Asus will be introducing the Zenfone 8 and Zenfone 8 Flip in just a few days, on May 12. Thanks to some pretty-extensive leaks, we already have a pretty good idea what to expect, as well as how the two phones will look. Even more so now that a very detailed specs sheet for the vanilla Zenfone 8, previously referred to as the “Mini” has surfaced online.
12MP front
EIS on both cameras
8K
4K slow-mo at 120fps
Hi-Fi audio playback via headphone jack
USB Type-C, 3.5mm jack
dual speakers
5G, BT 5.2, Wifi 6, FM
ZenUI 8 on Android 11
linear vibration motor#Asus #asuszenfone8
— Mukul Sharma (@stufflistings) May 7, 2021
Most of the basic hardware was already known and is merely being re-affirmed here, like the Snapdragon 888 chipset, up to 16GB of RAM (with 6GB and 12GB variants also potentially a thing) and up to 256GB of storage. Apparently, of the UFS 3.1 variety. The display on the Zenfone 8 was already know to have a 5.92-inch diagonal and FullHD+ resolution. As per the new info, it will also sport 120Hz refresh rate and will be manufactured by Samsung, using the trendy E4 AMOLED technology. Covering it – Gorilla Glass Victus.
We aren’t exactly sure what materials the rest of the body is made from, but an educated guess would be a metal middle frame and an additional Gorilla Glass sheet of some sorts for the curved back. Another recent rumor also mentions IP68 certification. As per the leaked specs, the body measures 148 x 68.5 x 8.9mm and tips the scale at 169 grams. That includes the 4,000 mAh battery, capable of up to 30W charging.
Also crammed inside the fairly-compact body – a stereo speaker setup, as well as a 3.5mm audio jack, with Hi-Fi audio output, in typical Asus fashion. Apparently, there are also three mics on the Zenfone 8, leveraged for OZO audio recording. We can hance expect pretty solid video capture performance from the main 64MP IMX686 camera on the phone, as well as the 12MP ultrawide snapper. Apparently, video capture can go up to 8K, with 4K@120fps slow-mo also an option. Like we’ve already seen from renders, the Zenfone 8 only has two rear cameras. As per the new leaked specs – both equipped with EIS and if we are reading this correctly – autofocus on the ultrawide, so it can double as a macro snapper. Neat! Finally, some other details are also mentioned, like Bluetooth 5.2 and Wi-Fi 6 support, courtesy of the Snapdragon 888 chipset. Also, 5G and an FM radio receiver. Not too shabby for a compact flagship.
No word on pricing yet, but then again, the announcement event is just around the corner anyway, so we won’t have to wait long.
Tile has announced that it’ll be launching support for Amazon Sidewalk — the company’s local, Bluetooth network — on June 14th, allowing Amazon’s Echo devices to strengthen Tile’s network.
The two companies had already announced plans for Tile to join Sidewalk last fall, but today’s announcement gives an actual date and details for the integration. The addition of Tile support comes just a few days after Amazon is turning on Sidewalk support for compatible Echo devices in the US on June 8th, too. Also getting access to Sidewalk are Level’s smart locks, which will be able to leverage Sidewalk to directly connect to Ring doorbells, allowing the locks to be used even when outside of Bluetooth range.
According to Amazon, Sidewalk uses a combination of “Bluetooth Low Energy (BLE), the 900 MHz spectrum, and other frequencies” to allow devices to communicate without Wi-Fi. Devices that support Sidewalk — including a variety of Echo and Ring gadgets — can serve as “Sidewalk Bridges” that work together as access points to the Sidewalk network (think of them almost like individual points on a neighborhood-wide mesh router system).
When Tile joins Sidewalk, its trackers will be able to be found using Amazon’s network in conjunction with Tile’s existing Bluetooth network, making it even easier to find your missing devices. Additionally, Tile is expanding support for Amazon’s Echo smart speakers by allowing users to see the Echo device to which the missing tag is closest. It’s not quite on the level of the hyper-localized tracking of an ultra-wideband network, though.
The news also comes as Apple launches its own AirTag trackers, a direct competitor to Tile’s. Apple’s trackers rely on a mixture of the company’s Find My network — which leverages the Bluetooth capabilities of iPhone, iPad, and Mac devices — and its ultra-wideband radio technology to help locate missing tracking tags.
Tile has recently criticized Apple’s trackers, claiming that Apple is using its control over its hardware and software stack for unfair advantages that third-party companies (like Tile) are unable to access.
(Pocket-lint) – Sonos offers multiple speakers within its portfolio, but as great as they are, none had been portable, none had been water-resistant, and none had offered Bluetooth audio support. The Sonos Move, however, changed all of that.
While Sonos previously focused on offering speakers designed for the home that require mains power and use a mesh Wi-Fi network to talk to each other, the Sonos Move was the first portable Bluetooth smart speaker marking the beginning of Sonos outside of the home.
Move was first, but since its release, there is also now the smaller, and more portable Sonos Roam to consider if you’re in the market for a Bluetooth Sonos speaker. You can read our full Sonos Roam review separately, but here we are focusing on the larger, more powerful, Sonos Move.
Sonos Move vs Sonos Roam: What’s the difference?
Design
IP56 water- and dust-resistant design
Capacitive touch controls
Integrated handle
Measures: 240 x 160 x 126mm
Weighs: 3kg
Sonos plays close attention to design and all its latest speakers – from the 2015 Play:5 to the Sonos Arc – share similar design features, like capacitive touch controls, black and white colour options and plastic detailing.
Pocket-lint
The Sonos Move has the same design ethos as these newer Sonos speakers, with rounded edges, capacitive controls and an almost identical top to the Sonos One – albeit oval shaped and with repositioned controls – but it raises the stakes when it comes to durability.
While the design of the Sonos Move clearly resembles the Sonos portfolio, it offers an IP56 water and dust resistance and it is one tough little cookie – although it’s not actually that little. Sonos says the Move can withstand pretty much every obstacle life might throw at it, whether that be sand, water or a drop on concrete, and while we didn’t fancy testing the last of those, it’s clear this speaker is able to hold its own.
To achieve this, the bottom of the device is silicone with a clear coat of paint over the top to deter dust. Everything inside has been considered, too, from a custom-made polycarbonate basket case reinforced with glass for the mid-woofer, to the colour of the Move itself – it is Shadow Black and not just plain, absorbant black to take UV exposure into account. We had it outside in 25C with the sun shining directly on it for several hours but it didn’t feel too hot as a result. There’s a Lunar White model too, which are the same colour offerings as the Sonos Roam.
Pocket-lint
As we say, though, this portable speaker is not small. It’s wider and taller than the Sonos One and it weighs a hefty 3kg – so you’ll need a pretty decent-sized backpack to lug it around. The point is that you can bring it wherever you want, whether that’s your garden, the beach or a camping trip. At this scale we suspect it’ll be nearer to the home, for a garden party, while the smaller Sonos Roam is more suited to the park or beach.
On the rear of the Move is a Wi-Fi/Bluetooth toggle switch, a power button and a pairing button – the last of which all Sonos speakers except the Roam offer. The buttons are all positioned on an inward slant that allows for the convenient integrated handle – which is built into the design, rather than a separate strap or handle – to exist within this design format.
When the Sonos Move is on its Loop Dock charging cradle it looks like any other Sonos speaker and blends into the home. You’d never know it was portable from the front, giving it an element of surprise about it. If you’re thinking about buying a permanent in-home Sonos speaker but might want to occasionally take it out and about then we can see why this design makes perfect sense, though the same can definitely be said for the Roam too.
Pocket-lint
A USB Type-C port sits below the integrated handle and the buttons, as well as two charging pins below that for the Loop Dock – which the Sonos Move snaps into place on.
Hardware & Specs
Bluetooth and Bluetooth Low Energy
AirPlay 2 support
45W power
The Sonos Move delivers 45W of power, coupled with Bluetooth for audio streaming capabilities rather than needing a mesh-connected device. The Sonos One, by comparison, doesn’t offer Bluetooth for audio streaming (only for quick setup), making the Move the first Sonos speaker to offer the technology, followed by the Roam.
