Category Archives: audio

Devialet’s Phantom audio system on show in Barcelona

I was glad to see and hear the French Devialet Phantom system at the Mobile Focus event in Barcelona, just before Mobile World Congress, having missed the company’s recent presentation in London.


The Phantom is a device that looks like a giant eyeball, and is essentially an active mono wireless DAC and speaker. There are two models, the Phantom which delivers up to 99dB at 1 metre and costs €1690, and the Silver Phantom which delivers up to 105 dB at 1 metre and costs €1990. There is an optional Dialog unit at €299 which is a wi-fi router that creates a private network for the Phantom as well as supporting a guest network designed for music sharing. A Dialog can also control up to 24 Phantoms and is necessary for multi-channel; obviously for stereo you need at least two. An app called Spark runs on iOS, Android or Windows (not Windows Phone) and handles playlists as well as visualising music.

Each Phantom has a midrange unit, a treble unit, and two woofers. It measures 253 x 255 x 343mm and weighs 11 kg.

My encounter with Phantom did not get off to a good start. I am allergic to misleading jargon, and the pitch the Davialet representative made to me was confusing to say the least. “Digital chops up the sound,” he told me; but with hybrid technology Devialet was able to reproduce the purity of analogue sound. I observed that every DAC in the world is able to decode digital formats to analogue sound, and we had some difficulty progressing to what exactly is different about Devialet’s approach.

The case for the Phantom is not helped by the over-the-top language in the brochure, which modestly claims “the best sound in the world” and under a heading “IN TECHNICAL TERMS” promises Zero distortion, Zero background noise and Zero  impedance.

The system was playing Hotel California by the Eagles when I was there. I know the sound of this album well and it sounded boomy and unpleasant, though it is difficult to get good sound on a stand in a busy exhibition so I make generous allowance for that.

I did get a copy of a white paper which offers a bit more information. There are several technologies involved.

The first is what Devialet called ADH (Analog/Digital Hybrid). This combines class A amplification with the efficiency of class D. The way Devialet puts it is that several class D amplifiers act as slaves to the class A amplifier, so that the class D amplifiers provide the power while the class A amplifer the control.

A Texas Instruments PCM179x DAC is positioned next to the amplifier to minimise any loss between the two.

Next comes SAM (Speaker Active Matching) which processes the audio to compensate for the characteristics of the drive units. This “takes place ahead of the DAC and power amplifier section” according to the paper, so you could think of it as a kind of digital pre-amplifier. SAM has “a mathematical model of the complete drive unit, accounting for the electrical, mechanical and acoustical behaviour.”


A third feature has the name HBI (Heart Bass Implosion). This tackles the tricky problem of reproducing deep bass with a small enclosure. The idea is to use a sealed box design for high efficiency at the lowest frequencies, a driver with long 26mm excursion (the difference between the foremost and backmost position of the driver) in order to move more air, and to use two symmetric drivers to cancel mechanical vibrations.

This does result in high maximum air pressure inside the enclosure, up to 174dB SPL according to Devialet’s paper. Most drivers collapsed in this environment, so Devialiet designed its own woofer.

Finally Devialet’s engineers figured that a sphere is the ideal shape for producing sound without “diffraction loss”.

The result, according to the specs, is 16Hz to 25kHz +- 2dB, and 20Hz to 20kHz +- 0.5dB which is impressive for a speaker system.

The problem with such measurements is that they typically taken in an anechoic chamber whereas actual listening rooms have all sorts of resonances that result in a much less accurate sound.

Does Devialet’s Phantom system sound as good as a more traditional system at its price level? That is the question which interests me; if I get an opportunity to try it out I will be sure to report back.

Playing native DSD with Raspberry Pi 2 and Volumio

There are many intriguing debates within the world of audio, and one which has long interested me concerns DSD (Direct Stream Digital). This is an alternative technology for converting and recovering sound from digital storage. The more common PCM (Pulse Code Modulation) works by sampling sound at very short intervals and recording its volume. By contrast DSD records the difference between one sample and the next, sampling at an even greater frequency to compensate for the fact that it only captures a single bit of data in each sample (ie on or off). For example the standard used by CD is:

16-bit precision, 44.1 kHz sampling rate

and by SACD (a DSD format):

1-bit precision, 2.8224 MHz sampling rate

The SACD was introduced by Philips and Sony in 1999 as an upgrade to CD, since it is a higher resolution format cable of a dynamic range of 120 dB and frequency response up to 100 kHz. It was an effort, like the PCM-based DVD Audio, to convince the public that the CD is not good enough for the best quality sound.

