Category: audio

02
nov

The never-advertised, always coveted headphones built and sold in Brooklyn

 

Buried in a packed townhouse on a quiet street in south Brooklyn is a manufacturing operation that produces some of the most renowned headphones in the business. Despite Yelp reviews for the business, Grado Labs doesn’t sell directly from its location to consumers, though it does take the occasional walk-up request for repairs. For the most part, its long-time employees, including owner John Grado and his son Jonathan, tinker away through four crowded floors on audio gear that hasn’t appeared in advertising since the 1960’s.

In the building, the company assembles and ships models that range from the flagship PS1000, priced at $1,700, to the $79 SR60s. As of early June, Grado has evolved the drivers for the second time in 23 years, from the I-series to the E-series.

The average New York City apartment building is narrow to begin with, but Grado’s space is like a house eternally in the middle of moving day. You get around by edging your way around boxes, through the halls, on the stairs, and in the rooms. During the holiday season, Jonathan says, the boxes are stacked high enough to effectively move the walls in.

The company does all the injection molding of the plastic parts for its headphones in the basement with two machines, one old and one modern. The machines also still churn out parts for turntable cartridges, of which Grado shipped half a million per year in vinyl’s heyday. In the early ’90s, those shipments dropped to around 12,000, but hipsters have surged cartridge sales back up to 60,000 units in recent years.

One of the prototype models of headphones in the listening room.

Enlarge / One of the prototype models of headphones in the listening room.
Jennifer Hahn

Throughout the house, women are putting the headphone components through stages of assembly: stamping logos and dates of origin, carefully gluing thin mesh screens onto the drivers, or snapping the pieces together into a finished product. One woman, Lorina, has worked at Grado for 25 years, since the company started making headphones.

The first stereo headphones were tiny speakers surrounded by couch cushion foam, created in 1958 by John C. Koss, a jazz musician who lived in Milwaukee. After Koss came Philips, Onkyo, and Sennheiser with their own models, and then Sony brought headphones out of the home with the Walkman in 1979.

Grado didn’t start developing headphones until 1989, shortly before John Grado bought out the company from his uncle. True to the headphones’ origins, though, their sound is particularly suited to jazz music. According to reviews, they tend to lack a bit on the low end and have a“bright” sound that can be too much for some ears. This contrasts Grado’s foil, Beats Audio, a company that makes headphones infamous for their emphasis on bass. Audio reviewers also know Grado headphones as products that expend as much quality as cost allows on the audio itself, often at the expense of style on the lower-end models. Beats is the other way around.

Lorina walks me through assembling my own pair of SR60s using injection-molded pieces, a driver, and two different kinds of glue. The various parts for each type of headphones are stashed all around the room and building in stacks of mostly unlabeled cardboard boxes. Lorina and the women who work putting together the headphones can distinguish which pieces belong to which models on sight, and they instinctively know which boxes the right pieces are scattered in. She culls parts from a series of boxes in different parts of the room and puts my incompetent self to work.

Soldering headphones like a boss.

Enlarge / Soldering headphones like a boss.
Jennifer Hahn

 

A pile of injection-molded parts from the Grado's machines in the basement.

Enlarge / A pile of injection-molded parts from the Grado’s machines in the basement.
Jennifer Hahn

Lorina’s hands are so fast and sure at putting the headphones together her movements startle me. She shows me how to apply two different kinds of glue and how to solder the wires from the driver. In about five minutes, the headphones come together into one piece, and she lets me test them the way Grado tests every headphone: with an 80Hz tone that feels like Inception. Since my shoddy craftsmanship came after most of the important assembly steps (namely, the driver got there before I could mess it up), they actually work.

The only part of the headphones that are built off-site, according to the Grado family, is the driver. These are manufactured by one man on Long Island who doesn’t work exclusively for Grado, but he has the space to put drivers together that Grado does not in its packed and rickety townhouse. The driver design was built and refined in-house, John says; it’s just the handiwork that happens in Long Island.

