Articles

Event opal review

Mon, 28 Jun 2010 18:43:21 +0100

Discuss this product on our forums - Event Opal Review

Context
Before reading this review please take a moment to consider the context of hddaudio.net: I am not a recording professional but somebody who would like to take advantage of the value for money of professional products, but in the domestic environment.

Event Electronics, Rode Microphones and Peter Freedman
Event Electronics is a studio monitor manufacturer run by a man who knows both sides of transducers: he is also the President at a microphone manufacturer.
Peter Freedman took the Event reigns in 2006, kick-starting two years of development into creating at ultimate reference monitor. His project team comprising Bee Gees' recording engineer John Merchant; acoustics engineer Marcelo Vercelli, ex-Mackie and KV; and Anibal Yusem, ex-QSC (PSNE, 2009).
The aim was to redefine the near-field monitor and create an absolute no-compromise product that rivalled the dynamics of expensive three-way systems. Over AUD$4m has been spent on developing the Opal; everything inside the monitor is proprietary, with not a single off-the-shelf component used (PSNE, 2009).

Bringing the entire manufacturing process in-house isn't necessarily a a guarantee of quality — specialist suppliers can have core competencies in their respective niche, and volumes far greater than audio companies. However Freedman demonstrates an awareness of manufacturing challenges and the need for efficiency in a Sound On Sound (2005) article where Paul White visited the Rode Microphones factory near Sydney:

"Chinese microphones were relatively cheap because of the low labour costs in that country, so to compete in Australia, where labour is considerably more costly, Peter needed to invest in expensive automated machinery that could make the necessary high-precision parts in high quantities, quickly and to a greater degree of accuracy than Chinese hand-made parts. …we had to spend a few million bucks on the machines."

"Peter kept stressing the need to manufacture in quantity: "At the moment, we run two or three thousand of a particular model, after which we have to change the tools, set up the machines and change the CNC programs for the next model. It's much more competitive to set up the machine once and then run it for three shifts."

Freedman's ballsy attitude and passion for the product is best seen by watching the video below.

http://www.hhb.co.uk/hhb/uk/source/brands/event.php

Design Highlights
Opal is a two-way active monitor, so each cabinet contains two power amplifiers, an active crossover, and two drive units. On the back of each monitor is a power input for an IEC mains cable, and a combo-style jack that will accept balanced and unbalanced inputs on an XLR or 1/4" jack. Opal owners will require a pre-amplifier to manage inputs and control volume.

Beneath a rubber cover on each front panel are controls to tweak the sound to environments and tastes. The precise function of each control is best understood by looking at the explanatory graphs in the user manual. In short: the input sensitivity is adjustable; the tweeter can be rolled off slightly; and there are several bass adjustments to compensate for placement and room resonances.

The "EX8" drive unit is a 7.1" woofer made from a blend of carbon fibre and paper mix with a neodymium motor offers 36m of excursion. The voice coil is 66mm in diameter and a second, static coil("X-coil") is wired out of phase to push the voice coil, improving cone control and transient handling, and lowering distortion by a claimed 18db. The amplifier that powers this drive unit is class AB and rated at 270w, long-term.

On top there is a "UDL1" tweeter, which is beryllium-copper dome with one-inch voice coil, driven by a neodymium magnetic assembly. Amplifier power is 50w, again the long-term rating and class AB. The tweeter sits within a waveguide, which can be rotated depending on whether the monitors are placed vertically or horizontally. Event believes that controlling dispersion in this was is the key to an accurate soundstage.

The woofer crosses to the tweeter at 1600Hz and the only other detail Event publishes is that the crossover type is acoustic 8th order (48db/oct). A review by Mix Online (2008) claims that it is a simple second order (12db/oct) design but I have not been able to seek confirmation.

A black, powder-coated aluminium cabinet is used — dimensions 450 x 295 x 275mm (HxWxD); volume 28 litres. A lot of attention has been paid to this curved designed, which features no parallel surfaces in an aim to reduce resonances. Porting is through two slim slots at either side of the cabinet, utilising a patent-pending "variable impedance" technology to reduce chuffing.

Product Hype
Freedman has set high expectations. In one particular interview he stated that "The Opal is the single biggest improvement you can make to your sound" and "We have the lowest distortion figures on the planet" (PSNE, 2009). It is not at all surprising to read that these monitors were launched at a party in the Hard Rock Hotel, Las Vegas by bikini-clad ladies (Sound On Sound, 2008). The specification is stretched a little where possible. For example, the "8-inch drive unit" is actually 7.1"; the 750w amplifiers are a more modest 320w per speaker when rated long-term; and the crossover slope is quote acoustically, not electronically.

Do I blame Freedman for creating some hype? No. The market for two-way studio monitors must be bursting, putting on strong barriers to new entrants. I hadn't heard of Event until a few months ago but since reading the claims I wanted to get my hands on a set of Opals.

First Impressions
Expectancy theory can explain why audiophiles hear differences that mortals would not think possible. If an interconnect is bright purple, costs the price of a small car and is backed up by sensational reviews, then the end-user might be led to imagine drastic improvements in audio quality.

My expectations for the Opal were luke warm. With the design and marketing emphasis leaning towards volume and bass I was expecting an overblown bottom end to impress less sophisticated clientele. A few words seen on the packaging put even more doubt in my already prejudice mind: "Louder. Lower. Clearer. Better".

I lifted these 21kg beasts by their built-in carry handle and put them down on the supplied rubber plinths, pointing the speaker upwards to the listening position from a low oak sideboard. As the sophisticated chap I alluded to being, above, the "quarter space" option (gentle bass roll-off) had already been selected from the Opal front panel before the XLR cable from my Apogee Duet clicked positively in to the rear. Power on is selected with a large rocker switch on the rear then a white LED flashes on the front during the start-up procedure, turning to a steady green when the Opal is ready to play music.

Readers with an audiophile background will have heard of the "run in period" but I think first impressions are important — listeners can quickly become accustomed to a sound and forget the faults. My fears about a wild bottom end were unnecessary; it was the metal tweeter that caught my attention. Why put a metal unit on an upmarket monitor?

More Listening
Paul White explains in his Sound on Sound review (2009) that the metal tweeter is required because of the additional air loading the waveguide places upon the tweeter diaphragm, which could buckle soft-dome designs. I used the EQ controls to gently roll off the highest frequencies and continued to play music. In fact I ended up listening to the Opals for hours at a time and as many evenings as it was possible, always looking forward to the next session.

These monitors throw a big soundstage and can handle all types of music at any levels the listener dares. Low frequencies, as Event intended, are a major strength and will be the selling point for many. Ultimate extension and depth does not quite compare to a very high-powered 10" subwoofer I know, but the Events punch hard in the mid- and upper-bass, offering tremendous speed and an emphasis on rhythm. What impressed me the most was perhaps the ability to render micro-dynamics in this frequency range. Small fluctuations in the level and pitch of bass lines that I had not noticed before were now becoming apparent.