SACD was largely unsuccessful, mainly because there was not really any dissatisfaction with CD quality among the general public, and even some experts argue that CD quality already exceeds what is required to be good enough for human hearing.

That said, SACD was popular in the niche audiophile community , more so than DVD Audio. Some listeners feel that SACD and DSD results in a more natural sound, and believe that PCM has some inherent harshness, even at higher-than-CD resolution. Enthusiasts say that DSD stands for “Doesn’t sound digital”. For this reason, there is a regular stream of new SACD releases even today, and DSD downloads are also available from sites like Native DSD Music and Blue Coast Records. Some DSD downloads are at higher resolution than SACD – Double-rate or Quad-Rate.

The resurgence of DSD has been accompanied by increasing availability of DSD DACs (Digital to Analogue Converters). While these tend to be more expensive than PCM-only DACs, prices have come down and a quick eBay search will find one from under £100.

There are several complications in the DSD vs PCM debate. While DSD is a reasonable format for storing digital audio, it is poor for processing audio, so many SACDs or DSD downloads have been converted to and from PCM at some point in their production history. If PCM really introduces harshness, it is presumably too late by the time it gets to DSD. That said, it is possible to find some examples that are captured straight to DSD; this can work well for live recording.

Another complication is that some consumer audio equipment converts DSD to PCM internally, to enable features like bass management.

Is there any value in pure DSD? I wanted to try it, preferably with DSD files rather than simply with SACD, since this is much easier for experimenting with different formats and conversions as well as enabling Double DSD and higher. Unfortunately SACD is rather hard to rip, though there is a way if you have the right early model of Sony PlayStation 3.

The first step was to get a DSD-capable DAC. I picked the Teac 301 which is a high quality design at a reasonable price. But how to get DSD to the DAC? Most DSD DACs support a feature called DSD over PCM (DoP), which conveys the DSD signal in a PCM-format wrapper. DoP is not a conversion to and from PCM, it merely looks like PCM for better compatibility with existing playback software.

Next, I used a Raspberry Pi 2 supplied by Element14 (cost around £25.00) and installed Volumio, a pre-built version of Linux which includes an audio streamer and web-based user interface. You download Volumio as a single file which you burn onto a micro SD card using a utility such as Win32DiskImager. Then you plug the card into the Pi, connect to a home network via Ethernet and to a DAC via USB, and power on.

After a minute or two I could connect to Volumio using a web browser.


My music is stored mostly in FLAC format but with a few DSD files in Sony’s DSF (Digital Storage Facility) format, and located on a Synology NAS (Network Attached Storage). In Volumio’s menu I went to Library and mounted the network share containing the media. Next, I tried to play some music. PCM worked, but not DSD. I changed the playback settings to enable DoP:


Success: My DSD files play perfectly:


If you squint at this image you will see that the 5.6 MHz light is illuminated, indicating that the DAC is processing Double DSD.

It sounds lovely, but is it any better than the more convenient PCM format? I am sceptical, but intend to try some experiments, using a forthcoming audio show to find some willing listeners.

That aside, I am impressed with the capability of the Raspberry Pi for enabling a simple and cost-effective means of playing DSD over the network, although with the assistance of an external DAC. It plays PCM formats too of course, and with Volumio is easily controlled using a mobile device, thanks to the touch-friendly web UI.

Review: Synology DS415+ Network Attached Storage

Synology’s DS415+ is a NAS (Network Attached Storage) device aimed at small businesses or demanding home users. I have been running this on my own network for the last 6 weeks or so.


First, a note about Synology’s product range. Let us say you want a NAS with 4 drive bays. Here are the choices, with current bare NAS prices from