All of the testing of the headphones takes place in the listening room on the top floor of the Grado building, which is filled with leather furniture and two shelving units of turntables and receivers. The shelves are bookended by a set of peculiar speakers, which aren’t so much speakers as two stacks of headphone drivers encased in wood. The speakers are an experimental design that Grado decided never to ship, but the models stand waiting if the company ever decides to expand. Playing to the headphones’ strengths (or, more likely, the Grado family preferences), the company tests and develops new drivers by listening to artists like Ella Fitzgerald or Eric Clapton in the listening room.

Here I try out two prototype models of Grado’s professional variety of headphones, the GS1000e and PS1000e, while listening to The Fairfield Four. I can hardly tell the difference between them, but in each pair, I can hear each individual reverberation of the baritone singer’s vocal chords.

The SR80s, Grado's basic pair of on-ear headphones.

Enlarge / The SR80s, Grado’s basic pair of on-ear headphones. Jennifer Hahn

And what if a big company, say, Apple, came knocking wanting to expand into a new hardware area? “It’s not for sale,” John said. He likes the hands-on process of taking headphones from pieces to product and being involved in the minutiae of the business. Selling, or even expanding the space enough that he would become more removed, isn’t in his interest.

After Jonathan graduated college and completed a stint at Sonos, he returned to the family business this year, ready to get into more of the profile-raising his father never really cared for. In the coming months, he’ll ship off to conferences to represent Grado to fellow audiophiles, interested retailers, and competitors. But while Grado is slowly adapting to social media, it has no intent to bring back advertising or celebrity endorsements. For the foreseeable future, it’s just the Grados in their narrow townhouse making the little-known, well-loved line of headphones.

 

Source :

Listing image by Jennifer Hahn

30
mrt

High Resolution Audio : Everything you need to know.

high res audio

high res audio

High-res audio (HRA) has emerged as arguably the ultimate sonic selection for digital music fans, but what’s it all about, what do you need and how can you get it? Allow us to explain.

2015 has seen high-resolution audio (HRA) hit the mainstream, thanks to the release of more devices and services that support the audio format.

From Neil Young’s PonoPlayer to high-res audio support on the Sony Xperia Z3 and high-res streaming on Qobuz, there’s been plenty of noise around HD audio.

But how did it all start and where is the market heading?

As the music industry shifted away from physical media such as CD and vinyl (the vinyl resurgence not withstanding), many of us moved to digital downloads from sites such as Amazon and iTunes, and latterly streaming services, such as Spotify.

These sites use compressed file formats with relatively and low bitrates, such as 256kbps AAC files on iTunes and 320kbps MP3 streams on Spotify.

And with regards to sound quality, these formats aren’t telling the full story of our favourite songs. The use of lossy compression means that data is lost in the encoding process, which means resolution is sacrificed for the sake of convenience and smaller file sizes.

This might be fine on the bus when you’re listening to your iPod or smartphone, but some serious music fans want better. This is where high-resolution audio – or HRA, the term coined by the Consumer Electronics Association – steps in.

Astell & Kern, LG, Samsung, Sony and FiiO are just some of the companies to have launched high-resolution audio compatible products so far, while several download sites now offer better-than-CD quality music files, with the likes of HDtracks and Qobuz now live in the UK. HRA also has the support of major labels and musicians.

But what does high-resolution audio actually mean? Where can you get it? And what do you need to play it on? Don’t worry – all your questions and more are answered on this page.

Continue Reading..

17
nov

NEW Sonos Play 5 + Trueplay

Trueplay

Trueplay is volgens Sonos voortgekomen uit de gedachte dat er maar weinig huizen zijn met een perfecte akoestiek. In welke kamer je de speaker plaatst en waar in die kamer – het zijn bepalende factoren voor de geluidskwaliteit. Standaardspeakers vereisen complexe en kostbare professionele callibratie. Met Trueplay tunet iedereen zijn speakers zelf, met één druk op de knop.

Sonos-Trueplay

Het systeem analyseert – met behulp van de Sonos-app, de iPhone- of iPad-microfoon en een door de Sonos-speakers speciaal uitgezonden toon – hoe het geluid in elke willekeurige kamer terugkaatst via muren, meubels, glas en andere oppervlakken. Daarna tunet Sonos de speaker zo dat de muziek optimaal klinkt voor die ruimte. Trueplay is in eerste instantie leverbaar voor alle Sonos PLAY:1’s, SONOS PLAY:3’s, SONOS PLAY:5’s en iOS-controllers en is later voor alle Sonos-speakers beschikbaar.

Sonos PLAY:5

De nieuwe PLAY:5 staat in het teken van een nog betere audioweergave. Met zes gesynchroniseerde, aangepaste drivers moeten de drie midwoofers gedetailleerde middentonen en diepe, krachtige tonen bieden. Drie tweeters moeten zorgen voor een helder geluid in de hoogste segmenten.

Voor het eerst is de PLAY:5 op drie verschillende manieren te plaatsen. Plaats hem behalve horizontaal als enkele speaker ook verticaal met een tweede PLAY:5 voor een nog groter en gerichter bereik. Twee horizontaal geplaatste speakers zorgen voor meer stereogeluid en een kamervullende luisterervaring.

Sonos-Play-5-1

De nieuwe PLAY:5 is voorzien van een strak design, maar qua functionaliteit doet elk detail ertoe. Met de nieuwe touchknoppen is de speaker intuïtief te bedienen. Afspelen, harder zetten of naar een volgend nummer gaan is met deze knoppen mogelijk. Slimme sensoren zorgen ervoor dat je de speaker altijd kunt bedienen, hoe hij ook is geplaatst. Net als zijn voorganger werkt de nieuwe PLAY:5 met alle andere Sonos-speakers. Hij biedt zelfs meer mogelijkheden doordat hij als achterspeaker kan worden gebruikt en in een homecinemasysteem samen met de Sonos PLAYBAR en de SUB.

De nieuwe PLAY:5 is standaard leverbaar in matzwart en matwit voor de prijs van 579 euro

25
aug

Steve Jobs ‘ long-lost Stereo System

Steve Jobs was a closet audiophile. Yes, the man responsible for the iPod and the global domination of low-res MP3 files had a serious Hi-Fi fetish. As musician and audio quality champion Neil Young said in 2012, “Steve Jobs was a pioneer of digital music. But when he went home, he listened to vinyl.”

This wasn’t a just wealthy man indulging in some hipster fantasy. Jobs’s analog roots ran deep, stretching back to at least to 1982. That’s when photographer Diana Walker snapped this candid portrait of him in his Woodside, California home. Other than the Tiffany lamp, the room’s only furnishings are a clutch of stereo components and a small stack of vinyl LPs. The shiny boxes loom large in the background like sacred totems, which is precisely what they were to Jobs. They embodied everything he held dear in high-end industrial design: clean lines, quality materials and workmanship, outstanding performance–price be damned. Although he would eventually upgrade to far more exotic equipment, like six-figure Wilson Audio speakers, this old school rig is still considered serious audio porn today. It should have been shipped off to the Smithsonian, preserved behind glass. But, like so many of the toys that famous men collect, it simply disappeared. Fortunately, the photograph and the forensic evidence it contains, remain.

For the curious, if you were to put together this same stereo rig today by picking up the components on the used market, it would cost about $8,200 — not including the records.

 

TurnTable: Today, you can pick up a MK1 GyroDec for about $1,500 used or $2,500 new. Over the past several decades, the company has made incremental improvements to the turntable, but the basic design remains unchanged.Michell Engineering

Speakers : The young Steve Jobs was not into puny bookshelf speakers. While he owned a slightly different model of these electrostatic Acoustat Monitor 3s (his had a wood riser base and a rare white grill cloth), these electrostatic speakers still were renowned for their smooth midrange.

