Photo by Ariel Zambelich/Wired
If you’ve got a smartphone, you’ve got an audio recording device with you. Anytime you want, you can fire up an app and record a conversation, a bit of a concert, or an audio snapshot.
The results are often only so-so. The crappy mono microphone at the base of your smartphone isn’t very forgiving, the allowed length is limited, and smartphone apps rarely give you much control over the nit-picky stuff: the recording quality, the input levels, or the resulting file type.
What makes Olympus’ portable recorder really stand out are the multi-tracking features that transform the device into a bona fide pocket studio for musicians and songwriters.
But it’s the nit-picky stuff that really matters if you want the best sound. A dedicated hand-held audio recorder like the
Olympus LS-100 gives you the desired level of control, producing awesome (stereo) recordings that far surpass what you can capture with a mobile handset, even if you’re using a fancy accessory microphone. It’s great for recording bands, or performances of any kind. But what makes Olympus’ portable recorder really stand out are the multi-tracking features that transform the device into a bona fide pocket studio for musicians and songwriters.
At $400, the LS-100 is twice as expensive as like-minded models with fewer features. So the high cost mostly makes sense for working musicians or serious audio hobbyists who will take advantage of the advanced features. But if you’re in this camp, this is one of the best — and best-sounding — portable audio recorders you can buy.
There are several options in this space (models from Tascam, Sony and Zoom being the stand-outs) all of which have a few things in common: a pair of nice stereo condenser mics at the top; an SD card slot; combo line/XLR inputs with phantom power for external microphones; on-board editing and mixing; and the ability to record at multiple quality levels, from lowly MP3 all the way up to 96kHz/24-bit WAV.
I’ve been using a portable recording device for a few years (a
Tascam DR-1) whenever my smartphone just won’t cut it — when recording a DJ set or a band practice session, when I want to roll “tape” for two hours or longer. Also, I use it a lot at nightclubs when a friend’s band is playing and we want to capture a sweet-sounding recording of the performance.
Photo by Ariel Zambelich/Wired
To test the Olympus LS-100, I used it in all three of these situations. It performed great, especially for live recordings. The mics are excellent. Monitoring a recording visually and dialing in the correct levels using the stacked input knobs is very easy, (and you’d be surprised how difficult this is on some recorders). The peak indicators are actually more sensitive than they should be, which gives you ample warning to ease the levels down before things get distorted. Also, there’s a visual
Lissajous meter that helps you place the recorder in the correct spot in a room to avoid unwanted phasing effects. Mic placement makes all the difference when you’re recording a live band, so this is helpful, but since it uses a reference tone to measure the mic placement, you’ll need access to the room’s PA system in order to find the safe zone.
Built into the LS-100 is a multi-tracking software suite that basically turns the recorder into an 8-track studio. I recorded a few demos with it (using the built-in mics for guitars and the line-in for keyboards) and the results sounded excellent, better than any other digital 8-track with built-in mics I’ve tried. The on-board editing is merely OK — the tiny screen and a scarcity of physical controls forces you to do the bulk of your overdubbing, punching in, bouncing and editing by way of a set of scrolling menus. As you can imagine, this is mind-numbing. But, it works.
So, it makes outstanding live recordings at clubs, and it serves as a nice sketchpad for writing songs. But I also wanted to see how it would fare as a simple reporter’s tool for recording interviews, so I passed it to Wired senior reporter Kim Zetter. She interviewed a subject sitting about 10 feet away from the recorder, and it picked up his voice as clearly as if he were sitting right next to her. She also recorded panel sessions at a conference that were very clear — recorders often can’t pick up clear sound from speakers in large conference halls, but this one did a great job. She wasn’t thrilled with the size, as it doesn’t fit easily into a pocket, and if you’re speaking to someone who’s already shy about talking to reporters, sticking a humongous recorder in their face doesn’t help that situation.
Apart from the high price and large size, the only other drawback is the LS-100′s user interface issues. But as with any device, once you spend a little bit of time with it, the menus get more familiar and you’re soon breezing through the settings. So if you’re OK with the learning curve — and you have ample time to thumb through the user guide — I can recommend it.
WIRED Excellent condenser mics arranged at 90° can handle up to 140 decibels. Multiple inputs can accept a variety of external mics or line-level sources. Can be used as a USB microphone to record audio to a laptop. Supports SD cards up to 64GB. Battery lasts 10 to 12 hours per charge. Rugged build — this isn’t some delicate Dictaphone.
TIRED $400 price makes it a smart buy only for pros or serious live-music enthusiasts. It’s bulky, and tough to sneak past security at the Fillmore. Interface is more trial-and-error than intuitive, and the user manual is thicker than
The Great Gatsby.
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