Category Archives: reviews

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gadgets, reviews, tech, windows

Surface 9 Pro with Windows on Arm

I have had a short time with a loan Surface 9 Pro running Windows on Arm.

My review sample came without a keyboard case. I do not recommend this unless you have very specific tablet-y requirements. It is hard to use without a keyboard. This of course means it costs more than it first appears, because the cheapest keyboard is £129.99 inc VAT. Since most people I see using a Surface use it like a laptop, I do wonder about the value of the kickstand design, which harks back to the earliest Surface devices when Microsoft was taking on the iPad. That battle was lost with the failure of the tablet personality in Windows 8. Desktop Windows won; and it needs a keyboard.

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That aside, it’s a lovely device, great screen, great for video conferencing thanks to the smart camera. AI makes it appear that you are looking at the camera even if you are not. Good feature or deception? I am not sure, but I err more towards deception. It is a hard one though, because when paying attention in video conference you are looking at your video of the speaker, not at the camera, which makes it appear that you are looking elsewhere even though you are not.

Lower energy use than x64, longer battery life. Perfect Windows device? It might be, except that the vast majority of Windows applications are compiled for x64 only. This means some applications might not work, and in other areas there is friction. A contact of mine bought a Surface 9 Pro with the SQ (Arm) chipset for work.  It came with Windows 11 Home on Arm. The tech specs say that “At this time, Surface Pro 9 (SQ® 3/5G) with Windows 11 Home on ARM will not install some games and CAD software, and some third-party drivers or anti-virus software. Certain features require specific hardware … find out more in the FAQ.” Where is this FAQ? It is not linked from the tech specs as far as I can tell. Maybe this is it. Windows 11 Pro not mentioned. My contact should of course have purchased Surface Pro 9 for Business. Windows Home has too many annoyances and limitations to be usable for business.

What to do? Fortunately there is a Microsoft 365 upgrade to Windows 11 Pro, which is a cost effective option. The upgrade was delivered to the Microsoft 365 portal as a license key with a link to an ISO to download. The key did not work. The ISO did not work as it was x64 only. Rumour has it that a Windows 11 Pro ARM build from UUP dump worked fine with the key, even as an in-place upgrade. Maybe Microsoft support could also sort this out. But it is friction, and I doubt it will be the last.

It seems obvious to me that if you want an Arm-based laptop with excellent performance and long battery life, a MacBook Pro is a better option. You can run Windows in a VM via VMware Fusion 13 or Parallels and it performs well. Or if you want a Windows on Arm box for test and development the Dev Kit is a good offer.

There is still a niche for the Surface 9 Pro with SQ, if you are confident that everything you need will run. It is more efficient than an x64 device, and it has 5G. It is a nicely built device even if not the best value. I think Windows on Arm will continue to improve. There is a way to go though before it is really mainstream.

book reviews, books, reviews, tech, Uncategorized

Reimagining Collaboration by Phil Simon

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This is a book about collaboration in the new era of Zoom, Teams, Slack and other such tools – not that they are completely new, but the pandemic and enforced remote working caused a huge boom in usage and some permanent changes in the way people work together. Author Phil Simon is a US specialist in business communications, and associated with the Agile methodology of software development – quite appropriate for this book, since collaboration is at the heart of Agile.

There are a few themes here. Simon believes that organisations need strong collaboration in order to thrive, and personally I think that is spot on. He spends some time distinguishing between collaboration and other related but different things like communication (a pre-requisite but insufficient on its own), or co-operation which can be a passive relationship; people can co-operate without actually collaborating.

Despite all the this, the main topic of the part 1 of this book, I am not sure that Simon ever nails what collaboration really is, at least not in this book. He has a go at it and there are many examples given of what it is not, but it remains, in my mind, a bit elusive. I did like his metric of organizational health: “The ability to rally around a common vision, execute effectively, and create a culture of innovation.”

Simon does show a good understanding of the human factor in productivity. He talks about managers versus makers, and how managers feel the need to communicate often with many people, while makers need to reduce distraction and focus on a task; I am not sure if he had software development in mind but this is a good description of what developers need.

Part 2 then gets to the heart of the book: better collaboration through technology. The key concept Simon uses is what he calls a “collaboration hub,” meaning any of a number of tools which form a central internet-connected space where users can interact with one another. This includes what the author calls the big three, Slack, Teams and Zoom, as well as other applications such as Expensify or Canva.  

The author is a user of Slack and of Google Docs and while he shows a commendable neutrality in the sense that he considers other tools such as Teams equally effective, adding that “It’s fair to call the similarities around today’s internal collaboration hubs remarkable,” his greater depth of knowledge of the tools he mainly uses does show. There is really much more about Slack than about Teams, and that is something to be aware of. Teams users can still benefit from the book but less so than Slack users.

There is a big theme here though which is that the author considers email, especially internal email, a blocker to collaboration. He gives reasons, including that inboxes tend to die when an individual leaves the company; that email is gaffe-prone since a careless email, or a careless reply-all, cannot be unsent; and that emailing attachments like spreadsheets leads to multiple forks of the same data. In fact, toward the end of the book Simon remarks that “Effective, long-term collaboration cannot take place via email. Period.” He also recommends ditching internal email completely.

While I have some sympathy with this view, I think it is overdone. I reminded myself that one of the most successful collaborative projects of all time, the Linux kernel, is based on email lists. 

Still, Simon is quite correct, a collaboration tool with channels for team members has lots of advantages over email, gathering all the communications in one spam-free place and making search much easier.

