Category Archives: audio

apple, audio, gadgets, mobile

Boom time for audio?

The hi-fi industry is on its knees, or so I had thought. That may be true for traditional home stereos; but at a gadget briefing for UK press yesterday I saw more audio stands and stands highlighting audio products than I can recall. The themes: headgear (both headphones and earbuds) and wireless speakers.

As an example, Cygnett was highlighting its noise cancelling headphones and various earbuds, and told me that this is a fast-growing market.

I enjoyed the exotic things more of course, like the Edifier Spinnaker Bluetooth speakers – that little round thing is a wireless remote.

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Even more striking are the Opalum wall speakers, like this FLOW.4810 model, with an array of 48 1″ drivers in each active speaker.

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You can hang them on your wall like this:

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At the other end of the scale, BoomBotix showed its Boombot2 Bluetooth mini attached to the handlebars of a bike; a good way to make yourself unpopular, perhaps, but fun to see.

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Canadian speaker company PSB was showing its high-end M4U noise cancelling headphones

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I had a quick listen and they sounded good, though it is always hard to tell for sure in a crowded room. Neat feature: a press-button remote on the cable enables an external microphone so you can hear someone talking to you without removing the headphones.

Audyssey was there with its excellent powered speakers and docks; search this site for some reviews.

Another company with striking designs was Libratone, showing its Zipp AirPlay portable wireless speakers.

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One thing I did not see much of: old-style iPhone / iPod speaker docks that charge while you play. One exhibitor told me that users will think twice about buying docks with physical connectors now that Apple has changed the design and made everything incompatible without an adapter. In any case, wireless is more stylish. Bluetooth seems most favoured, since it is widely compatible; Android is making its mark and Apple-specific devices are becoming less attractive.

Also worth a mention is Urbanista, which showed its stylish headphones and earbuds, though the focus seems more on fashion than sound; like the London earbuds designed, I was told, to look like cuff links.

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The home stereo may be dead; but there is still innovation in audio. One factor is that almost any portable device – whether dedicated music player, smartphone or tablet – is capable of producing a high quality signal. Connect to the right headphones or active speakers and the magic begins.

audio, gadgets, reviews

Review: Logitech UE Smart Radio – the last Squeezebox?

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The Logitech UE (it stands for Ultimate Ears) Smart Radio has some history behind it. The Squeezebox music system originated with a company called Slim Devices and consisted of open source music streaming server software and hardware players which you connected over wired Ethernet or later Wi-Fi. Squeezebox build up an enthusiastic following, and in 2006 the company was acquired by Logitech which set about bringing the system to a wider market.

Logitech was only partially successful. Products like the Squeezebox Touch, reviewed here, won acclaim for their high sound quality and the flexibility of the system, but the weak point has always been that setup is too complex and quirky to win over the mass market.

Now Logitech seems to have abandoned efforts to beat Apple in home entertainment, and the UE Smart Radio is the only current product which still uses Squeezebox technology. Other products in the new UE range – headphones, wireless speakers – have nothing to do with Squeezebox.

Even the UE Smart Radio does not use Squeezebox branding at all. The blurb on the box says this:

Turn it on, connect to your Wi-Fi network and instantly have access to thousands of free internet radio stations from around the world, online music services, as well as the music stored on your computer.

It is intended to offer a simple out-of-the-box experience without any setup issues, whereas the physically similar Squeezebox Radio which preceded it was unashamedly part of the Squeezebox system.

Out of the box

Enough preamble, how is it out of the box? What you get is the UE Radio, a power supply, a standard 3.5mm mini-jack cable, and a brief introductory booklet in eleven languages.

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The unit has a beautiful though easily marked shiny black finish and surprisingly weighty, probably a sign of quality. A recess in the back forms a grip for easy carrying in one hand. There is an internal rechargeable battery which (says the manual) takes 6 hours to charge and then plays for 6 hours; of course you can use it while charging.

On the front is a 2.4 inch colour screen, 6 numbered presets, a large rotary controller, a smaller rotary volume control, a power button, and 8 further buttons: Home, Alarms, Add, Back, Rewind, Pause, Forward and Play.

There is also a stereo headphone jack (although the Radio itself has only a single speaker), and on the back, a wired Ethernet port and a 3.5mm jack input. The input jack means you can use the Smart Radio as a powered speaker for most MP3 players, iPods and smartphones.

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Finally there is a secret feature: an infrared receptor on the front. No remote is supplied, but if you have a Squeezebox remote it works. Since this is unadvertised I guess there is no guarantee the feature will remain.

What you do then is to plug in the power, switch on, and connect to your home network, usually via Wi-Fi. Next, wait a moment while the unit updates its firmware if necessary, and the unit is ready to play. A menu displays on the screen, and you use the rotary controller to navigate, pressing it in to select an option. Select Live Radio, pick a station, and play.

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Disclosure: in my case this is not what happened. I pressed play but no sound came forth. There was some kind of fault which later fixed itself. I am inclined to put this down to bad luck and possibly early firmware which will soon be updated. Incidentally, support was easy to contact and most helpful, which is not the case with every product.

When a station is playing you can easily assign a preset, simply with press and hold. You can also set alarms. When the unit is on standby it displays a clock, making this an excellent if pricey clock radio.

Radio is supplied through a link with tunein, which claims 50,000 stations. That means something for you, whatever your musical taste or location.

