Category Archives: audio

audio, reviews

Review: Olympus LS-14 24/96 audio recorder with Tresmic mic

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The Olympus LS-14 is a portable digital recorder with integrated microphones. It supports recording at up to 96 kHz/24 bit. Although you might not hear much difference between this and CD quality (44.1 kHz/16-bit), the higher resolution is still worth it if you want to do any post-processing, as it gives you some headroom for processing without audible loss of quality.

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In the box is the recorder, a combined stand/clip which screws into the device (the screw hole is also the right size for direct tripod mounting), a zipped bag of reasonable quality, the usual USB cable, getting started manual, and batteries.

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The unit feels well made, though after a couple of days some plastic broke off the head of the bolt that attaches the clip. Glued back and seems OK, but annoying.

In the Olympus range, the LS-14 falls between the pro LS-100 with multi-track recording and XLR connectors, and the budget LS-12 which is similar to the LS-14 but with only 2GB internal storage and lacking some features like the third microphone.

There is a brief getting started manual, but I recommend you connect to a computer and copy the detailed manual from the internal storage as otherwise some features are a little perplexing (I thought the metronome feature was broken at first).

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The device seems well made but is not particularly small by today’s standards: 52.5 x 138.7 x 23.5mm. Not really bulky, but seems large compared to my Philips voice recorder, for example.

The most notable feature is the third microphone, which sits in the centre on the end of the unit. Olympus calls this the Tresmic mic, and it is the recording equivalent of a subwoofer, capturing low frequencies that would otherwise be missed.

The quoted frequency response of the internal mics is 20Hz – 20kHz with the Tresmic mic, or 60Hz – 20kHz without.

Unfortunately the level of the third mic is not separately controllable, though you can switch it off, and I found the bass tended to be excessive with it engaged. On the other hand, if you want to capture those low sounds you will be grateful for it, and I guess you can tweak the EQ later.

Recording formats range from 64kbps mono MP3, if you want to record for many hours and don’t care about the quality, to 96/24 PCM which will fill up your 4GB internal storage rather fast (about 1.5 hrs). Still, you will want this for pro recording.

There are three recording modes. In Smart mode, you press record, it spends 30 seconds adjusting the level automatically, and then starts recording. In Manual mode, you press record, adjust the level using the on-screen meters, then press record again to start. In Quick mode, you press record and it start, using the current levels.

There are a couple of extra features. In tuner mode, you can use the device to tune an instrument. It shows the note you are playing and whether it is sharp or flat. In Metronome mode, which only works during a recording, two lights flash and a tick sounds through the earphone output; you can adjust the timing of the beat.

On the right-hand side of the unit are microphone (with plug-in power) and line-in inputs, as well as an SD card slot (up to 32 GB). On the left-hand side is the USB connector, headphone out, and input for a receiver for the optional wireless remote.

Using the settings, you can set mic sensitivity, limiter (automatic level control) and a low-cut filter at 100Hz or 300Hz.

There is also a pre-recording feature. In this mode, the unit is constantly recording, and when you press Record it will capture the previous two seconds.

Various editing features are supported, such as trimming and dividing files, though since you are more likely to edit on a computer these are of limited value in my opinion. You can also overdub a file, provided it is in 14.1/16-bit format, though again, why not record the new track separately and combine on a computer later?

So how is the sound? In my tests, excellent, thanks to the high quality of the integrated microphones and electronics. It compared well to a decent external Sony mic, though that sounded good too with not too much noise from the mic preamp. That said, as noted above, personally I preferred the sound without the Tresmic mic which is rather a waste of the most distinctive feature of the LS-14.

I made some samples so you can hear the impact of the Tresmic mic for yourself:

Internal with 2 mics

Internal with 3 mics

External mic

Olympus states a maximum external sound pressure of 130 db making this suitable for recording live concerts; set the sensitivity to low and adjust the levels carefully.

The LS-14 microphones are rather sensitive to wind, so beware using it as a hand-held microphone or outside. No windjammer accessory is currently listed, though maybe the one for the LS-100 would work; test before you buy!

It is worth noting that the built-in microphones form a significant part of what you are paying for in the LS-14, so if you intend to use an external mic most of the time it is not good value. I am conflicted on this. I prefer external mics, partly because you can choose the right mic for the purpose, and partly because built-in mics inevitably pick up noises if you operate or handle the unit while recording. On the other hand, having a single device is convenient and that sometimes counts for more.

