold it for no reason at all. I would love to have that back. Big mistake on my part. As I stated I am partial to tube mics for MY vocals. Thanks for the info!

[AB7]

I will toss this out there for consideration - as a relatively inexpensive high end mic.   I have heard some great samples of it.  (If my memory is correct, it was compared with the subject Lewitt. )

https://www.sweetwater.com/store/detail/TGMicTypeL--chandler-limited-tg-microphone-type-l-large-diaphragm-condenser

[Pathfinder]

14 hours ago, Alan Bachman said:

I will toss this out there for consideration - as a relatively inexpensive high end mic.   I have heard some great samples of it.  (If my memory is correct, it was compared with the subject Lewitt. )

https://www.sweetwater.com/store/detail/TGMicTypeL--chandler-limited-tg-microphone-type-l-large-diaphragm-condenser

Thanks but I never asked for suggestions. Only asked about ONE mic- period!

[AB7]

29 minutes ago, Pathfinder said:

Thanks but I never asked for suggestions. Only asked about ONE mic- period!

Understood.  But when you write on a forum, there are others who are interested as well.  And it so happens that the Lewitt and the Chandler have been compared.

You are free to ignore the posts about other mics that might be considered.

Wishing you the best in your endeavors.

Edited February 7 by Alan Bachman

[Pathfinder]

21 minutes ago, Alan Bachman said:

Understood.  But when you write on a forum, there are others who are interested as well.  And it so happens that the Lewitt and the Chandler have been compared.

You are free to ignore the posts about other mics that might be considered.

Wishing you the best in your endeavors.

So the thread and question I asked is ignored so you can post what you want? Very logical. 

[AB7]

4 minutes ago, Pathfinder said:

So the thread and question I asked is ignored so you can post what you want? Very logical. 

Not exactly.  You asked what people thought of the mic.  I had heard clips of it and clips of the Chandler.    It is difficult, if not inappropriate,  to review a mic without comparing it to others.  I have had other Lewitt mics and they were great.  As to the pure tube, only by hearing clips from others.

I believe people here are trying to be very helpful. 

 

[Duncan Stitt]

Pathfinder - what sort of music are you doing?

Do you need a bright mic to cut through a busy mix, or a beefy mic to feature a big, warm vocal in a sparse mix?

What sort of voice to you have? Bassy, midrangey, dull, bright, thin, thick, issues with sibilance?

What vocal mics have you used in the past, and what sort of EQ tweaks did you need to do to get them to sound good?

Do you want a mic with a lot of air on top (10k-15k) or do you want a more natural sound?

Do you sing loud? If you do, that could limit which mics would work for you, since some LDC (tube or non-tube) mics can't handle singers who project across the room like an opera singer or broadway singer or a rock music screamer.

These are all factors that will help determine what sort of mic might sound good on your voice.

If random people on the internet tell you they like the mic, that tells you nothing about whether  or not  it will work for your recording scenarios. The only way to find that out is to plug it in and record with it. Alternatively, if you could find a mic shootout on YouTube featuring a mic you've used before next to the Lewitt, that would at least give you more information about whether or not the Lewitt might be a good candidate for you.

Keep in mind, tube mics should be turned on a half hour before recording to let the tube stabilize. 5 minutes would do in a pinch, but the sound could still fluctuate, meaning if you punch in 20 minutes later, it might not match the earlier take. Also, tube mics are fragile. They recommend not jarring the mic when the tube is hot, since it could break the filament.

And lastly, be aware of confirmation bias. If you pay $1200 for the Lewitt, you're automatically going to like it. That feeling might change over time, so put it through its paces before the return window expires.

Have fun!

[Pathfinder]

3 hours ago, Duncan Stitt said:

Pathfinder - what sort of music are you doing?

Do you need a bright mic to cut through a busy mix, or a beefy mic to feature a big, warm vocal in a sparse mix?

What sort of voice to you have? Bassy, midrangey, dull, bright, thin, thick, issues with sibilance?

What vocal mics have you used in the past, and what sort of EQ tweaks did you need to do to get them to sound good?

Do you want a mic with a lot of air on top (10k-15k) or do you want a more natural sound?

Do you sing loud? If you do, that could limit which mics would work for you, since some LDC (tube or non-tube) mics can't handle singers who project across the room like an opera singer or broadway singer or a rock music screamer.

These are all factors that will help determine what sort of mic might sound good on your voice.

If random people on the internet tell you they like the mic, that tells you nothing about whether  or not  it will work for your recording scenarios. The only way to find that out is to plug it in and record with it. Alternatively, if you could find a mic shootout on YouTube featuring a mic you've used before next to the Lewitt, that would at least give you more information about whether or not the Lewitt might be a good candidate for you.

Keep in mind, tube mics should be turned on a half hour before recording to let the tube stabilize. 5 minutes would do in a pinch, but the sound could still fluctuate, meaning if you punch in 20 minutes later, it might not match the earlier take. Also, tube mics are fragile. They recommend not jarring the mic when the tube is hot, since it could break the filament.

And lastly, be aware of confirmation bias. If you pay $1200 for the Lewitt, you're automatically going to like it. That feeling might change over time, so put it through its paces before the return window expires.

Have fun!

Everything from Rainy Night in Ga-Tony Joe white style to Hollywood Nights by Bob Seger-kind of a screamer. Blues and R&B are where I like to sing and play. Started out playing finger-pickin folk songs after Nam-James Taylor, Croce, stuff like that. Even had a stint in a jug band. Most of the cover bands I was in did what we wanted-we didn't conform to the radio. But we still worked all the time. Many bands like that. Everything from Billy Joel to Ride Like the Wind to Bob Seger, CCR, traffic, Alman Bros and lots of old Soul stuff like dock of the bay.

