Electric Factory | (03) 9474 1000 | www.elfa.com.au | RRP: $129

I have had a fair few Lewitt microphones land on my desk over the last couple of years and I have to say, the ones that are coming through now seem to be a great improvement in quality. Straight out of the box and as always, I unscrew everything I can on this microphone because it’s just what I have always done. I like to see how a microphone is put together and with the Lewitt MTP250DM I am pleasantly surprised with the look and the feel both inside and out.


For those of you who do not know of Lewitt microphones, you must have been under a rock over the last few years. These Austrian designed microphones are starting to show up more and more and their take on classic designs with a new pitch is really proving to work. The MTP250DM is, as the name suggests, a dynamic microphone and is designed for vocal applications on stage. So, it is primarily designed to be used as a hand-held microphone, but surprisingly it features a smaller than usual handle section with a longer cage around the capsule. If you have small hands, this might be suitable, but could prove to be a little off-balance at the same time. I found myself wanting an extra inch on the grip, and as my hand naturally crept up the handle for more purchase, it tended to block the rear of the cage, affecting rear sound rejection, leading to feedback problems. So, perhaps a different approach is required in holding this microphone to many other hand-held stage mics, but that is about all I have to complain about.



As a stage microphone, you want something that will bring your vocals forward in the mix and make you stand right out. That is exactly what you get from the MTP250DM, as it is voiced just right for vocals. With excellent side rejection, allowing your voice only to be captured, keeping feedback to a minimum, there is a very clear and precise high frequency responses with this microphone that one would usually only expect of a condenser microphone. Yes, you do need to almost swallow the microphone, as is usually the case with a unit like designed for stage use, but that allows you to work on loud stages and still maintain separation from other voices and instruments. All in all, this is a pretty tough little vocal microphone that delivers in both build and sound quality. Everything slid back into place nicely after I pulled it apart and it still felt firm and solid. This microphone is going to take a beating on stage and still deliver results, that’s for sure.

Hits and Misses


Solid build and design

Great, open high frequency response

Perfectly suited for vocal applications


Handle is perhaps a little short


  • Acoustical operating principle - Dynamic, moving coil
  • Directional pattern - Cardioid
  • Frequency range - 60 - 18.000 Hz
  • Sensitivity - 2 mV / Pa (-54 dBV)
  • Rated impedance - < 280 ohms
  • Connector - gold plated 3-pin XLR
  • Dimensions - 49 dia. x 175 mm
  • Net weight  - 335 g