The supplied batteries are not rechargeable, though Olympus quote recording time of 43-46 hours which is not too bad. You can use the USB port for external power. I would have preferred rechargeable batteries and USB charging.

A somewhat hidden feature: you can change the USB connection type to “composite” in which case you can use it with your PC as a USB microphone. Probably not that useful.

For certain types of usage, I think this device is great. For example, you could use it to record school concerts, your live band or music rehearsals. The high quality microphones and high-res PCM format mean you will get great results, though I am wary of the Tresmic mic as mentioned above; try it with or without.

It is also handy as a high-quality recorder for things like capturing vinyl records to digital and works well with external microphones.

Negatives? A little bulky, sensitive to wind noise, batteries not rechargeable, and Tresmic mic prone to make boomy recordings. None of these are showstoppers, but worth noting.

 

audio

Hi-res audio and the hi-fi press: the problem with honesty

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I have posted several articles on the subject of high resolution audio – here, for example. It is a subject that fascinates me. I enjoy music more if it is accurately reproduced, and regard sound quality as something worth paying for, but is it worth investing in high resolution formats such as SACD, DVD Audio, 24/96 and higher FLAC or ALAC (Apple’s lossless audio format); or is it better to concentrate on other parts of the audio chain, on the grounds that even lowly CD and 16/44 capture music with an accuracy close to the limits of what human hearing can perceive?

Many audio enthusiasts swear that high-res formats sound much better; but solid evidence for their superiority as a delivery format is hard to come by, and when you perform simple tests like converting a high-res format into one at CD resolution and comparing the two, it is often (perhaps always) hard to hear any difference. 

High resolution formats are of course a necessity in music production, where the sound will be processed, possibly many times over, before the final master is complete.

Alan Sircom is the editor of the UK audio magazine hi-fi plus. In a frank forum discussion concerning the challenges of editing such a magazine today he makes the following remark:

For all the enmity you and yours have toward the magazine, our biggest potential loss of readers right now is coming from my stance on hi-res. I still maintain that you are paying a premium for microphone thermal noise and – at best – a more careful mastering process. I know a lot of manufacturers of DACs who (privately) agree with me… but have to continue to develop their products from 24/96 to 24/192 to 32/384 to DSD-over-USB because the audiophiles (who, let’s face it, buy our stuff) will not accept anything less. This is a sham, especially as there is a better campaign to be had (something like “brick-wall mastering is worse than brick-wall filtering”, but more pithy). However, the upshot of the excellent exposé of the hi-res game by Hi-Fi News did not cause an army of hi-res-loving audiophiles demanding more from their hi-res, it caused some of them to consider Hi-Fi News ‘hostile’ to hi-res.

If true, this is a depressing situation. The goal of home audio is to achieve the best possible sound at home within your budget, which means investing in the technology that makes the most audible difference. It is not easy to discern what that is though, which is where an independent press has a valuable role to play. According Sircom, that is difficult to do in practice, because of the constraints imposed by the economics of advertising at one end, and a readership which does not always want to hear the truth at the other.

apple, audio

RØDE Mic: High quality recording with iPhone or iPad

Interested in high resolution recording with an iOS device? It may be worth checking out the RØDE iXY which for $199 gets you a pair of cardiod capsule microphones which attach to the docking port on your iPad or iPhone (note that you will be holding your device upside down though it hardly matters).

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Using the associated app you can record at 24-bit/96Khz – good enough to allow some further processing while retaining high quality.

Suggested uses are recording concerts, broadcasting, or attaching to a camera for video with superior sound (though it might be easier to use a conventional external microphone).

Currently I travel with a separate device for recording so something like this is interesting. On the other hand, the recorder I use is small and light, the batteries last for days, and I can plug in any external microphone or use the one built-in. Still, an advantage of the RØDE iXY approach is that you get to use a lovely colour app for recording, and have one less device to keep charged up on the road.

audio, reviews

Review: Logitech Z553 2.1 Speaker System

Logitech’s Z553 speaker system has a striking appearance, dominated by a cylindrical down-firing subwoofer which also contains the power supply and amplifier.

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Two small satellite speakers provide mid and high frequencies, each with two 2″ drivers and designed like binoculars stood on their side.

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Both the sub and the satellites have integrated stands including three firm rubber-spiked feet, preventing any rocking motion.

These speakers are designed for several scenarios:

  • Position the satellites either side of a computer screen on your desk, have the subwoofer on the floor.
  • Position the satellites either side of a television, subwoofer on the floor, sit back and enjoy.
  • Connect your smartphone or tablet for ad-hoc music or video.

One thing to avoid: do not site the satellites on the floor, where they will sound dreadful. They must be on a desk or table.

The system is purely analogue (no digital input or dock) and purely wired, though there is a wired remote which Logitech calls a “control pod”. This pod has a rotary on-off and volume control, a red power LED, and a small and fiddly bass adjustment control which seems primarily to set the volume of the subwoofer; it makes a dramatic difference to the level of bass.

Connections

The main connections for the Z553 are on the back of the subwoofer.

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Here you will find the power connector, 3.5mm stereo line in socket, left and right RCA inputs, RCA outputs for the satellite speakers, and a special connector for the control pod.

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The control pod has connections of its own. On the left of what I suppose is the back of the pod there is an additional line in and a headphone socket.

The top of the pod is the volume control and has a smooth, weighty feel that makes it good to operate, having said which the ergonomics of the pod are not quite right. It is too easy to spin the main volume control by accident when operating the bass control, or just by brushing against it with your hand. The cable for the pod is a nuisance and it is a shame Logitech does not provide a wireless remote.

By way of mitigation, many sources provide their own volume control. For example, I used the speakers with Logitech’s discontinued Squeezebox Touch as input, and was able to use the digital volume control remotely from a web browser or tablet.

The connections are not difficult, but if you hate wires this might not be the system for you.

Another oddity concerns the inputs. There are three inputs altogether: line-in jack on the Pod, line-in jack on the sub, and RCA on the sub. However there is no way to switch between inputs if you have several connected; the sounds will simply be combined.

The Z553 system goes pretty loud, but the gain is not quite sufficient in some cases. I connected a Nokia Lumia 800 smartphone and found that even at maximum volume on both phone and Z553, I was not getting the maximum possible undistorted output.

Sound quality

If you care mainly about sound quality, you will be impressed. I was. I tried the Z553 in several scenarios, including close listening on a desk and playing at the other side of the room. The bass is rich and deep, and the integration between the satellites and the subwoofer seamless. Volume was fine for normal listening, though it would not do for parties or if you like your music very loud.

Compare the Z553 to a mid-price hi-fi system, and you may wonder why you bothered spending more. To be fair, the Z553 does have limitations. Compared to my usual active monitors, there is a little smearing of notes and congestion, and the bass is a little soft. You do not get the startling realism and depth you get from a high-end system. The Z553 holds up well though, given the price difference.

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Pros and cons

The sound quality is great for the price, and the build feels good too. Just a few annoyances:

  • No input switcher
  • Awkward wired remote volume and tone control
  • Too many wires
  • Gain barely adequate for some sources

The styling is a matter of taste; I consider it inoffensive but would not recommend these speakers for their appearance. For me the sound quality is a higher priority, and for the price I cannot fault it. An excellent buy.

Specification

Subwoofer: 4 inches. Midrange drivers 2 inches.

Power: Satellites 2 x 10 watts RMS. Subwoofer 1 x 20 watts RMS. Max sound level quoted as 88dBc

Satellite speakers are 160mm (6.3″) high

Subwoofer cabinet is 381mm (15″) high and 160mm (6.3″) diameter

 

apple, audio, cloud computing, rants

Amazon AutoRip: great service, or devaluing music?

Or possibly both. Amazon’s AutoRip service means that when you buy one of a limited, but considerable, range of CDs, you get an MP3 version in your Amazon cloud player for free. Even past purchases are automatically added, which means US customers have received emails informing them that hundreds or in some cases thousands of tracks have been added to their Amazon cloud player.

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The service adds value to CD purchases in several ways. You get instant delivery, so you can start listening to your music straight away, and when the CD comes in the post, you can enjoy the artwork and play it on your hi-fi for best quality.

Amazon is differentiating from Apple, which only sells a download.