I was always the lead or co lead singer in these bands, trios etc. I prefer Blues and R&B-great for singing for real and playing lots of cool stuff on the guitar. I am a singer 1st, Guitar player 2nd(although I have been playing guitar for over 40 years) and definitely recording engineer in training (on my own)

I have had many mics and recorded thru them all. Best mic (money wise) I ever had was the Mohave MA-200, so nothing really high end by studio standards. But My trusty old Stellar CM-5 ((C12/ELAM251 Inspired) I mentioned above was my favorite. Big old tube mic-heavy. But my voice just liked this mic and the mic liked me.
I sold it for really NO REASON at all and kick myself for doing it. There is one on Reverb for $500 but I wouldn't take a chance on a mic like that from reverb USED. 
I do have a powerful voice I guess-loud but growing up singing folk songs I also have a tame voice. 
I use the mics well. I know when to back up, move up etc.

I have watched many youtube videos of mi comparisons but on youtube they all sound the same to me. Right now I am recording using a wave Audio WA-87r2. I don't like it at all on vocals but it is nice on acoustic guitar stuff.

All of my recordings are Vocals (me), guitars Electric and acoustic(me), and lots of VSTS for Bass, Drums and keys. 

Well their you go-my life in a nutshell- 

[Duncan Stitt]

Good info PF. If you favor C12 style, the Lewitt frequency response graph is virtually flat till about 10k, where there is a lift through about 15k. The lift on a C12 starts at 5k and tapers off after 12k or so. That would make the Lewitt darker than a C12 style mic, (theoretically) but the Lewitt would have more air. If you could EQ in the 5k you need to emulate the C12 sound, the Lewitt might work, but ideally, we get our sound without having to EQ the mic. If Lewitt is like other boutique mic companies, they may make a C12 style tube mic.

ADK makes a nice C12 style mic, the Vienna, but I don't know the cost of their tube version. Their FET version gets rave reviews. I've had a Vienna IIau FET mic for years now. It sounds much better than the C12 style Peluso capsule I put in my modded Apex 460 tube mic. Sibilance issues on the Peluso C12 inspired me to send the mic back for a RK7 capsule swap. These days, I use the Apex on bright sources that need less highs.

I'm not surprised you don't like the Warm audio 87 style mic. 87s are just too thick sounding for me.

When I was researching affordable tube mics recently, I saw a comment about the Warm Audio 251 style tube mic sounding darker than an ADK Cremona fet, which is another 251 style mic. Perhaps they're taking "warm" too far?  Ha ha.

[AB7]

Based on your artists mentioned, I do not see it being a C12 type mic.  Likely more of a 47 or 67 as compared to a 12.  I really like the Stam 87t (tube 87 which is not normal) better than any other 87 I have tried.  It has an amazing bottom and sweet high end.   For 47s, I love the Heisermans but I suspect it is over your budget.

Beesneez in Australia make a great 67 that is on the affordable side - in the U.S. - Wind Over The Earth - in Colorado.  

But Duncan gave a lot of good advice - including that you will never know for sure until you get it in your studio.

Might be a good idea to go to a seller that takes returns easily, like Sweetwater, not the best prices but great service.  Put several on a credit card.  Compare and keep the winner.

Another thought is if there is a studio near where you live that you can visit and check out some mics.   For all I know, a mic like an SM7, used by Michael Jackson on Thriller, may thrill you!  It is not all about price.

The only reason I mentioned the Chandler which is not a tube mic, is that it sounds a lot like one and is strangely affordable compared to most chandler products.

For live, I am using a Lewitt MTP 550 DM Dynamic Vocal Microphone and I love it.   I even like it better than the more expensive Neumann KMS 105s I have for my voice and my wife's voice.  I never tried this Lewitt in the studio.   I think it is more of a live mic, but heck, who knows.  This is a very individual thing, which is why great studios have many, many mics.   Michael Jackson chose or was given a lesser expensive mic on what I think is the world's largest selling album (or close to it), and I am sure they could have afforded a much more expensive one.

Enjoy!  

[Glenn Stanton]

and depending on where you are located, you might even rent a few mics to try them out. one last comment from me - consider as a backup mic a Behringer B2 Pro. inexpensive but i've had a number of singers who i've done sound for live, and recording, praise it before they knew it was one of those "B" products LOL. weird. but worth also checking. 

Edited February 9 by Glenn Stanton

[Duncan Stitt]

Alan Bachman - the OP mentioned his favorite mic was the Stellar CM5, which is a C12 style of mic. And he said he doesn't like his 87 clone, which leads me to believe any mic with a lot of low mids - like a 47 or 67 - might not be what he's looking for.  I agree Tony Joe White might use a beefy mic, but I think the OP was using those artists as examples of his repertoire, not the sound he was looking for. 

For harsh singers in rock music, I keep going back to my SM7b, but I cheat a little, using the Cathedral Pipes phantom powered booster and running it through a Tonelux MP5a 500 series preamp with the "tilt EQ" boosting the highs by 1 db. I used to use a Phoenix Audio preamp, which was a truly magical combination with the SM7b, but it's cutting out on me, even after replacing the stepped gain pot. The unit is so old, no one in Phoenix Audio's tech department has even seen one. If I wasn't so near retirement (past retirement, actually) I'd get their 500 series version.