Category Archives: audio

Review: Plantronics Voyager Legend UC B235 Bluetooth Headset

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A high quality wireless headset is a valuable accessory for frequent phone users. The Plantronics Voyager Legend UC (87670) is a high-end device suitable for softphones like Skype as well as smartphones and tablets, and replaces the Voyager Pro UC. The UC means Unified Communications and means it comes with a USB Bluetooth adapter for wireless desktop connections; it is also bundled with a dock and charger case.

If you want to use Microsoft Lync, look out for the special B235–M (Microsoft) version (87680). If you only want to use it with mobile devices, look for the Voyager Legend (without the UC).

I have been impressed by Plantronics headsets in the past, and this one too is an excellent device though I encountered a few niggles getting started.

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In the box is the headset and USB adapter within a dual-purpose case/charger, a USB power adaptor, a desktop dock, a USB cable, and a few different sizes of ear gels and foam covers.

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The headset itself has a similar basic design to the earlier Voyager Pro, though the call/answer button has been repositioned and there is an additional button on the microphone boom.

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I am happy to see the call/answer button repositioned, since I found it awkward on the Pro. The ease of use of the buttons is critical, since you will often be operating them with the headset fitted, which means by feel alone. It takes practice of course, but the buttons on the Legend are well designed in this respect.

Another difference between the Pro and the Legend is the USB connection, for charging or wired connection to a PC. Whereas the Pro had a standard micro USB port, the Legend has a recessed magnetic connector. There is an adaptor supplied which converts this to a micro USB

The magnetic connector also enables the Legend to connect when in the case. The case has an external micro USB port so you can charge it in the case.

Note that the case also has a battery. According to Plantronics, if the case is fully charged, it can charge the headset twice before needing its own recharge, greatly increasing the effective talk time of the headset.

If that is not enough, you can also charge by sitting the Legend in a small desktop dock.

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The buttons on the Legend Pro are as follows:

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On/Off: self explanatory

Volume: a rocker switch which lets you increase or decrease volume to one of 9 positions. A tone sounds when you adjust the volume, and a voice announces when you reach maximum or minimum. Maximum volume is not that loud, perhaps to protect your hearing. It is fine provided the input volume from your device is reasonably loud, so check that if you have problems.

Call/Answer: Multi-function button. If there is an incoming call, tap to answer. During a call, tap to end call. Press and long hold to enter Bluetooth pairing mode. Press and hold for 2 seconds (indicated by a tone) to enter voice dial mode, or on iPhone, Siri. Double tap for redial of last inbound or outbound call.

Voice: Multi-function button, new in the Legend. Tap to use voice commands. During a call, tap to mute or unmute microphone. During music streaming, press and hold to play or pause.

The multi functions take a little bit of learning, but this does not take long.

Using the Voyager Legend Pro

There are apparently three microphones, nose-cancelling digital signal processing, and stainless steel windscreens in the Legend, and it shows in good voice quality; the results I got were consistently clear.

Pairing with the devices I tried – two phones and a PC – was straightforward. I used voice control (other than with the PC which is pre-paired using the supplied USB receiver). Tap voice, say “Pair mode”, go to Bluetooth devices on the phone and connect.

You can pair with two phones simultaneously. If you are making a call using voice control, and two phones are connected, it seems to default to whatever it thinks is “phone 1”.

I got good results both with the smartphones and with Skype on the PC. On the PC, the only thing that caught me out initially was that I had to press the Call button to enable Skype audio, even though Skype thought it was connected to the headset.

The incoming sound quality is fine for voice but disappointing for music. You cannot expect a mono headset to compete with high-end ear buds for audio, but I recall the Pro being a little better in this respect.