Part three of the book is called “moving from theory to practice” and contains lots of discussion about how organizations can move towards using collaboration hubs and what can go wrong. Then part four peeks into the future and envisages smarter collaboration hubs which use AI to book meetings for us, automatically transcribes meetings and sends automatic alerts to Slack channels.

There is plenty of wisdom though I could have done with more on practical questions about how to get the most from Slack or Teams. How many channels or Teams should you have? When should you have a video conference versus a message chat? Should we have our collaboration hubs always open or sign out sometimes? Who should be able to create a channel, or should anyone? And what more advanced or intricate features of the products are worthwhile?

I enjoyed Simon’s willingness to be blunt at times, as well as some amusing reflections like “In my consulting days, I often saw project managers call meetings essentially because they were bored.”

Towards the end of the book we also get this: “Just because the discussion or task takes place in a hub doesn’t mean that it’s truly collaborative.” I agree. What then is the magic that enables an organization to be collaborative? In the end it is corporate culture rather than tools that matter most. I think the author recognizes that, but after reading the book, I am still not clear about the best way to get to the collaborative culture to which we should aspire.

Thanks to Netgalley for an electronic review copy of this title

music, reviews

Abba 10 CD box set 2022

Does anyone still buy CDs? There are a few reasons: they sound great when well mastered, you can rip them and not be dependent on an internet connection to listen to them, they can have nice packaging and booklets, and if you are a little bit obsessive about sound quality you can play the exact version you want to play instead of whatever the streaming service decides to send you.

I love Abba, who could not? and since I don’t have many of their albums I bought the new 10 CD box. I am not quite sure what the proper name for the set is, on the box it just says Abba CD Album Box Set. It ties in with the current Abba avatar-based show.

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A few observations. The music is great, Abba never made a bad album in my opinion. You get all the studio albums plus a Tracks CD of singles like Fernando and Gimme! Gimme! Gimme! a Man after Midnight. So far so good; and the set is reasonable value considering the number of albums. The latest, Voyage from November 2021, is included.

Now for a few gripes. Abba’s albums in general are not superlative in sound quality but some releases have been better than others. If you want the full dynamic range you have to seek out the earliest CD releases, and this box is no different. The sound is not crushed to death but it still falls short for no good reason other than needless pursuit of “loudness”. There is also a bit too much bass boost on some of the tracks, not least Gimme! Gimme! Gimme! where the percussion sounds a little distorted. It is fine on the early CD box Thank you for the Music.

Second, why is it that an Abba fan like this one can do a better job fixing problems in the source tapes, than the professionals can manage? These are little details like a click in Money Money Money at the 0.33 mark and a slight glitch in Dancing Queen at around 2.06-2.11.

Third, why is this set so short, omitting any bonus tracks other than the singles on Tracks, and that CD is just 38 minutes long? My hunch is that the label made the CDs short enough that they would also fit on the vinyl box, which is all rather topsy-turvy in my opinion.

Fourth, the CDs are packaged in simple card sleeves reproducing the LPs, which means tiny type on things like the rear of Arrival, and you don’t get the lyrics which were on the inner sleeves of the original albums.

Overall then I’m disappointed. Nevertheless, Thank you for the music.

hifi, reviews, tech

Bang & Olufsen HX wireless headphones: a delight

I’ve reviewed dozens of wireless headphones and earphones in the last six months, enough that I’m not easily impressed. The B&O HX wireless headphones are an exception; as soon as I heard them I was delighted with the sound and have been using them frequently ever since.

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These are premium wireless headphones; they are over-ear but relatively compact and lightweight (285g). They are an upgrade of the previous model, Beoplay H9, with longer battery life (35 hours), upgraded ANC (Active Noise Cancellation), and four microphones in place of two. It is not top of the B&O range; for that you need to spend quite a bit more for the H95. Gamers are directed to the similarly-priced Portal model which has a few more features (Dolby Atmos, Xbox Wireless) but shorter battery life and no case; worth considering as it probably sounds equally good but I do not have a Portal to compare.

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What you are paying for with the HX is a beautiful minimalist design and excellent sound quality. The sound is clean, sweet and exceptionally clear, perfect for extended listening sessions. Trying these out is a matter of “I just want to hear how they sound on [insert another favourite track]”; they convey every detail and are superbly tuneful. It is almost easier to describe what they don’t do: the bass is not distorted or exaggerated, notes are not smeared, they are never harsh. Listening to an old favourite like Kind of Blue by Miles Davis you can follow the bass lines easily, hear every nuance of the percussion. Applause on Alison Krauss and the Union Station live sounds like it does at a concert, many hands clapping. Listening to Richard Thompson’s guitar work on Acoustic Classics you get a sense of the texture of the strings plus amazing realism from the vocals. The drama on the opening bars of Beethoven’s 9th symphony, performed by the New York Philharmonic Orchestra conducted by Leonard Bernstein, is wonderfully communicated.

In other words, if you are a hi-fi enthusiast, the HX will remind you of why. I could also easily hear the difference between the same tracks on Spotify, and CD or high-res tracks on my Sony player. AptX HD is supported.

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That said, there are unfortunately a few annoyances; not deal-breakers but they must be mentioned. First, the HX has touch controls for play/pause, volume, and skip track. I dislike touch controls because you get no tactile feedback and it is easy to trigger accidentally. With the HX you play/pause by tapping the right earcup; it’s not pleasant even when it works because you get a thump sound in your ear, and half the time you don’t hit it quite right, or you think you haven’t, tap again, then realise you did and have now tapped twice. Swipe for skip track works better, but volume is not so good, you have to use a circular motion and it is curiously difficult to get a small change; nothing seems to happen, then it jumps up or down. Or you trigger skip track by mistake. Ugh.