Sound quality

The sound quality is very good. Yes it is mono, but considering the size of the unit it is deep and rich, and lacks the annoying squawk of some small music players. The mono speaker has separate tweeter and woofer for extended frequency response.

I compared it to a Squeezebox Boom, a now obsolete stereo player which is considerably larger. The Boom was better in every way, deeper and sharper. That said, the Smart Radio sounded like a smaller version of the Boom, which I mean as a compliment. The Squeezebox team has always cared about sound quality, and it shows.

With internet radio, of course, the sound quality is limited by the source. I will say though that the Smart Radio is kind to poor sources and tends always to be listenable.

Remote app

If you have an iPhone or iPod touch, or an Android phone or tablet, you can download the Smart Radio app. This lets you control your Smart Radio remotely. No iPad support currently.

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If you have a local music streamer (see below) you can search and play from your own music library.

It also links to the Logitech UE Smart Radio cloud service, where you can add further music services such as Last.fm, Napster, Spotify, and the Live Music Archive to your Smart Radio. Adding a service like Spotify extends your music library to more music than you will be able to hear in your lifetime, though it does require a paid subscription.

Once you have created an account with Logitech, you can add services via the web site, and also set alarms on your Smart Radio.

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The UE Music Server

What if you want to play music from your own network? In this case you download and install the UE Music Library for Windows or Mac.

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Once installed, the Smart Radio automatically picks up the library and activates a My Music option in its menu. You can then play any music from the library either by navigating with the rotary controller, or by using the remote app.

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Album artwork displays on the Smart Radio screen.

Music is picked up from the standard music folders on your PC or Mac, and the Music Library will link to iTunes where available. Supported formats are MP3, Flac, WAV, AIFF, WMA, Ogg Vorbis, AAC (MP4) and Apple Lossless (ALAC). You can add additional library locations from the Music Library control panel.

Smart Radio and Squeezebox

What then is the relationship of UE Smart Radio and the old Squeezebox? This is where it gets a little confusing. The UE Music Server is none other than the old Squeezebox Server (or Logitech Media Server), but cut down to remove many of the features. You can log onto the server with a web browser. The default port is 9000.

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So what has been removed? Most notably, plug-in support and the ability to control the player from the server.

If you have an existing Squeezebox server, the annoyance is that the Smart Radio will not connect to it. In mitigation, you can install the new UE Music Server alongside the existing server and it will automatically choose different ports and run without conflict. This mean there is no need to mess with your existing collection of music files.

It is a shame to lose remote control and plug-in support; but the essence of the Squeezebox system, the ability to play your music anywhere in the house, remains. If you have more than one Smart Radio, you can play different music on each unit. Potentially, Logitech could bring out further UE products that use the same server, for example a new version of the Touch designed to link to a hi-fi system, though whether it will is unknown. It may depend on whether the UE Smart Radio is a success.

You could use the headphone output as a line out for a hi-fi, but it is shame there is no true line out setting for this purpose.

Final words

Taken on its own merits, the Smart Radio is an excellent device, with good sound quality, portability around the house or anywhere it can connect to the Internet (note it will not play your local music library unless it is on your own network), and some handy extra features such as alarms, Spotify support and so on.

There are two main reservations. The first is whether the relatively high price will deter much of the potential market. You do get a lot for your money, especially once you hear the sound quality and grasp the full capabilities of the system, but it will seem expensive when presented as just an Internet radio player.

Second, to what extent has Logitech succeeded in making the Smart Radio “just work” in the manner for which Apple is famous? I am not fully convinced. The control system is still a little quirky. What does the Plus button do, for example? The manual describes the button as More, and it brings up a number of options. Squeezebox users will know why it is plus, which is because it means Add to playlist. The Smart Radio playlist is mostly hidden though, making this a confusing feature.

Installing the UE Music Server is not really difficult, unless you run into firewall issues, but it is surprising Logitech does not give more prominence to this part of the system. It is mentioned almost as an afterthought, even though it adds greatly to the value of the Smart Radio. The thinking I guess is that most users would now rather subscribe to Spotify or the like, than build up a library of their own music files. This will likely be the future, but I would guess that many potential customers still have music collections on computer that they would like to play. This is still the way Apple’s iTunes works, for example.

If you do not require battery power, you might be better off buying a Squeezebox Radio while stock lasts, since it is cheaper and physically similar.

While there are some excellent music services supported, it is a shame there is no support for Google Play or Amazon cloud player.

This may be the last of the Squeezebox line, but it remains a great system for music at home.

 

audio, gadgets, mobile, reviews

Review: Audyssey Lower East Side Audio Dock Air for Apple AirPlay

Based in Los Angeles, Audyssey specialises in audio processing software. This is used in home theatre equipment such as multi-channel receivers, and also finds its way into TVs, mobile devices and cars. In 2010 Audyssey started making its own audio accessories, with an iPhone/iPod dock which I reviewed here. I was surprised how good they sounded. Since then I have kept a close eye (or ear) on the company’s small range of products. This is a company which cares about sound quality, and whose secret sauce is applying software to solve the problem of getting big, accurate sound from small enclosures.

The Lower East Side Audio Dock Air is an active loudspeaker system for Apple’s AirPlay wireless streaming protocol. It also has a standard 3.5mm input for wired connection to MP3 players or other devices. Using AirPlay, you can play music and control the volume from a Mac or PC running iTunes, or from iOS devices including iPhone, iPad and iPod Touch.

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What you get in the box is the Audio Dock Air, an external power supply, a 3.5mm jack connector, and a Quick Start Guide that unlike many others is actually rather good.

The styling of the Dock Air is distinctive with its speaker systems firing left and right, though if you check out the internal shots later on you will see that the tweeters are actually directed more forwards than sideways.

Plug in the power and you can get started. For set up, you press and hold a pairing button on back, which lets you connect to the Dock over Wi-Fi. You than browse to a small web application on the Dock, where you complete the set up by connecting to your home Wi-Fi network. You can also rename the device, which could be particularly useful if you have several Dock Airs in different rooms.

Once fully connected, you can go to iTunes and click on the AirPlay button at bottom right of the iTunes window. There you can select the Dock Air, using whatever name you assigned during setup:

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Even more convenient is to download the Remote app for iOS. This lets you use your iOS device to control iTunes on the Mac or PC.

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You can also play music directly from iOS.

The sound

The sound quality is excellent as I have come to expect from Audyssey. There are a few points to note though. The first thing you notice is the bass extension, which is remarkable for a unit of this size. Drums have real thump, and bass guitar sounds like bass guitar. If you are used to the anaemic bass of most small speakers, hearing this from a small box is pleasing and unexpected. That said, the sound is not dominated by the bass. The treble is sharp and clear too; and I was struck by how easy it is to follow different strands in the music and to notice small details.

Playing Carly Simon’s You’re So Vain, for example, you can easily hear the whispered “Son of a gun” right at the start of the track. Karajan’s Beethoven’s 9th sounds dramatic and powerful; a little lightweight compared to a full-range home stereo, but superb from a compact dock. Mika’s Billy Brown, a simple arrangement with a forward vocal, is conveyed with drama and deep bass from the accompaniment, with just a trace of confusion at the bottom end compared to my monitor reference speakers.

Given that this is a single box, you should not expect the best stereo image. You do get some limited stereo effect. The unit goes loud enough for most listening at home, but not for parties or neighbour-annoying rock out sessions,

I made a comparison with the Audyssey South of Market dock, which is just a little larger but a similar design. The older dock does not go quite so deep, though the sound is a shade cleaner; the Dock Air is slightly softer in tone though if you had your eyes closed you would guess it is larger, not smaller, than its predecessor. On Sade’s bass-heavy song By Your Side, the South of Market keeps a firmer grip than the Dock Air, though this is a difficult song to reproduce. Some listeners might find the bass in the Dock Air excessive, though it is not to my ears. I doubt anyone would think that of the South of Market dock. Both sound very good.

The not so good

Audyssey has a strong grip on audio technology, but less so with its manufacturing quality. It is not bad but could be better. The rotary volume control is slightly out of true on the review unit, for example. These are products that you have to hear to appreciate, and my guess that a little more investment in fit, finish and design would win more customers, bearing in mind the relatively high prices.

The responsiveness of the Dock Air can be laggy, both from iTunes and even more when used with the iOS Remote app. Some of this is down to the iTunes/AirPlay system, and no doubt some audio buffering in the Dock Air, but it can be annoying.

Switches and ports

The Dock Air is fairly minimalist when it comes to switches and ports. On the top of the unit is a rotary volume control and status LEDs.

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You can also control volume remotely, which you will probably do more often. The volume control is also a mute button; press down to mute, and again to unmute.

On the front is a headphone socket along with what looks like an infra-red receptor though if so it is undocumented.

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At the rear is the power, aux input, and pairing button. No on/off switch. I recommend turning off at the socket, connecting, and then switching on, presuming your mains sockets have switches.

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Underneath is a USB port, which Audyssey says is solely for future firmware updates.

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The technology

Audyssey does not give much away in its specifications for the Dock Air. It does state:

  • 3/4” tweeters
  • 3” woofers
  • 4” Passive bass radiator
  • Audyssey EQ
  • Audyssey BassXT
  • Audyssey Dynamic EQ

Of these, the last are the most interesting. What are they?

Audyssey EQ is not much documented, but in the context of another product I read that it corrects time and frequency response imperfections caused by the loudspeaker and cabinets.

BassXT “dynamically monitors the low frequency signals and constantly pushes the speaker to its maximum capability.” The over-simplification would be that it boosts the bass signal to compensate for the drop off in the frequency response of the woofer.

Dynamic EQ is a more sophisticated form of the “loudness” switch that you see on old hi-fi equipment. As Audyssey says, “It will preserve the and octave-to-octave balance of the content as you turn down the volume to make up for the changes that happen in human hearing at lower listening levels.”

Purists may feel that this is too much tinkering with the signal. My view is that the high quality results successfully validate the approach. With Audyssey products, it is a large part of what you are paying for.

Internals

The Dock Air is not designed to have its grilles or panels removed; however we had a quick look inside for this review. This shows one side of the unit with its 3” woofer and passive bass radiator.

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If you look carefully you can also see the tweeter at top left. Note that this points more towards the front than to the sides, though it is at an angle.

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Internally Audyssey has taken a lot of trouble with acoustic damping foam so that the sound is clean even at high volume. I was also impressed by the size of the loudspeaker magnets, which are bigger than I have seen on speakers many times larger.

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Conclusion

With rumours that Apple is redesigning its dock connector, thus threatening the compatibility of products like the South of Market dock, wireless is the future. If you value high sound quality and need an AirPlay speaker system, you will like the Lower East Side Audio Dock Air. Note that there is no Bluetooth support, so if you want to use non-Apple devices this is not suitable. A bit more attention to design and manufacturing quality would be welcome. But I do not know any other company that can get such great wide-range sound out of small boxes.

apple, audio, music industry

Farewell to the Squeezebox

It looks as if Logitech has discontinued the Squeezebox, a range of devices for playing music streamed from the free Logitech Media Server. Logitech also runs a streaming service on the internet, Mysqueezebox.com, which supports internet radio, Spotify integration and more.

The Squeezebox devices are no longer on sale on Logitech’s web site, and a press release announces the Logitech UE range. This includes wireless speakers which play music via Bluetooth, a Smart Radio that connects to internet streaming radio and other services, earphones and headphones.

But what of Squeezebox? Here is the nearest I can find to an official announcement:

We’ve just announced our new brand, Logitech UE, and with it merging the design/engineering capability of Logitech and the Squeezebox product with the music know how of Ultimate Ears. We are positioning this new brand to serve music lovers across a wide range of music listening device, and amongst them the Logitech® UE Smart Radio.

Important for you to know, The UE Smart Radio can play alongside your Logitech Squeezebox products, but will operate and be controlled separately and will no longer receive updates. The team is working hard on releasing in a few weeks an optional software update for existing Squeezebox Radio users. This update will allow Squeezebox Radios to upgrade to the new Logitech UE Smart Radio experience.

Rest assured that the Squeezebox platform you’ve been enjoying over the years will continue to provide you access to a rich world of music and we’ll continue to address any questions or troubleshooting on our Logitech.com support page.

The news is sad but not surprising. Logitech is struggling with declining revenue and losses, and there are various reasons why the Squeezebox system no longer looks strategic. It works alongside iTunes but does not fit all that well with Apple products, it has always been a little bit too techie, and the era of filling huge hard drives at home with your music is probably in decline, thanks to internet streaming. I have been meaning to post about the good results I get from Google Music on the Nexus tablet, and of course there is Spotify.

I still love Squeezebox. If you want the uncompromised quality of lossless audio combined with multi-room support, where each player can play something different, it is a fantastic and cost-effective system. The Squeezebox Touch, reviewed here, is appreciated by audiophiles for its high quality audio.

Squeezebox might still be a viable for a company like Slim Devices, the original creator of the system, but makes less sense for a mass market company like Logitech, which acquired Slim Devices in 2006.

My thanks to the Squeezebox team for transforming audio at home for me and thousands of others.

Update: if you are wondering what is the future for Logitech Media Server (LMS) see this thread which has comment from a Logitech engineer. There is a new media server called UE Music Library (UEML) which is simplified compared to LMS and has no player control: the UE Radio can simply select music from the library and play it. No random play in UEML. UE Radio will not play music from LMS as far as I can tell. LMS is not going to receive major updates but will be supported with maintenance fixes for the time being.

audio, gadgets, reviews, smartphones, tablets

Review: X-mini KAI, a Bluetooth audio dock you can put in your pocket

X-mini makes a popular range of what it calls Capsule Speakers, the latest of which doubles as a wireless speakerphone for your mobile, thanks to Bluetooth connectivity. Essentially, your smartphone sees it as a Bluetooth headset.

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First though, a word or two about the distinctive design. In the box you get the X-mini KAI, a USB charging cable that also has an audio cable for play-as-you-charge, a handy soft drawstring bag, and a tiny instruction manual.

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The X-mini KAI measures around 6cm in diameter and 8cm high when expanded. However, you can also push down the concertina and twist left to lock, whereupon it is just 5cm high. You can play it in this mode, but it sounds pretty bad. Still, easily small enough to put in your pocket.

Fit and finish is OK but could be better. Locking the unit shut takes some force and is slightly awkward because of all the switches. The multiple switches and ports do slightly spoil the appearance of the device and are somewhat fiddly to use.

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So how does it work? First, charge it via any USB connection. It takes at least 2.5 hours to charge fully, for which you get up to 8 hours of playback.

Once charged, you can use the KAI in several different modes. There is a three-position switch. Centre is off, or push left for wired audio, or push right for Bluetooth.

In wired mode, you can use the short 3.5mm jack connector which is coiled neatly in the base to connect to a SmartPhone, iPod, MP3 player or any audio device, and play your music. There is no volume control on the KAI in this mode, just control it from the audio device.

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The sound is mono of course, but not bad at all. You have to be realistic about what you can get from such a small speaker, but it is far better than the tinny sound you will hear from built-in speakers on phones and tablets.

I used it with the Google Nexus tablet with success. The Nexus is excellent for portable entertainment, particularly if you hack it a little to support Adobe Flash. Combine it with the KAI and you get much better sound from Google Music, BBC iPlayer, YouTube and the like.

X-mini quotes speaker power of 2.5w, frequency response of 100 Hz – 18 kHz, and distortion of less than 0.3%. Unfortunately these figures are meaningless without qualification; frequency response for example should be quoted as plus or minus 3dB or some such.

Still, with devices like this it is the experience that counts, since we are not talking hi-fi exactly. The KAI is a lot of fun, punchy and clear, you can hear a little bit of bass, and transforms the sound on your mobile device into something you can actually enjoy without earphones.

I compared the KAI to my trusty Creative Labs TravelSound. I give the nod to the TravelSound on sound quality, though the KAI was not embarrassed. However, bear in mind that the TravelSound has two speakers, is too big for the average pocket, and eats batteries unless you also carry a mains adaptor with you. KAI wins on convenience.

You can also wire two or more KAIs together for better sound, though I was not able to try this.

Wireless sound

The KAI also works over Bluetooth as mentioned above. To get this working, you slide the Audio key to the right. Then go to your mobile device, enable Bluetooth, and search for available devices. All going well, it will find the KAI and connect. This worked fine for me on the Nexus and on a Nokia Lumia 800 Smartphone.

Once connected, audio plays back through the KAI. It is as simple as that, and although there is some theoretical loss of quality, I did not find this audible on a casual comparison. Your battery will run down a little faster on both devices, but other than that it works just the same.

What’s nice about the wireless connection is that you can move your mobile device around the room and playback is not interrupted. The range is given as up to 10 metres, by which time you will hardly hear the KAI whether or not it is maintaining the connection. I tested this by walking around and the results were good.

In wireless mode an additional control on the KAI comes into play. Press down to play or pause. Move briefly right or left for previous or next track. Move and hold right or left for volume adjustment.

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You can also use the KAI as a speakerphone, and I tested this with an incoming call. When you hear the ring, press down the control above to answer. The music will pause, and you will hear your caller through the KAI. You can end the call by pressing the same control.

The snag with the call though was that my caller said I was hard to hear. I could fix this by holding the KAI close to my mouth but this was disappointing.

There is a mute button on the device, but note that this does not mute your voice when in a call. Rather, it mutes the speaker in the same way as during any audio playback.

Summing up

This is a great little device, ideal if you want a very small and portable travel speaker that still sounds decent. Bear in mind though that the X-mini capsule speaker is also available in a wired-only form for around a quarter of the price, so you are paying a lot for the Bluetooth and speakerphone features.

The wireless audio works really well, but the microphone seems insufficiently sensitive when used as a speakerphone and I would not want to use it for conference calling. That is a shame since this is otherwise a compelling feature, unless I was unlucky with my sample.

The review unit was supplied by Phone4U and you can find it here, price at the time of writing £79.99.

audio, comment, gadgets, tablets, video

Nexus Q streaming device: you will use Cloud, you will use Android, says Google

Google’s Nexus Q is a streaming device. It is a spherical object with the following connections: optical S/PDIF digital output to connect to a hi-fi, wired ethernet, USB connection for “service and support”, and speaker outputs.

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The top half of the Nexus Q twists to control the volume. Tap the top LED to mute the sound.

The built-in class D stereo amplifier is 12.5 watts per channel.

There are also 32 multi-colour LEDs on the unit which blink in time to the music. This could be annoying but presumably there is a way to disable it.

You can stream music and video apparently, only from Google. This can be your own songs uploaded to Google, or purchased from the Play store.

Why would you want to stream music from the cloud, when it is already stored locally in iTunes, say, or in FLAC for a Squeezebox system? Cloud streaming can be high quality, but playing uncompressed audio over the local network is better still.

Why does not Nexus support standards like DLNA (Digital Living Network Alliance) streaming, so that you could stream to it from a variety of media servers?

Most seriously, Google says:

Requirements: Phone or Tablet running Android 2.3 (Gingerbread) or higher with access to Google Play

Is Google really saying that you cannot control streaming to a Nexus Q with a PC, Mac, iPad or any other non-Android device? For example, I am sitting here working at a PC. Do I have to pick up my phone in order to control Nexus Q? Or run the Android emulator, I guess?

One mitigating factor: developers can install stuff on the Nexus Q via that USB connector. I am guessing then what we may see these missing features plugged by third-party efforts.

The Nexus Q has the concept of “social streaming”. What this means is that if you enable guest mode, anyone else on the network who has an Android device can also stream their music. That could be fun, or could be chaos, but it is an interesting feature.

Music shared on the device is transient, according to this Wired article:

The queue is a transient song list, and not an actual playlist. When you add a song to the queue, the Nexus Q owner can listen to the track for 24 hours, even after you’ve left.

The price is $299.

audio, reviews

A taste of the high end at a bargain price: Behringer 3031A active loudspeakers

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I have been taking an interest in active loudspeakers after sampling AVI’s ADM 9.1 model which deliver clear, uncoloured sound in a convenient package with built-in DAC and remote volume control. though they lack bass extension and really need a sub-woofer to perform at their best.

The ADM 9.1s are good value considering that you get a complete just-add-source package; but still not exactly a casual purchase at £1250 (May 2012). What about some of those active monitors at the low end of the music studio market, can that deliver some of the active magic at a lower price?

A quick hunt led to these Behringer 3031A active monitors which offer a remarkable specification for the price – around £300 at the time of writing. Ribbon tweeter, 150w amplifier in each speaker, 50Hz to 24 KHz frequency response, what can go wrong? I could not resist getting a pair for review, especially as there are surprisingly few reports on these speakers out on the internet, considering that they have been available since 2009.

Note that I am reviewing these as hi-fi speakers even though they are designed for studio use.

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Why so few reviews? It may be because Behringer has a mixed reputation in the pro audio community. The products are popular and good value, but the company is accused of lack of originality in design and poor quality in manufacture. Since the prices undercut most competition there could be some industry in-fighting going on. Behringer undoubtedly aims at the low end of the studio and hobbyist market, and manufactures in large Chinese factories, but I doubt their quality is all that bad given that their largest reseller Thomann offers a 3-year warranty. Still, a cautionary note there.

“They’re heavy”, said the delivery man, and I unpacked the monitors to find a pair of very solid, weighty loudspeakers (15Kg each according to the spec). The cabinet is MDF though the front baffle is some kind of plastic with a metal plate into which the drivers are set. There are two slim vertical ports. No grilles and these will not win prizes for appearance, though they are not too bad. This is about the sound though; look elsewhere if you are after hi-fi as furniture.

Wiring up

The B3031As have two balanced inputs, with XLR or 1/4” jacks. Most hi-fi cables use unbalanced RCA phonos; however you can easily get RCA to jack plug cables from a music equipment store or online. Using a balanced connection is better, if your pre-amplifier offers that option, but I used an unbalanced mono 1/4” jack for each input without any issues. One interesting and cost-effective choice is the new Cambridge Audio DacMagic Plus, around £350 from Richer Sounds in the UK or $600 in the USA, which has balanced outputs and includes a pre-amplifier, though I have not tried this combination.

I tried the B3031As in two configurations. The first was with a Beresford Caiman DAC, which also has a built-in pre-amplifer. The second was with a Naim 32.5 pre-amplifier. Neither of these has balanced outputs. My source is a Logitech Squeezebox Touch. Note that this also has a volume control and built-in DAC, so for the most cost-effective system you could go straight from the Touch to the speakers, though I have not tried that as yet.

The main point is that you must have some sort of pre-amplifier output with a way of adjusting the volume, since the B3031As do not really have a volume control. There is an input level trim control which in effect is the same thing, but this is only designed for setting a convenient level during setup, not for constant use.

In order to use the Caiman I have to set the input trim near its maximum, in order to get a full range of volume from the speakers. The Naim 3.5 has a more powerful output and I can set the input trim to 0dB with very satisfactory results.

Although the sound was good direct from the Caiman, I got better results from the Naim, though obviously this adds greatly to the cost. A full pre-amplifier is also more convenient since you have additional inputs available.

Controls

The back panel of the B3031A has several controls. The on-off switch is conveniently sited on the top. The inputs are slightly less conveniently on the underside, though this does mean that the cables hang vertically which is tidy.

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Then there are several additional controls:

Input Trim: Control input gain from –6dB to +6bB, as mentioned above.

Low Frequency: Cut the response from 60Hz and below between 0 and –6dB. The purpose is to integrate smoothly with a subwoofer or, if monitoring, to simulate a small speaker system.

Room Compensation: Cut the response from 300Hz and below between 0 and –6dB. The purpose is to reduce excessive bass if the speakers are sites against a wall or in a corner.

High Frequency: Adjust the response around 8kHz from +2dB to –4dB. The purpose is to tailor the high frequencies to allow for room effects.

Power mode: You can set the power to On, Auto, or Off. This one mystifies me. You do not need Off since you can more easily press the Power switch on the top. The Auto mode is meant to put the speakers into standby when not in use, but in my tests it was a disaster. The speakers would turn off during quiet passages. Admittedly that was with the rather low output from the Caiman DAC; but I suggest NOT using this option.

Mute Low and Mute High: mutes the high or low drivers, apparently “for service use”.

Frequency response

Each speaker comes with an individual calibration certificate, which is a nice touch especially at this price point.

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I presume this is done in an anechoic chamber; the frequency response in a normal room will be less even. One point interests me though. The certificate shows that the bass response does not begin to drop noticeably until 40Hz; yet the published specification is 50Hz-24Khz. That accords with my listening tests, in that the bass is well extended and unlike AVI’s ADM 9.1, these speakers work fine without a subwoofer.

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Electronics

The amplifier packs are easy to unscrew from the back panel so I took a look, though I do not recommend this as it may invalidate your warranty. Also note that amplifiers can give you an electric shock even after they have been unplugged, thanks to the charge held by capacitors.

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Note the beefy toroidal transformer.

Listening tests

So how do they sound? In a word, excellent. They display the characteristics you would expect from an active system: exceptional clarity, a somewhat lean sound due to absence of boom, neutral tone, and an honest reproduction of the source which occasionally counts against your enjoyment if it is slightly distorted (play Peaceful Easy Feeling by the Eagles. Hear the distortion? Good, you have an accurate system).

I positioned the speakers on stands well into the room and only a few feet apart. These are more suitable for hi-fi than some monitors because the ribbon tweeters have a wide dispersal, which means the sweet spot of good listening positions is larger.

When I first switched on, I thought the bass was a little light. Then I played Stravinksky’s Firebird in the great performance by the Detroit Symphony Orchestra conducted by Antal Doráti. The drum sounded with dramatic effect; it is obvious that these speakers have no problem with bass.

I played Roads by Portishead, a demanding track that begins with a pulsing low-frequency tone that can easily cause speakers to buzz or the sound to break up. The B3031A coped with this as well as I have heard; then Beth Gibbons’ vocals come in with startling clarity, a stunning contrast.

The B3031A’s coped with Sade’s By Your Side, on which the strong bass can easily overwhelm and distort, with ease. You can hear the silky vocals, the pumping percussion, the fingers sliding on the guitar, the ticking cymbals, the swirling organ.