When I first connected to an Android phone, some features did not work properly. The basics worked, but voice dialling always seemed to call the wrong person, and pause/resume of music did not work. I connected to a Windows Phone 8 device, which proved more reliable. Then I reconnected to the Android phone, and everything now worked there too. The reason, I suspect, for some unpredictable behaviour is that many of the clever features of the Legend depend on the Bluetooth stack on the mobile device, hardware and software. Note that the things you can do with voice dialling and how well it works depend mainly on your mobile, not on the headset, though a good microphone like this one helps.

The headset is comfortable and I can happily wear it for long periods. As mentioned above, the button placement is better than on the Pro, and for this reason alone I prefer it.

Smart features

The Legend has a few smart tricks which distinguish it:

1. Voice commands. There are 9 voice commands you can use after tapping the voice button, such as “Pair mode”, “Check battery”, “Am I connected”, and “Redial”. Since the number of commands is limited, accuracy of recognition I found good. Note that voice dialling is engaged using the Call button, not the voice button, which is confusing. The reason is that voice dialling is more a feature of whatever mobile you are connected to, than it is of the headset itself.

2. Sensors. The Legend recognises when you put it on or take it off. Putting on the headset will answer a call, taking it off will pause streaming audio, for example. The call button is locked when the headset is not being worn.

3. Vocalyst is a subscription service you can use with the headset. A code for a year of basic service is included in the box.  You can connect to email, Twitter or Facebook, check news and sports, and so on. I did not try this; it does not look business-ready with limited Exchange support, for example.

4. Headset update. If you download the MyHeadset updater you can customise the Legend. I used this to replace the US voice with a UK voice, a nice feature.

5. Apps. I installed a couple of Android apps, MyHeadset which shows battery life, and FindMyHeadset which plays a tone if you have lost your headset but it is within range. The Spokes PC app also shows battery life and enables UC presence features and other settings.

Conclusion

This headset is excellent. The charger case is a great idea, but note that it does not hold all the accessories; I would like to keep the USB adaptor in there.

The new voice button is on the whole successful, within its limited goals.

I liked the ability to pair with two phones, the option for a UK voice, and the improved call button placement over the Voyager Pro.

There is still scope for improvement in usability and features, but much of the experience is down to how well Bluetooth is implemented in your particular mobile device, and how up to date is its specification.

On the desktop this is ideal for Skype and other softphones.

Specifications

Bluetooth version: 3.0 with A2DP (Advanced Audio Distribution), AVRCP (Audio/Video Remote Control), HFP (Wideband Hands-free) 1.6, HSP (Headset) 1.2, Phone Book access (PBAP), SSP2 (Secure Simple Pairing).

Headset weight: 18g.

Battery life: 7 hours talk time, 11 days standby.

Charge time: 90 minutes.

Operating distance: 10m.

    

Linn music downloads: is the Studio Master worth the extra cost?

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I was interested to note from this feature in the Financial Times that more than half of the music downloads sold by Linn, a UK audio company, are of the “Studio Master” at 24 bit, 192kHz, rather than the cheaper MP3 or 16 bit, 44.1kHz as used for CDs. Apparently the MD Gilad Tiefenbrun had projected that the Studio Masters would only be 5% of sales, but in fact:

Even though Studio Master albums cost £18 compared with £5 for an MP3 version, these highest-quality recordings account for more than half of all downloads. That proportion rises to 90 per cent for classical recordings.

The question: why? Here are sample prices, in this case for Claire Martin’s Too Much in Love to Care:

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The prices range from £8.00 in 320k MP3 to £18.00 for the Studio Master. CD quality is £10.00. These are substantial differences. You could have more than twice as much music for the same money in MP3, and 80% more music in CD quality.

Linn says of the Studio Master:

If absolute sound quality is what you want then this file is best for you.

However, whether a Studio Master is audibly different from CD quality, if mastered to sound the same, is disputed. A well-known study, which has never been disproved as far as I am aware, found that music could be played through a 16/44.1 analog to digital to analog loop without listeners being aware of the difference. Science bears this out, to the extent that for music at normal listening levels the Shannon/Nyquist theorem indicates that the entire original music signal can be recovered up to half the sampling frequency, in this case 22kHz which is beyond the range of human hearing.