I was having such fun that my initial reservations in the high frequencies could be put to one side and just accepted as character. I know from previous experience in HiFi retail that a brighter tweeter can help to win an A-B demo, and perhaps Event wanted to capitalise on that. Another thought is that professionals need a slight lift to offer great insight to their mixes. Relative to all other metal tweeters I have endured this beryllium-copper unit is certainly in the upper classes. Yes it may be conspicuous if one is accustomed to a soft-dome, but it does not splash, tizz and fatigue like some on the market.

The Mid Point

It is sometimes said that a good loudspeaker encourages you to dig out those old records that haven't been listened to for years, which can be quantified by the number of record sleeved or CD cases littering the floor around the HiFi cabinet. In the 21st century this is less tactile but our iTunes Recently Played playlist can provide the digital equivalent. The Opals had led me to listen to music I had not listened to in a long time but this playlist was biased towards disco and funk, genres that major on drum beats and syncopated bass lines.

Although it took me a while to notice this, my subjective impression is that the midrange is somewhat recessed. The sound is not all boom and tizz — definitely not — but the midrange is further back in the sound field. And whilst I learned to forgive that tweeter when listening to dance music, I wondered whether it would be acceptable longer-term for classical works.

I felt that an artificial sheen had been given to piano and strings, which wasn't always pleasant. The material of the high frequency driver might not be the sole reason for this, but the fact that the crossover point is so low. Everything above just 1.6kHz is coming from the tweeter.

To put things in perspective I reverted to another monitor that I have owned for a couple of years, the ADM9.1 by a small British company called AVI HiFi. This monitor is different from the Opal in that a much higher crossover point is used, along with a silk tweeter. Although this Brit loudspeaker maybe lacks the outright balls of the Aussie, the midrange sounded more natural and would be my first choice for chamber music, choral and spoken word.

Concluding
Event's new monitor has a lot going for it and I think its strengths will win over most potential buyers in face of the competition. £2,500 is not exactly cheap, but the Opal offers real value for money when seen and experienced in the flesh. A HiFi separates system at this price point just would not compare, so I would encourage an audition, even if you are apprehensive about the somewhat "functional" look of the cabinet. In fact photographs do not do the Opal full justice, which is more attractive in the flesh.

I grew very fond of the sound as the days went by and do miss it, to some extent, now that the speakers have been shipped back. For me the Opals would have been keepers if just a little of that hype had been exchanged for naturalness. Perhaps there is no one perfect monitor for every piece of music, but that's another debate.

References

Pro Sound News Europe http://goliath.ecnext.com/coms2/gi_0199 … ition.html

Sound On Sound http://www.soundonsound.com/sos/aug05/a … evisit.htm

Mix Online http://mixonline.com/news/event_opal_st … tors_0108/

Sound On Sound http://www.soundonsound.com/news?NewsID=10331

Sound On Sound http://www.soundonsound.com/sos/aug09/a … ntopal.htm

Review: Dynaudio Focus 110A active speakers

Sat, 19 Dec 2009 12:23:47 +0000

HDD Audio review of Dynaudio's Focus 110 A.
Download the PDF document or read the text below.
IT’S ALL IN THE SPEAKERS The Dynaudio Focus 110 A is a very high quality but compact loudspeaker. Two amplifiers are contained within each cabinet, which are perfectly tailored to the drive units. Simply connect your
computer, iPod, or Sonos ZonePlayer, and that’s it – a complete HiFi system but without the clutter.  THE COMPANY Dynaudio was founded in Denmark, 1977, by a group of engineers with a passion for music, and today the loudspeakers are found in over sixty countries around the world. As well as an impressive domestic range, Dynaudio is an option in Volvo and Volkswagen cars; and the professional arm of the company – Dynaudio Acoustics – can boast that their products are used in thousands of studios. Co-founder, Wilfried Ehrenholz, feels that the key to the good sound is in the drive unit. The company was initially reliant on OEM suppliers, but within three years developed their own. In fact Dynaudio went full-circle and during the 1980s became an OEM supplier in their own right, selling drive units to other high-end manufacturers. It cannot simply be assumed that a proprietary driver will always outperform an off-the-self part – the bigger drive unit manufacturers will possess impressive scale and experience resources – but this allows Dynaudio to be completely in control of the entire design process. DOMESTICATED DANES Dynaudio has been producing active loudspeakers for some time now, but the Focus 110 A is the first domestically-acceptable model. The intention is to capture a new, growing market, where customers may own an iPod or a Squeezebox – rather than traditional HiFi separates – but still desire the highest possible sound quality. Each 110 A houses two 50 watt Class AB amplifiers, as well as adjustable gain and EQ on the rear panel. Dynaudio stress that this isn’t simply a BM5A in a nice box though; the 110 A is optimised for living room placement, and features more relevant connectivity – the RCA input. A range of wood finishes are available, as well as black or white gloss. Our review sample was finished in Cherry, which looked and felt gorgeous. All cabinets are made in Denmark by craftsmen, and the quality shows, right down to the last detail. The speakers are very compact, with the following dimensions 30cm x 17cm x 32cm (HxWxD).
IN USE Most customers are predicted to use the 110 A with portable music players or networked music streamers. In such a system the traditional HiFi pre-amplifier is foregone, and instead the volume control within the source has to be relied upon. The output level of these devices varies, so the user-selectable gain level is a very welcome addition. For instance, the output of our iPod Nano with classical music was quite low, so the facility to boost the signal by 4dB was appreciated. On the other hand there were times when attenuating the input by 10dB was necessary to allow finer volume adjustments late in the evening.
The sound quality achieved, even from these modest sources, is very respectable. Those seeking the next step up would need to look towards something like Logitech’s Transporter, a Linn DS player, or external DAC/pre-amplifier – perhaps from Benchmark or Lavry. This adds cost and boxes, and won’t be for everybody, but identifies where Dynaudio may have missed a trick…
I think Sonos and Apple offer the best interfaces for streaming music at the moment. The trouble is that the analogue outputs from the Sonos ZP90 and Apple Airport Express are good, but not exceptional. Well-implemented digital-analogue conversion in the 110 A would elevate such sources to a level that makes the case for moving away from traditional separates too compelling to ignore. Similar functionality exists in Dynaudio’s Air 6 monitors so it could be a possibility in the future. Such a product would also increase flexibility. For example, despite being a “multimedia loudspeaker”, I couldn’t use these Dyns directly with our games console, Panasonic plasma, or DVD player, for lack of volume control.
SOUND OBSERVATIONS Dynaudio is known for a full and weighty sound and the 110 A is no exception. Despite a 5.7” drive unit and 7.5 litre cabinet, this junior Focus sounds like a much larger loudspeaker, and didn’t leave me wanting for the optional subwoofer. I actually adjusted the EQ to reduce low frequencies by 2dB, which suits my personal preference for a lighter balance. Dynaudio says that stiff cabinets and the MSP drive unit contributes to the bass response, and provide a detailed technical document on their website for those that are interested. In comparison to their passive predecessors, the Contour 1.1, bass precision is improved thanks to the active configuration, which allows rhythms to be followed more easily, especially in complex passages.
The mid/bass crosses over at 1300Hz to a fabric dome tweeter that is larger than usual so can handle relatively low frequencies. Although the tweeter was in no way bright, it was audible to me that it covered a large proportion of the frequency range, so again used the EQ feature to reduce high frequencies by 1dB, to correspond with changes I had made to the lower frequencies, as well as personal taste. Dynaudio says that the low crossover point, which has a shallow, 1st order (6dB/octave) filter, is used to control dispersion of the drive units, and for reasons of phase response.
DRAWING CONCLUSIONS I thoroughly enjoyed my time with the Focus 110 A and could happily listen for hours on end without fatigue. The sound was always pleasant, with a variety of music genres and sources. My only suggestion, as mentioned earlier would be for a integral pre-amplifier to allow connection to multimedia sources such as televisions, that only offer a fixed-level output. These Dyns aren’t cheap but they are an extremely high quality product, with each part – cabinet, drive unit and crossover – manufactured to the utmost standards, in Denmark.