The records : The three identifiable albums in the photo include: Bach Brandenberg Concertos (Jean-Pierre Rampal, Maurice André; RCA), Ella Fitzgerald: The Cole Porter Songbook (Vol. 1, Verve) and Steely Dan’s Aja (ABC).

Preamp : The $1,200 (on the used market) FET-One was Threshold’s reference preamp when the company was at its peak in the late ’70s. It was designed to be paired with best power amps, like the STASIS-1 in the next slide.Threshold Audio Inc.

Poweramp : The $2,000 (on the used market) STASIS-1 is a 200 Watt per channel monoblock beast that looks like Darth Vader’s table radio.Threshold Audio Inc.

Tuner : The Denon TU-750s digital tuner isn’t the best looking piece of equipment in the room. In fact, it’s probably a stray component from Jobs’ previous stereo. But of all the equipment, it also happens to be the most affordable. You can pick one up on eBay for as little as $10 (shipping included).Denon

 

Source : Wired

 

29
jul

Why you should listen to… blues

Blues tells the story of the entire 20th century. Simon Lucas, editor of What Hi-Fi?, takes you through the genre’s huge and lasting influence on music and society

muddy waters blues

Better, and better-informed, people than I have written long and scholarly books, or long and enthusiastic books, about blues music.

 

As a subject it’s almost endlessly fascinating, a story that encompasses the whole of the 20th century and touches on religion, politics, oppression, emancipation and societal upheaval in a way that had global ramifications. At the same time it’s deeply/necessarily personal. And that’s before you consider the actual music.

 

Everyone knows the blues, because it’s been around forever (the first sheet music was published in 1908, although the form was probably several decades old by then). The cyclical 12-bar structure, the AAB lyric and the call-and-response scheme are as instinctive, this far into the story of the blues, as night following day.

 

But the trouble with trying to write an introduction to the blues is that it’s a massive, sprawling story. It’s a meta-story of an entire nation at the same time as being the story of the most deeply personal music imaginable.

 

Instead of trying to explain the global ramifications of a music that began as a mash-up of spirituals and work-songs to try and express a little of the pain of a poor, hard existence, I’ve selected six songs that (to me, at least) put the blues into some kind of context. Because, as I say, everyone knows the blues.

 

Son House – Walkin’ Blues (1930)
By 1927, at the age of 25, Eddie ‘Son’ House Jr was an ex-preacher, ex-pastor and ex-jailbird. He was also one of the foremost exponents of the new Mississippi Delta blues styles, a leading practitioner of slide guitar and well on his way to influencing the likes of Robert Johnson and Muddy Waters.

 

Walkin’ Blues is one of a number of utterly commercially unsuccessful recordings House made in 1930 and 1931 and, although he spent the rest of the ’30s performing with the likes of Charley Patton, by 1941 (following some non-commercial recordings for Alan Lomax and the Library of Congress) he was resident in New York state and an ex-musician.

 

Fast-forward to 1964 and those Library of Congress recordings are discovered by a hip young audience – House is coaxed from retirement, performs at festivals and on ‘folk blues’ tours and records several albums. Gravitas has seldom been so hard-won.
Listen here

 

Robert Johnson – Me and the Devil Blues (1937)
The story of Robert Johnson is, in many ways, the broad story of the blues, and has occupied many a biographer. It’s hardly surprising.

 

His absolute mastery of the guitar is apparently the result of a Faustian pact with the Devil. He used at least eight distinct names during his career as an itinerant (or ‘walking’) musician. He was married at least twice. He was dead at 27, although whether the cause was poisoning by a jealous husband, or syphilis, or alcohol poisoning, or something else, is disputed – as is the location of his grave.

