最近LEWITT麦克风已经被用于“After Dark Presents Sessions”-在英国美丽达汀顿庄园隐蔽的地方一系列秘密演出。作家和作曲家丹尼尔·马库斯克拉克是整个达汀顿庄园达汀顿艺术节六个独特的音乐和活动的策展人，我们有采访他的机会。
在采访丹尼尔时谈到了“After Dark Presents”，他为什么选择 LEWITT麦克风，和哪支话筒在“After Dark Sessions”应用和其经历。
[LEWITT]告诉我们一些有关“After Dark Presents”背后的理念？
[丹尼尔马库斯·克拉克]After Dark 是一系列的使用通常不习惯于音乐会的空间活动。上个赛季我们进行了六场表演，利用一切从隐藏的树林到被遗弃的学校。这是一个有趣的项目，所有我们用有趣的方式挑选声乐表演的艺人的行为-是可以玩不插电或轻微放大 - 但使用乐曲和作曲创造不同的东西并且这在目前流行音乐的总体事件中是独一无二的。
[Daniel Marcus Clark]当我开始为这个活动寻找合适的麦克风时，似乎LEWITT以一种非常聪明的方式运用工程。首先引起我注意的麦克风是LCT 640 TS的早期预演。能够真正操纵声音的能力 - 仅一支麦克风以这种有趣的方式工作 - 似乎真的很吸引人。当我们开始研究其他的装置，似乎实际上所有目录中的麦克风都已经考虑得非常好。麦克风的构建质量真是太棒了 - 我想几乎所有人都评论过！他们感觉坚实，你可以真正使用他们，而不必担心他们！但主要的是，声音是如此透明和干净。这些麦克风是神奇的配套组件！
[Daniel Marcus Clark]在声学上，一些录音真的是具有挑战性，有时我们一直在处理声学上不一定协调的乐器和位置。我们做的最后一期是和一个名为This的来自巴黎和布里斯托尔的梦幻组合乐队。在录音中，凯特，主唱非常温柔地演奏班卓琴，她有非常甜但又有几分宁静的声音。她和一位男中音和一位男高音萨克斯在一个声学扭曲的房间里演奏，突然间，我们有过这样一种经历-声学在房间里变得不理解 -很多时候你听不到萨克斯外的声音。这对工程师是一个真正的挑战，但我想希望我们脱离它工作真的很好。
[LEWITT] What recording techniques did you use?
[Daniel Marcus Clark] We made a decision early on that we would use only two mics so all of the After Dark Presents sessions just used two of the LEWITT LCT 550 microphones and we were experimenting with different ways to do that. Be it that each instrument was miked separately; or sometimes the guitar and voice would get miked separately, and sometimes we would using MS recording. So we were kind of using different techniques, based on the acts.
[LEWITT] Please tell us about your experiences with the LEWITT microphones at the After Dark Sessions.
[Daniel Marcus Clark] The sound engineer and I had a lot of fun figuring out the best way to bring the sound out with the limitations of just two microphones. If you see The Mountain Firework Company it was astonishing to me what you can do with just two mic’s. On both The Mountain Firework Company and Moulettes videos we were recording MS and the others were just using one mic or two mics. It seemed really straightforward, pretty quick and pretty seamless. For some of sessions the Mid Side technique didn’t work – mainly for the smaller acts or those in more challenging spaces acoustically, and so we miked them differently like in the This is the kit videos. We really had no problems, because the microphones were easy to work with.
[LEWITT] What microphone worked best on what?
[Daniel Marcus Clark] I know that a lot of the engineers we worked with completely fell for the MTP 940 CM and MTP 740 CM. They were so clear and so easy to work with and give such a true sound - both for vocals but also for instruments. For one of the sessions we miked up a celeste - a struck idiophone operated by a keyboard that has a very gentle, delicate sound and is an instrument that is used in the Sugar Plum Fairy most famously - and that worked incredibly well with the MTP 940 CM - it just gave so much detail and crispness. We were recording the After Dark Presents sessions with the LCT 550 and they were astonishing, because they have this zero db noise floor that means that you can really pick up very very quiet things and when it comes to the mix at the end, all you hearing is detail rather than the sound of the microphones themselves.
[LEWITT] What was the recording chain?
[Daniel Marcus Clark] A lot of the time for the live sessions we were just running straight into a zoom recorder, so it was a very simple chain we were going for and it worked incredibly well. It meant we could turn up in a very remote location and the microphones were powered just by the recorder itself. So that was the setup we quite often used. Then we also tried it with some of the Universal Audio Preamps and that also worked incredibly well. We found that we got a lot more out of the microphones that way, but the versatility to being able to turn up in a space that has no power and no access to power and being able to use two very detailed condenser mics like the LCT 550’s was just incredible.
[LEWITT] Have any of the musicians commented on the microphones or their sound?
[Daniel Marcus Clark] I think all of the artists have enjoyed the sound of the microphones that they’ve been using. I know that Adem, a famous producer and recordist who has produced an album for Philip Selway - the drummer of Radiohead - absolutely loved the sound of the MTP 740 CM vocal mic. But mainly it has been the sound engineers themselves and the people that were arranging the sessions that have being knocked for six by them. We had quite a lot of people asking where they can get LEWITT microphones, because of the quality of them. We had also quite a few sound engineers, who expressed an interest in replacing their SM 58’s with LEWITT microphones, because just sounded so much better!
Daniel asked some of the sound engineers about their experiences with the LEWITT microphones:
[Olly Wickes, DBS MUSIC] The mic's were a joy to use during the After Dark events. It's always a bit of a gamble using something you are unfamiliar with for the first time but I genuinely impressed with the entire range. Build quality was excellent and the microphones seemed very robust. The intimate nature of the events called for honest, transparent and detailed microphones in order for us to achieve fully authentic sound reinforcement of the sources on stage. The detail of the condenser vocal mic's in particular were incredible and you could have heard a pin drop in the room with how silent they were. I was able to achieve a lot of gain before feedback, which really helped with the quality of the recordings whilst not compromising the integrity of the sound in the pa or monitors. I'd happily use these microphones again and would love to see them more widespread in the industry.
[Jimi Stewart - CAPE KHOBOI] We used a pair of LCT 550’s for a bunch of different applications and they sounded fantastic. Warm and clear in every situation from acoustic guitars to tenor sax. Couldn't recommended these any more highly. I can see them becoming a studio staple for years to come.
[LEWITT] Any tips and tricks?
[Daniel Marcus Clark] Just to not be bound by what others have done before and to have fun with your imaginations and see what is possible! In terms of the sound for the events we had quite a lot dreaming time around what the sonic character of each event would be and how they would feel. That really helped I think. But tips for other people - I think the main thing is to allow artists to be able to focus on what they do well and that comes from being invisible and being good at what you do and that was the great thing about working with LEWITT microphones - because we didn’t have to worry about the technology, we could just focus on making the artists feel comfortable.
[LEWITT] Anything else you want to say?
[Daniel Marcus Clark] As well as making great microphones it was such a pleasure to deal with all of you LEWITT Guys and it feels like you’re very open to artists and the artistic journey! The impressions I get is that you are a technical company that are making microphones for people to be creative with.
Outside of the After Dark Presents Sessions I used the LCT 550 for voice overs to try them out and I found they worked incredibly well. They are so transparent and detailed and the clients all came back and were saying how great they sounded and how happy they were with the recordings. I was running the LCT 550 directly into an Apogee Duet and in an Mac.
[LEWITT] Are you planning to continue the After Dark Sessions?
[Daniel Marcus Clark] We’re planning a next season - starting hopefully in the spring.
After Dark Presents: