Studio in Your Pocket

Jun 1, 2008 12:00 PM, By Geary Yelton

           
 

STEREO DIGITAL RECORDERS ARE MORE PORTABLE AND AFFORDABLE THAN EVER

FIG. 4: M-Audio’s second-generation MicroTrack II has balanced -inch inputs with 48V phantom power, as well as line outputs on RCA jacks and coaxial S/PDIF I/O.

M-AUDIO MICROTRACK II

The MicroTrack II ($299) replaces the Micro-Track 24/96 introduced in late 2005 (see Fig. 4). Like the original, the updated model uses CompactFlash cards and Microdrives for storage (though none are included). In addition to 16- and 24-bit BWF at sampling rates from 44.1 to 96 kHz, it records MP3 at bit rates from 96 to 320 Kbps. It can record mono or stereo in either format. The recorder fits comfortably in and is easily operated with one hand.

Bundled with the MicroTrack II is a T-shaped stereo microphone that plugs into the top panel and has a foam windscreen on each diaphragm. The recorder has better I/O capabilities than any of its pocket-size competitors: along with the usual stereo mic input and headphone output on minijacks, it has two balanced mic/line inputs on ¼-inch TRS jacks, two line outputs on RCA jacks, and coaxial stereo S/PDIF I/O on an RCA jack. The TRS inputs, especially, maximize flexibility while minimizing the need for external adapters. The ¼-inch inputs supply full 48V phantom power, and you can monitor S/PDIF input through the headphone output. The MicroTrack II handles a wider range of signal levels than the MicroTrack 24/96, eliminating the previous model's boost setting and optional -10 dB pad.

You negotiate the menus and file structure with a combination of the Navigation Wheel (which operates like a small lever) and the Menu button. Rock the wheel up or down to move the cursor, press it to select an item, and press Menu to step backward in the menu hierarchy. Rather than knobs for controlling levels, the MicroTrack II has two buttons for recording and another for playback; pressing the button's top end increases the level and pressing the bottom end decreases it. You can specify whether pressing Record puts the recorder into record-ready pause mode or begins recording immediately — a great feature.

The rather large LCD graphically displays plenty of data, and a side-mounted switch lets you adjust the backlight's brightness. Onscreen graphics represent the battery level, output level, and left and right input levels. The meters aren't calibrated in decibels but give you a relative gauge of settings and transient levels. Also displayed are the file name, number of files recorded, record time, and time remaining.

To loop passages during playback, hold down the Menu button for more than 2 seconds to enable looping, then press Menu once to indicate the start point and again for the end point. The analog limiter prevents audio from exceeding -1 dBfs.

Like its predecessor, the MicroTrack II contains a rechargeable lithium-ion battery that can't be replaced by the user. When it eventually wears out, you must return the entire unit to M-Audio for replacement at a cost of $75. The included AC adapter connects to the recorder via a USB cable, and a USB connection also charges the battery.

FIG. 5: The Olympus LS-10 is slim, lightweight, and versatile, and it contains 2 GB of onboard flash memory. It’s nimble, too—you can power it up and start recording in about 6 seconds.

OLYMPUS LS-10

Although Olympus is most often associated with cameras and binoculars, it manufactures quite a few voice recorders, both digital and microcassette. The LS-10 ($399) offers performance far beyond its dictation-oriented brethren, however, with 24-bit sampling rates as high as 96 kHz and 2 GB of onboard flash memory (see Fig. 5). If you need more storage, its SD slot accommodates cards of any capacity. The LS-10 is the slimmest recorder I've used (though Yamaha's forthcoming Pocketrak 2G will be even slimmer). In addition to recording WAV and MP3 files, it records in Microsoft's Windows Media Audio (WMA) format, and it can store computer data by means of its USB connection.

The LS-10's feature set is quite impressive, with hardware volume knobs, two serviceable built-in speakers, and excellent battery life. The top-mounted mics sound clean and accurate, and you even get foam windscreens that slip tightly over them. The unit is obviously designed for easy one-handed operation and provides a generous LCD to view its hierarchical folders and menu structure. And when it ships, the optional RS30W remote will permit hands-free operation of record and stop functions.

Navigation couldn't be simpler thanks to centrally located cursor buttons surrounding an OK button that also functions as the Play button. As with the Edirol R-09, the area around the Record button flashes red in record-ready pause and glows steadily while recording. Onscreen meters indicate record levels calibrated in decibels, and a Peak LED flashes red when the input overloads. Pressing the dedicated Erase button deletes your most recent recording quickly and conveniently. Two buttons on the lower right, Menu and List, help you navigate the recorder's file, folder, and menu structure. Another button, A-B Repeat, sets the loop start point the first time you press it, sets the end point the second time, and cancels the loop the third time.

The remaining button, labeled Fn, is an assignable function key. It is immensely useful for instantly changing modes and accessing various functions. One of these functions is an unusual feature called Zoom Mic. The idea is that you can change the stereo mic's directivity with an onboard algorithm. The settings are Off, Wide, Standard, Narrow, and Zoom. Although the Wide and Zoom setting did create the illusion of distance, all the settings altered the equalization considerably and sounded more like effects processing than like repositioning the mics.

You can impart a similar effect during playback called Euphony Mobile, which purports to add audible expansiveness. Its settings are Normal (no effect), Natural (expansion), Wide (more expansion), and Power (emphasizing low frequencies). Like Zoom Mic, Euphony sounds more like effects processing than like the sound is emanating from a physically different environment. If you prefer a more traditional sense of space, the LS-10 also offers four reverb presets during playback: Studio, Club, Hall, and Dome. Using Euphony or reverb will lower 24-bit resolution to 16-bit and 96 kHz audio to 48 kHz.