 

All of his recordings (a grand total of 29 songs, with alternate takes bringing the entirety of his catalogue to 42 tracks) took place in 1936 and 1937, the last years of his life. What’s not disputed is Johnson’s staggering musical virtuosity, his extraordinarily expressive vocal style, and his enduring legacy and influence. When Mick Jagger, Keith Richards, Bob Dylan, Eric Clapton, Jack White and pretty much everybody else with a guitar is lining up to sing his songs and revisit his legend, there’s obviously a place for Robert Johnson in the overall history of the 20th century.
Listen here

 

Memphis Minnie – Me and My Chauffeur Blues (1941)
Like many of her contemporaries, Lizzie Douglas’ story requires several volumes to do it any justice. She was a runaway in her early teens, a weathered blues musician not much later and signed to Columbia records by 1930 (it was a Columbia A&R man who christened her ‘Minnie’).

 

She fought her corner as a black woman in a profession dominated by black men, and in a country dominated by white men, by being as big a boozer, as big a brawler and as big a bastard as any man she came into contact with. And, as is evidenced by 1941’s Me and My Chauffeur Blues she wrote and performed songs with just as much passion and inspiration as any of her male peers.
Listen here

 

Big Bill Broonzy – Where the Blues Began (1945)
By the mid-1940s blues music had begun a decisive transition from the rural to the urban. This reflected the change in circumstances in both its performers and its audience as they moved from the countryside to the city – and no blues artiste embodied this uprooting and working-class mobility like Big Bill Broonzy.

 

He’d served in Europe during World War I, and by the 1920s was working as a musician (and at a grocery store) in Chicago. His reputation steadily grew through the next decade and more, thanks in no small part to his mastery of ragtime, jazz, spirituals and country music as well as blues. By the time he recorded Where the Blues Began (which was a neon-lit signpost towards the future of the blues genre) his appeal to the more sophisticated urban audience was unparalleled.
Listen here

 

Howlin’ Wolf – How Many More Years (1951)
Chester Arthur Burnett stood 6ft 3in and weighed over 250 pounds – and when you listen to the recordings he made as Howlin’ Wolf, his huge physical presence roars from the grooves of the vinyl.

 

Potent and loaded with menace when many of his contemporaries made do with a defeated litany of misfortune, Howlin’ Wolf turned out a succession of recordings that became standards (most notably Smokestack Lightning, Moanin’ at Midnight and The Red Rooster, which The Rolling Stones gleefully repurposed as Little Red Rooster). But it’s 1951’s How Many More Years that unequivocally points the way towards Elvis Presley, rock’n’roll and the next five decades of popular music.
Listen here

 

Muddy Waters – Mannish Boy (1955)
If any individual can be credited with turning the blues into a world-wide movement and inspiring generations of unlikely teenagers to fantasise about being itinerant barefoot musicians, it’s Muddy Waters.

 

McKinley Morganfield (as he used to be) left his Mississippi home for Chicago in 1943 (not before Alan Lomax had secured some Library of Congress recordings, naturally), and by 1946 was a Columbia Records artiste. In the early-to-mid ’50s he recorded a succession of unarguable classics (including Hoochie Coochie Man and I Just Want To Make Love To You), and his 1958 sojourn in England (notorious for Waters’ use of ear-splitting amplification) gave the likes of Keith Richards, Eric Clapton, Jimmy Page and countless others a lifetime’s-worth of ideas.
Listen here
Read more at howtoliveit.uk

17
jun

Microscopische opname van een platenspeler

 

 

Ooit als eens willen zien hoe de platenspeler de informatie van de vinyl plaat haalt? Dat kan je nu te weten komen …

Het youtube kanaal Applied Science heeft een ingenieuze video gemaakt met behulp van een elektronen microscoop, om zo te gaan tonen hoe de naald zich beweegt in de groeven van de plaat. Ook worden er een paar andere formaten getoond, waaronder CD en DVD.

Het spreekt voor zich dat een uiterst gedetailleerde opname als deze geen kinderspel is, er moest een nieuwe stylus, toonarm en plaat gemaakt worden om dit mogelijk te maken.

Bekijk het filmpje maar eens waar alles meteen wat duidelijker zal worden!