Luckily there are some real buttons on the HX. These cover on/off, and ANC control, which toggles between on, transparent (hear external sounds) and inactive. There is also a multi-button which activates voice assistants if you use these.

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Second, there is an app. I tried it on an iPad. Major annoyance here is that it does not work at all unless you create an account with B&O and sign in. Why should you have to sign in to use your headphones? What are the privacy implications? That aside, I had a few issues getting the app to find the HX, but once I succeeded there are a few extra features. In particular, you can set listening modes which are really custom EQ, or create your own EQ using an unusual graphic controller that sets a balance between Bright, Energetic, Warm and Relaxed. You can also update firmware, set wear detection on or off (pauses play when headphones are removed). Finally, and perhaps most important, you can tune the ANC, though changes don’t seem to persist if you then operate the button. You can also enable Adaptive ANC which is meant to adjust the level of ANC automatically according to the surroundings. It didn’t seem to me to make much difference but maybe it does if you are moving about.

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The ANC is pretty good though. I have a simple test; I work in a room with a constant hum from servers and ANC should cut out this noise. It does. Further, engaging ANC doesn’t change the sound much, other than cutting out noise, which is how it should work.

There is a 3.5mm jack connection for wired use, but with two important limitations. First, this does not work at all if the battery is flat; the headphones must be turned on. Second, the jack connection lacks the extra connection that enables use for calling, so for listening only. The sound quality was no better wired, perhaps slightly worse, so of limited value.

Despite a few annoyances I really like these headphones. I doubt I will use the app, other than for firmware updates, and rarely bother with the touch controls, which means I can enjoy the lovely sound, elegant design, good noise cancelling, and comfortable wear.

audio, gadgets, hifi, reviews

A surprising favourite: Shure’s Aonic 215 True Wireless Sound Isolating Earbuds

I have reviewed numerous wireless earbuds over the last six months, but the real test is which ones I pick out of the pile when going out for a walk or run. Often it is the Shure Aonic 215, despite some limitations. They are an unusual design which hook right over the ear instead of just fitting within; I like this because they are more secure than most designs and I don’t like the inconvenience or potential expense of losing a valuable gadget when out and about. Plus, they sound good.

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How good? It was some years back that Shure opened my eyes (or ears) to how good in-ear monitors (IEMs) could sound. It was at a show, only a demo, and the IEMs had a four-figure price, but it made me realise the potential of in-ear electronics to sound better than any headphones I have heard.

I also have some lesser but much-used wired Shure wired IEMs which are a years old but still sound good. I’m happy to say that the Aonic 215s sounds substantially better in every way: clarity, frequency response, realism.

That said, the Aonic 215 true wireless has had a chequered history. Launched in April 2020, they were actually recalled by Shure because of problems with one earphone not playing, or battery issues. Shure fixed the issues to the extent of resuming supply but they are still a little troublesome.

If you value convenience above sound quality, you can get other earbuds that sound fine, have more features, and cost less – so go and do that.

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Still reading? Well, if you like the Shure sound the True Wireless does have a lot going for it. It’s important to understand that this is a modular system. The Aonic 215 has Shure’s standard MMCX connector and you can get a cable that would let you use these wired. You can also get other Shure IEMs to connect to the True Wireless earhooks to let you use them wireless.

This package of course has them in one. You get a charging case too, which will charge the IEMs three times when fully charged. Play time is up to 8 hours (7 hours probably more realistic). Long enough for me.

Task number one is selecting the right ear sleeve. The aims is to create a seal in your ear. 6 pairs are supplied, including the one pre-attached. The best in my opinion are the foam type which form themselves to the shape of your ear, and which come in small, medium and large. Changing these is a little awkward and as ever one worries about damaging the unit but with a little twisting and tugging it is not too bad. Most other earbuds do not have these foam-type sleeves.

That done, you fit the earbuds and turn on. Now the fun starts. There is a single button on each ear hook, positioned on a circular piece which hangs behind your ear. You operate it either by squeezing this piece, or pressing the button which then presses into your head. I found the squeezing option better, but it is not super convenient.
Don’t worry too much though as functionality is limited. You can power on and off, pause, answer or end a call, and turn environment mode on or off. A triple click activates a voice assistant (I didn’t try this).

Environment mode? This is pretty useful, and lets you hear what is going on around you. If you want to have a conversation while listening, it is pretty much essential.

What’s missing though? Well, volume control and track skip are the key ones. You will have to use your player for that. Shure is still working on the firmware so this might improve, but one button is not much to play with.

Another potentially big deal is that calls only work in the right ear. This doesn’t bother me much, but for some it is a deal-breaker, depending on how you want to use them. I expect to use them almost entirely for music.

There is a Shure Play app for iOS and Android which describes itself as a high-res audio player. This has a graphic equalizer but it only works when playing music through the app, which excludes streaming sources. You can also adjust the environment mode. You need the app to update the firmware – which given the history of the product is quite important; the update history makes reference to “bug fixes.” The update is done over Bluetooth and takes around 30 minutes; my first effort failed because the mobile went to sleep. I got this done in the end by keeping the app open and touching it from time to time to stop it sleeping. Such are the things that lovers of high quality audio endure in pursuit of the best sound!