  • DS414j £252.63: Budget offering, 512MB RAM, 1.2 GHz  dual core ARM CPU, 1 USB 2.0, 1 USB 3.0, 1 1GB Ethernet port. 90W power supply, 32.64W power consumption.
  • DS414 Slim £237.87: Smaller case designed for 2.5″ drives. All the other units here support 3.5″ drives. Given that you can normally tuck your NAS away in a corner, there is limited value in restricting yourself to these smaller drives, but there is also an energy as well as space saving. 512MB RAM, 1.2GHz single core ARM CPU, 2 USB 3.0 ports, 2 1Gb Ethernet ports. 30W power supply, 15.48W power consumption.
  • DS414 £332.83: Core product. 1GB RAM, 1.33 GHz dual core ARM CPU, 1 USB 2.0, 2 USB 3.0, 2 1Gb Ethernet ports, 90W power supply, 28.42W power consumption.
  • DS415 Play £379.99: Home oriented. Benefits from hardware video transcoding. 1GB RAM, 1.6GHz dual core Intel Atom CPU, 3 USB 2.0 ports, 2 USB 3.0 ports, 1 1Gb Ethernet port, 90W power supply, 27.33W power consumption.
  • DS415+ £460.74: Business oriented. 2GB RAM, 2.4GHz quad core Intel Atom CPU, 1 USB 2.0 port, 2 USB 3.0 ports, 1 eSATA port, 2 1Gb Ethernet ports, 100W power supply, 32.64W power consumption.

You can get a more detailed comparison of these four models in this table. Incidentally, I am guessing that in the Synology numbering scheme, the first digit represents the number of drive bays, and the second two digits the year of release.

The 415 models are the latest releases then, and the only ones to use Intel CPUs. The extra cost of the 415+ buys you double the amount of RAM, a quad core CPU, and an eSATA port.

The software is mostly the same on all the devices, Synology’s Diskstation Manager (DSM), currently at version 5.1. It looks as if some limits are lifted with the 415+, for example there is support for 256 iSCSI LUNs on the 415+, versus 10 on the 415 Play. The 415+ also has specifica support for VMWare VAAI (vStorage API for Array Integration) and Windows Server ODX (Offloaded Data Transfer); this enables some storage tasks to be offloaded to the storage system for better performance on the virtualization host.

Why buy a unit like this when you could simply get a server with plenty of drive bays, or with hardware RAID, and install Linux or Windows Storage Server? The two reasons are first, simplicity of operation, and second, low power consumption.

The distinction is not as sharp as it first appears, since a Synology device like this is in fact a server. If you require maximum flexibility and do not care about energy use, a generic server is probably better. If you require only simple network attached storage, such as a large shared folder on the network, a unit like the 415+ is overkill; just get a DS414j or some other brand. On the other hand, if you expect to install and use several apps, the extra for a DS415+ buys you a substantially more capable server.

Another way of looking at this is that the processing power in the DS415+, while still modest compared to a modern desktop PC, is sufficient for some real work, such as running web applications or even a media server with software transcoding.



Unpack the box, and you find the NAS unit, power supply and a couple of ethernet cables. Unclip the front cover and you can see the four drive bays, with caddies which can easily be removed for drive installation.


The drive caddies are screwless for 3.5″ drives; just remove the side panels, insert the drive, and replace the side panels to secure.


You can also install 2.5″ drives with four screws through holes in the caddy base.

At the rear of the unit, there are dual fans, two Ethernet ports, 2 USB 3.0 ports, eSata port, and the power connector.


I fitted four 3TB Western Digital Red drives – currently £89.36 on Amazon – attached the device to the network and powered up. You can than access the NAS management UI with any web browser. Normally, entering diskstation:5000 will find it. The initial setup downloads and installs the latest version of DSM, and offers an instant configuration which is a single large network folder backed by Synology Hybrid RAID (SHR).


I accepted this just to try it, and then blew it away in favour of a more flexible configuration.

Diskstation Manager

Synology DSM is a version of Linux. You can access the OS via SSH, or use the browser-based GUI. The GUI is rather well done, and presents a desktop-like environment with a windowing system.


The button at top right open a kind of Start menu:


Applications are installed and removed through the Package Center:


Generally, you should use only the Package Center to manage applications, though terminal access can be useful for troubleshooting, cleanup, or tweaking settings if you know what you are doing.

Since packages are only available from Synology, you are limited to those applications which are supported, unless you do a manual install:


Even a manual install has to be in the Synology package format (an archive with appropriate metadata). Some packages, such as the Plex media server, are available for download as manual installs, though may need tweaking to install correctly.

Third party developers can create packages, free or paid, and submit them to Synology for approval.

If an application is updated, it can take a while before the Synology package is updated. This could be a problem if, for example, a critical security bug is found in an application running on a Synology device exposed to the internet. There are not a huge number of packages available. I counted 63 in the DS415+ Package Center. However, this does include everything you need for a basic business server, including a mail server, DNS Server, LDAP Directory Server, Drupal CMS, SugarCRM, web server with PHP and MySQL, Tomcat application server, and more.

On the multimedia side, there are applications for serving audio and video, a DLNA media server, and Logitech Media Server (also known as Squeezebox Server).

There are several backup applications, including one for Amazon’s Glacier service (low-cost cloud storage).

Storage management

The primary role of a Synology device is for storage of course, and this is configured through the Storage Manager. Configuration begins with Disk Groups, which represent one or more physical drives in a RAID configuration.


There are several supported RAID configurations:

SHR: Synology Hybrid RAID with 1- or 2- disk fault tolerance. You need at least 4 drives for 2-disk tolerance.

RAID 0: disk striping, no fault tolerance

RAID 1: drive mirroring

RAID 5: 1-disk fault tolerance

RAID 6: 2-disk fault tolerance

RAID 10: RAID 0 across mirrored drives, 1-disk fault tolerance with high performance.

What is SHR? There is an explanation here. The high-level story is that SHR is more efficient with drives of varying capacity, and more flexible when adding new drives. It is not proprietary and apparently data can be recovered if necessary by mounting SHR drives in a Linux PC (provided no more than one drive has failed).

You set the RAID level when you create a disk group. Once you have a disk group, you can create volumes or iSCSI targets on that group.

I was interested in trying iSCSI. I have a desktop PC that is running out of space. I created a 1500GB iSCSI target and mounted it on the PC using the iSCSI initiator in Control Panel. It worked perfectly, and a new drive appeared in Disk Management.


Is this sensible, or should you just use a network folder which is more flexible, since it is shared storage? An iSCSI target behaves like a local drive, which can be an advantage, but iSCSI is mostly used for servers where centralising storage is convenient. You should also use a dedicated network for iSCSI, so it is probably not a great idea for a desktop PC.

I compared performance. On simple tests, such as time taken to copy a file, there was little advantage; in fact, my iSCSI drive was slightly slower: 61.2 MB/s vs 76.4 MB/s for a shared folder.

I tried ODX, copying a file from one iSCSI drive to another. Capturing the copy thermometer was a challenge, as it was near-instant:


In general, I have been very happy with the performance of the NAS.

Folder permissions

My local network uses Active Directory (AD), so I was keen to set up permissions on the NAS using AD. Connecting a Linux server to AD can be a problem, and at first the Synology would not play. I connected it, seemingly successfully, but it would not see any users. There are threads on the Synology forums showing users with similar problems. The fix for me was to enter my Domain Controllers as IP numbers rather then FQDNs (fully qualified domain names). Since then it has worked perfectly, though DSM shows the Domain Server Type as “NT4 Domain”, puzzling when my DCs are on Server 2012 R2.

Once connected, you can set folder permissions using the Synology File Station package. First, create the shared folder, then right-click the folder and choose Permissions.


Apps and Applications

Aside from the storage services, the main application I run on the Synology is Logitech Media Server (LMS). This used to run on a Windows server, and actually runs much better on the Synology. Search is quicker, the server is more responsive, and it is more reliable.

I tried the Synology audio and video applications, and the media server. There are various companion mobile apps, such as DS Audio and DS Video, for media playback.


The apps I tried worked well for me, though I am sticking with LMS for home music streaming.

Final words

I have no complaints about the DS415+, which has performed well so far. Browsing through the user forums though, I have noticed some areas of difficulty. One is that the Cloud Station service, which synchs files between your NAS, computers and mobile devices, is notorious for consuming disk space. Users find their drives filling up even though the total size of their files is much less than the available space. Currently, the best advice seems to be not to use Cloud Station.

The general issue with a system like this is that the friendly GUI is great while everything is working, but if something goes wrong and you have to dive into Linux, the ease of use disappears. That is worth noting if you plan to use this as the main server in a small business (beyond storage), unless someone there has the necessary troubleshooting skills.

The device does tick a lot of boxes though: resilient storage, excellent performance, low power consumption, flexible configuration, AD integration, and enough power to run something like Logitech Media Server without blinking.


























A nearly perfect boombox: take your audio on the road with TDK’s Trek Max

I first heard the Trek Max at a busy press exhibition; audio rarely sounds good in big noisy rooms but I was struck by the fact that this TDK device was not dreadful but made a valiant attempt to deliver the music: there was at least a little bass, there was volume, there was clarity, and this from a small box, 24 x 5 x 10cm to be precise.


I asked for one on loan to review and it has not disappointed. There is not much in the box, just the Bluetooth speaker, a power supply/charger, and some mostly useless bits of paper.