Can you hear jitter? Part 2

Sat, 19 Dec 2009 12:23:01 +0000

Back in March of this year HDD Audio hosted a jitter test. Members could download sample tracks containing varying levels of jitter to determine whether it was audible to them.
Original jitter test
Many couldn't hear any difference between the files but it was suggest by one manufacturer that the song wasn't appropriate, so we are running a second test with a track of his choice to establish whether this is anymore audible.
Sample 1
Sample 2
Sample 3
Sample 4
Sample 5

Review: Tesco HDMI cable

Sat, 19 Dec 2009 12:19:19 +0000

Overview
I needed to purchase an additional HDMI cable in readiness for a forthcoming digital source, which should arrive tomorrow.
Being impressed with their Finest range of loose tea — the Assam, in particular — I thought I would entrust Tesco for my electrical needs too. The cables were found easily at the end of the DVD aisle, and there were three options: Tesco Value, a more premium model, and at the top of the tree, a £20 Belkin.
The Value HDMI cable was priced at £3.65 for 1 metre. This was interesting, psychologically, because I felt it was just far too cheap. I looked then to the premium model at around £7, but couldn't see how it was differentiated. Neither showed an HDMI-certified logo on the packaging, so I worried about falling for a price discrimination tactic, and went for the cheaper model.
Aesthetically the Value HDMI cable cannot compare with the likes of Chord or QED. There is no expensive packaging, and the plain grey cabling and connectors were uninspiring.
Viewing
I hooked up the cable between a Sony PS3 and a Panasonic TH42PX80 plasma screen. The film on test was Sherlock Holmes and The Women In Green (1945), up-scaled to 720P.
The Tesco Value HDMI was highly revealing of this remaster from the Definitive Collection box-set, showing clearly the enhanced quality over previous versions of the Rathbone-Bruce film. Despite clever disguises used by Holmes in some scenes, the Value HDMI lead was capable enough to let viewers know what was really going on.
There were no break-ups in fast-moving scenes, and the sound quality was good, allowing the dialogue to be followed at all times.
Conclusion
I am extremely impressed with this HDMI cable and could not notice any difference at all between it and a more expensive model from Woolworths.
There is also a tiny Vivanco logo on the packaging, which I later noticed. I believe this company makes more premium cables too.

Review: AVI Neutron 5 N5 with Amp Paks

Sat, 19 Dec 2009 12:15:13 +0000

HDD Audio has now reviewed AVI's Neutron 5 with Amp Paks.
Please download the PDF, below:
hdd-audio-neutron-5-amp-pak-review
AVI NEUTRON 5 with AMP PAKS AVI’s Neutron – the first loudspeaker ever developed by the company – enters its fifth evolution, claiming to be better than its predecessors despite the smaller price tag. In 1997 the Neutron retailed at £499 and was soon considered the best small speaker up to £1,000 by some magazines. In 2009 the “N5” is just £399, and for £549 AVI will ship the speakers with 100 watts of “Amp Pak” strapped on the back – a power amplifier that is claimed to outperform the £1,600 Lab Series Integrated. This could be dismissed as hype, but a closer consideration of AVI’s changing business model explains how such advances have been made without additional cost being passed on to the customer…
The N5 Amp Pak system is sold direct from AVI’s online store – cutting out dealer margins – and a new drive unit supplier offers measurably better products at a lower cost. The Amp Pak derives from the V2 power amplifier but can be scaled-down for the easy load of the N5. Chief designer, Martin Grindrod, explained that knowing the loudspeaker load enables him to optimise the amplifier loudspeaker relationship for superior sound quality. There is no need to over-engineer and create a unit that can drive a 2-ohm load, with all of the associated costs.
Build and finish The N5s are presented in a striking black piano lacquer. It is the only finish available but very in at the moment. This level of gloss and shine is usually reserved for speakers in a higher price bracket. Amp Paks are hung neatly on the back of the speakers. They look purposeful but don’t protrude to the extent that they impact in placement. A large heatsink can be viewed from the underside of the Amp Pak but it is completely contained by the outer casing, so will not damage a rear wall or fingers. After several hours of use the casing is barely warm, so unlikely to cause any damage to surfaces.
Conveniently the on/off switch is located within easy reach on top of the ‘Pak. This, however, is an inconvenient place for the mains lead and RCA input to be. The cables have to be folded back and then run down the length of the amplifier, causing stress on the cable and risk of visibility. It would have been tidier if these inputs were positioned towards the bottom.
Both drive units descend from a formidable collaboration between some of the biggest names drive unit design, and international manufacturing talent. A 25mm silk composite tweeter is top-of-therange and sets the N5 apart from nasty metal units so frequently found at this level. The 125mm paper bass driver is custom-made for AVI but could have been glued more neatly around the dust cap and outer surround.
Sound There isn’t an “AVI sound” as such, which is why the company have a following amongst professional in the music business. The goal is neutrality; nothing added or taken away. Whilst other mini-monitors at this price point can be known to contrive an impression of clarity through a little lift in the treble, what sets the N5s apart is genuine midrange clarity – the result of a well-designed, high-quality crossover. There is no high frequency peak that stands out in the demo room but leads to fatigue once you get them home. The N5s can be listened to for hours without causing fatigue. The detail in the recording is wholly retrieved and served up courteously, as opposed to being forced upon the listener. Bass performance from a 5” drive unit in a 265 x 140 x 205mm cabinet will never rival larger designs, but is well-balanced within the context of the N5 – (AVI quote -6dB at 65Hz). In practice the bass is better than one might expect for the size of the speaker; it quite often surprises. The rear port prevents the sound from being anaemic, but is modest enough not to boom or smear the midrange. The Amp Pak’s 100 watts no doubt keep things in check; the low notes are always up-to-speed and tuneful, even at higher volume levels. There isn’t quite the pin-point articulation given by an active system, but the compromise here suits a speaker of this type.
Systems Using a run-of-the-mill Dell laptop as source via the headphone jack provides a complete system on a desktop, but raises issues. At low volumes an undesirable amount of noise is present over-and-above the music, noticeable at lower SPLs. Adding an off-board USB device solves this issue. Maplin’s rather modest USB Soundbox (£15) – an unglamorous USB DAC – eradicates the hiss and noise, therefore enabling long listening sessions. The gain in detail and clarity is audible enough for even a non-audiophile to appreciate. An M-Audio Transit (£50) would be a better option still. Also on test was a Squeezebox Duet, used from its analogue outputs to each Amp Pak. The Duet receiver could be permanently connected and hidden behind the speakers, which was better than trailing a lead from a laptop across the living room floor. Sound quality was pretty decent – the Squeezebox is generally agreed to possess a reasonable analogue output. Unfortunately the internal pre-amplifier did not allow fine enough volume control, which meant that the minimum volume setting was not quite low enough when listening to pop radio stations from the loudness wars era. A similar issue was encountered when using an Apple Airport Express as a source: the convenience of wireless streaming makes for a streamlined system, but finer volume control would be desirable. On the whole the best results were obtained from an iMac and Mac Mini. Not only did the Apple computers possess fine analogue outputs, allowing great sound quality, but the remote-controllable Front Row interface complements the ethos of the N5.
Conclusion The N5 Amp Pak deal has an awful lot going for it. The “bare” Neutron 5 is one of the best small monitors available, so adding some serious amplification for just £150 more makes this package a complete no-brainer. Any amplifier retailing for that amount would not compare with AVI’s 100 watts of clean power on offer here. Not only do they sound great but the small dimensions and sexy finish mean they should slip in to any home without fuss, whether it be on the desktop, or in the living room. Add a Squeezebox, Sonos Zone Player, or MacBook completes the system and will provide easy access to your entire digital music collection and a world of internet ratio, devoid of HiFi racks, endless cables, and other dustcollecting clutter.
It is a shame that some of the ADM9.1 features such as the remotecontrollable pre-amplifier did not trickle down as this could potentially improve sound quality, increase flexibility, and differentiate the product from the crowd, but AVI reserve these features for the flagship digital monitors and the forthcoming N5 2.1 system, where this functionality is cleverly contained within a subwoofer.
Overall the N5 Amp Pak is highly recommended to turn your computer or streamer into a very high quality and uncoloured HiFi system.