MP3 uses lossy compression, making the choice of CD quality over MP3 understandable (especially for only 25% extra cost), but even here most people struggle to hear the difference between MP3 at 320k and its original source. The folks at Hydrogen Audio have studied this obsessively; there is plenty of objective evidence.

Why then do people buy the Studio Master? Here are a few contenders.

1. Ignorance. Linn says (or strongly implies) that it sounds better, and Linn should know.

2. Anxiety. The buyer wants the best sound and is not sure whether or not the Studio Master might sound better, so rather than take a chance decides to cover herself with the premium download.

3. For further processing. When you process digital audio, the quality degrades. Studios therefore work with high resolution audio as they may process the audio multiple times. Given that most listeners are not running studios, I think we can dismiss this for most purchasers.

4. The Studio Master is mastered to sound better. This is an interesting possibility. Here is a comment from Linn’s forums:

When I converted the original 24bit FLAC file into an MP3 myself I was unable to hear any differences between them. But When comparing the Linn MP3 and 24bit FLAC versions I can hear a difference. This suggests to me that the difference I hear is due to Linn using two differently masterered versions for their MP3 and 24bit FLAC files.

The implication is that the MP3 and lossless versions could sound the same, for practical purposes, as the Studio Master; but either by accident or design it does not.

5. Is it possible that contrary to the evidence referenced above, high resolution audio (ie more than CD quality) does sound better? Certainly many people believe this. However, in my experience the number falls dramatically if you include only those who have done objective blind listening tests to verify it. Further, those who do experiment with objective tests invariably discover that the audible differences (if they exist) are very small.

The frustrating aspect of this is that in practice most CDs that you can buy, or MP3s you can download, sound worse than they should. There are many reasons for this, of which the biggest is probably the “loudness wars”, in which the dynamic range of 16/44.1 audio is squandered for the sake of the overall loudness of the audio, using compression and clipping to reduce the difference between the loudest and quietest passages.

Other common problems are that the best source tapes are not used, or that (in the case of older recordings) noise reduction damages the audio quality, or that the frequency response is adjusted for increased “boom and tizz” in the belief that this may sound more impressive.

High resolution recordings, such as those available on SACD, are generally (but not always) less prone to these problems, because they are designed for a more discriminating market. In other words, they sound better not because of high resolution itself, but for other reasons. Purchasers however may attribute the quality to the high resolution, making them inclined to purchase Studio Masters from Linn.

On the other hand, if Linn masters this music to sound the same in all formats, there is no reason the same logic should apply.

My suggestion: try one of Linn’s sample downloads. Do your own conversion of the Studio Master to CD quality or 320K MP3 and see if you can hear the difference using something like Foobar ABX. If you cannot tell the difference, there is no reason to buy the Studio Master unless Linn is deliberately making the other formats sound less good.

Review: Three-in-one Jabra Revo headphones and headset: wired, wireless and USB

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If headphones are judged on versatility, the Jabra Revo wins the prize. It works wired and wireless, it’s a USB audio device, it’s a headset with remote control, and as a final flourish it folds into a moderately compact size that you can slip in the supplied bag.

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You might think that the result of this flexibility would be a fiddly and complex device, but this is not the case. The Revo has an elegant design and looks modern and sleek. The construction feels high quality as well; these headphones are lovely to handle.

In the solid plastic box you get the headphones, a drawstring bag, a USB cable, an audio cable (with four connectors on each 3.5mm jack, suitable for a headset connection to a mobile phone or tablet. The cables are braided for tangle-free connections, and bright orange so you will not miss them.

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There is also a “Getting started” leaflet which I recommend you read, since not everything is obvious.

Step one is to charge the headphones. This is done using the USB cable. No charger is supplied, but you probably have a few of these already, or you can plug into any PC or Mac. A red light comes on while charging, and turns off when charging is complete, which takes about two hours from flat.