Pocket-lint
The Sonos Move also supports Apple’s AirPlay 2 – as per the Roam, Arc, Beam, One, Play:5, and the Sonos One SL (the voiceless version of the Sonos One) – which allows for easy streaming from an Apple device without the need to open the Sonos app. It’s quick, convenient and it offers Apple users integration with Siri for voice control too.
The Wi-Fi/Bluetooth toggle switch on the rear of the Sonos Move allows users to switch the speaker between modes – something the Roam does automatically. When the Move is ready to pair, the LED light on the top flashes blue then goes solid blue when pairing is successful. We paired our Apple iPhone 11 at the time of review with it in a matter of seconds and switching between the two modes is virtually instant, making it pain-free, even if the Roam does make this element more seamless.
Pocket-lint
The power button, meanwhile, allows users to switch the Sonos Move off entirely, otherwise it will stay in a low power mode when not being used – useful for quick wake-up if it’s grouped with another Sonos speaker or an alarm is set, for example.
Features
Automatic Trueplay
Alexa and Google voice control
The Sonos Move functions as a typical Bluetooth speaker when in Bluetooth mode, allowing users to send music to it via a paired device, as you would the Ultimate Ears UE Megaboom 3, for example. In Bluetooth mode, the Move isn’t controlled via the Sonos app, with the control shifted to your device and the streaming service you are using instead.
When not in Bluetooth mode, the Move functions as a traditional Sonos speaker, but it appears with a battery indicator in the Sonos app. Functioning as a traditional Sonos speaker means you can group it with other Sonos speakers, control it through the Sonos app and access all the features that come with that app, including compatibility with over 100 music streaming services, stereo pairing and customisation of equalisation levels (EQ).
Sadly, you can’t use two Sonos Move speakers in a surround setup, as you can with all other Sonos speakers except the Sonos Roam, which also doesn’t offer the feature. Read our Sonos tips and tricks to learn more about the features offered by the Sonos system as a whole.
The Sonos Move also offers a feature called Automatic Trueplay. Trueplay is a software feature Sonos introduced with the Play:5 in 2015 and it allows users to tune their Sonos speakers according to its surroundings using an Apple iOS device. You can read all about it in our seperate feature.
Best speakers for PC gamers 2021: All the sound and RGB lighting you could ever need
By Adrian Willings
·
Automatic Trueplay uses the four built-in microphones on the Sonos Move to listen to the sound produced by the speaker and tune it automatically according to its surroundings, making for a much simpler process than the original (where you had to walk around the room waving your iOS device up and down slowly, yep, really).
Pocket-lint
The Automatic Trueplay feature was introduced on the Move to combat the issues of moving a speaker from outside to inside and still ensuring it sounds good. An accelerometer helps the Sonos Move detect when it has been moved, allowing it to adjust itself within around 30 seconds to what it deems as the best for its new surroundings. You can turn it off in the Sonos app if you don’t want it though.
Additionally, the Sonos Move supports Google Assistant and Amazon Alexa voice control. As with the One, Beam, Arc and Roam, which offer the same control, you can’t have both assistants setup at the same time – but you will be able to switch between them as you please, as well as turn the microphone off (an LED light on the top of the Move indicates when the microphones are on). You can also choose to have Alexa on one compatible Sonos speaker and Google Assistant on another if you want.
When the voice assistants are setup, you get almost all the same features you would an Amazon Echo or Google Home or Nest speaker device, bar a couple, meaning you’ll be able to ask Alexa or Google anything you like, such as set a timer or alarm, control compatible smart home devices, or find out about your day or commute.
Pocket-lint
Voice control is only available when in Wi-Fi mode (AKA standard Sonos mode), but don’t mistake this for only when docked on the Loop Dock. For us, we get Wi-Fi in our garden at home and therefore we could use Google Assistant on the Move in the garden during a BBQ with friends, which was great.
Sound and performance
Two Class-D digital amplifiers, tweeter and mid-woofer
10 hours battery life
Replaceable battery
The Sonos Move has a downward-firing tweeter at the top of the speaker, coupled with a mid-range woofer inside. For those wondering why the company has used a downward-facing tweeter, Sonos told us it was to achieve evenly dispersed sound; there’s what the company calls a Wave Guide inside to enable this to happen.
Pocket-lint
Based on our experience at review and continued experience, the Sonos Move offers a great sound quality for its size and the sound is evenly dispersed. It’s on the bassy side, which is typical of Sonos speakers, but we see that as a good thing compared to other portables that can’t deliver in this regard.
There’s plenty of volume too – which you definitely need when outdoors – and the Move copes well with mid-range, treble and vocals. You don’t get as wide a soundscape as per the Play:5, but the Move sounds better than the Sonos One to our ears. That gives you an idea of its positioning in the range. It’s also more powerful than the Roam, which you would expect.
Sonos claims the battery will deliver 10 hours of music playback. We had the Sonos Move outside on Wi-Fi, on mid-volume for four hours and we only managed to drain the battery to 80 per cent, so we suspect this figure is based on use at louder volumes, thus you might get more out of it.
Pocket-lint
The battery can be replaced too – it will last around 900 charging cycles, which is around three years on average – after which it is recommended to replace it to continue to get longevity out of the device. Sonos offers a battery replacement kit that allows you to do this yourself.
Verdict
We waited a long time to see Sonos launch a portable speaker with Bluetooth streaming before Move was finally revealed. In fact, we asked co-founder Tom Cullen about a portable speaker back in 2015, so it’s something we’ve been pining after for a while and now we have two choices.
The Move is bigger and heavier than we expected, and certainly not cheap, but with its price and size comes durability, toughness and performance – and that’s no bad thing, especially if you actually plan to make use of the Move’s portability. We also suspect many will use it as a sometime portable, not as a constant cart-around speaker.
There are other great portable Bluetooth speakers out there – including Sonos’ own Roam that is far smaller and better designed for constant portability – but there are none quite like the Sonos Move in terms of sound output and features, especially not for those already invested in the Sonos system. It’s the Bluetooth speaker Sonos fans were waiting for.
This article was first published on 5 September 2019 and has been republished to represent its full review status.
Also consider
Pocket-lint
Sonos Roam
squirrel_widget_4437410
The Sonos Roam is the second portable, Bluetooth speaker from Sonos. It’s much smaller than the Move and while it isn’t as powerful, it offers some great features like automatic switching between Wi-Fi and Bluetooth, as well as a feature called Sound Swap.
Sonos Roam review
Pocket-lint
Sonos One
squirrel_widget_148504
The Sonos One isn’t portable like the Move, nor does it offer Bluetooth audio capabilities, but it is cheaper, it has built-in Google Assistant and Alexa capabilities, and it offers a good sound for its size. Two Sonos One speakers can also be used in a surround setup with a Sonos Arc, Sonos Beam and Sonos Sub.
Sonos One review
Pocket-lint
Ultimate Ears Megaboom 3
squirrel_widget_145462
The Megaboom 3 is quite a bit smaller and cheaper than the Sonos Move and it doesn’t offer the soundscape as a result of this, but it is completely waterproof, it offers decent bass for its size, and it is more portable than the Move. It’s that last point that’s a big sell here.
Ultimate Ears Megaboom 3 review
Pocket-lint
JBL Link Portable
Smaller and more compact than the Move, the Link Portable doesn’t deliver the same sound experience as a result, but there are plenty of features, including Google Assistant, AirPlay 2, Chromecast support and both Wi-Fi and Bluetooth.
Our comprehensive reviews help you buy the very best tech products for your money, from speakers to TVs, headphones to soundbars. Everything is tested by our dedicated team of in-house reviewers in our custom-built test rooms.
Our advice section gives you step-by-step information on what to buy and how to make the most of your purchases, while our features offer music and movie tips, opinions, interviews and more.
For almost 40 years, the What Hi-Fi? Awards have been the ‘Oscars’ of the hi-fi and home cinema industry, honouring Product of the Year and Best Buy winners across a huge range of product categories and price points.
(Image credit: Future)
Buy the magazine
Subscribe now to our print or digital edition, or a combination of both.
How we test
We have state-of-the-art testing facilities in London and Bath, where our experienced reviewers put more kit through its paces than any other brand. We can, and do, handle anything from the smallest portable speaker to the largest home cinema system.
We’re the only brand in the UK to have a dedicated team of in-house reviewers delivering all of our reviews, all working in the same acoustically-treated listening rooms. This gives us complete control over how products are tested and the environment in which they are tested.