The hardest task was getting that sticker off the front without leaving a gooey mark. Having done that to the best of my ability, I charged the unit, and paired with a phone. My attempt to use NFC (one-touch Bluetooth connect) failed with a Windows Phone, but worked with an Android tablet. It is no big deal; pairing is straightforward with or without NFC.

Then I played some music. I put on Santana Abraxas; this thing boogies, and does a great job with the complex percussion and propulsive guitar. I played Adele’s 21; it sounds like Adele singing, not the squawky sound you might expect from a device this size, and the drums on Don’t You Remember have a satisfying thud. I played Beethoven’s Third Symphony; the drama and power of the opening movement came over convincingly, albeit in miniature form.

I am not going to pretend that this is the best Bluetooth speaker I have heard; it has tough competition at much higher prices. I do not judge a thing like this versus a home audio setup or a larger Bluetooth speaker that is only semi-portable. This is something to take with you, and even sports a “weatherized” case; the manual makes clear that it is “splash-resistant” rather than anything more serious, and then only if you make sure to close the rubber flap over the panel on the right-hand side, but still a handy feature.

Any clever tricks? Just a couple. One is that you can use the Trek Max as a battery charger for your mobile phone (or any device compatible with USB power). Here is that side panel in detail:


From right to left, there is the USB power output (it has no other function), an AUX in for a wired audio connection, power in, and a master power switch which turns the entire unit off (including the USB power output).

The other party trick is the ability to work as a speakerphone. You are grooving along to music from your mobile, and an incoming call comes in. The music stops and a call button on the top illuminates. Press to answer, take the call hands-free, and press twice to end it. Neat.


Note that the Trek Max is surprisingly heavy for its size, around 1.25Kg. It does not surprise me; there is a lot packed in, including a decent battery.

The speaker configuration is right, left, central woofer for the (mono-ed) lower frequencies, and passive bass radiators at the back, boosting the bass.

It is worth noting that the Trek Max goes surprisingly loud – louder than I have heard before from a device of this size. That is important if you are outside or in a noisy room – but please do not annoy others too much!

The Trek Max  A34 replaces the Trek A33. What is the difference? Primarily, NFC Bluetooth pairing, pause, resume, forward and back buttons (they work fine), and better sync with iOS devices: on these, the volume control on the Apple device directly controls the volume on the Trek, whereas on other devices the volume controls are independent.

Conclusion: a great little device, and make sure you hear it before dismissing it as too pricey for something of this size.


Weight: 1.25 Kg
Size: 24.1 x 9.8 x 5cm
Power output: 15w total
Bluetooth: 2.1 + EDR, A2DP, HFP, HSP, AVRCP
Battery life: 8 hours

Arcam’s high-end Solo soundbar: fixing TV sound

Arcam launched its Solo soundbar and subwoofer at a press event in London last week. When this footage was playing I was not thinking about the soundbar at the foot of the video screen, nor of the subwoofer sitting in the corner. Rather, I was thinking how wonderfully the great B.B. King is playing on this concert Blu-ray; and that is how it should be when auditioning hi-fi.


The Cambridge-based Arcam occupies a distinctive spot among UK audio manufacturers, neither low-budget nor at the silly-expensive end of the market. MD Charlie Brennan told me that the company’s focus is audio engineering: not lifestyle, nor ultra high-end, but products that are affordable and which sound great.

The aluminium-bodied Solo bar seems at first listen to be a good example. It is a solid product in every sense, weighing a hefty 6.4kg and featuring 100w of class D (highly efficient) amplification into 6 speaker drivers, midrange (4″), woofer (4″) and tweeter (1″) for each channel.


This is more than just a better audio system for your TV. The Solo bar has four HDMI inputs (with 4K support) and one output, so you can connect your games consoles and video streamer sources. There are also optical and coaxial digital (S/PDIF) inputs, and an analogue input for general purpose use, and an output for a subwoofer.


It does not end there. The Solo bar supports aptX (which means high quality for systems that support it) Bluetooth streaming both as player (for your mobile device) and as source (for your wireless headphones).

A setup microphone is included in the box, which accounts for the mic input on the panel. Use of this is optional, but it is often worth running this type of setup routine, by placing the mic at the normal sitting position and having the unit optimise the sound for the room, taking into account the position of the subwoofer if present.

Room effects are huge and often ignored, so it is good to see this. However you cannot fine-tune the results yourself; you either disable it, or enjoy the results the bar comes up with.

