Topic: Olympus LS-10 (Help)

[shadowfax1007]

I've got a few little gig's coming up soon, I own a Olympus LS-10 and figure I'll give it a shot at recording concerts. I've heard mixed reviews about its concert performance, some people swear by it, others love it but EQ the final result, some people hate it. Now I don't want this to turn into a "internal mics are shit, use externals" etc thread, I already intend to purchase some externals before an important show later this year. What I'm hoping for is some advice on settings to use.

The first gig I'll be taping is outdoors on a beach, so the mic's will be windscreened. The second gig is inside a small venue. Both are rock gigs, although not excessively loud.

I'll be recording in WAV, which should I go with - 44.1/16, 44.1/24, 48/16 etc up to 96/24?
Record levels manual or auto? If manual, do I want the limiter on or off?
Mic sensitivity high or low?
Low Cut on or off?

If anyone can provide some answers to those questions, and/or has experience with an LS-10, I'd love to hear about it.

And yes, I did search, the topics I found were helpful, but didnt answer my remaining questions

Thanks

[fmaderjr]

I've never used an LS-10, but I can tell you this:

1) I would definitely record in 24 bit. I would just go with 24/44.1 or 24/48 because I don't see how you'd hear a difference with the internal mics if you recorded at 24/96. I prefer 24/44.1 for its slightly better conversion to CD format, but many here prefer 24/48. The reason for 24 bit it that it allows you to boost levels much more noiselessly in post.

2) Never ever use auto level when recording music. Use manual and set your levels conservatively, peaking around -12 to at most -6. That gives you margin for error for sudden peaks and you can boost noiselessly in post when recording in 24 bit.

3) Seldom use a low cut filter on any recorder. Reduce the bass in post if necessary. One time people do say it helps is with wind noise though, so maybe someone who has used this recorder's internal mics outdoors can chime in. I would leave it off unless someone has used it in the wind and says it helps. Once you filter something out of your original recording, you can't get it back.

4) With 24 bit and levels peaking where I recommended, you don't really need a limiter. I don't know how good the LS-10's limiter is, but if you want you can turn it on as a safety valve. Just try to set levels conservatively enough that it is probably not going to kick in.

[Church-Audio]

I've got a few little gig's coming up soon, I own a Olympus LS-10 and figure I'll give it a shot at recording concerts. I've heard mixed reviews about its concert performance, some people swear by it, others love it but EQ the final result, some people hate it. Now I don't want this to turn into a "internal mics are shit, use externals" etc thread, I already intend to purchase some externals before an important show later this year. What I'm hoping for is some advice on settings to use.

The first gig I'll be taping is outdoors on a beach, so the mic's will be windscreened. The second gig is inside a small venue. Both are rock gigs, although not excessively loud.

I'll be recording in WAV, which should I go with - 44.1/16, 44.1/24, 48/16 etc up to 96/24?
Record levels manual or auto? If manual, do I want the limiter on or off?
Mic sensitivity high or low?
Low Cut on or off?

If anyone can provide some answers to those questions, and/or has experience with an LS-10, I'd love to hear about it.

And yes, I did search, the topics I found were helpful, but didnt answer my remaining questions

Thanks

Out of all the recorders I have ever owned this one has the WORST internal mics I have ever heard.. The external mic jack is useless because there is a high pass filter that can not be switched off. My recommendation is to get something like an R09HR and sell the LS10 like I did to someone that just wants to record voice. There is a huge spike in this recorders internal mics in the high frequency area that makes them most unpleasing to listen too... I am not just saying this because I make mics.. I am saying this because I owned one and HATED IT. the internal preamp also sucks... So yeah you can use it but the results will be less then perfect.

[shadowfax1007]

I've never used an LS-10, but I can tell you this:

1) I would definitely record in 24 bit. I would just go with 24/44.1 or 24/48 because I don't see how you'd hear a difference with the internal mics if you recorded at 24/96. I prefer 24/44.1 for its slightly better conversion to CD format, but many here prefer 24/48. The reason for 24 bit it that it allows you to boost levels much more noiselessly in post.

2) Never ever use auto level when recording music. Use manual and set your levels conservatively, peaking around -12 to at most -6. That gives you margin for error for sudden peaks and you can boost noiselessly in post when recording in 24 bit.