The team has more than 100 years of collective experience reviewing, testing and writing about consumer electronics.
The test labs
(Image credit: Future)
Our London test room:
The main hi-fi test room is used for all separates stereo components such as CD players, turntables, amplifiers and stereo speakers.
We also use the Future photographic studio and in-house photographers, so all equipment is photographed for the magazine and website to the highest standards.
All products are tested in comparison with rival products in the same price category. We have a warehouse full of kit, so even in a First Test a product will be reviewed in the context of other products in that sector of the market.
All review verdicts are agreed upon by the team as a whole – not an individual reviewer. Each product will be listened to and/or viewed by several members of the test team, who will then discuss the final verdict before it appears in the magazine or on the website. This avoids any individual bias creeping in.
No manufacturer or PR is ever shown a review prior to publication, and our advertising department never knows what the test verdicts are before the magazine is published or a review appears online.
So you can rest assured that all What Hi-Fi? reviews are fair, honest and accurate and brought to you by the most experienced team in the business.
IPSO membership
What Hi-Fi?is a member of the Independent Press Standards Organisation (which regulates the UK’s magazine and newspaper industry). We abide by the Editors’ Code of Practice and are committed to upholding the highest standards of journalism.
If you think that we have not met those standards and want to make a complaint please contactwhathifi@futurenet.com. If we are unable to resolve your complaint, or if you would like more information about IPSO or the Editors’ Code, contact IPSO on 0300 123 2220 or visitwww.ipso.co.uk.
(Image credit: IPSO)
If you see the word ‘Promoted’ or ‘Sponsored’ in a headline it means one of the following things:
‘Promoted content’ is paid for and provided by an advertiser but is content that we believe is relevant to and of interest to our readers, and is written in the style of What Hi-Fi? It is not written by the editorial team.
‘Sponsored content’ is commercially supported by a third-party sponsor but is written by our own editorial team and may not include sponsor sign-off on the content or a direct product message.
Apple’s HomePod and HomePod mini smart speakers now support voice control for Deezer.
In Australia, Canada, France, Germany, Japan, Mexico, Spain, the UK and the USA, subscribers of Deezer Premium, HiFi, Family or Student tiers can now ask Siri to play specific tracks, artists, albums, favourites or playlists on their Apple wireless speaker hands-free.
Saying “Hey Siri, play my Flow”, for example, will begin an endless mix of tracks based on the user’s tastes, plus suggested tracks to help them discover new artists. Voice commands aren’t, however, supported for Deezer’s podcasts, audiobooks and live radio.
Deezer can be set as the default music service on the (now discontinued) HomePod and the HomePod mini, however subscribers who don’t wish to do this can still use voice control with HomePod; they simply have to say “on Deezer” at the end of their command.
For Deezer voice commands on HomePod to work, Deezer subscribers must be using iOS 14.3 and above and have their HomePod running the latest software. In the Deezer app settings, their account has to be connected their HomePod.
Deezer joins Apple Music, Spotify and Pandora in supporting Siri voice control on HomePod, with the likes of Amazon Music and Tidal still without it.
MORE:
Just in: Some HomePod owners can’t access Apple Music after 14.5 iOS update
Read our Deezer review
Our pick of the best music streaming services 2021
Apple Music HiFi tier could launch alongside AirPods 3 in coming weeks
Owners of Apple’s HomePod and HomePod mini can now connect their smart speakers directly to Deezer and make the music streaming service their default player. That means they can take advantage of the HomePod’s Siri voice controls to navigate their tunes and playlists on Deezer.
To connect the services, you’ll first need to be a paying Deezer subscriber. If you are, head to the Deezer app on your iOS device (make sure you’re on iOS 14.3 or later), hit the settings cog in the top right, then scroll down and hit “Connect with HomePod.” You can then play music from Deezer on your Apple speakers by saying “Hey Siri, play [insert cool and relevant band of choice] on Deezer.”
Alternatively,you can make Deezer your default player from Apple’s Home app and avoid having to specify which streaming service to use. We weren’t able to test this ourselves, but it’s likely the same process as for other third-party streaming services. So go to Home Settings by hitting the house icon in the top left of Apple’s Home app, tap on your face under the “People” section,” then go to “Default Service” and choose Deezer.
Phew. Isn’t it fantastic when these services just work?
Of course, the struggle to offer these sorts of basic, third-party integrations is exactly what’s hurt Apple’s smart speakers, likely contributing to the company’s decision to discontinue the original HomePod in March this year. Despite this, the reasonably-priced and good-sounding HomePod mini still soldiers on. In addition to Deezer, these devices can now directly integrate with other streaming services including Apple Music, iHeartRadio, TuneIn, and Pandora.
What’s missing from this list, of course, is Spotify. Although Apple says it’s enabled integration with the music streaming giant, as far as we know Spotify hasn’t switched things on at its end. If you’re searching for an explanation, look no further than the huge lawsuit Spotify is currently pursuing against Apple. As an alternative, you can use Spotify to play music on HomePod speakers, but you’ll need to connect via AirPlay, which is frustratingly slow and lacks voice controls — one of the big draws of using a smart speaker at all.
But hey, that’s what you, the unlucky consumer, get for being stuck between two warring corporations. Enjoy.
As much as we love it, hi-fi isn’t traditionally synonymous with convenience – those stacks of components and tangles of cables, the rigamarole around turntable assembly, the nuisance caused by being repeatedly bitten by the hi-fi upgrade bug.
Aiming to bring the two closer is a new era of just-add-speakers streaming systems. In recent years, electronics brands have combined music streamers and amplifiers into do-all boxes to make the prospect of ‘hi-fi sound’ less daunting and more domestically attractive, to both the hi-fi and wider community. With such versatile streaming boxes, you could say the microsystem has come of age.
Having established itself in both areas of audio expertise, Cambridge Audio has now entered the market – with its Evo 75 and more aspirational Evo 150. We sat down with the firm’s managing director, Stuart George, to talk about its approach to creating something that straddles hi-fi and lifestyle design; something that by its very nature should be relevant to a bigger audience than its dedicated separates.
Read our Cambridge Audio Evo 75 review
It all started with Edge, Cambridge’s flagship hi-fi series introduced in 2018. “When we launched Edge, one of the biggest requests was ‘why didn’t you put a streaming module in the Edge A amplifier?’ And that was part of the inspiration for the Evo. Before then, our thoughts were that an all-in-one product had to include a CD player. Evo was never intended to be a ‘mini Edge’, but our concept was to try to get all the qualities of Edge into a small form factor.”
George doesn’t claim that Edge’s sonic qualities are matched by Evo. After all, Cambridge’s Edge NQ streaming preamp and Edge W power amp are a £6000-odd combination, while the Evo costs around a third of that – and even less comparable footprint-wise.
Cambridge’s midrange CX series streamer and amplifier, a similarly-priced combination to the Evo, is a fairer comparison – and the benchmark for the Evo. “I’m not going to tell you it sounds as good as a CXN and CX81 together,” says George. “But it sounds pretty comparable; we aren’t talking about night and day differences, we’re talking shades. I can accept the word ‘lifestyle’, but this is a proper hi-fi product.”
(Image credit: Cambridge Audio)
These one-box concepts shouldn’t be expected to perform better than, or even as well as, separate components of similar combined value. After all, there’s only so many electronics you can fit inside a box of this size. They tend to be smaller than traditional full-width chassis so they can be easily housed.
“How these things fit in with people’s lives is very important. And it doesn’t present a problem having that in your living room compared to having multiple Edge boxes,” says George. He admits that the original size Cambridge was aiming for had to expand to fit everything inside. “Getting all that stuff in the 150 was a challenge – the back panel is covered.”
These products have to be more efficient because of this modest real estate and so, like all hi-fi in one aspect or another, they are a compromise.
That’s why Cambridge ventured outside of its own Class XA and Class AB amplification designs, which lie at the core of its dedicated amplifiers. It arrived at Class D amplification and, having realised it was an area it was not experienced in, eventually arrived at Hypex’s NCore solution.
“The objective with Evo was to use a much smaller footprint, so we knew we had to go somewhere with Class D,” George explains. “The technology has been around for a while, of varying quality, but over the last few years, it has reached a level where our engineers were saying we had to use it. And Evo was the perfect way for us to do that, with its small form factor and energy efficiency.