AVI Neutron 5 Amp Pak

Quad 9L USB Active speakers

Sat, 19 Dec 2009 12:13:25 +0000

The "9L Active" is a powered 2-way passive loudspeaker with 60watts of total amplification.
Drive units are 4" and 1", with a crossover at 2.2kHz.
The left loudspeaker is configured as a "master". It contains the infra-red sensor with which a remote control and select inputs and adjust volume. The right loudspeaker is a "slave" that receives signal via a phono lead from the "master".
Frequency response is 50Hz-21kHz, +/- 3db. Short-term SPL is 105db and signal-to-noise ratio is 86db.
Overall dimensions 248 x 152 x 237mm, H x W x D. Net weight 5.3kg.
There is a 3.5mm stereo input on the front panel, and a USB and stereo RCA input on the rear panel.

Chord Electronics: unnecessary complication

Sat, 19 Dec 2009 12:12:18 +0000

The Indigo is a new pre-amp / DAC / iPod dock from UK brand, Chord Electronics.
The casework is "bling" in their distinctive style, and the list of features, reported at What Hifi, should impress:
• Digital inputs SPDIF, AES, optical, and USB
• Digital input from iPod
• Streaming from Bluetooth A2DP
• Fifth-generation Pulse Array DAC
• Wireless connectivity of your iPod
However, is all of this necessary? And could you forego the £8,000 price tag by taking a different approach? A Chord representative himself told me at the Bristol HiFi show that the DAC section of the Indigo is equivalent to a much cheaper model from the same brand.
First of all Chord Electronics physically modify an iPod to obtain the digital output by routing SPDIF from an internal chip to a spare pin of the iPod dock connector. This then restricts you to that one iPod, and the screen is no doubt impossible to feed when across the living room sat on the sofa.
To counteract this Chord have developed a wireless dongle that you can plug into your iPod, and streaming via Bluetooth. Whilst this solves the issue of controlling music from the sofa, are you paying over the odds for something that Apple already offer for free?
Most people are aware by now of Apple's Remote App. - a free piece of software that allows you to control any iTunes library from an iTouch/iPhone. If your computer isn't close to the HiFi then Apple also sell an Airport Express unit for just £65 that can be connected to a DAC and have music streamed to it via Wireless N, which is significantly faster than Bluetooth.
Whilst I commend Chord Electronics for embracing the iPod Generation and am certain that the product sounds fantastic, they are adding streaming functionality that is bettered elsewhere for much less money. HiFi companies should stick to their core competencies of making the audio side of things; not reinvent the wheel and try to rival computing companies.

Chord Electronics Indigo iPod Dock DAC pre amp

What is the NaimUniti?

Sat, 19 Dec 2009 12:10:54 +0000

The NaimUniti is a new all-in-one HiFi system from UK-based Naim Audio, which answers the growing demand for integrated solutions, where companies like Arcam have been successful with their Solo range of products.
Below is an overview of what is included:
• Amplifier
• DAB, FM, and internet radio
• CD Player
• Network music player
• iPod Dock
• Music file player
• DAC
General product page is here.
It is certainly more comprehensive than most all-in-one systems, which may typically include just a CD player, and DAB tuner. Below we go into more detail about each part of the system:
Amplifier The amplifier offers three RCA inputs for conventional analogue sources, such as your television. There is DIN input, which is provided for use with a Naim SuperLine phono stage if you have a record player, and there is also a 3.5mm (headphone) socket on the front panel to allow connect of portable media players. There is a tape output for recording, a pre-output for adding additional power amplifiers, and two subwoofer outputs, if required.
The amplifier section is based on the Nait 5i. Power output is 50watts per channel, making it suitable for modest rooms, or loudspeakers that are easy to drive.
Radio DAB and FM are the most common options in the UK right now, but internet radio is growing rapidly, with variety and bitrates both on the increase. The NaimUniti will play iRadio streams, supporting WMA and MP3.
CD Player Naim say that the CD player is based on the similarly acclaimed CD5i, and a digital-to-analogue converter with an output filter derived from that developed for the stunning CD5x. Therefore we can assume the parts to be a 24-bit dual mono Burr-Brown with Pacific Microsonics PMD200 digital filter (Stereophile, 2004).
The CD swing drawer is as used on the CDx2 but with a new stronger mounting for support. The transport is a Philips VAM1202/12.
The NaimUniti will read "Red Book" CD as well as CDR.
Network music player The NaimUniti can access and playback files held on a UPnP server. File formats supported are ACC, WMA and MP3 (upto 320kbps), WAV, FLAC, and OGG Vorbis.
Apple Lossless is the obvious omission from the player, which leaves you in a pickle if you are an iTunes or iPod user with lossless files. A workaround would be to use server software that transcodes these on the fly, or failing that undertake a batch conversion to FLAC.
iPod Dock The NaimUniti can connect to an Apple iPod using a Naim N-Link cable. This will charge the iPod, pass through analogue audio, and allow navigation from the front panel.
Criticisms are obviously the analogue output, which will restrict the sound quality to the quality of the iPod's internal DAC. In the longer-term users may find the interface limited if they cannot read the small screen from their sofa.
Music file player A USB stick can be plugged into the front panel to allow playback of MP3, AAC, WAV, WMA, FLAC, and OGG Vorbis files. Again navigation may be limited by visibility of the small screen from the sofa. We assume that it will require memory sticks or harddrives formatted to FAT32 but have no confirmation as of yet.
DAC A DAC is a digital-analogue convertor, meaning that you can connect the digital output of a computer to the NaimUniti for improved sound quality. The inputs on offer are 5 SPDIF: 2 optical, 2 coaxial, and 1 mini toslink.
The conversion is presumed to be shared with the CD player: Burr-Brown DAC with Pacific Microsonics filter.
Read discussion about the product online:
• Pink Fish Media
• What HiFi forums
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What is the NaimUniti?