Ashkenazy playing Chopin sounds dynamic and natural. There is no boominess in the lower end nor breakup in the loud passages.

Is there anything these speakers do not do well? A few observations. If you like to rock out to heavy metal, I am not sure that this type of speaker is the best, though the B3031A is better than some in this regard. They are just a bit too polite, and further, maybe a floorstander with the chest-shaking bass that only a floorstander can deliver is a better choice.

Although the sound is generally excellent, these speakers do not quite have the refinement and limpidity I have heard from active ATCs costing many times more, for example.

Be reasonable though. You can get a pair of these delivered for around £300. What else would sound as good for the money?

Conclusion

My immediate conclusion is that these are a fantastic hi-fi bargain. If you can live with the looks and the Behringer name, you are getting a real taste of the high-end for what most audio enthusiasts would regard as as a low-budget price.

Admittedly the setup is a little more complex than some, since you need a pre-amplifier of some kind, though there are now DACs around at a reasonable price which have this included.

Specifications

Inputs: Balanced XLR or 1/4” jack.

Input trim: –6dB to +6dB

Tweeter: 2” ribbon

Woofer: 8 3/4” Kevlar

Woofer amplification: 100w RMS 150w peak at 4 ohms, 0.1% THD

Tweeter amplification: 30w RMS 75w peak at 6 ohms, 0.1% THD

Crossover frequency: 3.6Khz

Frequency response: Quoted 50Hz to 24Khz, no range given.

Max spl: 113dB at 1m per pair

Power consumption: max 200w

Dimensions: 400 x 250 x 290mm

Weight: 15Kg

Buying the B3031A

If you buy a pair of these pay special attention to whether you are buying a single speaker or a pair. In the pro music market, monitors are often sold individually, which means that great price must be doubled if you are after a stereo pair. That said, the B3031A is often, but not always, sold in pairs. This usually works out better value. Check the small print carefully!

  

audio, general

Great sounding recordings

There was a discussion on a music form of which the best sounding recordings out there.

I am always amused by these discussions because I see stuff picked that is great music (at least to those who pick it) but cannot honestly be described as great-sounding in a technical sense.

Of course it is hard to separate; and maybe there are albums that sound deliberately “bad” as part of the artistic statement.

Conversely, if the music does not interest you, it is hard to appreciate the sonics.

Here were my picks though: six albums that I know will always sound good.

Kind of Blue by Miles Davis – great presence and realism, interesting bass lines to follow.

 
Carpenters by The Carpenters. Probably influenced by the great voice, but I find this a really natural sounding recording. CD you can get for pennies at any supermarket here in the UK.

New Blood by Peter Gabriel. Modern recording, just very nicely done. Probably helped by natural acoustic sound of orchestra etc.

The Freewheelin’ Bob Dylan. I like this for its simplicity and realism. If you want a recording where you can close your eyes and imagine a man there singing, this is excellent.

Electric Cafe by Kraftwerk. Great sounding electronica.

Stravinksky: Le sacre de Printemps/L’Oiseau de feu; Detroit Symphony Orchestra, Antal Dorati (Decca) No idea how this ranks in a list of fine-sounding classical recordings but I like it, beautifully conveys the drama of the music.

Always interested in hearing about other people’s favourites, from a sonic point of view.

audio

Wireless speakers from Dynaudio: the new Xeo

Want to declutter your hi-fi? Dynaudio has one of the tidiest designs yet with its new Xeo range. What you get is a pair of active speakers with built-in DAC and wireless transmitter. The only wires you need are mains cables to power the speakers. There is also a remote for selecting the source and controlling the volume.

Xeo 5 is a floorstander with dual woofers.

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Xeo 3 is a standmount or bookshelf model measuring just 170 x 281 x 246mm.

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Both models have a 100w power rating (50w woofer and 50w tweeter).

You attach your sources to a transmitter box that accepts analog, digital or USB connections, though there is only one SP/DIF digital input which could be a nuisance, and it is optical only. Maximum digital resolution is 25 bit / 48 kHz.

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The range of the transmitter is (roughly) up to 50 meters through obstructions, or up to 100 meters in free space.

Price is around £1180 for the Xeo 3, or £2450 for the Xeo 5, plus £210 for the transmitter.

A neat solution; but for that kind of price you will want good sound and I hope to report on that soon.

apple, audio, reviews, smartphones, tablets

Audyssey Lower East Side speakers: remarkable sound quality in a compact package complete with DAC

Audyssey is a US company best known for its audio processing technology, as found in high-end home cinema receivers and the like. Recently the company has turned its attention to home audio, and now has a range with a couple of iPod/iPhone audio docks and these powered speakers, engagingly named “Lower East Side” (LSE), this being a tribute to a Manhattan neighbourhood which Audyssey says is “the stomping ground for bands propelling cutting-edge music at venues like CBGB, ABC No Rio and Arlene’s Grocery.”

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Audyssey is a company with attitude. You can expect that:

  • Audio quality will be high
  • Design will be individualistic but clean and uncomplicated
  • Products are for the modern listener equipped with Apple devices and the like, no CD player in sight
  • Prices will be at the premium end of the market

On that last point: do not write these off as too expensive until you have heard them. Yes, they are expensive compared to say a pair of Creative Inspire T10s (about 20% of the price) or Gigaworks T20 (about one third the price). Bear in mind though that the LESs have a built-in DAC and sound good enough than with something like a Mac Mini and nothing more you have a respectable and very compact home audio system.