3) Seldom use a low cut filter on any recorder. Reduce the bass in post if necessary. One time people do say it helps is with wind noise though, so maybe someone who has used this recorder's internal mics outdoors can chime in. I would leave it off unless someone has used it in the wind and says it helps. Once you filter something out of your original recording, you can't get it back.

4) With 24 bit and levels peaking where I recommended, you don't really need a limiter. I don't know how good the LS-10's limiter is, but if you want you can turn it on as a safety valve. Just try to set levels conservatively enough that it is probably not going to kick in.

Thanks for the help. Much appreciated.

I've got a few little gig's coming up soon, I own a Olympus LS-10 and figure I'll give it a shot at recording concerts. I've heard mixed reviews about its concert performance, some people swear by it, others love it but EQ the final result, some people hate it. Now I don't want this to turn into a "internal mics are shit, use externals" etc thread, I already intend to purchase some externals before an important show later this year. What I'm hoping for is some advice on settings to use.

The first gig I'll be taping is outdoors on a beach, so the mic's will be windscreened. The second gig is inside a small venue. Both are rock gigs, although not excessively loud.

I'll be recording in WAV, which should I go with - 44.1/16, 44.1/24, 48/16 etc up to 96/24?
Record levels manual or auto? If manual, do I want the limiter on or off?
Mic sensitivity high or low?
Low Cut on or off?

If anyone can provide some answers to those questions, and/or has experience with an LS-10, I'd love to hear about it.

And yes, I did search, the topics I found were helpful, but didnt answer my remaining questions

Thanks

Out of all the recorders I have ever owned this one has the WORST internal mics I have ever heard.. The external mic jack is useless because there is a high pass filter that can not be switched off. My recommendation is to get something like an R09HR and sell the LS10 like I did to someone that just wants to record voice. There is a huge spike in this recorders internal mics in the high frequency area that makes them most unpleasing to listen too... I am not just saying this because I make mics.. I am saying this because I owned one and HATED IT. the internal preamp also sucks... So yeah you can use it but the results will be less then perfect.

Trust me to pick a dud machine. sigh 
Thanks though

[Church-Audio]

I've never used an LS-10, but I can tell you this:

1) I would definitely record in 24 bit. I would just go with 24/44.1 or 24/48 because I don't see how you'd hear a difference with the internal mics if you recorded at 24/96. I prefer 24/44.1 for its slightly better conversion to CD format, but many here prefer 24/48. The reason for 24 bit it that it allows you to boost levels much more noiselessly in post.

2) Never ever use auto level when recording music. Use manual and set your levels conservatively, peaking around -12 to at most -6. That gives you margin for error for sudden peaks and you can boost noiselessly in post when recording in 24 bit.

3) Seldom use a low cut filter on any recorder. Reduce the bass in post if necessary. One time people do say it helps is with wind noise though, so maybe someone who has used this recorder's internal mics outdoors can chime in. I would leave it off unless someone has used it in the wind and says it helps. Once you filter something out of your original recording, you can't get it back.

4) With 24 bit and levels peaking where I recommended, you don't really need a limiter. I don't know how good the LS-10's limiter is, but if you want you can turn it on as a safety valve. Just try to set levels conservatively enough that it is probably not going to kick in.

Thanks for the help. Much appreciated.

I've got a few little gig's coming up soon, I own a Olympus LS-10 and figure I'll give it a shot at recording concerts. I've heard mixed reviews about its concert performance, some people swear by it, others love it but EQ the final result, some people hate it. Now I don't want this to turn into a "internal mics are shit, use externals" etc thread, I already intend to purchase some externals before an important show later this year. What I'm hoping for is some advice on settings to use.

The first gig I'll be taping is outdoors on a beach, so the mic's will be windscreened. The second gig is inside a small venue. Both are rock gigs, although not excessively loud.

I'll be recording in WAV, which should I go with - 44.1/16, 44.1/24, 48/16 etc up to 96/24?
Record levels manual or auto? If manual, do I want the limiter on or off?
Mic sensitivity high or low?
Low Cut on or off?

If anyone can provide some answers to those questions, and/or has experience with an LS-10, I'd love to hear about it.

And yes, I did search, the topics I found were helpful, but didnt answer my remaining questions

Thanks

Out of all the recorders I have ever owned this one has the WORST internal mics I have ever heard.. The external mic jack is useless because there is a high pass filter that can not be switched off. My recommendation is to get something like an R09HR and sell the LS10 like I did to someone that just wants to record voice. There is a huge spike in this recorders internal mics in the high frequency area that makes them most unpleasing to listen too... I am not just saying this because I make mics.. I am saying this because I owned one and HATED IT. the internal preamp also sucks... So yeah you can use it but the results will be less then perfect.