Can you differentiate MP3 from lossless?

Sat, 19 Dec 2009 12:08:29 +0000

Overview
It has been suggested by audiophiles that compressed music is awful and even very high bitrates are fatiguing.
Whilst HDD Audio has heard compressed music that does sound very poor, we are frequently suprised by low bitrates that sound fantastic. Due to this disparity we are inclined to believe that the quality of the original recording is still the most important factor in the overall result.
The files
HDD Audio selected a piece of music considered to be a decent recording of real instruments in real space.
The original CD was ripped losslessly, and three lossy files were generated from this: 128kbps MP3, 256kbps AAC, and 320kbps VBR MP3. Afterwards, the original lossless file and the three lossy files were converted back to WAV, so that bitrates of the compression cannot be determined by your playback software.

Please note that there are subtle variances in file size. This is not an indicator of quality, it is simply because the samples are of marginally different lengths, due to being snipped manually.
The test
Please download the four sample clips from below and post in our online forum if you can identify between any of the tracks.
RIGHT CLICK, SAVE AS...
• Sample 1
• Sample 2
• Sample 3
• Sample 4

Can you hear jitter?

Sat, 19 Dec 2009 12:07:29 +0000

Overview In order to test the notion that jitter is hugely detrimental to sound quality HDD Audio is presenting some music files that have been “jittered” using digital signal processing software, SystemVue, from Agilent.
 Although it is not possible to actually jitter the sample timing of the audio files (since that is determined by the replay DAC), we can modify the value (signal voltage) of the samples by an equivalent amount. The signal processing software calculates the trajectory of the signal from one sample to the next (interpolates), and therefore knows what the sample value would have been, had it been jittered.

 The files
 Two sets of files have been created. The first uses a flat jitter spectrum, and the second use a non-flat jitter spectrum (sloping) that may sound worse since it concentrates the noise energy due to the jitter close to each frequency component of the music.
 For the flat spectrum files the following jitter was applied : 0ns (unjittered), 1ns, 4ns, 10ns and 40ns, all rms values, Gaussian statistics.
 The second set of files is where the jitter spectrum falls at 6dB/octave above 100Hz and the levels applied are 10ns, 40ns, and 100ns, all rms values, Gaussian statistics.
 The test
 HDD Audio has taken four of these music files at random, and chopped each into 45 second clips. The samples will represent the best-case, the worst-case, and something in-between.
The files are available for you to download below in each Apple Lossless (ALAC) or FLAC format, depending on which software you use for playback. Both the ALAC and FLAC files are lossless and created from the same WAV files.
 Please download, listen and try to identify and any sonic differences!
You may comment below or discuss in the new forum.
FLAC files:
· Sample A
· Sample B
· Sample C
· Sample D
Apple Lossless files:
· Sample A
· Sample B
· Sample C
· Sample D

Lavry: Getting the most from your computer

Sat, 19 Dec 2009 12:05:49 +0000

HDD Audio have recently been in touch with Lavry Engineering, who were kindly very forthcoming with information advising us how to get the most from our computer audio.
The key issue, says Lavry, is that a bit perfect output is obtained from the computer. This requires the end-user to understand that their operating system or software may be resampling the audio, and to make necessary settings adjustments to prevent this, if possible.
In a Mac-based system running iTunes the Audio MIDI settings must always be set to 24bit, and the sampling rate much match the file being played - i.e. 44.1kHz for rips of Red Book CD.
Below is the full transcript, kindly permitted for posting by Lavry Tech Support:
"There are some pitfalls when using either type of computer (Mac or Windows PC), which vary depending on the operating system involved. The latest operating systems may introduce sample rate conversion in a way that is not immediately apparent to the user, except that the sound quality may suffer.

In Mac computers running OSX, unless the output sample rate of the Audio MIDI settings is set to the same sample rate as the playback file, a rather low quality sample rate conversion may be introduced. Some of our customers became aware of this by the front panel indicator of the DA10 showing a different sample rate than that of the file they were playing at the time. Even if the settings do match, if a file at a different sample rate is played without first manually switching the output sample rate setting in the Audio MIDI settings dialog, the sample rate conversion will automatically be introduced. The DA11 can also indicate the sample rate of the signal it is receiving in "setting mode."
This makes playing back a mix of files recorded at different sample rate rather work-intensive, if you really want accurate playback. One possible way to avoid this is to use the higher quality sample rate conversion (SRC) that is incorporated in iTunes when you "rip" the file. By choosing a sample rate (96kHz for example), you can rip the files from any source and convert them all to 96 kHz files so that there is no change in sample frequency during playback. This is not a real "purist" approach, but for many listeners is a reasonable compromise to accomplish ease of use.
There is a similar sample rate/SRC issue with Windows Vista, but from what I understand, this can also be manually over-ridden. Windows XP does not automatically introduce sample rate conversion in this manner.
There is also another issue with Mac OSX- the output must be set to "24bit" even when playing back 16 bit files to avoid changes to the lowest-level bits.
Another issue common to both types of computers is the digital level controls. In most cases setting and leaving the digital level controls at "unity gain," which is typically "all-the-way-up," allows the digital signal to pass to the converter unaltered. The Lavry DA10 and DA11 feature digitally controlled ANALOG volume circuitry that allows the converter to operate at full resolution while controlling the volume over a wide enough range to act as a speaker level control. Because this circuit provides less degradation to the signal quality than even high quality "knob type" volume controls (potentiometers), the quality provided by converting the digital signal at full resolution is preserved, even at low volume settings.
There may also be additional signal processing options (like tone adjustments) available in both Mac and Windows playback software, but if you really want accurate playback, using them is not recommended. It is a good idea to check these options, to be sure that the default setting is not "on" if you do not want to use these features.
Either the DA10 or the DA11 can be connected directly to a Mac's built-in optical digital audio output using the appropriate fiber optic interconnect. This is effectively an "SPDIF" optical digital audio output, which is similar to the outputs on many stand-alone CD players. The difference is that the Mac has a "combo jack" that serves as both a (wired) headphone output and an (optical) digital audio output. The jack is the same size as a "mini" headphone plug, so you either need a "3.5mm to Toslink" fiber interconnect or a "Toslink to Toslink" interconnect with a "Toslink to 3.5mm" adapter on the end plugged into the Mac.
The DA11 has a USB input, which allows direct connection to virtually all Mac and Windows PC's. It is pretty much "plug and play," but it is a good idea to check the settings I mentioned earlier to get the best results. We recommend checking to be sure the computer has the correct output before purchasing a DA10 or DA11 for this application.