I use these earbuds mainly with a Sony Walkman music player and like the excellent sound quality, secure fit, and very useful environment mode. A few things to note about the sound, which is the main benefit here. You get aptX, AAC and SBC, with aptX best for quality but AAC important for Apple devices. There is only a single driver which limits the quality compared to the high-end Shure devices, like the ones I heard years ago, but it is still excellent. I would characterise it as neutral in tone, with particularly good separation and bass that is clean and not at all boomy. The lack of boom may come over as bass-light at first, but persevere and you appreciate this. It is important to have a good fit and if you don’t get the seal they will sound thin; of course every ear is different so how easy this is will vary. The design of the Shure also means that the sleeves can clog with wax and a little tool is supplied to help with cleaning.

Not for everyone then; but these suit me well. One last thing to mention: Shure unfortunately has a reputation as not the most reliable of earbud brands. In my case, one wireless unit went dead after a couple of weeks. Shure replaced it and all is well, but it is somewhat concerning.

music, music industry, reviews

Unknown Pleasures: Inside Joy Division by Peter Hook

Peter Hook, known as Hooky, played bass for Joy Division and then New Order – though he is no longer with New Order, having fallen out with guitarist Bernard Sumner (also ex Joy Division) in early 2007.

Hook’s first book, called The Hacienda: how not to run a club, was published in 2010 but I paid no attention at the time, nor to its successors Unknown Pleasures and Substance. Leafing through the Hacienda book earlier this year though, I discovered that Hook is an excellent writer, with a disarming to-the-point style and deadpan humour. He is also, it seems, ruthlessly honest in his recollections; maybe there are some embellishments, or maybe he tells it just as it happens, but either way he neither holds back nor wallows in the excesses of the rock ‘n’ roll lifestyle, just narrates it.

I resolved to do some reading over the break and have just finished his Joy Division book. It is at once illuminating, entertaining and moving. I love the prologue:

Normally I don’t include any other people in my writing. Everyone remembers the same things completely differently.

The central character in this book is not Hooky, but rather Ian Curtis, the lyricist and singer in Joy Division. In fact, as you finish the book, you realise that Hooky has kept his own personal life, such as his relationship with Iris with whom he stayed for 10 years, largely hidden from view. The Hooky self-described in the book is a lad and a japer who gets lucky with his distinctive bass playing almost by accident. Curtis on the other hand is an intellectual and a poet, though when off-stage with the band he adopts a laddish persona which is at odds with how he behaves with his wife Debbie or his mistress Annik Honoré. Maintaining these different personalities was a source of huge stress, especially since Curtis was an epileptic and not physically robust.

During the recording of the second and last Joy Division album, Closer, and just a couple of months before Curtis took his own life, the band stayed in two adjacent London flats. In one were Hooky, Sumner and drummer Stephen Morris, and in the other Curtis with girlfriend Honoré. As Hooky tells is, the band did the usual rock lifestyle focused on drink, drugs girls and recording sessions, while Curtis and Honoré would go out to art galleries and museums. The separate flats and lifestyle seem symbolic of the differences between Curtis and his band. Though that did not stop the other band members disassembling and removing their bed one night as a jape, causing Curtis to “go mental, absolutely mental”.

This and other accounts of high jinks on the road now seem deeply insensitive, considering the state of Curtis’s physical and mental health, a fact which Hook openly acknowledges.

I feel terrible about it now of course. Now I’m older and wiser, and now I’ve looked at his lyrics and worked out what a tortured soul he was. We should have left him alone to have his love affair but we didn’t because he wasn’t tragic Ian the genius then. He was just our mate and that’s what you did with your mates up north, you ripped the piss out of them.

This remark touches on another thing: that Hook says little about the content of Curtis’s lyrics and apparently took little notice of them at the time. He experienced the songs viscerally without troubling much about the meaning of the words.

The consequence is that this book says little about what Curtis was trying to communicate through the music and lyrics of Joy Division. Hook presents track-by-track descriptions of Unknown Pleasures and Closer but focuses largely on the instruments, song structure and produce Martin Hannett’s effects.

A notable feature of Joy Division’s short life is that the band never had much money. There is even a suggestion that when the band was achieving considerable success, Factory Records and band manager Rob Gretton were happy to keep the band poor on the grounds that the music was better that way. So we get accounts of travelling down the motorway in old vans that hardly worked, sleeping on tour in dormitories and brothels (if the hotel says your room will not be available until 1.00am you should worry), and making do with dodgy instruments and amplification. There is an illustration showing Joy Division’s accounts in 1980 and 1981: the band made far more money after Curtis died than it ever did before.

If you like Joy Division (and I personally find the band utterly compelling) then you will enjoy this book, even though it is not, and does not pretend to be, the last word. If you wonder what the UK’s punk movement was like at the sharp end, you should read this book (hint: it was not glamorous). Then put on some Joy Division and reflect on how amazing and accidental it is that this music exists, with all its emotional power; and how it is so unlike the music of New Order, fine though that is in its own right.

music, reviews

Review: Mixed Up Deluxe CD by the Cure

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The Cure has released a 3-CD deluxe edition of Mixed Up, originally released as a double album or single CD in November 1990.

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Parts of this release have already appeared on vinyl in two limited Records Store Day 2018 releases: Mixed Up, and Torn Down.

A few words about the CD. Why would anyone buy a CD in this streaming era? It is a waste of money if you just want to listen to the music, but you do get some nice packaging, weird squirly, blocky artwork, photos of the band and of memorabilia from the day, and a 32-page booklet with notes and credits. When physical media has disappeared completely I will miss these things, even though the wretched small size of CD artwork means you have to squint to read the credits.

