Prism Sound Orpheus - Audio Media

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the emotions of the player in a way that reallymakes sense?“Game audio technology has tended topoint people towards a literal description ofthe world, and let me say, a literal filmic reality ofthe world. We can have 3D sound tools where you canlay down point emitters in a geometry map, and say,'this thing here that I'm marking makes a sound', andwe can apply some rules to how that sound works –get within a certain distance and I can hear it at thisvolume, and when I get right up to it, it will be atthis volume and level of detail. All these things arein place... but they steer us as game audio peopleto describe the world with a literal head on, ratherthan with the wonderful use of subjective sound andnon-literal sound, both in terms of content, and itsdeliberate omission... That's kind of what games aren'tdoing all that well at the moment in real time – all thetechniques that someone would want to apply whenthey're mixing a film: They're manipulating the mix,they're manipulating subgroups and determiningfocus, and they're really thinking about whatmessages are conveyed by the sound – in all respects.They introduce sounds that have nothing to do withthe on-screen environment that are there purely foremotional effect... This is an area for game sounddesigners to explore further – at run-time, not just the'cut scenes' – using all the techniques and thoughtprocesses that someone would want to apply.“So let's start talking about the artistry and craftof sound design, and how we draw from the richheritage of other media and what's happened inthose... really start to change, develop, and build onwhat we do.“It Is Big, And It Is Clever…It is a super sized competition of epicproportions…2 FREE SUPER PASSES TO GIVE AWAY!No more queuing at the ticket booth from midnight; as part of Audio Media’s sponsorship of theDevelop Conference Audio Track we’ve managed to secure two conference ‘Super Passes’ to justgive away completely free to whomever we so darn-well please. These passes, worth over £600each, give the owners unlimited access to the whole Conference and Expo.Just think... you could be hob-nobbing with the most important people from the gamesdevelopment industry and gaining valuable insight into its inner-most workings.All you have to do to win one of these passes is to send an e-mail to:supersizemyconference@audiomedia.com...with your contact details. The deadline for entries is 1 July, 2008, and then the first two entries tobe selected (at random) will each receive one Develop Conference Super-Pass. Send your entry nowto supersize the experience!Cue: Audio MediaOne welcome addition to the Develop Conferencethis year is Audio Media’s new role as exclusive mediasponsor of the Audio Track, alongside music4games.net as online partner. This partnership with Developincludes the keynote panel slot featuring topaudio operatives from both the TV/film and gamesaudio worlds. The aim of the session will be to starta “lasting and mutually beneficial dialogue” onwhat the two sides can offer each other in termsof working practice, creative ideas, services, andmore. Paul Mac, Editor of Audio Media commented:“With the new generation of consoles, the gamesindustry has finally been handed freedoms in audiocontent and capability that the film and TV worldhave had for a while – consumer expectations willinevitably rise, and this is a great opportunity toreinforce sound as a core criteria.”Ali Wynn, Develop Conference Director said:“We are looking to broaden the content and appealof the Audio Track at the Conference to attractdelegates from other industries like TV and film, sothat audio professionals from different industries cancome together to share experiences, learn from eachother, and make new contacts. Audio Media is themagazine for audio professionals with a keen interestin the games sector, so working together makesperfect sense.”Details of all the Audio Track sessions on the 31July, including panel members, times, and so on, willbe published on the Develop Conference website andannounced in Audio Media nearer the time. ∫....................................INFORMATIONThe Develop Conference and Expo 2008 will takeplace from 29-31 July, 2008, at the Hilton BrightonMetropole in Brighton.W www.develop-conference.comUK Sales01992 703058e-mail sales@shuredistribution.co.uk or visit www.shuredistribution.co.ukWorldwide Sales+1 (608) 524-0625e-mail sales@sounddevices.com or visit www.sounddevices.comAUDIO AUDIO MEDIA MEDIA NOVEMBER MAY 2008 200523
PAUL MAC shoves Olympus’dinky recorder under thebonnet of a diesel, toots thehorn, and then job done,zips the LS-10 lovingly in itsown padded jacket.Starting out as a journalist in the music industry, my firstpurchase was a dictaphone – the sort that used thosemini-cassette tapes. I’d owned one as a student, butthat had long since disintegrated into its plastic components.The one I bought for ‘professional’ use was an Olympus.There are a couple of reasons why I bring this up now.First, you should know that Olympus is no stranger to themini recorder market, and second, you should know that mydictaphone still works.The difference here is that this recorder falls outsideof Olympus’ dictation and note-taking categories, andthe less than ‘pro audio’ status of dictaphone recordingreally doesn’t come into it. Stereo microphones, up to24/96 PCM recording onto built-in Flash or SD memory(off-loaded via USB), a wide