Even if the computer does not have the output in question, there are many interfaces available that can be used instead. The main drawback is the additional cost of buying a separate interface, but there can be other performance advantages like bypassing the whole automatic sample rate conversion issue. For recording applications most of our professional customers use some other form of interface such as a PCI card; stereo playback tends to be less demanding in terms of coordinating with the internal operations of the computer and software, so the optical digital or USB solution works well for "music server" applications in the vast majority of cases."
Lavry also clarified the concept of Bit Perfect:
"Bit Transparency." "What that means is the data which is passed through a device or process is left untouched. In the perfect sense, this means that the exact same "bits" recorded in the file reach the device in question; in this case the DA converter.
.Yes, if the settings issues are addressed in a computer music server, you can achieve "bit transparent" transmission of the information in the file to the DA converter using either the optical or USB connection.
The problem comes in when something like SRC or level adjustment is introduced. If the process is high quality, only the least significant bits will be affected; but they are still different than the original file. The audibility of these changes can vary depending on many factors like playback environment and the quality of the DA converter and HiFI system, as well as the quality of the process itself."
Many thanks again to the guys at Lavry for writing this article.

Lavry Engineering DA11

Apple Front Row

Sat, 19 Dec 2009 12:01:02 +0000

Below is an overview of my solution as something to bear in mind, and more importantly as a benchmark for user interface.
My source is a Mac Mini with a 1TB USB drive. It connects directly into my plasma, so there is no worry about bandwidth when playing films in the main room. I remember that you have Gigabit Ethernet anyway so should be able to stream to secondary rooms without problems either.
Control can be via the supplied IR remote or via VNC - avoiding a keyboard and mouse.

HDD tests ripping software

Sat, 19 Dec 2009 11:55:31 +0000

When I started this website the intention was to keep the topic of computer audio simple, so that I wouldn't alienate readers. However, iTunes' ripping ability is often questioned by prejudice audiophiles, so I decided it was essential to run some tests.
Why we are testing this:
Audiophiles believe that there can be huge differences between the sound quality of a CD ripped with specialist software such as EAC, and more mainstream offerings such as iTunes and Windows Media Player.
There are also claims by HiFi companies such as Naim Audio that rips made with their expensive music servers are far superior to rips made by a computer. Members discuss the issue on their forum.

HDD Audio wants to establish objectively whether this is true. An explanation of the test is below and relevant screenshots are attached at the bottom of the page.
Equipment used:
• CD 1 - fine condition. A few surface marks but plays perfectly on CD players.
• CD 2 - heavily scratched. Skips in almost all CD players.
• Dell Inspiron 1520 - CDs ripped to WAV with EAC, iTunes 8, WMP and dbPower Amp.
• Intel Mac Mini - CDs ripped to WAV with iTunes 8, MAX, and XLD.
• EAC "Compare WAV" - software to test the files.

CD1 summary:
The rips made of CD1 by EAC and XLD were verified to be perfect by the AccurateRip database. Over 150 other people had obtained exactly the same rip as I had, guaranteeing that it was free from error.
I then used EAC's Compare WAV function to compare these "perfect" WAVs with the rips made by iTunes on Windows, iTunes on a Mac, and Windows Media Player (WMP). All of the files matched. There were no differences in the samples within the files.
However, there are two issues with iTunes and WMP. Neither piece of software prints a log file to verify that the rip is accurate, and neither piece of software allows adjustments of advanced settings, such as drive offset. The net result of this is that an iTunes rip may miss or repeat a tiny number of samples at the beginning of a CD.
The drive on my Mac Mini has an offset of 102, which means that it misses 102 samples, but a CD samples 44,100 times per second, therefore all I am missing is a completely insignificant amount of silence at the beginning of the CD. Specialist software such as EAC allows the user to correct this.
CD2 summary:
The tests of the scratched CD are more interesting. Despite the damage iTunes ripped the CD briskly and the music could be played back without any audible clicks or pops. EAC and XLD struggled, presumably because they could not verify the data that was being read. EAC would freeze, and XLD told me that there were 1000hrs remaining for it to rip the first track!
A comparison of several iTunes rips revealed that the rips were completely inconsistent, with different samples reported throughout the file. iTunes did not inform the user that there were any issues.
In fairness this CD is completely ruined and skips on most CD players.
Conclusions:
As far as I am concerned iTunes on both of my computers could rip tracks from CD1 that matched precisely the rips made by specialist software, which were verified by databases.
I have no reservations in recommending iTunes to rip a CD collection. It will be perfect on all but completely ruined discs.

Apple's own guide to wireless streaming

Sat, 19 Dec 2009 11:51:16 +0000

Apple provide an excellent video on their website, advising how to stream music wirelessly.
http://www.apple.com/findouthow/mac/#tutorial=wirelessmusic