What’s in the box

Inside the sturdy box you will find two powered speakers with integrated metal stands, each around 23cm (9 in) high and 12.4 cm (4.9in) wide including the stand. There is also a chunky power supply, a 3.5mm audio cable, a further cable that connects the two speakers, and a quick-start manual.

Connections are simple. The right-hand speaker has both optical and analogue audio inputs, plus a power socket. It also has a speaker output which you connect to the left-hand speaker with the supplied cable.

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Now attach a device with an audio output, and play.

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On the front of the right-hand speaker you will find a volume control which also switches the unit between standby and on. You do this by depressing the control, so when you turn it back on the volume remains as it was last set – a thoughtful detail.

Sound quality

The sound quality is remarkable. The aspect that is most surprising is the bass: put simply, these speakers sound much larger than they really are. The bass is not bloated or boomy though, especially if you use the digital input which I recommend.

I played Sade’s song By Your Side from Lover’s Rock. This song is characterised by deep bass which contrasts with Sade Adu’s silky clear vocals. On lesser systems the whole thing turns to mush, but this sounds great on the LESs. So does Prodigy’s Voodoo People, which depends on pounding bass for its potency.

The Miles Davis classic Kind of Blue is well conveyed, with piano that sounds like piano, the bass melodies easy to follow, and breathy trumpet that transports you back to the fifties studio where it was recorded (I seldom hear modern recordings that sound as good).

Any flaws? Well, you need to be realistic about the absolute volume level you can get from these things. They go loud enough for most listening, but you really want to rock out or party, look elsewhere. I would also worry about the longevity of the units if you max them out for long periods; though those fears may be unfounded.

The bass is prominent but not excessive in my view, unless you site them in a corner that further emphasises the bass, in which case you may find it too much.

I compared the LESs to a more expensive separates system with full-range floorstanding speakers. The LESs survived the comparison with credit; but you can hear how the vocals sound small and boxy relative to the large setup.

That said, when I was playing the LESs someone who came into the room was not sure whether the small or the large system was on; they are that good.

I compared the sound of the digital versus the line-in input. It goes without saying: if you use the line-in, then the quality is constrained by the quality of the DAC and pre-amplifier which precedes it. Attach a smartphone or MP3 player, for example, and it will probably be less good than the DAC in the LESs. Then again, most of these devices do not have a digital output so you have to make the best of it.

I used the Squeezebox Touch, which has a high quality DAC of its own, for a fairer comparison. It is hard to be sure, but to my ears the line-in option was slightly less clear than the digital, and slightly more bass-strong. My preference is for the digital connection.

Technical details

The supplied leaflet does not tell you much about the specifications. There are more details on the box:

  • Two silk-dome tweeters
  • Two 3.5” woofers
  • Two 4” passive bass radiators

These bass radiators are the secret of the LES’s extended bass. They occupy a large part of the back panel on each speaker:

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Note that these are not active speakers; they are correctly described as powered speakers because they have a built-in amplifier but the crossovers are passive, and the left-hand speaker receives an amplified signal from the right.

That said, in the hands of audio engineers a design like this has some of the advantages associated with an active loudspeaker. In particular, the amplifier can be designed specifically for the transducers, whereas a separate amplifier has to be designed to work with whatever speakers happen to be connected. This is especially true if you use the built-in DAC, allowing the integrated electronics to handle the entire analogue chain.

Audyssey revealed a few further details on its web site:

The LES speakers have passive crossovers.  We don’t list the amplifier power because it is meaningless in a powered speaker–it only has meaning in stand-alone amplifier.  The speakers are rated to produce 95 dB SPL at 1 m listening distance.  The optical input accepts PCM signals up to 24 bits/48 kHz.  Audyssey Smart Speaker technology is used to design the speaker driver, enclosure, and amplifier in conjunction with Audyssey EQ, Dynamic EQ and BassXT technologies.

I was interested in the remarks about high resolution PCM input. What about the common 24/96 format? I tried a 24/96 signal and the good news is that it played fine. Whether that means that the DAC actually fully supports 24/96, or whether it is played at 24/48 resolution, I do not know. I doubt that the difference would be audible.

Worth noting: both inputs are active all the time. This can be a good thing, if for example you want two sources plugged in, but only if you are careful not to play them both at once!

Annoyances

There are a few. One is that the speakers have an auto-standby feature, which kicks in if you stop playing music for a while. There is no auto-on though, so you have to get up and turn them on: fine if they are on your desk, but irritating if you are sitting at the other end of the room.

A remote volume control would be nice (and would deal with the standby problem too). That said, in most cases you have a volume control on the input that you can adjust remotely, but this is not always the case.

The line-in needs a relatively high signal level in order to make use of the full volume of which the speakers are capable.

The power supply is not universal. This means you cannot buy these in the USA but use them in the UK, for example, unless you get a new power supply or step-down transformer. The power supply is also rather bulky, for which there may be good audio reasons, but it detracts from the compactness of the design.

Conclusions

Despite a few niggles, the sound quality on offer is extraordinary for the size of these speakers; they are the best speakers of this type which I have heard. If you want something to sit on your desk plugged into a Mac or PC, but without compromising sound quality, these are ideal. They also make a great companion to a Squeezebox Touch or similar: all your music, in good quality with little clutter.