 

11
jun

BRIONVEGA

Brionvega radiofonografo interieur

Brionvega radiofonografo 

1960 Italië,

Een periode die nieuwe ideeën en innovatie omarmde en het zo mogelijk maakte voor talloze mooie producten om het levenslicht te zien.Zo ook voor Brionvega. De beste designers mogen werken aan radio’s en tv’s, stuk voor stuk bestemd voor de liefhebber van schoonheid. Eindelijk waren daar de opwindende vormen en kleuren, industrieel design met persoonlijkheid.

Brionvega radiocube

Brionvega radiocube

De Brionvega klassiekers worden cult objecten en opgenomen in verscheidene musea van moderne kunst zoals het Milaanse Triennale en het New York MoMA.

Vandaag zijn een aantal van deze toestellen opnieuw in omloop gebracht door het Italiaanse merk Sim2.

Sim 2, opgericht in 1995, behoort tot de wereldleiders in het produceren van hoge kwaliteit professionele en consument projectie systemen.

Brionvega 327 Radio

Brionvega 327 Radio

Het Idee:

Achille Castiglioni, Piergiacomo Castiglioni Mario Bellini, Richard Sapper, Marco Zanuso en Ettore Sottsass, wereldbekende designers en ontwerpers van de Radiocube, RadioGrattacielo, Radiofonografo, Algol en Doney. Zij creëerden een perfecte synthese van uiterlijk, gebruiksgemak, technologie en tijdloos design.

Deze cult objecten, die worden tentoongesteld in de prestigieuze musea van de wereld, worden opnieuw aangeboden door Brionvega.

Producten: 

Onder de opnieuw gelanceerde producten vinden we bijvoorbeeld de waanzinnig mooie Radiofonografo. Een heus muziekmeubel dat de looks van vroeger combineert met de technologie van vandaag. Zo bevat deze Brionvega Radiofongrafo een radio, Platenspeler en een CD speler met MP3 functie. Het toestel staat op wielen zodat het eenvoudig verplaatsbaar is in uw interieur. Het toestel is handgemaakt in Italië, en daardoor zijn er geen 2 dezelfde.

Brionvega radiofonografo interieur

Brionvega radiofonografo interieur

Bron : Brionvega

10
jun

Apple Music Launch

Apple komt met een leuke reclame die de geschiedenis van muziek weergeeft van het prille begin, tot op vandaag. Al is de Reclame zeer apple minded, geeft het wel een leuk beeld.

De aankondiging van de nieuwe muziekdienst Apple Music was eerder vandaag al uitgelekt. Tijdens het event werden er meer details ingevuld. Met de nieuwe muziekdienst hoopt Apple de concurrentie met grote spelers als Spotify aan te kunnen gaan. De dienst is vanaf 30 juni beschikbaar en gaat in de VS 9,99 dollar per maand kosten. Het is nog niet bekend wat de prijs in België wordt. Er komtgeen gratis versie van de dienst. De eerste drie maanden zijn gratis en pas daarna moet er per maand worden afgerekend. Voor families komt een speciaal abonnement van 15 euro per maand.

De nieuwe muziekdienst werd aangekondigd door Jimmy Iovine. De legendarische ex-producer werkt bij Apple nadat de iPhonemaker Beats overnam in 2014. Volgens Iovine is Apple Music niet alleen een tegenhanger voor Spotify, maar een dienst waarin verschillende aspecten samenkomen. Zo kun je onbeperkt naar muziek luisteren (ook offline), naar clips kijken en naar exclusieve radioshows luisteren.

Apple Music hoopt zich vooral te onderscheiden door ‘menselijke afspeellijsten‘. Volgens Iovine is er niets irritanter dan dat je naar een nummer aan het luisteren bent en dat het volgende nummer er totaal niet bij past. Volgens hem komt dat omdat veel diensten gebruikmaken van algoritmes om afspeellijsten te maken, Apple wil vooral inzetten op afspeellijsten die door mensen zijn gemaakt.

