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Lewitt DTP Beat Kit Pro 7
Lewitt DTP Beat Kit Pro 7

Lewitt DTP Beat Kit Pro 7 

Lewitt’s approach to a drum pack is quite a bit different from what we’ve seen so far.

The first thing you’ll notice in this pack of seven mics is that the DTP 640 REX for the kick has both a condenser and a dynamic element. If that weren’t cool enough, it includes switchable EQ curves—Enhanced Frequency Response (EFR)—which changes the output characteristics of each element, and a pad switch with –10 and –20dB settings.

With both elements flat (no EFR), the condenser gives you a punchy kick, with sharper transients and greater dimensionality than a dynamic, while the dynamic element provides that weighty thump that you want for rock. The first EFR setting boosts the dynamic element’s low-end and presence response but leaves the condenser untouched. The second EFR setting essentially acts as a lowpass filter on the condenser element and a highpass on the dynamic, which makes the most sense when both elements are mixed together. Of course you don’t have to use both elements at the same time, but to use the condenser side on its own, you will have to send it phantom power. The included cable has a 5-pin connector on one side and a pair of XLR connectors (individually marked “dynamic” and “condenser”) on the other.

The MTP 440 DM cardioid dynamic is intended for the snare and the three diminutive, supercardioid DTP 340 TT mics are for toms. The tom mics are easy to position, offer remarkable side and rear rejection, and provide a round, warm sound. The MTP 440 DM has a focused frequency response and the least amount of proximity boost of the dynamic snare mics in this article.

The LCT 340 small-diaphragm condensers have removable capsules, with cardioid and omni caps included. The overall output of these in overhead position was about 5dB lower than the other condensers here, but they captured the sparkle of the cymbals in a remarkably smooth way (when compared at equal gain to the other mics). The LCT 340 also has three pad settings (–6, –12, –18dB) and three lowcut settings (40, 150, and 300Hz).

Everything is packaged in a lightweight, but sturdy, plastic briefcase, with two interior layers. The mics sit in the upper tray of the case, and below it sits the clips and drum clamps in fitted foam slots. All told, the DTP Beat Kit Pro 7 is a great deal for the money.


 
 
 
 
         
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