An infernal creature lies in the details though. Here are a few comments from Steve Hoffman’s music forum:

Got Auto-rip Pink Floyd’s DSOTM 2011 mastering of the DSOTM SACD that I bought in 2003.

and

I now have autorips of cd’s I no loner own…..interesting concept.

and

I now have autorips of CDs I bought as gifts.

These customers have done nothing wrong. They bought a CD from Amazon and gave it away or sold it, but it is still in their Amazon history, so now they have the MP3s.

Another interesting point is that Amazon appears to treat all versions of the same recording as equal. This is why I have included the comment about the Pink Floyd album above. Record companies have done well over the years by persuading fans to buy the same CD again in a remastered version, sometimes with bonus tracks. The Beatles 2009 remastered CDs are a well-known example. But if customers with unremastered CDs are now getting remastered MP3s automatically, this type of sale is harder to make.

The gift issue is more serious. The terms and conditions say:

Albums purchased in orders including one or more items marked as “gifts” at purchase are not eligible for AutoRip.

and intriguingly:

If you cancel your order or return this album, our normal order cancellation and product return policies will apply regarding the physical version of this album. However, if you download any of the tracks on the MP3 version of the album from your Cloud Player library (including if you have enabled auto-download to a device and any of the tracks on the MP3 version of the album auto-download), you will be considered to have purchased the MP3 version of the album from the Amazon MP3 Store and we will charge your credit card (or other payment method) for the then-current price of the MP3 version of the album (which will be non-refundable and may be a higher price than the physical version of the album).

Someone therefore has thought about the problem, though I predict unhappy customers, if they buy a faulty CD, return it, and find they have been charged anyway thanks to an auto-download feature of which they might not understand the implications.

Note also that many CDs are purchased as gifts without being marked as gifts in Amazon’s system. The idea of marking items as gifts is that you can have gift wrapping and get an item sent to another address, but if you plan to do your own wrapping, it is not necessary.

Here is something else. Audio enthusiasts are not happy with MP3s, preferring the real and/or psychological benefits of the lossless CD format for sound quality. For many people though, the audio is indistinguishable or they do not care about the difference.

What do you do if you receive a CD in the post, having already downloaded and enjoyed the MP3 versions of the tracks? I imagine some customers will figure that they have no use for the CD and sell it.  Provided they do not return the CD to Amazon, I cannot see anything in Amazon’s terms and conditions that forbids this, though I can see ethical and possibly legal difficulties in some territories.

The consequence is that someone may lose a sale.

Subscription is the future

My view on this is simple. The only sane way to sell music today is via subscription – the Spotify or Xbox Music model. The idea of “owning” music (which was never really ownership, but rather a licence tied to physical media) is obsolete with today’s technology.

Amazon’s new initiative demonstrates how little value there is in a downloaded MP3 file – so vanishingly small, that it can give them away to past customers for nothing.

audio

Async USB audio streaming at 24-bit 192Khz with Logitech Squeezebox Touch

The discontinued Logitech Squeezebox Touch is a fine product for multi-room audio streaming, though sadly discontinued. The Touch is limited to a maximum audio resolution of 24-bit and 96Khz – or is it? While this is true of the internal DAC (Digital to Analogue Converter), an audio enthusiast known as Triode set about modifying the firmware to output higher resolutions.

Another aspect of his work was to enable use of the USB port on the Touch, which was originally designed for attaching storage, to support an asynchronous USB DAC. The idea of async USB audio is that the clock which controls the decoding is in the DAC and independent of the source. There is an explanation by Vincent Kars here:

In this mode an external clock is used to clock the data out of the buffer and a feedback stream is setup to tell the host how much data to send.

A control circuit monitors the status of the buffer and tells the host to increase the amount of data if the buffer is getting too empty or to decrease if it’s getting too full.
Since the readout clock is not dependent on anything going on with the bus, it can be fed directly from a low jitter oscillator, no PLL need apply.

Is async USB audio really necessary? Is any resolution above 16/44 necessary for playback? I am sceptical, but after getting hold of a Teac UD-H01 which supports both async USB and resolutions up to 24/192 I thought it would be fun to try it. 

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I followed the steps here which worked perfectly. They involve installing a Squeezebox app called Enhanced Digital Output, and installing a modified Linux kernel (the Touch runs Linux). The modifications are reversible, which is reassuring.

I then tried one of the the few Flac-encoded music files I have in 24/192 format. I still cannot tell you whether either the format or the asynchronous aspect makes a difference; but I can say that the sound is exceptionally good, though it also sounds excellent with well-mastered 16/44 sources.

Subjectively it improves on the internal DAC in the Touch, with deeper bass, a more spacious sound, better separation between instruments, more natural vocals, and all the usual hi-fi clichés.

Leaving that aside though, kudos to Triode for his achievement.

apple, audio, mobile

Review: Skullcandy Navigator, smart on-ear headphones with microphone and special controls for Apple devices

Skullcandy has released the Navigator on-ear headphones, using some of the same technology found in the over-ear Aviator though simplified and at a lower price. An inline microphone is included, with buttons to control call answer, play, pause and volume on iOS devices.

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The Navigator is a stylish device, with the glossy black finish on the outside of the ear cups nicely offset by sliver chrome trim and sliders. The cups fold inwards for storage and a silky drawstring bag is supplied. The cable is detachable, which is always a good thing since if you are are lucky the cable will detach when you trip over it rather than breaking internally, and if you are unlucky you can replace it.

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In the box you get a a guide to the “MIC3” button controls and a leaflet showing how to attach the cable, along with the headphones, bag and cable itself.

The soft inside of the ear pieces has a cutaway section showing the Skullcandy logo.

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While the designers no doubt thought this a nice touch, it looks like there is potential for the edges to lift or tear here, but only time will show whether this is a real concern.

Sound

The sound is decent but falls short of greatness, no more or less than you would expect at this price point. First impressions are good, with a smooth sound and adequate bass, but close listening revealed some compromises. The sound is a little recessed, with accentuated bass and slightly dulled treble, with the result that handclaps, for example, sound less real and natural than they should.

Listening to Sade’s By Your Side, with its strong rhythmic bass lines, is always revealing; it is on my list of difficult tracks. On an iPad this was disappointing, with the bass turning to mush and the treble detail getting lost too. Switching to a desktop PC and a dedicated headphone amplifier made a substantial improvement and the music became enjoyable, though still some distance from how it can sound with the best equipment.

Mirror in the Bathroom by the Beat (or English Beat) is a punchy and demanding track that is also good for revealing gear differences. The Navigators are claimed to have “punchy and powerful bass” but on this track they sounded too polite, losing too much of the rhythmic drive in the song, and again recessing the treble too much.

Adele’s Daydreamer sounded reasonable with forward vocals, though the Navigator loses some of the delicacy of the guitar picking and the sound is a little closed-in compared to better units.

The sound is unexceptional then; but good enough for casual use.

Having a microphone built in is great though. Plugged into Microsoft’s Surface RT tablet, this set made a great job of a Skype call with clear, solid sound at both ends of the call.

Controls

The Navigator’s inline microphone includes controls for use with iOS.

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The plus and minus buttons control the volume, while the central clicker is multi-function. One click is for play/pause, or to take a call if ringing. Two clicks in quick succession moves to the next track, and three clicks the previous track.

On the Surface RT the microphone worked fine, but the controls did nothing.

Comfort

Headphones are personal things and ideally you will try these before you buy. In general the design is good, with plenty of travel on the rails to which the ear pieces attach so that you can fit these headphones to the size of your head.

Unfortunately I found the clamping pressure too tight, though over time this may reduce a little. The result for me was that I could not wear these headphones comfortably for an extended period. This might not be the case for you; but I cannot agree with the “insanely comfortable” claim in the press release.

Conclusion

The design is beautiful, the inline microphone useful, and the sound is not too bad. Overall I rate these a reasonable but unexceptional purchase, but only if you can wear them without discomfort. If you prefer a slightly looser fit, these will not be for you.

The Skullcandy Navigator comes in three colours: Black, White or Royal Blue. It costs £84.99.

audio, gadgets, mobile, reviews

Review: Edifier MP250+ Sound to Go Plus

The problem: small mobile devices are great for portability but their built-in speakers (if they exist) are poor, thanks to their tiny size and sub-optimal enclosures. The latest tablets sound better than earlier models, but it still pays to plug in an external powered speaker.

Edifier’s Sound to Go Plus could be the answer. This wedge-shaped single-unit powered speaker system is 261mm long and 36mm high – in other works, a shade longer than a 10” iPad.