The idea for Mixed Up came to Robert Smith when he was wondering what came next after the Prayer Tour, the 76 shows which followed the release of the epic album Disintegration in 1989. There were “increased tensions in the band”, according to a quote from Smith in the booklet. “I had to think of something else in the meantime.”

The original thought was to compile the extended mixes made for 12″ singles into an album, since some of these releases were out of print and sought-after by fans.

As he worked on the album though, he moved beyond that initial concept. The early 12″ mixes of songs like Primary, Lovecats and Inbetween Days seemed to him inferior to the more recent releases, so he moved from compiling to reworking existing mixes of earlier songs. In fact, neither Lovecats nor Primary appeared at all on the original Mixed Up. In addition, two tracks on the original Mixed Up (A Forest and The Walk) were re-recorded from scratch as the multi-tracks were missing.

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Here is how the original Mixed Up (November 1990) breaks down:

Lullaby (Extended Mix): same as 12″ Fiction FICX 29 (1989)

Close To Me (Closer Mix): Same as 12″ FICSX 36 (1990), different from earlier extended mix on 12″ Fiction FICSX 23 (1985)

Fascination Street (Extended Mix): same as 12″ Elektra 0-66704 (1989, US/Canada only)

The Walk (Everything Mix): new recording for Mixed Up.

Lovesong (Extended Mix): Same as 12″ Fiction FICSX 30 (1989)

A Forest (Tree Mix): New recording for Mixed Up.

Pictures Of You (Extended Dub Mix): same as Fiction Records FICXB 34 where it is called Strange Mix (1990), but different from FICXA 34

Hot Hot Hot!!! (Extended Mix): same as 12″ Fiction FICSX 28 (1988)

Why Can’t I Be You? (Extended Mix):(LP only; omitted from the CD for space reasons): Same as 12″ Fiction Ficsx 25 (1987)

The Caterpillar (Flicker Mix): New extended mix for Mixed Up

In Between Days (Shiver Mix): New extended mix for Mixed Up; different from earlier 12″ Fiction FICSX 22 (1985)

Never Enough (Big Mix): New song recorded for Mixed Up

This made it a curious release, essential for Cure fans thanks to new material included but poor in terms of collecting previously released extended mixes.

What about the new 3CD set. The set breaks down as follows:

CD1: Mixed Up 2018 remaster

This is simply a remaster of the 1990 release. Track release as above, but Why Can’t I Be You still omitted (it is on the next CD in the set)

CD2: Mixed Up Extras

This CD includes (at last) most of the early extended remixes which were not on the original Mixed Up. Tracks:

Let’s Go to Bed (Extended Mix 1982)

Just One Kiss (Extended Mix 1982)

Close to Me (Extended Mix 1985)

Boys Don’t Cry (New Voice Club Mix 1986)

Why Can’t I Be You? (Extended Mix 1987)

A Japanese Dream (12″ Remix 1987)

Pictures of You (Extended Version 1990)

Let’s Go To Bed (Milk Mix 1990)

Just Like Heaven (Dizzy Mix 1990)

Primary (Red Mix 1990)

The Lovecats (TC & Benny Mix 1990)

Inevitably, there are still a few tracks missing. These are Primary (Extended Mix 1981); The Lovecats (Extended Version 1983); and In Between Days (Extended Version 1985). The notes refer to a digital release though I am not sure where or whether they have been released. Smith says of these versions that Primary was “basically a 7″ instrumental cut into the 7″ single mix”, that Lovecats was not really a remix, but rather the original single mix before it was edited down, and that In Between Days was “extended by person or persons unknown” and nothing to do with him.

Of these the only one I care about is Lovecats; I would like to have the full version here.

CD3: Torn Down

This is where Smith lets himself go and makes new mixes of favourites from the Cure’s back catalogue. “Compared to most of the Mixed Up remixes, my versions tend to work with the existing song structure; they’re pretty much the same length and tempo as the original … I found myself happier working within those structural restraints,” he says in the notes. That said, he found elements in the songs that had previously been buried, including the actual sound of heavy rain at the start and end of A Night Like This, which he brought out in the new mix.

Three Imaginary Boys (Help Me Mix)

M (Attack Mix)

The Drowning Man (Bright Birds Mix)

A Strange Day (Drowning Waves Mix)

Just One Kiss (Remember Mix)

Shake Dog Shake (New Blood Mix)

A Night Like This (Hello Goodbye Mix)

Like Cockatoos (Lonely in the Rain Mix)

Plainsong (Edge of the World Mix)

Never Enough (Time to Kill Mix)

From the Edge of the Deep Green Sea (Love in Vain Mix)

Want (Time Mix)

The Last Day of Summer (31st August Mix)

Cut Here (If Only Mix)

Lost (Found Mix)

It’s Over (Whisper Mix)

So how are the new mixes? An interesting way to hear them is to play the original followed by the remix, easy to do if you rip your CDs to a computer or streaming system. You can hear some themes, such as a more techno feel to the new mixes, and that Smith’s vocals are more forward. Three Imaginary Boys, for example, gives you a new perspective on an early song, with the “Can you help me” vocal from the end moved to the beginning of the song, hence the name “Help Me Mix”.

Shake Dog Shake benefits from the extra clarity of a modern mix and sounds more sinister and colourful than the original.

It tends to be lesser-known songs that benefit most. It is difficult to re-approach a magnificent song like Plainsong without making it worse, and in this case it is as expected.

Perhaps then it is better not to listen to them alongside the originals but to enjoy it as a whole. Cure fans will enjoy it even though it is not in any sense ground-breaking.