“Hypex is a smart solution, it’s a versatile solution. It’s good at delivering performance and output in a way that it can handle the varying resistance and impedance in different speaker types.”
Our pick of the best hi-fi systems 2021
(Image credit: Cambridge Audio)
Cambridge’s senior electronics engineer, Francesco Bettucci, says that Hypex’s proprietary development of the feedback loop, in particular, is what distinguishes it from other solutions: “This means that they achieved low output impedance, no resonance at high frequencies, like many other Class D amps – this means there are no artefacts in the high-frequency range. It also achieves extremely low distortion, comparable with the best Class AB amps.”
So how does Cambridge take a third-party amplification design and make it a Cambridge-sounding product? “Our element of tuning comes in at the preamp,” says George. “That’s where our engineers have spent an enormous amount of time designing the componentry that goes around the power aspect of the product. How we go about that is a fastidious exercise of sitting down and tweaking different components and listening – endless hours of listening. When designing it on paper, it’s a relatively quick exercise. What takes time is tweaking it. The listening performance is more interesting to us than the measured performance.”
(Image credit: Cambridge Audio)
Of course, arguably as important as the amplification electronics in a multi-faceted product like this is its streaming abilities. Cambridge’s own StreamMagic platform debuted a decade ago in its NP30 streamer and has been at the foundation of more than 10 Cambridge products since.
The StreamMagic module in the Evo is a brand-new fourth-generation variant [internally called ‘Salefish’; Cambridge engineers name each new version after a faster fish than the last], which brings improvements over the previous (Black Marlin) by having a quad-core (compared to a single) processor for better handling higher audio quality and the large display, plus built-in wi-fi (as opposed to relying on a wi-fi dongle).
To its credit, the platform ticks a lot of boxes as far as music service and file compatibility goes. But the streaming world is far from static – new service tiers, codecs and protocols are always just around the corner – so products like this must be ready. Realising the need for future-proofing, manufacturers are increasingly adopting modular designs so that connectivity and streaming hardware can be upgraded down the line if the market demands it.
For Cambridge, the traction of MQA (the technology behind hi-res Tidal Masters) proved problematic in that it required hardware its existing music streamers, such as the CXN, did not have. The new Evo has the internals to support MQA, and though Cambridge has pledged to offer new features to existing users via updates when it can, the Evo isn’t physically modular. If another MQA-like barrier comes along down the line, that could be potentially troublesome.
“Back when we launched the Zandor (iteration of StreamMagic), which predated Black Marlin, what we specified was beyond the requirements at that time,” says George. “As far as we could see, there would be nothing to hold us back from doing what we were doing. What came along and changed things at that time was Chromecast. Google’s requirements were so enormous and not audio-focused, and it made it difficult to meet them in the space we’d allocated to that aspect of the processing, so we outgrew that platform version and had to keep going. We’re beholden to these guys. It’s a tough gig. But at the moment, we don’t foresee any changes that mean this Evo won’t stand the test of time.”
We ask the industry: is there such thing as ‘British hi-fi sound’?
(Image credit: Cambridge Audio)
So, is there scope for a higher-end flagship Edge streaming system, or is such a product relevant at this more modest level? If people are willing to spend huge money on a system, wouldn’t they be more inclined to go down the hi-fi separates route in search of maximum performance?
“I do think there’s room to go further with these designs and one-box solutions,” George says. “But if we’re going to make a more expensive, bigger design – which it would have to be – I can’t see us using Class D. With Edge, it was about taking Class XA on a journey to the extremities at that point in time. It proved what Cambridge Audio is capable of. This one has been about getting as much of the functionality and technology that we command at this moment in time into the smallest form possible while retaining the qualities around performance and sound quality.”
Wherever the streaming system goes for Cambridge Audio and other players, Evo and its finest rivals, such as the Naim Uniti Atom, Arcam SA30 and Linn Majik DSM, are successfully bringing broader relevance to the hi-fi market. Just connect it to a network, add a pair of speakers and you’re ready to go. How convenient is that?
MORE:
Read our Cambridge Audio Evo 75 review
Behind the scenes: The making of: ATC SCM50
The making of: Rega Naiad
If you’re more into hi-fi than music, that’s a problem
As first reported by Android Police, some users have reported that the desktop and mobile versions of YouTube have begun showing options for automatic translation of titles. The videos spotted by users displays the titles, descriptions, and closed captions all translated automatically.
YouTube titles auto-translated into Spanish
Those users who submitted these screenshots to Android Police have so far only confirmed that auto translation on YouTube is being tested for users with their primary languages set to either Portuguese, Spanish, or Turkish. A video with translated titles shows a small translation icon that precedes the title.
YouTube Videos translated into Portuguese and Turkish
The change appears to be happening on the server end, so updating the app likely won’t have an effect on enabling the auto-translate feature. Automatic translation of videos in English gives videos the potential to reach more audiences and opens accessibility for English videos to non-English speakers.
In their simplest form, traditional stereo hi-fi systems consist of a source component, an integrated amplifier and a pair of passive speakers. Pretty straightforward, right?
But if you break down the signal path it can be split into a greater number of distinct sections, most of which are lumped together in this simple set-up.
What are passive speakers?
Here, the crossover network doesn’t need a power source, so it is considered passive
First, there’s a source component, which is the piece of kit that plays the music. This can be a CD player, music streamer, record player or even a computer or phone. Next we have a preamplifier section, this switches between sources and controls the volume level.
If you have a record player, you’ll also need a phono stage to increase the output from your cartridge to line level and equalise the signal before feeding it to the preamp circuit (we’ve omitted the phono stage from our diagram to keep things simple).
Now you need muscle, something that can take the line-level signal from the preamp and increase it enough to drive a pair of speakers – say hello to the power amplifier. However, this isn’t directly connected to your speaker’s drive units.
Its output has to pass through a crossover filter network that in a two-way speaker splits the signal into just high frequencies (to go to the tweeter) and everything else for the larger mid/bass unit.
If you have a three-way speaker, then the crossover splits the sound up into three parts – treble, midrange and bass. This crossover network doesn’t need a power source to work, and in that sense it is considered passive. That’s more or less the signal path in a conventional passive set-up.
Best speakers 2021: budget to premium stereo speakers
What are active speakers?
A more accurate filter network delivers a better integrated sound
In an active system things are the same until after the preamp stage. The signal from the preamp goes into an active crossover network. While this performs the same job as the crossover in the passive set-up it works at line level (around 2v) rather than speaker level (typically 15-35v).
Working at lower signal levels means the components used can be optimised for precision rather than power handling. Such a design would normally use active components, and on more sophisticated products, some form of signal processing (whether digital or not) to get the best out of the drive units.
The result is a filter network that is (potentially) way more accurate in its operation, and delivers a better integrated and optimised sound.
Each separated frequency band of this line-level signal is then sent to a dedicated power amp that feeds as many drive units as are responsible for delivering those frequencies.
Best active speakers 2021
Active vs passive speakers: which is better?
The active crossover design is less prone to distortion
On paper, active speakers have a whole host of advantages. Their crossover design gives the designer much greater control over the signal and is far less prone to losses and distortion when compared to a passive filter alternative.
As the power amplification is integrated into the design, it can be optimised for a specific drive unit. Because it’s normally built into the box, there’s no need for long lengths of speaker cable between the two, avoiding any distortion or loss caused by the wires. Simply put, there’s more grip and better control.
These benefits would seem to give active speakers a generous edge, but there are also downsides. There aren’t many speaker manufacturers that can make amplification, so the usual path is to buy in modules from an OEM supplier. There’s nothing wrong with this in principle, but things often fall short when it comes to implementation. The result is that the sound performance of the final active speaker is rarely as good as it could be.
Active speakers suffer in terms of perceived value on the shop floor too. Their electronics tend to be hidden, yet there will be an obvious price premium over similar-looking passive alternatives. Break down the respective costs and it usually turns out that the active option is the better value route, as it consists of multiple power amplifiers – a simple two-way speaker still needs four mono power amps – whereas a passive set makes do with a single stereo amp to work its four drive units.
Active designs also limit the amount of upgrading possible. You can’t just change the power amps, for example, the whole lot has to go. That leaves less scope for enthusiasts to mix and match. You either accept the power amplifier/speaker combination as a whole or you don’t.
