On playback, a Voice Balancer function can be activated to increase the volume of quieter sections, much in the way a compressor does. Index markers can also be dropped into files to aid location of specific sections. You can even change the playback speed, allowing you to skip through dialogue, and the ability to loop sections of audio has been improved compared with earlier models. There are also playback settings for optimising voice playback and skipping blank spaces. To use manual settings the Recording Scene feature must be turned off. There’s even a Recording Scene menu (Lecture, Conference, Meeting, Dictation, Music and DNS, the last optimised for speech-recognition software) the recorder adjusts its own parameters according to the type of recording you aim to do. File-editing functions include file splitting and trimming, and there’s a handy calendar view for searching audio files by the date they were recorded.įor non-continuous dialogue, an auto-start mode allows recording to commence when the input exceeds a threshold, and a voice-sync mode can stop and start recording, so as to avoid capturing pauses between speech. In addition to a switchable low-cut filter used for recording, there are playback EQ presets for different types of music and the five-band EQ can be adjusted by the user over a ☖dB range. There are five file folders for recorded audio plus a separate folder for music, to allow the device to be used as a conventional music player. Internal functions include audio file normalisation, file editing and numerous recording options. Why there’s no 44.1 or 48 kHz 24-bit option eludes me (converting down from 88.2kHz is easy enough in your DAW, but the files occupy twice the storage on the recorder!). Curiously, if you opt to record linear audio at 44.1 or 48 kHz, only 16-bit resolution is offered, whereas at 88.2 and 96 kHz only 24-bit resolution is offered. MP3 recording from 8 to 320 kbps is also available, allowing for a much longer recording time (over 250 hours). Linear PCM recording is supported at up to 24 bits and 96kHz, and the mics can handle SPLs up to 120dB without clipping. It’s also possible to switch off the centre mic entirely if required (in which case, the frequency response is curtailed to that of the LS-P1). The stereo image can also be ‘Zoomed’ in or out, presumably by using different blends of the centre and left/right mics to narrow/widen its pickup pattern. It’s a simple but clever idea that works very well in practice. By high-pass filtering the stereo array and low-pass filtering the omni mic (omnis naturally exhibit greater LF extension) this Tresmic array extends the response right down to 20Hz, without sacrificing the natural stereo image from the directional left/right mics. Yet, there’s a less obvious omni mic in between this pair on the LS-P2. In both cases the mics are directional and form a non-coincidental X-Y array. The latter’s stereo mics span 60Hz to 20kHz, as do the outer two mics on the LS-P2. The LS-P2 also boasts a greater frequency range than the LS-P1. Notably, this model has only two stereo mics, rather than the three found on the LS-P2. The less costly LS-P1 model is similar but offers fewer features, lacks the Bluetooth support and has only 4GB of storage. A tripod adapter is included for non-handheld operation and this fits nicely onto a third-party shockmount, such as those made by Rycote. The LS-P2 can connect to peripheral Bluetooth devices for wire-free recording/playback or remote control, and there’s a free control app called Olympus Audio Controller BT (it’s Android-only - an iOS equivalent would be a welcome addition!). There’s 8GB of memory on board, and a Micro SD card slot, tucked away in the battery compartment, allows for additional storage. Up to 40 hours of recording time is possible from a single battery charge - significantly longer than the direct competition. The LS-P2 runs from a single AAA battery and can charge the included NiMH battery via the USB connector which slides out of the bottom edge (this also allows for file transfer). Nonetheless, they’ve packed three mics inside it to form a ‘Tresmic’ array. One of the biggest selling points of Olympus’ LS-P2 is just how big it isn’t! In fact, Olympus say it’s the smallest recorder in its class, and I’m inclined to believe them - at just 108.9 x 39.6 x 14.4 mm, it fits easily in any pocket or kit bag. This diminutive device boasts Bluetooth connectivity, an impressive battery life and a surprisingly versatile onboard mic array.
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