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In addition to phantom-powering (48V & 24V), its the independent instrument amplifier that makes the LS-100’s input connections so special, enabling low noise and a high S/N ratio even when recording through a long microphone cable. There is also an XLR Power switch on the combo jack that allows you to turn the phantom power on and off, as and when your condenser microphone require a phantom power supply. Furthermore, there’s an L/R independent recording level setting for adjusting to each L&R XLR channel, for exceptionally balanced audio results.
The LS-100 is a benchmark in the portable multi-track recording of multiple sound sources to create a cohesive whole. It gives any professional from songwriter to broadcaster complete control over the recording and final sculpting of their work. From separate or simultaneous track recording, to “muting” of all tracks but one in playback, replacing or editing of a single track, and so much more – multi-tracking gives you the flexibility to go back and tweak or re-record until you have your desired results.
The LS-100 also supports L/R panning, letting you spread a sound signal into a new multi-channel sound field for superb balance control. And it allows for a maximum of 8 tracks, with a capacity for 999 projects in total, ensuring incredible versatility to realise complex recording projects.
“Overdubbing” is yet another built-in feature that you’d otherwise only find in a full-scale recording studio. Say you’ve laid the basic tracks of the rhythm section to a song you’re recording, and now you wish to add the corresponding vocals and instrumentation. Taking advantage of its multi-track recording capabilities, the LS-100 allows you to conveniently overdub a supplementary recorded sound to this previous recording, simultaneously monitoring the previous track or tracks on your display.
As all professionals know, precise microphone positioning is crucial for capturing full depth and accurate audio imaging. The LS-100 has two high-quality built-in microphones designed at a perfect 90° angle for capturing and reproducing true-to-life stereo sound and natural ambience. This 90° construction – aligned similarly to the human ears in fact – also means the stereo sound is produced by differences in sound pressure (intensity stereophony) and time delay (time-of-arrival stereophony) – for extraordinarily well-balanced acoustic results. The design also incorporates an optimised microphone space to prevent sound reflection.
The LS-100 comes with adjustable microphone sensitivity covering a high, medium and low setting: Extremely well suited to capturing everything on the acoustic spectrum from crisp, sonorous tones at a distance to subtle nuances at close range. In addition to this, ambient audio recording is optimised with the help of a built-in switchable low-cut filter with two levels (100Hz / 300 Hz). This filter is very useful when it comes to blocking out unwanted background noises at certain frequencies, such as air conditioners or projectors, thereby encapsulating more of the intended rich audio.
The LS-100 boasts the latest innovations in circuitry design using high-end components, separate audio and system circuit boards, and dedicated chips for different in-/output channels helping to eliminate noise interference.
Surprises can often be a good thing, but hardly ever in a professional recording situation. In fact, there’s nothing quite as frustrating as missing the vital start of a critical recording. The LS-100’s ingenious pre-record and auto-record features don’t leave anything to chance: A pre-record buffer captures several seconds of sound before you’ve even pressed the record button, with a voice sync recording feature that automatically starts and stops recording on additional files in sync with the respective activation volume level set. In other words, the LS-100 automatically starts recording every time it detects a sound louder than the voice sync (detection level) set by the user, and automatically stops recording each time the sound level falls below this volume setting. What’s more, you can also go remote with the quick addition of the optional RS30W remote sender and receiver, giving you freedom to move as you record and usefully cancelling out any noise from direct handling of the device.
The LS-100’s metronome can be applied in two different modes: either with a solely metronomic function for keeping regular beats during practice sessions, or together with synchronous recording. It has a range of different settings that include adjustment of the countdown feature, tempo, rhythm pattern, sound and volume.
The tuner function has four different modes: Calibration mode lets you adjust the frequency of the reference tone A by 1Hz increments in the range of 435Hz to 445Hz. Chromatic mode adjusts the mismatch between the tone of the instrument you have entered and the reference tone to ensure a proper response to all the musical scales. And finally, the Guitar and Bass modes let you tune your respective instrument by plucking a single note, gaining a reference value and accurately tuning until the needle on the display meter points to the centre.
In facilities for sound recording such as broadcasting studios, the distance between a microphone and a sound source is automatically measured from the phase difference. This is a slight difference between two sound waves, created for example when the sound source is not positioned directly in front of a microphone and thus a time discrepancy is produced between the left and right channels as the sound is fed into the left/right sides of the microphone. Using the Lissajous measurement feature helps you to perform optimal sound recording, as the display of the Lissajous waveform on the LS-100 help you obtain the optimal positioning of a dynamic or condenser microphone for your recording set-up.
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