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Several things are distinctive.

First, it feels robust and high quality, thanks to its brushed aluminium shell. Second, it is not just a powered speaker, but also a USB sound device that was recognised immediately by the Mac, Windows 8 and Windows RT devices I tried.

Third, it packs in four 1.25” drive units and a 30mm x 90mm passive bass radiator for a fuller sound that you might expect from such a compact speaker.

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The unit comes with audio cable, USB cable, and a simple black bag, though you will struggle to get the cables as well as the device into the bag.

Charging is via USB and no mains adapter is supplied. Many smartphone adapters will work, or you can charge from a PC or Mac.

Operation

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The Sound to Go Plus has two modes of operation. The first is USB-based, and works by attaching the gadget to a PC or Mac and then selecting it as the default audio output device. The second is based on a standard 3.5mm jack socket. This is necessary, because most smartphones and tablets, including Apple’s iPad, do not recognise USB audio devices. Microsoft’s Surface RT is an exception, and worked fine with the Edifier and a USB cable.

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The existence of two modes does add some complexity though. Edifier has designed it so that the analogue jack input takes priority. This means that if a jack cable is connected, the USB audio connection does not work. If both are connected to the same machine, neither works.

The advantage of the USB connection is first that it sounds better, and second that the device will charge while it plays.

Volume buttons are on each end of the device, down on the left, up on the right. Once connected, you turn the device on by depressing both simultaneously. This is smart, since it is unlikely to happen by accident in your bag.

Sound quality

Sound and mobile is all about compromise. I compared the Sound to Go Plus with several alternatives, from built-in speakers on an iPad or Surface RT, to various other portable systems.

The Sound to Go Plus was a big improvement on the built-in speakers. Sound is deeper, crisper, smoother and more detailed.

Compare to a grown-up pair of powered speakers like the superb Audyssey Lower East Side, admittedly more expensive and less portable, and the Sound to Go Plus is boxy, bass-shy and constricted.

That said, the Edifier sounds miles better than a old Creative Labs Travelsound unit I tried. The Travelsound is also a one-piece design, but with only a single drive unit per channel and no passive bass radiator. The Edifier won easily.

I was less sure about the comparison with the X-Mini Kai. The Kai is a mono unit but even with only one drive unit it lost only narrowly to the Edifier. The Kai’s brighter sound made the Edifier sound slightly muffled and the bass on the Kai is also decent, though in the end the Edifier’s smoother, weightier sound won my preference. The Edifier also feels stronger and more business-like than the quirky Kai with its concertina design.

Still, a unit like this is not about the ultimate in sound quality. It is about getting acceptable sound while on the go, and in this respect the Edifier impresses. It is not squawky or annoying, build quality is good, and watching a movie or playing background music with this is more fun than using what is built into a tablet.

Volume is just about good enough, though I would have liked a little more power.

Conclusion

The Edifier Sound to Go Plus is a great little device and worth considering if you are looking for better sound while travelling.

 

apple, audio, reviews

Review: Edifier Spinnaker e30 Multimedia Speakers

Now these are smart. A pair of three-way active speakers shaped like spinnakers, with Bluetooth 2.1 support so you can use them without wires. I think wireless is the future of home audio, so high quality devices like this catch my interest. You come home, pull out your smartphone, press play and sweet music fills the living room.

The e30s have a wireless controller too, a bulbous device which gives out an other-worldly red glow from its base. Twist to set the volume, tap the top to turn on or switch input. Is this all you need?

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Here is a closer look. Each speaker stands around just over 400mm high. At the base they are about the size of a CD (remember them?), tapering to a point at the top. The speaker units are of plastic construction, mostly covered with acoustically transparent cloth, and with an aluminium protrusion at the base to give additional stability and a way of tidying the cables.

The right-hand speaker is the master, and has four connections:

  • Power in
  • Combined analogue/digital input
  • Subwoofer out
  • Connector for left-hand speaker

Internally, there are three drivers in each speaker, comprising a silk-dome tweeter, a 70mm mid-range unit, and a 116mm woofer. There appear to be six channels of amplification, one for each driver, rated at 10w RMS for the tweeter, 10w for the mid-range, and 25w for the bass, quoted per channel. Frequency response is quoted at 68Hz-20KHz +/- 3dB; good for speakers of this size, though for faithful low-frequency reproduction you will need to use that subwoofer connection.