To dock or not to dock

Sat, 19 Dec 2009 11:48:08 +0000

iTunes is now the number one music retailer in America, having sold in excess of 5 billion songs (Apple, 2008).
Over 150 million iPods are reported to have been sold in the world (Gabba, 2008).
CD Sales have halved since the year 2000 (Financial Times, 2009).
The iPod is becoming the main source of music for many. It is only natural for the iPod Dock market to be as ripe as it is, but can the iPod dock serve as a practical HiFi source for the main living room?
There are two types of docks: all-in-one units with built-in speakers, and units that pass audio to an external HiFi system. The latter option will allow maximum sound quality.
The criticism that HDD Audio has of using an iPod dock is in how friendly the control experience is for the end user. This is not based on audiophile prejudice! Whilst it is great to be listening to all of your iPod music through a HiFi system, the user interface can begin to wear after a short while.
What control interface does the iPod dock offer?
Many come with a remote control but it is unlikely that you will be able to read the small screen from your sofa in order to navigate the music collection effectively. The internal storage of the iPod is not unlimited, so if you're using lossless files the overall number of albums you will be able to store may be insufficient. If you discover that the one album that you want to listen to isn't on the iPod, you'll have to turn on the computer and add the music. Furthermore, the vast majority of iPods do not allow a digital output, limiting the potential sound quality.
What is the alternative?
You must remember that if your music is on your iPod then it is also on your computer.
Your entire music library can be stored on a computer. The computer can output a digital signal for maximum sound quality. And the music on a computer can be controlled over your wireless network, so it doesn't matter if the HiFi system and the computer are on opposite sides of the room, or in different rooms entirely.
The first suggestion might be to use an iPod Touch as a remote control. With a free piece of software called Remote App this will bring the iPod to your sofa so that you can control the music wirelessly using the touch screen. If the computer is in another room then an Apple Airport Express will stream the music in wirelessly, and unlike an iPod it offers a digital output.
Another product to consider is the Apple TV. Think of it like an iPod for your TV. It has internal storage for music, films and photos, and can be controlled through a lovely interface on your TV screen called Front Row, with the supplied infra red remote. It can also act as the Airport Express does so that you can stream music to it, and it can be controlled via Remote App. too if you do not want the TV switched on.
Alternatives worth looking at away from Apple might be Sonos and Squeezebox. Both of these devices are known as "network music players". They connect to the music files on your computer through your wireless router, and pull them through to your HiFi system. Both are controlled by impressive remote controls that contain their own screens for album artwork.
Summary
iPod Docks are great devices for getting music out of your iPod quickly and easily. However, in the longer term the interface is too compromised for home use. Seeing as they were designed primarily as portable devices to be held in your hand it is not suprising.
If you're considering an iPod Dock for home use we encourage you to think outside the box and read the beginner's guide on this site to find out how to get the best from computer audio.

To dock or not to dock?

iTunes creates perfect rips

Sat, 19 Dec 2009 11:45:37 +0000

On various audiophile forums members talk about the sonic differences between ripping software and some say, perhaps with prejudice, that the quality of a CD when ripped with iTunes is inferior to the same CD ripped with other software such as EAC.
Mastering engineer and member of the AES (Audio Engineering Society) , Kent Poon, has recently undertaken tests of the ripping quality of iTunes, and compared it to EAC, as well as Plextor and Wavelab professional software.
Read the full article here.
It was concluded that all rips were exactly the same across all pieces of software. Therefore iTunes ripping is perfect. No data is lost when import a CD to iTunes when using AIFF and error correction. The evidence generated from the testing is in the article link above.

Would you like to import your CD with iTunes?

Stream to a computer as if it were an Airport Express

Sat, 19 Dec 2009 11:43:55 +0000

I have known about "Airfoil Speakers" for ages but never thought to use it in this way...
All of my music is on my Mac Mini, which is connected directly to my TV and HiFi.
However, I am often working on my non-Apple laptop on the other side of the room, and stream from there. This requires the Airport Express to be plugged in, which calls for another mains socket and source input - both of switch I am short of.
Anyway, I had a brainwave to install "Airfoil Speakers" on the Mini, and run it as a start-up item.
This means that now I can click a radio station, Spotify, etc, on my Windows laptop, and it flies through the air, through my Mini, and in to my speakers.
Airfoil sees the Mini as if it were just an AEX:

iTunes DRM overview

Sat, 19 Dec 2009 11:40:50 +0000

Music bought from the iTunes store before the days of iTunes Plus will contain digital rights mangement (DRM), a form of copy protection, which restricts playback to authorised iTunes libraries and iPods.
Many people criticise iTunes for being “closed”, but Apple CEO Steve Jobs insists that it was necessary in order to for the music companies to allow music to be distributed in this way (Apple, 2007).
At the beginning of the year iTunes Plus was launched, offering DRM-free music and a higher bit rate of 256kbps AAC. It is the new standard on iTunes Store and applies to 8m of the 10m tracks on sale (MacWorld, 2009).
iTunes Plus music can be burned to CD as many times as you need, synced to any AAC-enabled device (such as iPod, iPhone, or Apple TV), and played on any Mac or Windows computers you own (Apple, 2009).
iTunes Plus music can be differentiated in the iTunes Store by a plus icon next to the pricing.
To establish whether existing music in your iTunes library is DRM’d you can look within the properties of the track by right-clicking on it and then left-clicking on Get Info. Within the first tab, Summary, you should be able to see if it is protected. Screenshots below are for guidance.
Summary:
iTunes store - 128kbps AAC with DRM iTunes Plus - 256kbps AAC, DRM-free
DRM’d music in the iTunes store is being phased out and in the future should not be anything to worry about. If you’re stuck with DRM’d songs that you’d like to play outside of the scope of the FairPlay system then a simple workaround is to burn the music to a CD, and then rip it back in MP3 format.

Conflicting advice from Naim Audio

Sat, 19 Dec 2009 11:26:39 +0000

When a member of Naim Audio's forum suggested that CD-ripping software EAC could outperform the ripping process of Naim's HDX, the boss, Paul Stephenson said:
"Sorry, you're dreaming!"
International Sales Manager, Doug Graham, told audiences at Bristol HiFi Show:
"other rippers only claim to be perfect."
...and that the Naim's ripping is superior.
After listening to the demonstration a member of the audience asked Doug, during a Q&A session, whether Naim had tried quantify why the rip from their HDX was better than a rip from a MacBook, for example. He couldn't answer, and then tried to tell the questioner that NAS drives sound different too.
It was a shame that Naim didn't have this information because mastering engineers such as Kent Poon have measured iTunes rips and provide evidence that it is perfect.
HDD Audio decided to do some more research into the matter and came across a white paper from Naim, that talked more about their ripping engine. The following criteria is stipulated:
• Secure mode ripping
• Drive mechanism that does not cache data
• Capability to retrieve C2 error info
Whilst this might sound "special", the same criteria laid out by Hydrogen Audio's EAC setup guide too. The more you read up on this, the more you'll realise that is is pretty standard stuff.
Even more disappointing is that when you install EAC (a free piece of software, by the way), the whole drive detection process is undertaken by a simple wizard, and even the drive in my entry-level Dell Windows XP laptop was suitable.
If you read the conclusion of Naim's white paper you will see where it conflicts with the advice of the sales guys:
"It is possible to create an equivalent ripping system using a PC, CD-ROM drive and ripping software"
Taking a step back to think about this, there is no reason why the HDX will produce superior than a computer, because the HDX is, in fact, a computer itself! It features a Mini iTX motherboard, a couple of Seagate harddrives, and it is powered by the DigiFi platform, which runs Windows XP...
The HDX does, however, save you the 5 minute process of installing EAC, and irons out many variables.
UPDATE: Naim Audio have kindly responded this article. Thank you, Paul Stephenson.