The complete package

This collections gets a warm welcome from me. I have always enjoyed Mixed Up, and I am delighted now to get treats like the earlier extended mixes of Close To Me. Just One Kiss, and the other extended mix of  Pictures of You, which to me are the definitive versions.

The sound quality is excellent, and kudos to mastering engineer Tim Young for showing some restraint in mastering so that these songs are not wrecked by excessively LOUD mastering.


android, gadgets, hardware, honor, mobile, reviews, tech

Honor 10 AI smartphone launched in London, and here are my first impressions

The Honor 10 “AI” has been launched in London, and is on sale now either on contract with Three (exclusively), or unlocked from major retailers. Price is from £31 pay monthly (free handset), or SIM-free at £399.99.

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Why would you buy an Honor 10? Mainly because it is a high-end phone at a competitive price, especially if photography is important to you. As far as I can tell, Honor (which is a brand of Huawei) offers the best value of any major smartphone brand.

How is the Honor brand differentiated from Huawei? When I first came across the brand, it was focused on a cost-conscious, fashion-conscious youth market, and direct selling rather than a big high street presence. It is a consumer brand whereas Huawei is business and consumer. At the London launch, the consumer focus is still evident, but I got the impression that the company is broadening its reach, and the deal with Three and sale through other major retailers shows that Honor does now want to be on the high street.

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What follows is a quick first impression. At the launch, Honor made a big deal of the phone’s multi-layer glass body, which gives a 3D radiant effect as you view the rear of the phone. I quite like the design but in this respect it is not really all that different from the glass body of the (excellent) Honor 8, launched in 2016. I also wonder how often it will end up hidden by a case. The Honor 10 AI is supplied with a transparent gel case, and even this spoils the effect somewhat.

The display is great through, bright and high resolution. Reflectivity is a problem, but that is true of most phones. Notable is that by default there is a notch at the top around the front camera, but that you can disable this in settings. I think the notch (on this or any phone) is an ugly feature and was quick to disable it. Unfortunately screenshots do not show the notch so you will have to make do with my snaps from another phone:

With notch:

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Without notch:

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The camera specs are outstanding, with dual rear lens 24MP + 16MP, and 24MP front. At the launch at least half the presentation was devoted to the photography, and in particular the “AI” feature. The Honor 10 has an NPU (Neural Processing Unit), which is hardware acceleration for processes involved in image recognition. All smartphone cameras do a ton of work in software to optimize images, but the Honor 10 should be faster and use less power than most rivals thanks to the NPU. The AI works in several ways. If it recognises the photo as one of around 500 “scenarios”, it will optimize for that scenario. At a detail level, image recognition will segment a picture into objects it recognises, such as sky, buildings, people and so on, and optimize accordingly. For example, people get high priority, and especially the person who is the subject of a portrait. It will also segment the image of a person into hair, eyes, mouth and so on, for further optimisation.

What is optimisation? This is the key question. One of the AI effects is bokeh (blurring the background) which can be a nice way to make a portrait. On the other hand, if you take a picture of someone with the Niagara Falls in the background, do you really want it blurred to streaks of grey so that the picture might have been taken anywhere? It is a problem, and sometimes the AI will make your picture worse. I am reserving judgment on this, but will do another post on the subject after more hands-on.

Of course you can disable the AI, and in the Pro camera mode you can capture RAW images, so this is a strong mobile for photography even if you do not like the AI aspect. I have taken a few snaps and been impressed with the clarity and detail.

24MP for the front camera is exceptional so if selfies are your thing this is a good choice.

You have various options for unlocking the device: PIN, password, pattern swipe, fingerprint, proximity of Bluetooth device, or Face Unlock. The fingerprint reader is on the front, which is a negative for me as I prefer a rear fingerprint reader that lets you grab the device with one hand and instantly unlock. But you can do this anyway with Face Unlock, though Honor warns that this is the least secure option as it might work with a similar face (or possibly a picture). I found the Face Unlock effective, even with or without spectacles.

The fingerprint scanner is behind glass which Honor says helps if your finger is wet.

There are a few compromises. A single speaker means sound is OK but not great; it is fine through headphones or an external speaker though. No wireless charging.

Geekbench scores

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PC Mark scores

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So how much has performance improved since the Honor 8 in 2016? On PCMark, Work 2.0 performance was 5799 on the Honor 8, 7069 on the 10 (+21%). Geekbench 4 CPU scores go from 5556 multi-core on the 8 to 6636 on the 10 (+19.4%).  The GPU though is more substantially improved, 4728 on the 8 and 8585 on 10 (+81.5%). These figures take no account of the new NPU.

First impressions

I must confess to some disappointment that the only use Honor seems to have found for its NPU is photo enhancement, important though this is. It does not worry me much though. I will report back on the camera, but first impressions are good, and this strikes me as a strong contender as a high-end phone at a mid-range price. 128GB storage is generous.

Spec summary

OS: Android 8.1 “Oreo” with  EMUI (“Emotion UI”) 8.1 user interface

Screen: 5.84″ 19:9, 2280p x 1080p, 432 PPI, Removeable notch

Chipset: Kirin 970 8-core, 4x A73 @ 2.36 GHz, 4x A53 @ 1.84 GHz

Integrated GPU: ARM Mali-G72MP12 746 MHz

Integrated NPU (Neural Processing Unit): Hardware acceleration for machine learning/AI

RAM: 4GB

Storage: 128GB ROM.