Step two is to pair the headphones with your mobile device. For this you can put a three-way on/off/pairing switch, tucked under the right-hand earphone, into the pairing position, for pairing in the normal way. Alternatively, just put it to the On position, and touch an NFC-enabled device to the left earphone (as I noted, not everything is obvious). This should then pair automatically, subject to a prompt on your mobile device.

I had mixed success with NFC. A Sony Xperia T smartphone failed twice, with a message “Could not pair Jabra Revo”, but worked on the third attempt. A Nokia Lumia 620 worked on the second attempt.

More than one device can be connected simultaneously, though only one at a time will play. I found this worked; I could play music on one device, then press play on another device and it automatically switched.

The good news is that Bluetooth audio worked well for me, with no skips or stutters, perhaps thanks to Jabra’s long experience with mobile communications. Volume was low to begin with, but note that the back of the right-hand earphone is also a touch volume control, and with a few strokes you can get more than enough volume.

There are also buttons at the centre of each earphone.

The right-hand button is multi-function, and does play/pause, or answer/end call, or reject a call if you hold it down, or redial last number if you double-tap.

The left-hand button is for the Jabra Sound App for iOS or Android. It is meant to launch the app, but this did not work for me with the Sony Xperia.

If you want to use the headphones wired, just plug the audio cable into the headphones. No battery power is required. If you want to use them as a USB device, attach the USB cable to a computer, wait for the drivers to install, and it works. I tried it with Skype and got reasonable results, though the microphone quality is less good than that of the headphones.

Jabra Sound app

If you have an Apple iOS or Google Android device, you can download the Jabra Sound app. This is a music player which claims to optimise sound for the headphones. The app is free but requires a code, supplied with the headphones, to activate it.

Using the app, you specify which Jabra headphones you are using. Next, you can set Dolby Processing, Mobile Surround, and Equalisation. If you turn Dolby Processing off, the other options are disabled as well.

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I am a sceptic when it comes to this kind of processing, and the Jabra Sound app did nothing to convince me that it is worthwhile. I listened to I.G.Y. by Donald Fagen, which is a well-recorded track, and found that adding “Mobile Surround” made it noticeably worse, less natural and less clear. The equalizer could be useful though, particularly as the Revo are not the most neutral headphones I have heard.

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Jabra Sound is a music player and only works with local music files. You cannot use it with Spotify or Google Play or other streaming services.

Revo in use

The comfort of these on-ear headphones is good, though tastes vary and I found them just a little stiff. Then again, wireless implies mobility and a firm fit is no bad thing.

How about the sound? There are a couple of points to note. First, all connections are not equal. I found that the wired connection sounds best, followed by the USB connection, followed by the wireless connection. That does not mean that wireless sounds bad, but I did find it slightly grainy in comparison. Only slightly; if you think Bluetooth audio means low quality sound, think again.

Second, the Revo seems to accentuate the bass, a little too much for my taste. This may be good marketing as many people seem to prefer this kind of sound, but if you want to hear what the mastering engineer intended you may prefer a more neutral sound.

These points aside, the sound is sweet, clear and refined. They are not reference quality, being easily bettered by, say, high-end Sennheisers, Judged purely on the basis of sound quality for the price, the Revo is nothing special. On the other hand, this is a bundle of smart technology, considering that it is also a wireless headset with a built-in touch volume control. This makes it hard to make a fair comparison. Given the capabilities of the product overall, the sound quality is decent.

I have mixed feelings about the touch controls. The ability to control volume and skip music tracks using taps and strokes is elegant, but inevitably there is more scope for mis-taps than with conventional buttons, and I found the volume control imprecise. That said, it is great to have volume and play/pause on the headphones themselves.

Conclusion

The Revo has a lot going for it. Elegant design, high quality construction, good wireless performance without any skips or stutters, and unmatched flexibility – remember, this is a headset that you can use for phone calls as well as for enjoying music.