Modes of operation

The Spinnakers are pretty flexible when it comes to connections. The analogue input is a standard 3.5mm jack which you can connect to any external player, such as a computer, an iPod, an Airport Express, or a CD player. This input doubles as an optical digital input, which I tested at 16/44 (standard CD resolution) without any issues. Alternatively you can use Bluetooth, with support for A2DP (Advanced Audio Distribution Profile), which means that most modern tablets or smartphones will be able to play audio to the speakers. No worries about dock connector types or Apple’s proprietary AirPlay wireless system.

A possible scenario then is to have the speakers permanently wired to a computer or another source such as a Squeezebox or Sonos unit. Then you can use Bluetooth for convenience, and the wired source for best quality.

An obvious position for the speakers is either side of a desktop computer, but they are good enough to sit in the living room too, particularly when boosted with a subwoofer.

Setup

After unpacking the speakers, the first task is to charge the wireless controller using the supplied USB cable. Next, connect the power, connect the speakers to each other, and optionally connect to a wired source.

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This task is more awkward than it should be, since there is limited space in the base of the speaker and you have the bend the cable back firmly in order to align each plug with its socket. Next, you have to feed the cables through channels in the base of the unit in order to stand the speaker up without it rocking.

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I found the cable tended to come away from the channels easily if you move the speaker so it is all a bit fiddly.

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Next, find the controller and turn the speakers on by holding down its central button. The controller works as follows:

  • Press and hold top button to turn on, cycle between inputs, or turn off.
  • Tap top button to mute/unmute audio
  • Rotate controller to change volume
  • Hold down button and rotate controller to skip track back or next

The current status is shown by a light at the top of the right-hand speaker, which shows off for off, blue for Bluetooth, green for analogue wired input, and red for optical digital input.

Bluetooth pairing is rather simple. Switch to the Bluetooth input, then search for a Bluetooth device on the unit you want to connect. Select the Edifier and you are done. To connect a different device, repeat.

Sound quality

The sound is impressive, especially if you listen in the sweet spot in the centre with the speakers in front of you. The quality is rich and refined, especially with a wired connection, but also enjoyable via Bluetooth. They also go loud, not enough for parties or to annoy the neighbours perhaps, but plenty loud enough for most listening. To put some numbers on that, I measured over 85 dB without any obvious distortion. Bass is a little lightweight, but not so much as to spoil enjoyment.

I tried attaching a subwoofer which rounded out the sound nicely. The subwoofer output covers the range 20Hz – 100Hz and is pre-filtered. One note of caution is that the the output socket has a narrow entrance and I had to try a couple of different cables before finding one that fitted properly; the ill-fitting cable rewarded me with a horrible noise.

If I put on an audiophile hat I can find fault with the sound. It is slightly sibilant, especially via Bluetooth. There is some smearing of detail compared to a high-end system, and a slight boxiness to the sound. Vocals are not quite as natural. But here I am comparing to a system that is many times the size and price. In context, the e30’s sound fine and I doubt any purchaser will be unhappy with the sound.

Annoyances

There are a few issues with the Spinnakers. The worst flaw is the way the cabling is handled, awkward to fit, and tricky to press firmly enough into the holders to prevent a slight rockiness in the right-hand speaker which cannot be good for the sound.

Next, I don’t much like the way the status light works. It is not that easy to see from a distance. A status light on the controller rather than on the speaker would be welcome.

Another factor, not an annoyance exactly, is that the speakers are on the large side for a desktop – and the manual recommends having them 1 meter away from a monitor or TV set – but they are on the small side when placed on the floor.

Conclusion

Despite a few nits, I like these speakers for their stylish appearance, high sound quality, and flexible connections. The price may seem high, but bear in mind that you are getting amplification as well as loudspeakers, and sound that is well beyond most powered speakers. Set these up on a table, place a tablet in between, and you have a rich audio and video experience. I also like the idea of using these for a living room system, if they suit your decor.

A subwoofer is not essential but takes the sound to another level, provided of course that the sub is of equal or better quality than the Spinnakers.

Recommended.

 

audio, mobile, reviews

Review: Philips Voice Tracer digital recorder DVT 3500

I am someone who records interviews and events frequently, so have a keen interest in digital recorders. Earlier this year I started using a Philips Voice Tracer, reviewed here, so was interested to take a look at a new model, the DVT 3500.

