The LS-10 seems to have bass roll-off when recording via the mic input as a=
default.
Leonard Lombardo of Sonic Studios mentions this in his review from 2008:
http://www.sonicstudios.com/ls10revw.htm
I've noticed the difference between it and the Edirol R09-HR (also, the LS-=
10 has very low line-in sensitivity) and prefer to use the Edirol, even tho=
ugh its build quality is nowhere near as good.
Ian
- -
London Sound Survey http://www.soundsurvey.org.uk
Supporting Deafness Research UK http://www.deafnessresearch.org.uk
--- In "Mike Rooke" <> wrote:
>
> Ive found the LS10's low end response is'nt as good as the Sony D50. Migh=
t be an idea to test them with another recorder? - For sure the response of=
that particular capsule if its from the same family Im using is well below=
10 Hz.
>
> Nice to hear the examples.
>
> BR
> Mike.
>
>
>
> --- In "walunit" <walunit@> wrote:
> >
> > Hi folks,
> >
> > I received a set of Klas's new Telinga Clip-On omnis yesterday and trie=
d a few experiments and compared a couple of configurations with my MKH M-S=
rig. Pardon the long post.
> >
> > First, I make no technical conclusions from these tests. I'm posting in=
the hopes that this is useful to the more technically inclined. Second, an=
d on a more subjective note, these do not sound like "little" mics to me. I=
am pretty amazed at the Telinga + LS-10 combo. I was seeking a reasonably =
priced, portable way to get into a fresh perspective in my soundscape recor=
dings. With these omnis I can now start to experiment with various boundary=
techniques, etc. They sound great to my ears! I plan to take both rigs to=
the ocean next week and can share some more comparisons, etc., from that t=
rip.
> >
> > Notes:
> > The two setups are:
> > 1) Olympus LS-10 + Telinga Clip-Ons
> > 2) SD 722 + Sennheiser MKH 30/40 M-S mic setup
> >
> > All files were recorded 44.1 kHz and 24-bit. Both systems were set "fla=
t" except whatever intrinsic filtering they may contain. The samples are al=
l encoded to 256 kbps mp3 using Sound Forge 8. Recordings were made north o=
f Kirkland, WA, USA at around 7:00 am on March 24, 2010.
> >
> > The suburban soundscape is dominated by the roar of a distant highway a=
s well as planes, etc. I hope these experiments are still helpful in some w=
ay. I tried to get the gain structures close while recording but ended up a=
dding 7.0 dB of gain (in SF) to the 722+MKH rig to make the background WHOO=
SH approximately match to my ears (the metering on the LS-10 is not fantast=
ic for this but I could have done better with a better noise/reference sour=
ce). The 722 gain was set to display +61.8dB of gain. This is higher than I=
normally run the gain and likely into the range where the 722 gain display=
seems less accurate. I used the 722's internal M-S decoder with M-S set to=
the mid "*" position. The LS-10 gain was set to approximately "1.5" on the=
control. The LS-10 mic sense was set to "HIGH" and low cut was set to "OFF=
."
> >
> > In this first test I have the Telingas clipped to my Sennheiser HD 280 =
Pro headphones. Here's a pic:
> > http://mikewallmusic.com/MKHandTelingaOmnis/IMG_4207.jpg
> >
> > I guess Klas will need a different marketing model. The mics are about =
10 cm from my head and in a plane about 5 cm below the top of my head. The =
elements are pointing away from my head. There was very little thought rega=
rding this choice of mic location! The clips just happen to hold very secur=
ely to my headphones in this position.
> > Audio:
> > Telingas: http://mikewallmusic.com/MKHandTelingaOmnis/LS100059_edit.mp3
> > MKH: http://mikewallmusic.com/MKHandTelingaOmnis/T158_edit+7dB.mp3
> >
> > In this test I strapped the Telingas to a tree. Here are some pics:
> > http://mikewallmusic.com/MKHandTelingaOmnis/IMG_4189.jpg
> > http://mikewallmusic.com/MKHandTelingaOmnis/IMG_4191.jpg
> > From the rear, for perspective. Yes, I am aimed at the house in this te=
st: http://mikewallmusic.com/MKHandTelingaOmnis/IMG_4194.jpg
> >
> > For your amusement I intentionally walk around, plug in a fountain, unp=
lug the fountain, and walk a bit more. Audio:
> > Telingas: http://mikewallmusic.com/MKHandTelingaOmnis/LS100060_edit_tre=
e.mp3
> > MKH: http://mikewallmusic.com/MKHandTelingaOmnis/T159_edit+7dB.mp3
> >
> > For this clip I unplugged the Teingas and strapped the LS-10 to the tre=
e. I left the gain unchanged so it is very quiet (I did not correct the gai=
n in SF).
> > Here's a pic: http://mikewallmusic.com/MKHandTelingaOmnis/IMG_4195.jpg
> > LS-10 built-in mics audio: http://mikewallmusic.com/MKHandTelingaOmnis/=
LS100062_edit_built-in_mics.mp3
> >
> > For this final test I brought both rigs into my music room which is fai=
rly quiet. I pointed them the same direction at a stack of foam bass traps.=
The gain was left unchanged:
> > Telingas: http://mikewallmusic.com/MKHandTelingaOmnis/LS100063_edit_qui=
et.mp3
> > MKH: http://mikewallmusic.com/MKHandTelingaOmnis/T160_edit_quiet.mp3
> >
> > I was surprised by the very high level of "rumble" from the MKH rig so =
I made sure the heater was off and recorded a bit more "quiet:"
> > http://mikewallmusic.com/MKHandTelingaOmnis/T161_edit_quiet2+7.mp3
> >
> > The RMS is ~3.5 dB lower this time, but still lots of rumble compared t=
o the Telingas+LS-10. I recall a discussion about intrinsic high-pass in th=
e LS-10 and that may be a big part of the difference. I have done no analys=
is beyond running SF's "statistics" tool.
> >
> > I hope this was of some interest.
> > Best Regards,
> > Mike
> >
>
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