And what about ‘powered’ speakers?
The ATC SCM40s are both powered and active speakers
Whereas all active speakers are considered powered, not all powered speakers should be called active.
The difference is that a powered speaker has the same signal path as a passive set-up, but the amplification (often both pre and power amp) is hidden in one of the speaker enclosures. There will also be a speaker cable link between the master speaker (that has the amplification) and the slave (passive) partner.
Most affordable powered models tend to use such a configuration. Such an approach has some of the neatness of truly active operation but few of the technical benefits.
Standmounts vs floorstanders: Which speakers should you buy?
Best turntable speakers 2021: top speakers for your record player
How about active speakers with streaming?
While active speakers have clear performance benefits, their conciseness also means they are attractive to users looking for a more discreet and compact way to listen to music.
Increasingly we are seeing active speakers that aim to pack in even more functionality into their cabinets – not just amplification but also streaming modules and physical connections – creating a complete ‘all-in-one’ system that minimises the need for extra boxes or cabling. With features like preamp capabilities, digital and analogue inputs, Bluetooth and wi-fi streaming compatibility combined directly into active speakers (or a small accompanying box that then communicates with them), they offer a neat, compact, minimal fuss alternative to a system of separates. The cost can work out more favourably than buying everything separately, too (although you shouldn’t necessarily expect the same performance from them as you would a similarly priced collection of class-leading separates).
Some active speakers with streaming like the KEF LSX, KEF LS50 II and B&W Formation Duo are fine examples of such all-in-one stereo speaker systems, whereas others like the Dali Rubicon 2 C or the new Beolab 28 come with replaceable connectivity modules (or ‘hubs’) that handle the source side of things, meaning they can be easily upgraded. After all, unlike speaker technology, streaming technology is anything but timeless.
Instagram now has a captions sticker for Stories, which will automatically transcribe speech in videos. The sticker will be available only in “English and English-speaking countries” for now but will eventually roll out to other languages and countries. Instagram says it will also start testing automated captions in Reels soon.
Captions have been available in IGTV and the Threads app, and Instagram says it’s adding them to Stories and Reels to make them more efficient and inclusive to watch. The feature should be a welcome addition for people who are deaf or hard of hearing, are not native English speakers, or just generally watch videos without sound.
The edit option lists each word of the captions separately. You can tap on individual words to make adjustments.
Like other text options in Stories, users can adjust the style and color of the captions after they’re generated. People can also edit individual words in the captions to correct spelling, punctuation, or any words that weren’t transcribed accurately. Auto captions rarely have perfect accuracy, especially for people with accents or atypical speech, so editing is crucial. There’s currently no option to have the text highlighted for better visual contrast, but you can use the draw tool or a sticker behind the captions to make them easier to see.
Other platforms and services have recently added or improved auto-captioning options. Zoom, Google Meet, and Microsoft Teams all offer automated captions for video calls. Google expanded its Live Caption feature across the Chrome browser in March, and TikTok launched automatic captions for American English and Japanese last month. Twitter announced Monday that it’s planning improvements for the captioning it offers in Spaces.
(Pocket-lint) – The Samsung HW-Q800A soundbar replaces the previous HW-Q800T, but offers an almost identical set of features. That includes a 3.1.2-channel speaker layout, a powerful subwoofer, Dolby Atmos and DTS:X object-based decoding, eARC, and built-in Amazon Alexa for voice control.
New this generation is the inclusion of Apple AirPlay 2, and optional wireless rear speakers with upward-firing drivers, allowing expansion to a 5.1.4-channel system. Owners of supporting Samsung TVs not only benefit from Q Symphony integration – which can use the TV’s speakers in addition to the soundbar for added immersion and height – but also SpaceFit Sound for optimised setup that automatically tunes sound profiles wherever your TV is setup in the room.
Are these small additional benefits reason enough to buy the HW-Q800A or would it make more sense to look at the HW-Q800T instead to save a few quid?
Controls: included remote; SmartThings app; four-button top-of-‘bar panel
Connectivity: Wi-Fi; Bluetooth; AirPlay 2; Alexa voice control integrated
Dimensions (soundbar): 980mm (W) x 60mm (H) x 115mm (D); 3.6kg
Dimensions (sub): 205mm (W) x 403mm (H) x 403mm (D); 9.8kg
The Samsung HW-Q800A uses exactly the same cabinet as the earlier Q800T, retaining a sleek form-factor designed to fit under your TV without blocking the screen. It’s a sensible width, but can still handle larger screen sizes up to 65 inches. The overall look is stylish, with solid construction and a matte black finish.
There’s a metal wrap-around grille, behind which you’ll find three speakers at the front, and the Acoustic Beam holes along the top front edge – these are used to output sound so it appears to come from where the action is happening on screen, made possible by clever processing.
There’s a display located at the front right, which provides basic information, and a choice of stand- or wall-mounting, with brackets provided for the latter included in the box.
The included wireless active subwoofer uses a rear-ported enclosure and a side-firing 8-inch driver that Samsung claims can go down to 35Hz. It’s well made, with similar styling and a matte black finish. The sub should pair automatically with the soundbar, but if not there are buttons on both units for manual setup.
Pocket-lint
The Samsung HW-Q800A sports an HDMI input and an HDMI output that supports eARC, allowing lossless audio to be sent back from a compatible TV. The HDMI connections also pass resolutions up to 4K/60p and every version of high dynamic range (HDR10, HLG, HDR10+, and Dolby Vision).
What is HDMI eARC? Why is it different to HDMI ARC?
The only other physical connection is an optical digital input, but there’s also Bluetooth, Wi-Fi, and the newly added AirPlay 2, allowing for agnostic music streaming from your network or third-party services. Bluetooth is paired using the dedicated button on the remote, while the Wi-Fi setup uses the Samsung SmartThings app via your phone/tablet.
There are basic controls centrally located on the top of the soundbar for on/off, source select, volume up/down, and far-field mic on/off. The included remote is the same zapper from previous years, but remains well-designed, comfortable to hold, and easy to use, with all the necessary buttons laid out in a sensible fashion.
Pocket-lint
The SmartThings app isn’t just for setup, but also offers a degree of control. The slick and intuitive interface allows for changing inputs, adjusting the volume, choosing between sound modes, optimising the equaliser (EQ) and woofer, and selecting the advanced settings (voice enhancement, bass enhancement, and night mode).
Setup is straightforward, but a degree of tweaking is required when it comes to getting the centre and front height channels adjusted so the overall soundstage is balanced. The HW-Q800A doesn’t generate its own test tones, meaning you’ll need to find those yourself, and the levels work on the left and right channels simultaneously, which can be an issue in asymmetric rooms.
It would be better if you could set the left and right front heights independently, along with the surrounds and rear heights if you add the wireless rear speakers, and it would also be useful if you could set them using the SmartThings app rather than the remote and front display.
Pocket-lint
The sub is a powerful beast so you’ll need to dial the woofer setting back to ensure it doesn’t swamp the mid-range. As the driver fires sideways, avoid putting it in the right-hand corner of a room, or it’ll get boomy. Positioning towards the front, halfway between the ‘bar and wall works best, with this boom box generating more than enough low-end juice to handle sizeable rooms.
A built-in automated setup feature would be welcome at this price point, but if you own a compatible Samsung TV you can at least benefit from SoundFit. This uses the TV’s microphone and processor to analyse the sound reverberations in the room and adjust them accordingly to optimise the overall sonic performance of the soundbar.
The inclusion of Amazon Alexa makes this soundbar a fully-functioning smart assistant, allowing users to ask questions, listen to music or podcasts, and enjoy hands-free voice control. There’s a far-field microphone built into the soundbar itself, which can be muted for privacy, and thankfully Alexa interacts at a sensible volume (unlike in the Polk React, for example, where she’s very shouty).
Samsung-specific features: Q Symphony and Active Voice Amplifier
Expansion: Optional wireless rear speakers
Amplification: 330W of Class D
Hi-Res Audio: Up to 24-bit/192kHz
Decoding: Dolby Atmos and DTS:X
Sound Modes: Standard, Surround, Game Pro, Adaptive Sound, Night
The Samsung HW-Q800A decodes the Dolby Atmos and DTS:X object-based audio formats, and delivers both with an actual 3.1.2-channel speaker layout. This means it doesn’t need to rely on psychoacoustic trickery to create a sense of immersion, and if you take the time to setup the system properly, the results are often spectacular.