On the negative side, the tonality is a little bass-heavy and the sound quality good but no better than it should be considering the premium price.

If the flexibility is something you can make use of, the Revo is a strong contender.

Specifications:

Driver size 40mm
Impedance 32 Ohm
Frequency response (no tolerance given) 20Hz – 20,000Hz
Sensitivity 119 dB at 1v/1kHz
Weight 240g
Battery life 12 hours playback/10 days standby
Charge time 2 hours
Wireless range 10m

 

Review: RHA MA350 Earphones

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I have just spent a happy few hours comparing earbuds, ranging from a freebie supplied with a budget smartphone to my favourite Digital Silence DS-421D.

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The reason was to assess the RHA MA350 earbuds. These are well-specified for the price, made of aluminium and supplied with a small bag and three sizes of tips.

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The cable is braided for tangle-resistance. There is no microphone, but if you want a headset you can get the similar MA 350i which does have a microphone and remote but costs about £15 more.

Comfort is good and the earbuds felt secure. With three sizes of tips you will probably find one that fits nicely.

What about the sound? This is what counts from my perspective, and for the money I am impressed. No, they are not the equal of the Digital Silence which has active noise cancelling and costs four times more. They are miles better than the worst models I tried though.

Cheap earbuds can be really nasty, with a small, boxy, shouty sound. These by contrast sound sweet, clear and crisp. The soundstage is a little constricted and the depth limited compared to the best, but they are never harsh or annoying.

Like many earbuds, they are bass-shy, but not in the least tinny.

The MA 350 are advertised as “noise isolating” and I think that is fair. In a noisy environment they do an excellent job at shutting out sound, as good as you can expect from earbuds without active noise cancelling.

The tangle-free cable works well, but there is one small annoyance. The right and left markings are faintly inscribed on the cable protector rather than on the body of the earbud, and you have to squint closely to see which is which.

If you are looking for decent earbuds at a reasonable price, these are easy to recommend. I also noticed the generous 3 year warranty, and the fact that replacement tips are easy to get hold of.

The Manufacturer’s specifications are as follows:

Drivers 10mm Mylar
Frequency response (no tolerance given) 16-22,000Hz
Impedance 16 ohms
Sensitivity 103dB
Rated/Max power 3/10mW
Weight 11g
Cable 1.2m braided

 

You cannot resell music downloads, says New York court. Bad news for ReDigi

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A New York court has concluded (PDF) that you cannot resell music downloads.

The case is Capitol Records vs ReDigi, a web site which lets you trade in pre-owned legal downloads.

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The argument from District Judge Richard Sullivan is that reselling a music download is impossible, because you cannot transfer your download, you can only copy it:

Simply put, it is the creation of a new material object and not an additional material object that defines the reproduction right … the fact that a file has moved from one material object – the user’s computer – to another – the ReDigi server – means that a reproduction has occurred.

But by that argument, don’t you make a “new material object” every time you copy your iTunes download to a new directory?

Sullivan says:

As Capitol has conceded, such reproduction is almost certainly protected under other doctrines or defenses, and is not relevant to the instant motion.

The concept of “fair use” does not protect ReDigi either, according to the judgement, since it is a commercial transaction and not merely storage or personal use.

This is a decision with far-reaching implications. In essence, it says that once you pay for a music download, your money is gone forever. Your download collection has no resale value, nor can you legally transfer it to anyone else. The only way you might get your money back, oddly, is if your collection were destroyed; I have seen provision in some insurance policies for downloaded assets.

Who is going to stop you from transferring your collection to another person privately? That is different, a question of enforceability rather than legality.

You are better off buying a CD; the used CD market is deeply depressed, but does at least exist. Ripping a CD to your hard drive is illegal in some countries (including the UK, as far as I am aware) but I do not know of anyone being pursued for this, and there is a better argument for personal, non-commercial, fair use.

