• Up to 24bit/96kHz sampling rate & PCM recording
• High quality microphone
• WAV/WMA/MP3 recording formats
• 3 modes: Normal, Wide, Zoom
• 2 AA batteries for long-life recording and playback
• Elegant, compact metal design
• 2GB internal memory
• SD / SDHC card slot
• Built-in stereo speaker
• Optional infrared remote control
• Steinberg Cubase 4 LE software

More information can be found here

The first thing to notice about the Olympus Ls-10 is the case! This is once serious case, made from metal, unlike some of the plastic offerings from other companies, such as the Edirol R-09 and Zoom H series and pretty fantastic it is too! It fits nicely into the hand, and feels solid. The metal case makes you feel much ore secure about the unit, than some of the other plactic models.

The next best feature is the input level adjustment. It is a good, old fashioned rotary control. I love it. No more fantically pressing buttons up and down, but a nice smooth action gain and volume control. Olympus certainly got that right.

The screen is very bright and easier to view in all weather conditions, this is so much better than the screen I was used to in the Edirol R-09. The unit powers up very quickly and is ready to roll almost instantly. Upon booting up the user can set a number of parameters, such as the date and time. With these set, the user can then select the  sampling and bit rate, the LS-10 can record both wav files and mps files, which is a nice touch.

I like the fact that it has a built in tripod holder. This can make life very easy, and also helps reduce handling noise.

The menu system is easier to navigate than the Edirol and the Zoom (which I don’t like personally)

On the whole, I think the sound quality is exceptional for a until this size and certainly better than some of the other models.

Downsides

Personally I find the LS-10′s microphones very sensitive to wind noise, much more so than the Edirol R-09 or Zoom H2., This can be easily remidied, but does require a furry cover. Whilst I love the quality this record excudes in buckets, I find it is not as discrete as the Edirol or Zoom (which could pass as a mobile or some other device), where as the LS-10′s microphone positioning seem to draw a bit more attention than the Edirol.

I am disappointed by the 100Hz roll off (at least the fact that it is no switchable), I totally understand why Olympus did this, but some of us like things SUB 100! and we are loosing out using the internal microphones and mic input. STill there is always the Line input!

I have been using this in conjunction with my Sound Devices Micpre. and a happy combination they make, with an exceptional range.

Please contact us if you have any questions

For a sneak preview, listen here..

SO the basics,

Alchemy blurs the boundaries between sampling and synthesis, and allows you to manipulate sounds in ways which are impossible with conventional samplers. It features additive, spectral and granular synthesis and resynthesis, sampling, and a fat sounding virtual analog engine with unison and pulse width modulation. You can morph or crossfade between sources. You can import your own samples from SFZ, WAV or AIFF files. A wide range of analog modelled filters are included, in addition to a flexible rack of effects which includes all those from CamelPhat and CamelSpace as well as many new effects such as a high quality reverb. The innovative modulation system is extremely flexible, yet easy to use. Alchemy also features a powerful arpeggiator with the ability to import the groove from any MIDI file for immediate synchronization to your beats. You can find all the details in the easy to read manual.

Of course me being me, I love the fact I can use my own samples (one of the downsides of something like Omnisphere). In fact that is crucial to me, and the fact I am do so much to my samples means I am in seventh heaven! As an exisiting Cameleon 5000 user (and Camelspace), the upgrade cost was very very enticing and something that I could not turn down.

Downsides

1)Slightly limited soundbank (although it still makes for a very large download!) which I don’t think full explores all the possibilities of the synth.

2)CPU hungry, well this isn’t really a downside, but is something that need to be taken into consideration. You may find youself having to bounce or freeze tracks if you aren’t running a super spec’d machine. On the plus side, bouncing does mean you can further mess around with your newly created audio, which can be very creative and a lot of fun!

3)The amount of time you spend exploring this instrument, you didn’t want a life did you!

Digital Performer lets you record, edit, arrange, mix, process and master audio and MIDI tracks side by side for songwriting, studio production, live performance, film and television sound tracks, audio post production, surround mixing and other professional audio production tasks.

Status : Post- production

Peace

Neil =@)

I will be uploading some tracks to the website soon, and you will be able to purchase tracks from an online store also very soon!!

Thanks to everyone who helped make this possible, and it won’t take so long for the next one!!

Peace

Neil =@)

After experimenting with different set-ups over many many years, I think I have tried most things from Pedals, to different amp combinations to a full rack set-up. I would say it has been an organic process and none of these systems, so far, has ever provided me with what I was looking for 100%. Other considerations I have had are due to regular gigging, and the fact that I am now getting fed up of carrying large amps and tons of gear up and downstairs at all hours of the day and night.

Recently, I went for the all in one Line 6 Flextone III XL 2 x 12 and FBV Shortboard foot-controller (I have to say the amp was HEAVY!), and whilst it provided me with the all in one solution I was looking for, I could just not get the tone I was looking for out of it. I know there is the endless debate about tubes etc, but yes to me there is something about cranking up a tube amp and the responsiveness it provides. I find the amp-modellers too sterile. So it was back to the drawing board. I love my Marshall JMP-1 and Marshall EL34 50-50 to bits, but as I mentioned, taking a 4 unit rack (with TC-Electronics G-major and Behringer FCB-1010 foot-controller) and Marshall 1936 2 x 12 cab, floor switch and pedals was just getting a bit much, I knew there had to be an easier, lighter, and smaller solution. Enter the Tech 21 – Trademark 60!

I have been using the Trademark 10 and Sansamp GT2 for many many years, and think they are great in the studio (and the Trademark 10 can hold it’s own at most rehearsals!), but obvsiously it is a bit small for a gig. So last year I picked up the Trademark 60 after getting rid of the Line 6, and I haven’t looked back. I have written a full review on the Trademark 60, click here for details. It is an amazing amplifier, and does have 90% of the sounds I am looking for (doesn’t do metal metal to well….but then again I am playing less of that these days!), so I am very content! Needless to say this has meant I have gone back to using floor pedals with it (not that many mind!), having sold my Line 6 DL-4 Delay and DM-4 Distortion pedals this year, because once again they just didn’t do it for me, I have found I have returned to my old Boss pedals and I am really enjoying the experience! I think I have been too caught up in the programmable world, and really now enjoy having no presets….just turning the controls to suit what I want.

Currently my set-up goes as follows….

Ibanez/Strat –> Pedal Board consisting of……

-> Jim Dunlop Crybaby Wah -> Boss BD-2 Blues Driver -> Boss SD-2 Super Overdrive -> Boss MT-2 Metal Zone -> Boss GE-7 Graphic Equaliser -> Boss CH-2 Super Chorus -> MXR Phase 90 -> Boss DD-7 Delay (Plus Tap Tempo) -> Boss LS-2 Line Selector ->

Band Rig
A – Trademark 60 Amp
B – Boss TU-12H Tuner

Looping Rig

A – Behringer Reverb Pedal ->Roger Linn Aderalinn III -> Boss RC-50 Looper -> Trademark 60 Amp
B – Boss TU-12H Tuner

Pictures coming soon!