Samsung
The effectiveness of the Acoustic Beam tech, which literally fires sound waves upwards to create the illusion of overhead channels, will depend on your type of ceiling – but the more reflective it is, the better the effect. Watching a dynamic object-based mix like the 4K disc of Midway reveals an expansive front soundstage, with precise placement of effects and plenty up top.
The subwoofer handles the low frequency effects with great skill, producing a foundation of bass on which the rest of the system is built. If you like plenty of subsonic impact in your movies, you’ll enjoy this particular woofer, which enthusiastically digs deep. It’s also well integrated with the ‘bar, smoothly crossing over with the mid-range drivers, and creating a cohesive overall soundstage.
The performance is energetic, with clear dialogue and a pleasing width to the delivery. The only limitation is that the soundstage is very front-heavy, due to the lack of actual surround speakers. However this can be addressed by buying the optional SWA-9500S wireless rear speakers that now include upward-firing drivers, allowing expansion to a full 5.1.4-channel configuration.
Samsung’s Q Symphony feature integrates the soundbar with compatible Samsung TVs, synchronising sound from both devices and utilising the additional speakers in the TV to create a more expansive and immersive front soundstage.
There’s also the Active Voice Amplifier which detects ambient noise, analyses the audio signal, and adjusts and amplifies the dialogue with respect to the other channels to improve intelligibility. So if you’re trying to watch TV while someone else is hoovering, for example, this could come in handy.
Best Bluetooth speakers 2021: Top portable speakers to buy today
By Dan Grabham
·
Our guide to the best Bluetooth wireless speakers available to buy today, including B&O, Denon, JBL, Marshall, Sonos and Ultimate Ears
There are five dedicated sound modes, with the default Standard making no changes to the incoming signal. The Surround mode up-mixes the audio to take advantage of the additional channels, while the Game Pro enhances effects to create a more immersive gaming experience. For general TV viewing the Adaptive Sound is a great choice, analysing the incoming signal and automatically optimising it. Finally, Night mode compresses the dynamic range, so you won’t disturb the rest of the household during a late-night bingeing session.
Samsung
There’s a pleasing musicality to this system’s delivery, with the width producing some excellent stereo imaging, and the sub giving drums a driving beat. You can stream from a number of services too, including Amazon Music, Spotify, Deezer, TuneIn and Samsung Music, plus Apple Music via AirPlay.
Verdict
The Samsung HW-Q800A is well-specified ‘bar-and-sub combo that has all the object-based decoding bells and whistles. It renders Dolby Atmos and DTS:X using sound waves rather than psychoacoustic trickery, resulting in a genuinely immersive experience, while the powerful woofer produces plenty of low-end slam.
There’s a pleasing musicality to the delivery, dialogue remains clear, and effects are placed with precision, creating an enjoyable if front-heavy soundstage. Thankfully this can be addressed by picking up the optional wireless rear speakers, which turn the soundbar into a full 5.1.4-channel system.
There’s a host of other features – including HDMI eARC, AirPlay 2 and integrated Amazon Alexa – meaning, as a result, the Samsung HW-Q800A is a comprehensive and capable all-rounder that’s sure to please no matter what your viewing or listening habits.
Also consider
Samsung
Samsung HW-Q800T
It’s more or less the same soundbar, with the same sound quality. Buy if you want to save a few quid and don’t care about AirPlay 2. Don’t buy if you want future expandability – as it’s the Q800A’s optional speaker add-ons that help to set it apart from this older model.
Read our full review
squirrel_widget_273413
Sonos
Sonos Arc
This highly-accomplished soundbar is worth considering not only because it brings the Sonos ecosystem to the party, but because it has Dolby Atmos, eARC, and AirPlay 2 as well. Like the Samsung there’s integrated Alexa, plus Google Assistant for completists. It’s not cheap, doesn’t support DTS:X, and has no HDMI inputs or a separate subwoofer, but if you’re already invested in Sonos this compelling ‘bar can elevate your sonic experience.
Read our full review
squirrel_widget_3716149
JBL
JBL BAR 9.1
This awesome 5.1.4-channel ‘bar-and-sub combo includes detachable and rechargeable rear speakers, resulting in a genuinely immersive Dolby Atmos and DTS:X experience with the minimum of fuss. There’s an automated audio calibration feature, eARC support, Chromecast, AirPlay 2 and Dolby Vision passthrough. There’s no dedicated remote app, nor can it pass HDR10+, but in most other respects this impressive soundbar system is hard to fault.
It’s nigh-on impossible to find meaningful fault with Netflix
For
Excellent video quality
Big, easy-to-navigate catalogue
High quality Originals
Against
Rarely first for big film releases
Netflix just keeps on getting better, making a more compelling case for your money at every turn. It’s everything you want from a video streaming service: simple to use, available on your preferred platform and filled with content you want to watch.
But it’s now got more rivals than ever and they’ve also upped their game, so is Netflix really the best video streaming service out there?
Pricing
Netflix UK pricing and features (Image credit: Netflix)
Netflix subscriptions start at £5.99 ($8.99, AU$10.99) per month for standard-definition streams to a single screen. Up your spend to £9.99 ($13.99, AU$15.99) per month and get high-def stuff available to watch on a couple of screens simultaneously.
Or go the whole hog (provided you’ve already gone the entire pig on a 4K Ultra HD TV) and spend £13.99 ($17.99, AU$19.99) per month for 4K content on as many as four screens at a time.
MORE: How to use Netflix Party: watch Netflix with friends online
Features
It goes without saying not all content is available in HD (720p) or Full HD (1080p), let alone Ultra HD or 4K. One of the great pleasures of a Netflix subscription is happening upon classic films such as Easy Rider and old episodes of cult TV shows such as Peep Show, and it would be optimistic in the extreme to expect them to represent the state of the technological arts.
But there’s now a huge stack of 4K content available, from The Crown and Last Chance U to Shadow Bone and Snowpiercer, and that stack is forever growing.
Netflix has a continuing good relationship with Sony Pictures that also grants the streamer exclusive rights to some Sony films. There’s also the excellent Studio Ghibli oeuvre now available in most countries.
In terms of bespoke content, Netflix distances itself from any nominal competition.
Netflix now prioritises its own content to such an extent that it seems less committed to adding blockbuster films from other studios than its main rival Amazon Prime Video. And now that Disney+ is on the scene, it’ll likely never be the first streaming service to add a Disney, Marvel or Star Wars title to its catalogue. But Netflix still has a strong selection of older favourites and not-too-aged blockbusters such as, at the time of writing, Arrival and Rocketman.
And as a content provider in its own right, Netflix goes from strength to strength, whether that’s through cinematic adventures or its increasingly impressive run of excellent documentary features and series.
And if you have an HDR (High Dynamic Range) compatible TV, there’s now loads of HDR content on Netflix too. It’s not immediately obvious, as there isn’t an HDR section anywhere in the menus, but if you type HDR into the search box you’ll find a list of HDR content such as After Life, The Witcher and Lupin. You’ll see an HDR logo (or Dolby Vision logo, if your TV supports it) on relevant content.
MORE: Best 4K TVs 2021
Provided your broadband connection is up to the task, it has always been a fuss-free and stable experience, and its broad compatibility is a strong sell too.
PCs and Macs, Google Chromecast, Apple TV, Amazon Fire TV devices, Roku streamers, any smart TV worth its salt, games consoles, Blu-ray players from all the big brands, tablets and phones, whether iOS, Android or Windows, are all on the menu. In fact, there’s a strong argument that if a smart device doesn’t have Netflix, it can’t really be considered smart at all. It’s certainly the first app we look for whenever testing a new streaming product.
There’s good news for mobile users too. In the early days it wasn’t possible to download anything from Netflix to watch offline. Since November 2016, though, content can be downloaded to your phone and tablet to watch, glitch free, at your leisure on the Netflix app – and it does not count toward the limit of how many screens you can watch on at the same time. You can’t download literally everything, but there’s plenty of choice and lots of the most popular content is there for you to stick on your device.
MORE: Amazon Prime Video review
Ease of use
(Image credit: Netflix)
Ergonomically, things could hardly be simpler.