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It is the same kind of thing: a handheld recorder with a built-in microphone on the end and a small speaker so you can listen on the device itself if you have to, though you will get better quality from headphones.

Like my other Voice Tracer, this one feels a bit flimsy, but benefits from being small and lightweight, and the older one has proved perfectly durable.

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You get quite a few bits in the box: digital recorder with 2GB storage, rechargeable batteries, short USB cable (now micro USB), a standard set of earbuds, a cheap and not very cheerful pouch, and as a special bonus, a telephone pickup.

2GB is on the small side in my opinion, but there is a microSD card slot so you can easily expand it.

Here are some of the things i like about the DVT 3500:

  • Rechargeable batteries which are nevertheless standard AAA size so you can use standard batteries if necessary. Long battery life too, something like 40 hours recording from a full charge. I never worry about it.
  • Built-in stereo microphone and socket for external microphone so you have the choice.
  • Built-in speaker so you can playback without headphones if necessary; of course the sound is tinny.
  • MicroSD slot mitigates the somewhat small 2GB internal storage – though even 2GB is plenty for many hours of recordings, the amount depending on the format you choose.
  • Decent choice of formats from 8kbps MP3 to lossless WAV. I prefer the 192kbps MP3 which Philips calls “Super high quality”; note that this is not the default. WAV is silly unless you have a high quality external microphone and are recording music.
  • Little fold-out stand for raising the microphone when placed on a table.

The supplied telephone pickup works like this. It is a mono earbud/microphone which you plug into the microphone socket and stick in your ear. Hold the phone to your ear, and if you can hear the other person, then so can the microphone. I tried it and it is effective, but somewhat intrusive since you get a lower quality of call than you would get without it.

The ear buds on the other hand are remarkably good, clear and with surprisingly deep bass. They are fine for music as well as playing back interviews for transcription.

I compared it to my older model. Quality of recording is similar, though the built-in microphone on the DVT 3500 seems a bit better than the older one. Storage capacity is less but my old model lacks a card slot. The new model has an LED which glows red when recording, and flashing red when paused, a nice feature. Another neat touch is pre-recording mode, where it records a five-second loop in standby mode so that when you hit record, you get the previous five seconds as well.

What is most noticeable is that Philips has worked hard on the firmware, which is much improved. I would not call the DVT 3500 a pleasure to operate, but it is much less fiddly than before. A great feature is that when you scroll though recordings, it auto-plays the first few seconds of each, making it easy to find the right one.

In the old user interface, you use the central joypad to page through incomprehensible icons. The new interface has just four icons along the top, representing File, Record settings, Display settings, and Device settings.

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Select a menu with the joypad, and then navigate up and down the sub-menu. The new higher resolution screen allows the choices to be spelt out clearly, such as Format memory in place of the old FORM.

The settings are rather extensive, to the point of confusion. There are separate settings for Auto Adjust Rec, Mic sensitivity, Wind Filter, and noise reduction; I think I understand what all these do, but trying all the combinations to find the optimal results would take time.

If you are recording music I suggest turning off all the automatic adjustments and filters, but for voice where all I care about is a clearly intelligible recording, I leave it on auto adjust and it seems to work out fine.

Make sure you find the real manual, which is a PDF on the device or on the Philips web site. The printed getting started leaflet is short and confusing.

Note there is no radio in this model. It is mentioned in the manual, but that is because the manual covers several models which have different features. This bother me not at all.

When you connect to a PC or Mac the device shows as external storage and it is trivial to import the audio files. The supplied USB cable is irritatingly short though.

The only thing to add is that I personally prefer an external microphone. I did some test recordings, and found that you get much better quality when holding the device in your hand close to your mouth, as opposed on the table in front of you, but that is impractical in many scenarios like interviews. Another snag with the internal microphone is that you get inevitable slight noise when operating the controls.

My old model came with a tie clip mic as well, which I use all the time, sometimes as a tie clip mic, and sometimes just placed on the table. Be careful though If you use a mic other than an official accessory; I tried a Sony mic but its output was too low and the recordings far too noisy. Try to test before purchase.

An excellent device though, which does the job for which it is designed very nicely indeed.