Naast een streamingdienst zoals Spotify, biedt Apple Music ook een24/7 live radioshow, genaamd Beats 1. Zane Lowe, die eerder radio voor de BBC maakte, zal de leiding nemen over de show, die wordt uitgezonden uit Los Angeles, New York en Londen. Binnen Apple Music komt een platform, Connect, waarop artiesten hun muziek en hun merchandising kunnen promoten. Ook kunnen ze via dat platform in contact komen met luisteraars. Connect staat in contact met de social media-accounts van artiesten.

Niet iedereen was trouwens onder de indruk van Apple Music. Spotify-oprichter Daniel Ek tweette niet meer dan ‘Oh ok’, al werd de tweet niet snel daarna al verwijderd.

 

bron : DeMorgen

06
jun

Cambridge Audio CXN Streamer

Cambridge Audio is terug met een heel leukproduct. De nieuwe CXN streamer, die deel uit maakt van de nieuwe CX Serie die eerder dit jaar is gelanceerd met een nieuw design en verbeterd geluid, is een verbazend goede hoge resolutie netwerk streamer voor €1099.

De Cambridge audio CXN Streamer bouwt verder op het succes van de gevierde Stream magic 6v2, maar zijn frisse, moderne design geeft het gevoel dat het een totale ombouw is.

Zijn enorm prettig sonische performantie is echt waar het om draait. De Cambridge audio CXN streamer klinkt fantastisch. De performantie combineert subtiliteit, snappy timing en een rijk detail wat resulteert in geluid dat heerlijk is.

het is een punchy sound dat een heel goede greep heeft op het ritme en impact van het laag. Zelden hebben we Cambridge audio zo gespierd horen klinken. Het aanvangen van de noten is precies and direct en er komt schijnbaar geen einde aan het energetische niveau van de streamer.

Eigenschappen

De Cambridge audio CXN is volledige gepakt met alle laatste streamingfuncties. Zowel bekabeld als WIFI is mogelijk zolang je maar maakt dat je een stabiele verbinding hebt. We kunnen streamen via airplay maar via de kabel is het resultaat nog veel beter en zo laad je het toestel ook tegelijk op.

De CXN bevat ook Spotify Connect en internet radio, zo heb je altijd toegang tot een paar miljoen nummers van overal ter wereld. De bestandsondersteuning is extensief, alle populaire formaten zoals WAV, FLAC, AIFF, ALAC en MP3 zijn ondersteund, alsook DSD 64 bestanden(enkel via de USB aan de achterzijde).

Alle digitale inputs op de CXN zijn in staat om hoge resolutie bestanden af te spelen tot 24 bit/192kHz die geupsampeld kunnen worden naar 348 kHz. Dit omvat USB type B, optisch en coaxiaal.

De CXN bevat ook een koppel RCA en Balanced XLR uitgangen, alsook 2 digitale uitgangen.

Besluit

Het is duidelijk dat heel veel aandacht voor detail in de CXN is gekropen. De functionaliteit , design en gebruiksgemak zijn de beste die we reeds gezien hebben voor deze prijs, en het meeslepende, punchy geluid zal zeker mensen overtuigen.

Degene op zoek naar een streamer zouden zeker eens moeten komen luisteren naar deze!

bron: Whathifi

01
jun

B&W Sound System : 144 Drivers, 120 K Watts, €1 Million

Het beste club sound systeem in de wereld. Volgens Bowers & Wilkins  wss wel!

WHAT HI*FI ging langs op het PRIMAVERA sound festival in Barcelona om het systeem van wat dichter te bekijken.

Het Bowers & Wilkins Sound system is geboren uit een verlangen om HIFI kwaliteit geluid mee te nemen naar de live muziek ervaring.

Custom designed behuizingen komen samen om een club systeem op te bouwen dat bestaat uit 32 bass drivers, 32 lage middetonen drivers, 16 mid toon drivers en 64 Tweeters. Dit compleet met 120.000 Watt vermogen.

Indien het geluidsysteem commercieel beschikbaar zou moeten komen, dan zou het in de regio van € 1 miljoen Euro kosten volgens B&W.

lees het volledige artikel op de website van WHAT HI*FI:

WHAT HI*FI