Aside from the TV app’s rather retrograde A-Z keyboard (rather than QWERTY) search function, it’s straightforward to browse, create a shortlist and enjoy Netflix’s more-hit-than-miss recommendations based on your previous viewing habits.
You can establish multiple user profiles, including parental locks to prevent the kids stumbling onto Zombeavers or similar.
There are also handy and fun features such as Play Something/Shuffle Play for when you’re stuck for what to watch next, and Netflix Party to watch online with friends.
MORE: 25 Netflix tips, tricks and features
Performance
Whether 4K, Full HD or standard definition, Netflix serves video streams at exactly the sort of quality you expect. Watch a 4K HDR stream such as Formula 1 Drive to Survive on an appropriate display and it’s prodigiously detailed, vibrant and stable.
Colours pop, contrast is punchy and the sheer amount of information available for your enjoyment is thrilling. It almost goes without saying, but if you own a 4K TV or 4K projector, the top tier £14 ($18, AU$20) subscription should be considered almost compulsory.
It’s all equally high-contrast, steady-motion, fine-detail good news for Full HD too. Native 1080p content looks accomplished, though obviously the exact amount of detail revealed in dark scenes (for instance) is to an extent dependent on the source material.
MORE: 15 of the best movies of the 1990s to test your home cinema
Given a fighting chance, though, Full HD stuff such as Collateral is vivid, stable and eminently watchable. As regards standard-def stuff, you take your chances.
The majority of decent TVs – and certainly all the screens we recommend – are equipped with effective upscaling engines and won’t make you regret your partiality for schlocky thrillers such as Ravenous.
5.1 audio is now available on many titles, and Netflix serves it up in the same manner as it does pictures: robustly and positively.
Provided you have the necessary home cinema set-up (or even the right soundbar) at home, Dolby Atmos is also available on a good portion of Netflix’s own TV shows and movies. It presents an altogether more substantial and immersive sound than anything your TV’s integrated speakers can manage.
Verdict
It’s difficult to think of a downside to Netflix. Set your mind to it and you can search for plenty of films it doesn’t have, but the same is true of any movie streaming service and Netflix is better than almost all of those when it comes to the combination of original content, cherry-picked classics, video and sound quality, usability, and individual recommendations.
Disney+ will have turned many a head, but there are plenty who are left cold by the House of Mouse’s output, and, with recent price hikes to Netflix and Disney+, signing up to both services is not quite the financial no-brainer it once was.
Sure, the Premium tier (£13.99, $17.99, AU$19.99) now feels a more considerable monthly outgoing than before. All the same, if we had to live with just one video streaming service, it’s no contest. The quality, consistency and breadth of content available mean that Netflix is still king.
MORE:
Amazon vs Netflix – which is better?
9 simple ways to get better Netflix recommendations
10 of the best sports films and documentaries on Netflix UK
Best movies on Netflix
The 40 best TV shows to watch on Netflix right now
Organising your digital music collection, you might be struck by the number of different audio file formats in your library. Almost everyone’s heard of MP3, but what about OGG, AIFF, MQA or DSD?
If the list leaves you wondering whether all those songs studied at different universities to get such official-looking letters after their names, don’t worry. We’re here to break down the meaning of the most common music file formats, the differences between them, and why you should care.
Whether you’re listening to low-quality MP3 files, probably slightly better AAC tracks, or hi-res audio in FLAC or WAV, it’s time to understand exactly what you’re getting – and which is the best file format for you.
Read on to learn about the pros and cons of each audio file format…
File formats and codecs at-a-glance
Want to cut straight to the chase? Here’s a handy guide to all the file formats and the differences between them. If you want to know more, read on below for a more in-depth look at the differences in size, sound quality and compatibility.
AAC (not hi-res): Apple’s alternative to MP3 – stands for ‘Advanced Audio Coding’. Lossy and compressed, but sounds generally better. Used for Apple Music streaming.
AIFF (hi-res): Apple’s alternative to WAV, with better metadata support. It is lossless and uncompressed (so big file sizes), but not hugely popular.
DSD (hi-res): The single-bit format used for Super Audio CDs. It comes in 2.8mHz, 5.6mHz and 11.2mHz varieties, but due to its high-quality codec, it’s (mostly) impractical for streaming. Uncompressed.
FLAC (hi-res): This lossless compression format supports hi-res sample rates, takes up about half the space of WAV, and stores metadata. It’s royalty-free and is considered the preferred format for downloading and storing hi-res albums. The downside is, it’s not supported by Apple (so not compatible with Apple Music).
MP3 (not hi-res): Popular, lossy compressed format ensures small file size, but far from the best sound quality. Convenient for storing music on smartphones and iPods.
MQA (hi-res): A lossless compression format that packages hi-res files for more efficient streaming. Used for Tidal Masters hi-res streaming.
OGG (not hi-res): Sometimes called by its full name, Ogg Vorbis. A lossy, open-source alternative to MP3 and AAC, unrestricted by patents. The file format used (at 320kbps) in Spotify streaming.
WAV (hi-res): The standard format in which all CDs are encoded. Great sound quality but it’s uncompressed, meaning huge file sizes (especially for hi-res files). It has poor metadata support (that is, album artwork, artist and song title information).
WMA Lossless (hi-res): A lossless incarnation of Windows Media Audio, but no longer well-supported by smartphones or tablets.
Best music streaming services 2021: free streams to hi-res audio
MQA audio: everything you need to know
What is DSD audio?
Compressed vs. uncompressed audio files
First, let’s talk about the three categories all audio files can be grouped into. It comes down to how compressed the data is (if at all) and as a result, how much quality or “loss” you’ll experience, as a listener.
If no compression algorithm (or codec) has been used to compress the audio within your file, two things happen: zero loss in sound quality, and soon-enough, a “startup disk full” warning on your laptop.
Essentially, an uncompressed track is a reproduction of the original audio file, where real-world signals are transformed into digital audio.
WAV vs AIFF vs FLAC: uncompressed file formats
WAV and AIFF are arguably the most popular uncompressed audio file formats, both based on PCM (Pulse Code Modulation), which is widely recognised as the most straightforward audio storage mechanism in the digital domain. Both WAV and AIFF files use similar technology, but store data in slightly different ways. They can store CD-quality or high-resolution audio files.
WAV was developed by Microsoft and IBM, hence it’s used in Windows-based platforms, and is the standard format all CDs are encoded in.
AIFF was developed by Apple as an alternative to WAV, and although not as widely popular, AIFF files have better metadata support, meaning you can include album artwork, song titles and the like.
The drawback? These babies are big. A CD-quality (16-bit, 44.1kHz) file will take around 10MB of your hard drive per minute in length.
ALAC vs FLAC vs WMA Lossless: lossless audio formats
Everyone loves a FLAC. A lossless file, the FLAC (Free Lossless Audio Codec) is compressed to nearly half the size of an uncompressed WAV or AIFF of equivalent sample rate, but there should be no “loss” in terms of how it sounds. FLAC files can also provide a resolution of up to 32-bit, 96kHz, so better than CD-quality.
Other lossless audio file formats include ALAC (Apple Lossless) and WMA Lossless (Windows Media Audio). The former is a good iOS and iTunes compatible alternative to FLAC, although the files are slightly less compact than FLACs. Check for smartphone and tablet compatibility, though.
AAC vs MP3: lossy audio formats
Who’s heard of an MP3? Course you have. Steve Jobs famously pulled 1000 of them out of his pocket on 23rd October 2001. It is easily the most common audio format, and MP3s are convenient for storing music on portable players or tablets and work on almost all playback devices. But to do that, you have to lose a load of information in the process. In order to make audio files up to ten times smaller than CD quality files, some original data must be discarded, resulting in a loss of sound quality.
The bit-rate at which an MP3 is recorded also affects the sound quality. MP3s encoded at 128kbps will incur more sound loss than those encoded at 320kbps (kilobits per second, where each “bit” is essentially a “piece” of the song). Now that storage is so much cheaper, we’d avoid 128kbps at all costs, though 320kbps MP3s still have their purpose if your storage is limited – and they remain a standard on download stores.
Another lossy format is AAC (Apple’s Advanced Audio Coding) which is compressed much like an MP3, but it’s slightly more efficient and sounds better. AAC is used for Apple Music streaming (at 256kbps) and YouTube streaming.