Convert FLAC for iTunes

Sat, 19 Dec 2009 10:50:18 +0000

This is tutorial explains how to convert FLAC files so that they will play in iTunes, on a WINDOWS XP computer. Please read the guide in conjunction with the pictures at the bottom of the page.
Overview
FLAC is an acronym that stands for Free Lossless Audio Codec. It is open source and very popular with online music stores, so will be the most likely high quality file format available for download.
What do we convert FLAC to?
FLAC will not play in iTunes, so must be converted. Apple Lossless (ALAC) is a direct equivalent, but limited to 16 bit. Therefore convert your 16bit FLAC files to ALAC, and your 24bit files to AIFF.

How do we convert files?
On a Windows machine we recommend a piece of software called dbPowerAmp Batch Converter. It is available for download on a free trial basis. You will also need to download the FLAC, ALAC and AIFF codecs.
• Download and install dbPowerAmp.
• Download each ALAC, FLAC and AIFF from the codecs page and install them.
• Open dbPowerAmp.
• Select the folder where the FLACs are saved.
• Press the Convert button.
• Define the various options and click convert.
• Wait for the conversion to complete.

Adding the files to iTunes
The ALAC or AIFF files should now be in the folder with the FLACs, unless you've specified for them to be placed elsewhere.
• Open the folder containing the files.
• Open iTunes.
• Highlight the AIFF or ALAC files and drag them into iTunes.
• Wait whilst they copy.
•
Where are the files now?
There will now be three copies of the music on the computer. The original FLAC files, the converted AIFF/ALAC files, and the AIFF/ALAC files copied to the iTunes library.
You can confirm the location of the files with the iTunes library by right-clicking on a track and noting the "where" field. Once you are satisfied that files have been copied to your library you can delete the other two copies.

The gear of the century isn’t gear

Thu, 10 Dec 2009 19:13:03 +0000

First of all, let's establish the basics: I'm old and grumpy. I love my music and want easy access to it. I love good sound but I don't want to think about it. The messy obsessions of vinyl left my house early. My CD collection's jewel boxes followed shortly thereafter, and I put all my CDs in binders, categorized by, well, categories. I have binders with labels like "American Roots," "Brit Pop" and "Post Bop." It's all about access...organization...fusslessness. So once I heard about it, the concept of my entire music collection on hard drives at the tip of my fingers had massive appeal. So I pushed my grumpy old ass to the front of the technology curve, ripped all my CDs to a big hard drive, and joined the oh-so tech-forward digital music server crowd.

Awfully modern for an old grump such as myself, but I like to think of it as making a small sacrifice of forward-thinking to achieve a huge, grump-approved gain in music-listening pleasure. With all of my music in iTunes, I have an organized, searchable database at my fingertips. The net result is I find myself listening to music I haven’t listened to in years.
Remember King Crimson’s Lark’s Tongues In Aspic? How long has it been since you listened to Highway 61 Revisted? The first Tom Petty & The Heartbreakers album ? For me, it has been mere days. A recent reminder of how superior my music is to everything produced in the last few decades, that greatly enhances my grumpiness, thankyouverymuch. This stuff is important, people.
On the other hand, my computer audio…thing…has encouraged me to download and stream -- I thought these were bodily functions until recently – and those two activities have introduced me to much new music that I wouldn’t have otherwise heard. Music, sometimes, made recently by people young enough to be my children. I’ve had to suppress the urge to scream “Hey! You kids! Get offa my RAM!” because some of this new music is actually good. You would think this would destroy my grump status, but no. When faced with the quality of something like The Decemberists The Crane Wife, I just tell young people that the band is clearly influenced by Jethro Tull, and they should get themselves a copy of Thick as a Brick. With an earful of early Coldplay I just casually say something like “They obviously grew up listening to Pink Floyd, huh?” The White Stripes? Please. Too easy.
Mac v Windows You too, can be a fashion-forward, thoroughly modern Grump, convert your CDs to cd-quality files on your computer, have your entire collection at your fingertips, and stream it wirelessly all over your house. But it’s a lot easier if you start with a Mac (Dear Brits: I’m not talking about your raincoat).
Windows XP has some problems I don’t quite understand (it's a blessing) that prevents it from maintaining a bit-perfect (ie: the data being saved to hard drive and played back is a perfect match to the data on the original CD) data stream. I understand there are ways around this, requiring additional software and “configuring” a word that, when used in any conversation also containing the word “Windows,” fills my grumpy old heart with dread. I also understand that Windows Vista doesn’t have this problem, though that is, apparently, the only problem that Windows Vista doesn’t have. I'll stick with the Mac. While the benefits of having something like Windows to bitch, complain and otherwise be grumpy about are obvious, working with the damn thing just takes too much time. I'm just looking at the larger picture here people: I'm not just grumpy; I'm old. I don’t have that much time to waste.
Once you get your collection ripped to hard drive(s), preferably on a Mac, there are a variety of ways to get it into your headphones, you main system, your bedroom (who needs Viagra if you've got Marvin Gaye?), your office...all around the house. And as in all things audiophile, there are tweaks to obsess over and equipment you can spend near-infinite amounts of money on that will get you tiny little incremental improvements, or at least will let you imagine them. Don't bother. At least not at first. Get the hard drive, maybe a simple, outboard DAC (digital to analog converter), hook it up and play. Does it sound as good as your CD player did?
We're done here.
Phelonious Ponk
ON EDIT: For details about dirty words like "configuration," see Apple, or the management here at HDD. It's way above my pay grade.

Mac Mini, "headless" ripping

Thu, 10 Dec 2009 19:11:51 +0000

Overview:
The Mac Mini is a fantastic choice for any person looking to use a computer as the source of their music. Due to its small size and quiet operation, it is also tempting to use the Mini "headlessly", which means that it could sit in your HiFi rack without a monitor (the "head"), and without a keyboard and mouse.
One may wonder how you then control the computer if it omits these essential accessories. It is infact easy if the Mac Mini is simply being used as an iTunes server. When set-up correctly the Mini can automatically rip and tag any CD that is inserted, and the music can be selected via Remote App on the iPod Touch.
A comprehensive guide to using the Mac Mini as a server will be published in due course, but for now we will cover the first step, which really helps to save time when your entire CD collection is piled up ready for ripping as you embrace the new world of computer audio.
The headless ripping is enabled, quite simply, by accessing a setting menu within iTunes and asking it import any CDs that are inserted, and to then eject them when complete. The tagging should occur automatically so long as the computer is connect to the internet.
How to do it:
Open iTunes and then...
• Enter the "Preferences" menu by clicking "iTunes" in the toolbar
• Navigate to the "General" tab
• Select "Import CD and Eject" from the drop down menu
• Tick the box, "Automatically retrieve CD names from internet" too
• Click "OK".
This auto-ripping procedure need not just apply to the Mac Mini but indeed any computer running iTunes, if you wish.
Mac OSX: enter "Preferences" by clicking "iTunes" in the toolbar when iTunes is open.
Windows: open iTunes and look under "Edit" in the toolbar.
This tutorial relates to iTunes 8.