There is a controller app for iOS and Android but sadly not for Windows Phone, though all the functions are also accessible through the supplied remote. You can switch between unvarnished stereo, or audio processing for Movie or Concert.


The Solo subwoofer has a 300w amplifier and 10″ driver. We heard the system with and without the sub. My brief observation is that while it sounded good without the sub, adding it lifted the sound substantially; it is not so much the added bass that you notice, but greater realism. The sub is also important for those all-important explosions and sound effects in movies and games.

The Solo bar is £800 and the Solo subwoofer £500. That does not seem to me expensive given the quality I heard, but neither is it a casual purchase. There are drawbacks to the soundbar approach, notably two-channel sound rather than surround, but the simplicity of the system more than compensates for many (Brennan said that the soundbar market is one of the few areas of home audio that is growing).

Personally I would recommend getting system with the sub if possible, as they are designed to work together.

You should be able to buy a Solo later this month, November 2014.

This is not a review; that will have to wait for an opportunity to try the system for myself and test it in detail.

More information on Arcam’s site here.

Naim strives for the mass market with mu-so

I was in London yesterday and could not miss the ads for Naim’s mu-so all-in-one music system.


In one sense it is just another wireless music streamer – with 6 integrated speakers, separately driven by 6 x 75w amplifiers – and support for Apple AirPlay, UPnP, Spotify Connect and Bluetooth – and I have no idea yet of how it sounds. It would be interesting to compare with Sony’s hi-res SRS-X9 (reviewed here), which is another all-in-one streamer with audiophile ambitions.

Naim’s mu-so is £895, whereas Sony’s SRS-X9 is £600.

But mu-so intrigues me for another reason. It is (as far as I am aware) Naim’s first effort at cracking a wider market than the traditional hi-fi enthusiast.

Naim came into prominence (within the hi-fi community) in the Eighties, with distinctive styling and a commitment to sound quality above features – in contrast to the Japanese brands of the time which seemed to compete on numbers of switches and lights.

When I think of Naim I think of products like this, a 250 amplifier with Hi-Cap power supply and 32.5 pre-amp:


- and yes, it still works nicely, though true believers would not stack them, but rather have each box on a separate acoustic table.

Buying Naim meant going to a a specialist dealer, doing an audition with your favourite records and a cup of coffee, and swallowing hard as you handed over thousands of pounds for these plain black boxes; they seemed to deliver music like nothing else at the time.

Now Naim is moving with the times and going on sale in John Lewis and in Apple stores; not exactly downmarket, but quite a change from those early days. You can even buy mu-so from hi-fi discounter Richer Sounds, though you will not get it any cheaper!


Note: Naim has always been based in Salisbury, but merged with French company Focal in 2011.

For more info on mu-so see Naim’s site here.

Foobar2000 goes mobile: funding secured for iOS, Android and Windows Phone versions

Popular free music player foobar2000 is coming to mobile platforms, following a successful community fundraising campaign.


Curiously this is not a Kickstarter campaign even though it looks similar.

The project is the outcome of collaboration between Steve Elkins (known as “Spoon”) who is the creator of dBpoweramp, an excellent audio converter and CD ripper for Windows, and foobar2000’s originator Peter Pawlowski.

The mobile version of foobar2000 will run on iOS 6 or later, on iPhone, iPod and iPad; Android v4 or later on phones and tablets; and Windows Phone 8 and Windows 8.1 tablets, ARM and Intel.

There will be both free and “fully featured premium” versions.

Additional projects for cloud synchronization and backup, and for social interaction built into foobar2000, have not yet received enough funding to proceed, and look unlikely to do so.

Foobar2000 is loved for its speed and efficiency, easy extensibility with plug-ins, and advanced functionality. Its user interface is functional rather than beautiful, though it is also easily customised. I use foobar2000 with a large collection, mostly Flac files ripped from CD, and foobar2000 manages the database transparently and with instant results.

Exactly what features mobile foobar2000 will have is not clear. The best source of public information I can find is this thread which includes input from Spoon. There may or may not be ads in the free versions; the cost of the premium versions is unannounced.

Future of music: files are over says WME music boss (or, why Apple bought Beats)

In February at the music industry conference Midem in Cannes, Marc Geiger of  WME (William Morris Endeavor), which represents artists across all media platforms, gave a keynote about the future of music. Geiger is head of the music department.

It is from six months ago but only just caught my ear.

Gieger argues that the streaming model – as found in Spotify, YouTube, Pandora and so on – is the future business model of music distribution. File download – as found in Apple iTunes, Amazon MP3, Google Play and elsewhere – is complex for the user to manage, limits selection, and full of annoyances like format incompatibilities or device memory filling up.