variety of mic ‘zoom’settings, built-in speakers, and even on-boardeffects for playback all put the new LS-10 intothe burgeoning category of high-quality miniportable recorders. There are also a varietyof accessories available for the unit, includinga bunch of microphone options, an infraredremote option, and more.record ready mode, indicated by the bright flashing LEDring surrounding the button itself.The immediate adjustments available for recordingmode are sensitivity (high/low switch), low cut filter (on/off switch), and record level (adjustable wheel markedwith numbers one to 10). Everything else is in the menuand includes the recording mode (PCM, MP3, and WMVoptions), Record level (manual with or without limiter,or Auto), Zoom Mic (we’ll get to that in a mo’), RecordMonitor (on or off), and Plug-In Power (on or off – notphantom though).In total, the menu system is extensive and includesdisplay settings, memory/card management, and otheradmin stuff (date/time, lock, auto power off, and so on),but it’s not overpowering, and the central navigationbuttons are easy to use and positive, even if you’ve gotbig thumbs. One great addition here is the front panelFn (function) button. This can be set up as a quick-accesskey to a choice of menu items, so if there’s one item youtire of frequent menu surfing for, simply assign it to theFn button and it’s always at your thumb-tip.Also at your thumb tip are the stop and record buttons,OLYMPUS LS-10MINI DIGITAL RECORDERTHE REVIEWERPAUL MAC is Editor of Audio Mediamagazine.OverviewIt’s obvious that Olympus has considered design akey element. The iPod-style dual box arrangementmakes you feel as if the contents have value, andthe sheer number of accoutrements packed intothose boxes make you feel as if you have value.As well as the recorder itself, you get a paddedzip-up case, a wrist strap, a USB cable, a stereomini-jack cable (thank you Olympus – thosethings have a longevity comparable to pairedsocks in my house), foam wind-shields for themics, a wad of multi-lingual manual, a smallquick-start leaflet, and a complementary copy ofSteinberg’s Cubase LE 4.The recorder itself is not unlike a decent-sizedmobile phone. It’s a mostly metal case (the batterycover is plastic), with a large screen, and a frontpanel dominated by a four-way key-pad plus central keyfor transport control and menu navigation. On the sides ofthe unit are the sockets (line in, mic in, headphones, USB,SD slot); switches for power/hold, mic sensitivity, and lowcutfilter; and wheel controls for input and output levels.The two wheels are cleverly positioned on opposite sidesand off-set slightly, so whichever hand you favour, you cancomfortably get to both with thumb and forefinger.The screen on the LS-10 is very readable, and welllaid out. The folder view (List mode) is straightforward,the menu view is clear (and even includes icons), andthe record/play screen really couldn’t get more informationin one place. It’s nice to see that metering gets the lion’sshare of the screen space, and there are twin timedisplays for the current recording/playback and the totalremaining time. Most of the current record settings aredisplayed, as is the current folder and file name, batterypower, and more.In List mode you get a display of six folders (A to E, and‘Music’), where your audio ends up. If you choose to playa file, or hit the Rec button, you move to the main screen.If you used the Rec button to get there, the LS-10 is now inand between those is a well-placed peak indicator.A smaller erase button does the obvious, with the usual‘are you sure?’ safety net – and the advantage is that youcan choose to erase whole folders, as well as individualfiles. I’ve sat over many coffees before, laboriouslyerasing 40 files individually from a previous job withother recorders – with this you can use a folder per job,per day, per session, or whatever suits.The microphone ‘Zoom’ processing (and also theEuphony playback processing) comes from DiMagic,a Japanese company specialising in virtualised soundtechnologies for mobile devices. In the LS-10 you canchoose from four zoom modes (Wide, Standard, Narrow,Zoom), or ‘Off’. The zoom modes are a choice of basicpatterns and enhancements from Zoom mode withhigh off-axis rejection and the wide mode with anenhanced stereo width.This is certainly a useful choice to have, especiallywhen contemplating the environment you’re recordingin – do you want a wide, ambient pick-up, or a focused,personal touch? You could have an interesting discussionabout whether a journalist should be making a call likethis in the field – but at least you can have the discussion,and the option. The main limit here is that zoom modesare only available in the 16-bit, 44.1kHz recording mode.In play mode everything is pretty much as it shouldbe, with the front controls becoming transport keys.You can select a file from the file list, or simply playthrough the folder in order from the play/record screen.Additionally, DiMagic has again contributed with itsspacial ‘Euphony’ algorithms, available as playbackprocessing and set-up in the menus – these arebasically stereo enhancement width and surroundemulations – and there are also a selection of reverbprograms to choose from.In UseI started the review by noting a series of recordings Ineeded to make anyway, including some outside24AUDIO MEDIA MAY 2008
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Prism Sound Orpheus - Audio Media

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