Trust me to pick a dud machine. sigh 
Thanks though

Hey dont feel bad I got my unit when they were $400 and sold it a month later for $250...

[dallman]

While I do not doubt Chris's experience with the deck, I have made some fine recordings with it. I have done most every possibility  of line in with a preamp, with internal mics, with mic in, and maybe it is the loud rock n roll I have done, but I also did some chamber music and 2 weddings and was very pleased. So no need to be discouraged, just go out and have fun.

I use 24/48 for the flexibility and my car will play 24/48 on CD or DVD so I can listen right away, but I eventually dither to 16/44.1.
I never use any filters or limiters, but that is more personal preference.

[nl]

While I don't have any experience with this recorder, I agree with dallman and say to just go for it. If you end up with something listenable then great. The sure way to end up with nothing, is to not tape at all.

[guysonic]

Always use the internal/external mic with preamp setting in "low" or 20 db setting to avoid overloading distortion.   
The highpass filter effect (not a defeatable feature) working only to reduce frequencies above 85 cycles is a good thing for most rock/pop live venues, but less desireable for acoustic stuff.  The preamp in this model is one of the lower noise recorders available in this size.  See graph below:


Tech review of this model on my site at: http://www.sonicstudios.com/ls10revw.htm

[shadowfax1007]

While I do not doubt Chris's experience with the deck, I have made some fine recordings with it. I have done most every possibility  of line in with a preamp, with internal mics, with mic in, and maybe it is the loud rock n roll I have done, but I also did some chamber music and 2 weddings and was very pleased. So no need to be discouraged, just go out and have fun.

I use 24/48 for the flexibility and my car will play 24/48 on CD or DVD so I can listen right away, but I eventually dither to 16/44.1.
I never use any filters or limiters, but that is more personal preference.

Thanks for giving me some hope haha.
How were the internal mic's? Do you have a sample uploaded anywhere that I can listen to?

[shadowfax1007]

If I run some CA-14's with a batt box through line in, the bass rolloff should be a little helpful in small venues right?
If not, I can fix it in post..

[fmaderjr]

If I run some CA-14's with a batt box through line in, the bass rolloff should be a little helpful in small venues right?
If not, I can fix it in post..

According to Chris, if omnis maybe in some instances, if cards definitely not (cards in the same line of mics as omnis do not have as much bass).

Even with omni's unless the sound is incredibly bass loaded, most of prefer to do any roll off in post. Not everyone feels this way, but I think it's safest not to use roll off when recording unless you really know what you're doing.

[shadowfax1007]

If I run some CA-14's with a batt box through line in, the bass rolloff should be a little helpful in small venues right?
If not, I can fix it in post..

According to Chris, if omnis maybe in some instances, if cards definitely not (cards in the same line of mics as omnis do not have as much bass).

Even with omni's unless the sound is incredibly bass loaded, most of prefer to do any roll off in post. Not everyone feels this way, but I think it's safest not to use roll off when recording unless you really know what you're doing.

The roll off is built into the LS-10 line in sadly, I could go mic in but then I can't use the battery box without risking overloading

[fmaderjr]

The roll off is built into the LS-10 line in sadly, I could go mic in but then I can't use the battery box without risking overloading

I don't have an LS-10, but unless I'm reading it wrong, guysonic's report on the LS-10 says that the roll off in built into the mic in, not the line in.
http://www.sonicstudios.com/ls10revw.htm

[shadowfax1007]

The roll off is built into the LS-10 line in sadly, I could go mic in but then I can't use the battery box without risking overloading

I don't have an LS-10, but unless I'm reading it wrong, guysonic's report on the LS-10 says that the roll off in built into the mic in, not the line in.
http://www.sonicstudios.com/ls10revw.htm

My mistake, thanks for pointing that out.

[guysonic]

Here is a copy of what's on my site's LS-10 technical review about the inputs:

Mic input on this model is not very capable of handling high signals from larger size externally powered 12-48 volt mics recording rock/pop stuff, but is fine with my mics, and may be OK with most small capsule mics operating from their own 9 volt battery modules.
UPDATE: Now both Sony D50 and newest M10 power my Dimensional Stereo-Surround (DSSM) mics.