With unusual optimism, Gieger says that a subscription-based future will enable a boom in music industry revenue. The music server provider model “will dwarf old music industry numbers”, he says.


Who will win the streaming wars? Although it is smaller players like Spotify and MOG that have disrupted the file download model, Gieger says that giant platforms with over 500 million customers will dominate the next decade. He mentions Facebook, YouTube, Amazon, Netflix, Google, Yahoo, Pandora, Apple iTunes, Baidu, Android (note that Google appears three times in this list).

Why will revenue increase? Subscriptions start cheap and go up, says Gieger. “Once people have the subscription needle in the arm, it’s very hard to get out, and prices go up.” He envisages premium subscriptions offering offline mode, better quality, extra amounts per family member, access to different mixes and live recordings.

The implication for the music industry, he says, is that it is necessary to get 100% behind the streaming model. It is where consumers are going, he says, and if you are not there you will miss out. “We’ve got to get out of the way, we’ve got to support it.” Just as with the introduction of CDs, it enables the business to sell its back catalogue yet again.

A further implication is that metadata is a big deal. In a streaming world, just as in in any other form of music distribution, enabling discovery is critical to success. Labels should be working hard on metadata clean-up.

Gieger does see some future for physical media such as CD and DVD, if there is a strong value-add in the form of books and artwork.

You can see this happening as increasing numbers of expensive super-deluxe packages turn up, complete with books and other paraphernalia. For example, Pink Floyd’s back catalogue was reissued in “Immersion” boxes at high prices; the Wish you were Here package includes 9 coasters, a scarf and three marbles.


This sort of thing becomes more difficult though as consumers lose the disc habit. If I want to play a VHS video I have to get the machine down from the loft; CD, DVD and Blu-Ray are likely to go the same way.

Geiger’s analysis makes a lot of sense, though his projected future revenues seem to me over-optimistic. People love free, and there is plenty of free out there now, so converting those accustomed to playing what they want from YouTube to a subscription will not be easy.

That is a business argument though. From a technical perspective, the growth of streaming and decline of file download does seem inevitable to me (and has done for a while).

Listen to the talk, and it seems obvious that this is why Apple purchased Beats in May 2014. Beats offers a streaming music subscription service, unlike iTunes which uses a download model.

Why Apple needed to spend out on Beats rather than developing its own streaming technology as an evolution of iTunes remains puzzling though.

Finally, Gieger notes the need to “put out great music. After we all have access to all the music in the world, the quality bar goes up.” That is one statement that is not controversial.

Here is the complete video:

Review: Vibe FLI Over headphones with “Extreme bass”


Can you get true bass from headphones? Arguably not quite, since you can feel real bass in your chest, whereas with headphones the air simply is not moving. You can still get the sound right, and that is the promise of Vibe’s Fli-over headphones with “extreme bass”.

This promise caught my interest, since bass quality (or its lack) is one of the biggest differentiators between live and recorded music. I dislike bloated, mushy bass; but I do want to hear the full frequencies, whether it is the tuneful plucking of a double bass in a jazz group, or the pounding drum sounds in rock or rap. Listening at home you often miss out, partly because of lower volume levels, and partly because most systems do not do bass well.

But do the Fli-overs deliver?

I put on the Fli-overs with some trepidation. Was I going to hear pumped-up bass that wrecks the musical balance? Fortunately I did not. The sound is slightly warm and tilted a little towards the low-end, but it is also sweet and tuneful. Where is the extreme bass though?

The answer is that it depends what you play. I happened to put on “No more I love you’s” by Annie Lennox and heard for the first time the deep bass in the slow beat in the opening part of the song. Hmm, I thought, perhaps there is something in the claims.

I sought out some rap and electronica that shows off bass performance, by artists like Psyph Morrison, The Dream, and Bassotronic. If this kind of music is your bag, and you don’t want your headphones to make the bass toned-down and polite, you will find the Fli-overs do a better job than most.

On the Miles Davis track So What, from Kind of Blue, you can follow the bass line easily, without it being overwhelming.

Overall the sound is above average for headphones at this price level. I find them enjoyable for any kind of music, though better for rock and jazz than for classical, where I find the sound a little closed-in and lacking in clarity and detail compared to the best I have heard, but still decent.