Dual SIM: Yes (nano SIM)

NFC: Yes

Sensors: Gravity Sensor, Ambient Light Sensor, Proximity Sensor, Gyroscope, Compass, Fingerprint sensor, infrared sensor, Hall sensor, GPS

WiFi: 802.11 a/b/g/n/ac, 2.4GHz/5GHz

Bluetooth: 4.2

Connections: USB 2.0 Type-C, 3.5mm headphone socket

Frequency bands: 4G LTE TDD: B38/B40/B414G LTE FDD: B1/B3/B5/B7/B8/B19/B203G WCDMA: B1/B2/B5/B8/B6/B192G GSM: B2/B3/B5/B8

Size and weight: 149.6 mm x 71.2 mm  x 7.7 mm, 153g

Battery: 3,400 mAh,  50% charge in 25 minutes. No wireless charging.

Fingerprint sensor: Front, under glass

Face unlock: Yes

Rear camera: Rear: 24MP + 16MP Dual Lens Camera，F1.8 Aperture.

Front camera: 24MP

david bowie, music, reviews

David Bowie: Welcome to the Blackout

8 Comments

The 21st April 2018 was Record Store Day, when the industry comes up with hundreds of special edition vinyl records which are offered for sale only through independent record shops. A helping hand for the independents, or a an attempt to con us into buying overpriced product via the old trick of artificial scarcity? Take your pick; but there’s no doubting that it gets thousands of people into record shops for at least one day in the year.

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For me, the highlight this year was a 3LP David Bowie live release, called Welcome to the Blackout. Not least because it was recorded at Earls Court London on the evenings of 30 June and 1 July 1978, and well, I was there, at least on one of the nights (I am not sure which). I remember it was an amazing experience, and that the the set visuals including the vertical bars backdrop were stunning – apologies for the poor quality of the picture below, which is taken from here.

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The Earls Court concerts were filmed by David Hemmings but the film was never released. However this might explain why the concerts were recorded by Tony Visconti and selected songs from the last two concerts were mixed by David Bowie and David Richards at Mountain Studios, Montreux between 17th and 23rd January 1979 (according to the sleevenotes). Two additional songs on Welcome to the Blackout, Sound and Vision and TVC 15, do not use Bowie/Richards mixes, perhaps because they were not selected at the time.

In 1978 David Bowie embarked on the ISOLAR II world tour, building on the release of Low and Heroes. The tour began in San Diego, March 1978, and ended in Tokyo, December 1978. Performances in Philadelphia in late April, and in Boston in early May, were recorded and formed the basis of the album Stage, first released in November 1978. Stage was originally just 17 songs, presented in a different order from that of the performance. In 2005 this was expanded to 20 songs, and the performance running order was restored, so that the opening track is the moody instrumental Warszawa. There was also a surround mix released on DVD Audio for a short time. Then in 2017 Stage was again reissued, now with 22 songs.

Since we already have Stage in so many guises, do we need Welcome to the Blackout? Having enjoyed this release for a couple of days, my answer is an emphatic yes. The Earls Court dates were at the end of the European leg of the tour, which did not resume until November in Australia. Bowie seems to be energised by this being in some sense the last concert of the tour and refers to this several times. He also performs two songs not on any version of Stage: Sound and Vision, and Rebel Rebel.

More important, the character of both the performance and the sound is different. There is simply more energy, and although the crowd noise is still mixed fairly low, it comes over as more of a live performance than the rather bland sound of Stage. We also get a longer Station to Station, under 9 minutes on Stage, and over 11 minutes here.

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The band, the same one as for Stage, is outstanding:

Carlos Alomar: Rhythm guitar
Adrian Belew: Lead guitar
Dennis Davis: Drums and percussion
Simon House: Electric violin
Sean Mayes: Piano, string ensemble
George Murray: Bass guitar
Roger Powell: Keyboards, Synthesizer

I’ve compared several songs on Stage and Welcome to the Blackout. For example, the song Blackout itself, which is decently performed on Stage, is introduced here by Bowie saying hoarsely “Welcome to the Blackout”; the instrumentation at the beginning of the song is more menacing and engaging on the new release; the vocal is more frenetic and desperate.

In TVC 15, the opening loony voiceovers is louder and more distinct on Welcome to the Blackout; it sounds like the band is having a great time and the song is more fun to listen to.

Jean Genie is stunning on this album; the guitar growls and grinds, Bowie’s vocal is full of drama; it makes the Stage performance (only on the 2017 edition) sound tame.

Despite the occasional flub, I can’t find any instances where I prefer the Stage recording.

Of course the album is meant to be heard as a piece, and seems to me to be an excellent capture of one of Bowie’s best performances.

Having said that, this concert lacks the intensity of Bowie in 1974 or 1976. Bowie is more at ease here.

I was fortunate to catch Bowie in performance in 1978. His next tour was not until 1983, when we got a different kind of performance to support the more mainstream Let’s Dance album; and after that in 1987 with the unsatisfactory Glass Spider tour.

Full track listing:

Warszawa
”Heroes”
What in the World
Be my Wife
The Jean Genie
Blackout
Sense of Doubt
Speed of Life
Sound and Vision
Breaking Glass
Fame
Beauty and the Beast
Five Years
Soul Love
Star
Hang on to yourself
Ziggy Stardust
Suffragette City
Art Decade
Alabama Song
Station to Station
TVC15
Stay
Rebel Rebel

Finally a shout out to Ray Staff who mastered the album. On first listen he did a great job. I love the dynamics and the overall balance of the sound.

Recommended; and if you find the album hard to find at a sensible price, or don’t have a record player, there is no need to panic as it will probably be out on CD and download/streaming in a few months.