If the music industry could convert us all to streaming subscriptions, that would make more sense in the digital world. That said, it is unfortunate that streaming services like Spotify pay very little to artists in comparison with download services like iTunes.

Review: Bayan Audio StreamPort Universal Bluetooth streamer

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Problem: you want to play audio from your mobile device on powered speakers or through your home hi-fi. Usual solution: connect a cable from the earphone socket on your device to the powered speakers or to an input on your hi-fi. That is a little fiddly and untidy, so how about a wireless solution instead?

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This is where Bayan Audio’s StreamPort Universal comes in. This little USB-powered box in effect enables any audio system for Bluetooth. Simply connect the output from the StreamPort to your hi-fi or powered speakers, using either a 3.5mm jack socket or right and left phono sockets, and then pair it with your mobile device. Audio output is then redirected to the StreamPort and you can enjoy the music at full quality.

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In my tests the StreamPort worked exactly as advertised – well, nearly. You put the StreamPort into pairing mode by holding down power for 8 seconds. A Sony Experia T Android phone connected easily, I fired up Google Music, and was able to play one of thousands of tracks at what sounds to me very decent quality.

Next I tried an Apple iPad 2. Again, it paired first time. I started BBC iPlayer and was able to watch a recent broadcast with excellent sound over hi-fi speakers. A Windows 8 tablet also worked well.

You can pair up to four devices, but only one at a time will be active. If the “wrong” device grabs the connection, turn Bluetooth off on that device. If you pair a fifth device, it will simply forget one of the other pairings.

So what didn’t work? Well, the StreamPort supports NFC Secure Simple Pairing, which means you can connect a device simply by tapping it. I tried with the NFC-enabled Xperia T and got the amusingly polite message, “Unfortunately content sharing has stopped.” I am not sure whether this should have worked, but I put the failure down to this being a relatively new protocol; perhaps it would work with the newer Xperia Z. Note that Apple devices do not currently support NFC at all.

I also experienced very occasional audible stuttering, which is unfortunate, though most of the time everything was fine. Still, this could be annoying. I heard it on music on the iPad and on the Windows tablet, but BBC iPlayer was fine. I guess it may depend on the underlying bitrate and how much data is being transferred. I am reluctant to pin the blame on the StreamPort; rather, it is a common problem with Bluetooth audio, it may or may not be something you experience, and shows that the implementation of the standard (or the drivers) on devices has a little way to go before it is rock-solid everywhere.

Is the quality as good as it is through a cable? Generally not, though how noticeable the loss of quality is in the realm of “it depends”. It is a digital connection, so in some circumstances (if the analogue output is poor) it could be better.

Bear in mind that if you are using a mobile device as the source, you are probably not looking for the best possible sound quality; but you will probably be pleasantly surprised by how good it can sound.

The actual quality will depend first, on the quality of the source, and second, on what audio protocol the source negotiates with the StreamPort. Bayan states that best quality will be from Bluetooth devices that support aptX compressed audio. The protocol used is generally invisible to the user, so all you will notice is how good it sounds. Generally a more recent device will sound better. At a minimum, your Bluetooth source has to support version 2.1 and the A2DP profile, otherwise it will not work at all.

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In the box is the StreamPort, two audio connection cables, a USB cable for power, a USB mains adaptor, and a brief manual.

Two final thoughts. One is that Apple has its own AirPlay system for wireless audio; but thanks to the rise of Android we are seeing more Bluetooth audio devices coming on the market. Since Apple devices work with Bluetooth audio, but Android and other devices do not work with AirPlay, this is an obvious response to demand.

Second, it is reasonable to expect Bluetooth audio to be built into an increasing proportion of new playback equipment. Of course, in this case you will not need the StreamPort. It is not that common yet though, which makes the StreamPort a handy accessory. Recommended.

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.

 

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.

RØDE Mic: High quality recording with iPhone or iPad

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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.

Review: Logitech Z553 2.1 Speaker System

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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