I am not so sure about the comfort though. The earpads are soft but the earcups rather ungenerous in size for an over-ear design, making it hard to find a comfortable position (of course this kind of thing varies from person to person). The headband is lined with a firm rubbery material that feels somewhat hard. The grip of the headphones is tighter than most, though will likely looosen over time. If you wear glasses as I do, this again makes them less comfortable. They are not the worst I have worn, but if comfort is a priority I would suggest looking elsewhere, or at least trying them out before purchase.

The cable is just over 1.5m (though it says 1.0m on the box), enough for most environments, and is a flat style that is somewhat resistant to tangling. There is a microphone and call/answer button in the cord, so you can use these as a headset for a mobile phone, or for voice over IP calls on a tablet. I found this worked well on a Nexus Android tablet.

The headphones have a closed back and noise isolation is good in both directions. They also fold, though no bag is supplied, and would be quite suitable for use in flight.


if you want to enjoy music where deep bass is central to the experience, these cans will deliver where most do not.

More information on the Vibe site here.

Do you need the new Raspberry Pi B+?

An updated Raspberry Pi board was released earlier this month, and the kind folk at Element 14 sent me one to review.


The Raspberry Pi is a complete low-power computer which needs only a case, an SD card, and a standard USB power source to start doing real work. It is ideal for learning projects, home automation, practical applications like running a media server or client, or anything you can think of.

It is a little over two years since the first Pi was shipped in April 2012. The progress is a little confusing: the first model was the B, followed by the A in early 2013, a cut-down model with a single USB port and no Ethernet.


The new model has the same Broadcom BCM2835 SoC as all the other Pi models. The CPU is a 700 MHz ARM 1176JZ-F.

So what is new? The highlights:

  • 4 USB 2.0 ports
  • The dedicated composite video port has been removed and is now shared with the audio jack, requiring an adaptor
  • The power draw is now 600 mA up to 1.8A at 5v, making it both lower power and higher power (when necessary) than the model B (750 mA up to 1.2A at 5v). The USB ports can supply a little more power, making most self-powered external hard drives usable, for example.
  • The SD card slot has been replaced by a micro SD card slot, a good move (all my SD cards are in fact micro SD cards with adaptors, which is common).
  • The GPIO (General Purpose Input Output) connector now has 40 pins rather than 26. The first 26 pins are the same as before, for compatibility.
  • The price is the same as for the B

There are a few other changes which I noticed. One is that the LEDs have been moved. On the B, there are 5 LEDs which are together on the bottom right corner of the board: ACT (SD card access), PWR, FDX (Duplex LAN), LNK (Activity LAN) and 100 (100Mbit LAN connected). The B+ has two LEDs in the opposite corner, ACT and PWR, and two more LEDs on the LAN port itself. Personally I prefer the old arrangement.

The audio output is improved, according to Pi inventor Eben Upton, thanks to a “dedicated low-noise power supply.” Raspberry Pi Engineer jdb adds that  “The output impedance and buffering for the audio port has been improved and the maximum output amplitude has been increased (~1.25V pk-pk).” However one blogger measured the output and considered no better (or slightly worse).

Since the layout of the board has changed, a B+ Pi will not fit in your old model B case. I bought a new case but I don’t recommend this one:


This is a push-fit case and even thought the board is held down by tabs, it moves and rattles slightly. I also worry about the case tabs breaking if you open it repeatedly. The tab that you need to press to open the case is sited by the micro SD slot, and that is another mistake, since it presses against the board making it hard to reopen after the Pi is fitted. There is also too much space below card slot so you can easily post your card into the case rather than into the slot if you are careless. Finally, I don’t like the way the top of the case slopes down, reducing the space above the GPIO at its shallow point.

I wish I had seen this Cyntech case which looks miles better, for a similar low price, though I haven’t actually tried it. I do like the idea of an optional spacer which lets you increase the case height to fit add-on boards.

Finally, a few notes on operation. If you have existing micro SD cards running on the B, they might or might not work on the B+. I use piCorePlayer as a streaming audio client, for which it is excellent, but my existing image would not boot on the B+.  Following a tip elsewhere, I installed the latest piCorePlayer download on the B, updated it to version 1.16A using the web UI, and it then worked on the B+.


I had no such problems with the standard Raspbian distro which worked fine on the B+.


So do you need the B+? If you have not yet tried a Pi, give it a try, it is fabulous. If you already have a B, then you will find some nice improvements but nothing dramatic – though the extra USB ports in particular are most welcome.

More information is on the Element14 site or of course the official site.