Update: Welcome to the Blackout is released on CD on 29 June 2018.

gadgets, hardware, hifi, reviews

Review: Orbitsound Dock E30 one-box audio system with wireless charging aims to fix the problems of stereo

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It is simple but appealing: one small box instead of all the clutter of a conventional hi-fi system. Orbtisound’s Dock E30 is also designed for today’s audio ecosystem. It supports wireless playback with Apple AirPlay, Spotify Connect, Android audio streaming over Wi-Fi, and also Bluetooth aptX and wired input via analogue or optical digital signals. There is an app for iOS and Android, and you can even dock your phone either by sitting it in the groove provided, handy for seeing cover art. You can also charge a phone using the built-in Qi wireless charging (as used by Apple), or by connecting a cable (not supplied) to a USB-C charging support. For wireless charging though you should lay the phone flat on the charging plate rather than standing it up.

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Wireless charging aside, this is all what you expect from a modern audio system; but the Dock E30 has something distinctive. This is the technology called Airsound. Orbitsound says that the problem with conventional stereo is that you have to sit in a sweet spot dead centre between and in front of the speakers to get a true audio image. “We have managed to overcome this inherent limitation in stereo by doing away with the idea of left and right channels,” says Orbitsound. What they have come up with, explained to some extent here and here, is a three-speaker system, where the sound of the main front speaker is modified by two “spatial” side speakers to give, it is claimed, a stereo experience wherever you sit. There is said to be a particular advantage when you have more than one speaker connected.

Orbitsound’s explanation of Airsound is sketchy, to say the least, but it helped me to understand the results of my listening tests. I set up the Dock E30 in my living room and tried it using various types of connection from both iOS and Android. For the main listening test though I settled on wired input for maximum consistency. I compared the E30 with several other speaker systems, including the slightly more expensive Sony SRS-X9 (now replaced by the similar SRS-X99).

First impressions are good, with a powerful bass reinforced by the passive bass radiators on the back of the unit. The power output is not specified, but I got plenty enough volume for my smallish living room. I tried walking round the room and found a good consistency of sound, though frankly the SRS-X9 which uses conventional stereo speakers was also pretty good in this respect.

How does the sound compare to that from the Sony? I found my notes contradictory at first. I felt the sound, while decent, was smoother and better defined on the Sony than on the Dock E30. At the same time, I could sometimes hear details on the Dock E30 more clearly than on the Sony. One example was the delicate guitar in the background during the intro to Steely Dan’s song Peg (which is beautifully recorded). It was more prominent on the Dock E30, even though overall I felt that the Sony had more clarity.

Pondering Orbitsound’s claim of a true stereo image wherever you sit, I pulled out a handy test track, Paul Simon’s Cars. In the middle of the track there is a little stereo effect. “You can drive them on the left” comes out of the left speaker, then “you can drive them on the right” from the right. Then Simon resumes singing in a central position.

I have to say, the Dock E30 made a complete mess of this effect. Bizarrely, the “on the right” vocal projected to the left of the image. On the Sony, everything was as it should be, so no, I had not got the channels reversed anywhere. Bear in mind that the Dock E30 only has one front-facing speaker; the other drive front-facing driver is a passive bass radiator.

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Audio processing: pros and cons

In the end this is all about processing. Orbitsound is trying to get a sense of room-filling stereo from a small box. It does this by munging the stereo signal into a mono part on the main speaker, supplemented by two spatial effects speakers that fire outwards from the left and right ends of the Dock E30, using some kind of algorithm that is not really designed to give you a true stereo image, but rather to create an illusion of depth.

This I believe explains why I found the sound perplexing at times. Some details might be brought out more prominently, others not.

You can adjust the Airsound effect by holding down mute for three seconds on the remote, then spinning the volume dial. If you adjust it for minimum Airsound, you get something close to mono. This is not a bad thing; I love my mono Squeezebox Radio. If you adjust for maximum Airsound, the sound become echoey and phasey, something which is not to my taste but might be an effect you enjoy.

Setting Airsound to minimum is close, but I would like to see an option to disable it completely and simply have mono, though that would be rather a waste of three speakers.

Don’t worry, just listen?

Listening to the stereo effects in Cars is an edge case. I found the Dock E30 enjoyable to listen to with music from classical to jazz to pop and rock. It has good bass extension, which can be excessive at times, but is easily controlled using the tone controls on the remote. Most people are not going to worry about the processing and can just listen.

Personally though I am more purist. I favour a less processed sound and prefer the clean, honest clarity of a system like the Sony XRS X9.

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A good buy?

Leaving aside the Airsound debate, the Dock E30 offers good sound quality with exceptional bass for its size.

The design is subjective of course, but while it is not objectionable, there are better-looking speaker systems in my opinion. The groove on top may trap dust, and the controls on the front are not beautiful.

On the other hand, I am very happy with the flexibility of the unit. It has a generous range of inputs, both wired and wireless. The remote with its tone controls and mute button is excellent.

The ability to charge your phone is a nice bonus.

Unfortunately I am not convinced by Airsound or that this is the best use of three speaker drivers; but at the same time it is good to see some innovative thinking. I recommend that you audition before purchase.

Specifications

Frequency response: 70Hz-17.5kHz +/- 3dB

Tone controls: Bass and treble, +/- 8dB

Drivers: 3 x 48mm neodymium drivers, 3 x 90x60mm passive bass radiators

Optional subwoofer

Removable magnetic grille

Remote

Dimensions: 291x150z114mm

Weight: 4kg

Colour: Black, Bamboo or White