The Vorbis format, often called Ogg Vorbis owing to its Ogg container, (the best way to think of this is that OGG is the can, Vorbis is the ring-pull) is a lossy, open-source alternative to MP3 and AAC, unrestricted by patents. Ogg Vorbis is the file format used (at 320kbps) in Spotify streaming.
If you’re sticking with lossy, it’s worth remembering this: while more “bits” usually means better sound, it depends on the efficiency of the codec in your file. Although you might notice that much of the music in your collection is encoded at 128kbps so should be much of a muchness, an MP3 will likely sound a fair bit (see what we did there?) worse than an AAC or Ogg Vorbis file, due to the inefficiency of the codec in an MP3.
What about high-resolution audio?
Unlike high-definition video, there’s no single universal standard when it comes to high-resolution audio.
However, in its simplest terms, hi-res audio tends to refer to music files which have a higher sampling frequency and/or bit depth than CD – which is specified at 16-bit/44.1kHz. Hi-res files therefore come in the form of 16-bit/96kHz or 24-bit/192kHz, for example.
So why should you care? Quite simply, hi-res audio files have a lot of extra audio information and thus sound a lot better than compressed audio formats, which lose information in the compression process. They will take up more storage space but we definitely think it’s worth the trade off.
Uncompressed files like AIFF and WAV are hi-res, as are those lossless FLAC and ALAC file formats. DSD (the somewhat niche format used for Super Audio CDs) is also hi-res, but it’s not as widely supported. When it comes to streaming, MQA is a file packing format used by the likes of Tidal Masters, which helps to bring hi-res audio to streaming services using as little bandwidth as possible.
As for playing hi-res audio, an increasing amount of products now support it. Premium portable music players such as the Award-winning Cowon Plenue D2 plus the newer and rather splendid Cowon Plenue D3 support 24-bit/192kHz WAV, FLAC, ALAC and AIFF files. Both players boast DSD128 file compatibility too – and that support is native, so DSD files aren’t converted to PCM during playback.
The Astell & Kern Kann Alpha and another 2020 Award-winner, the Astell & Kern A&futura SE200 digital audio players are like many A&K players (including the entry-level A&norma SR25) in that file support goes all the way up to 32-bit/384kHz and includes native DSD256 and MQA playback.
KEF’s new LS50 Wireless II speakers will play 24-bit/192kHz files in all their glory, and support for DSD256 is also onboard too this time, as is MQA decoding for the playback of compatible downloaded files and hi-res Tidal Masters.
Hi-res audio can also be played on most flagship Android smartphones, but you can’t play hi-res on a box-fresh iPhone. We’ve found ways around that, but it’s worth remembering that hi-res audio isn’t quite as portable as its lossy brethren – yet. You can find more info on which hi-fi products support hi-res audio here.
Which is the best audio file format for you?
The file format you choose will depend on whether storage or sound quality is your key concern, as well as which devices you intend to use for playback.
MP3s became hugely popular when storage was at a premium. Now that phones, music players and laptops have far more storage space, we think you really should be looking to use better-than-CD-quality files.
If you’re archiving your audio files, a FLAC or other lossless file might be a good shout for ripping your music, though. Lossless files strike a good balance between compression and sound quality, allowing you to listen to the best quality digital music without taking up all your storage space. Just make sure your devices are all compatible with your file format of choice.
High-resolution audio: everything you need to know
Best portable music players 2021: from budget to hi-res music
The Fives offer sonic performance to match their lengthy feature list, if not exactly their ambitious moniker
For
Punchy presentation
Good features set
Versatile nature
Against
Uneven tonality
Not the most organised presentation
It’s not often we are presented with a product such as the Klipsch The Fives. They’re clearly a pair of stereo speakers, and yet we have to ask ourselves what they are actually for. That only happens when a product’s feature list blurs the lines between hi-fi and TV sound, and also occasionally the morning after the What Hi-Fi? Awards ceremony.
Klipsch describes The Fives as a ‘powered speaker system’, which is about as specific as you can get. They can be used as a hi-fi system – either standalone or with a source plugged in – as desktop speakers, or indeed as a true stereo alternative to a soundbar thanks to the seemingly simple, but nonetheless shrewdly incorporated, HDMI ARC connection.
Klipsch sees this as a potential driver for many customers adopting The Fives. And, as a publication that generally favours stereo speakers as an alternative to a comparatively priced soundbar – in terms of basic audio performance for the money, at least – we don’t see anything wrong with that concept.
This isn’t due to a lack of focus on Klipsch’s part, but part of the forward movement of the company as a whole. The company is trying to expand its reach, rather than simply throwing what it can at their speakers to see what sticks.
The Fives represent a step towards what Klipsch describes as a more global sound. The ‘American’ tuning with which the brand is so familiar remains, but some of the leanings of the European and Asian markets – typically favouring delicacy over sheer scale – have been deliberately addressed.
What we hear is not exactly the final destination, and there isn’t, we’re told, a particular sound at which Klipsch would like to arrive. But anyone on our side of the Atlantic who might have written the brand off for its sonic presentation could afford the brand a keener ear in the future.
Pricing
An open mind is preferable when approaching The Fives, as are some relatively deep pockets. At £839 ($699), they aren’t going to be an impulse buy for many.
That price tag places The Fives in roughly the same realm as the Naim Mu-so Qb, Sonos Arc and KEF LSX. The fact that those are three entirely different products only highlights just what a versatile product you’re getting for the money. Its rivals depend entirely on how you plan to use them; there isn’t really a direct competitor.
Features
In short, The Fives will connect to virtually anything. The HDMI ARC connection for TVs is joined by analogue RCA, 3.5mm aux, digital optical and USB inputs. Bluetooth 5.0 is also present for simple wireless playback, while a subwoofer output allows for expansion into the lower frequencies.
(Image credit: Klipsch)
Klipsch The Fives tech specs
(Image credit: Klipsch)
Drivers 25mm tweeter; 11.5cm mid/bass
Reflex port Rear-firing
Cabinet MDF with wood veneer
HDMI ARC Yes
Phono Yes
Bluetooth Yes
Dimensions (hwd) 30.5 x 16.5 x 23.5cm
Weight 5.35kg (primary); 4.85kg (secondary)
There is also a phono preamp built in, proving Klipsch’s dedication to hi-fi and that these are not only TV speakers, so by adding just a simple deck you really can have a tidy home entertainment system with The Fives as its mouthpiece.
The Fives are capable of hi-res music playback, while Klipsch’s Dynamic Bass EQ is designed to enhance low frequencies at lower volumes. It can be turned off as a feature, for a more traditional bass response, or you can cut the bass if it’s getting too boomy near a back wall. That is indeed a possibility, due to the rear-firing reflex port. It features Klipsch’s Tractrix horn shape, in a similar but narrower form to that found on the front surrounding the 25mm titanium dome tweeter.
Just below is an 11.5cm long-throw woofer, which appears smaller than it is thanks to the proportions of the horn above it, but is well capable of filling a small to medium-sized room without overstretching.
Build
(Image credit: Klipsch)
Despite Klipsch speakers’ reputation for room-filling sound, at 30cm tall and 23.5cm wide, these are relatively small bookshelf speakers; don’t expect them to project across a room the size of an air hangar. Besides, you will want to be close by to admire the design.
The walnut veneer on our review sample resonates with the price tag, but of all this almost mid-century design, the rollers on the top of the right-hand speaker stand out most.
If we were to compile a coffee table book of dials and knobs found on hi-fi kit since What Hi-Fi? was first published 45 years ago, the controls on these Klipsch speakers could easily make the first edition. The fact The Fives come packaged with a remote is almost irrelevant, given how keen you’ll be to get up and use these dials to change volume and source.
The Fives would feel like a premium product with the kind of touch panel we usually see on powered speakers such as these, but the individuality of this design should be praised – especially if it is an indicator of the attention paid to everything else.
Sound
(Image credit: Klipsch)
At least we can say that Klipsch has paid equal attention to each of The Fives’ many potential sources. It’s no faint praise when we say how pleased we are that these speakers’ character is pretty much uniform, however we decide to use them; that can’t be a simple task when being asked to take material from a TV, turntable, streamer, laptop and a smartphone.
The Fives do well, all told. They offer a good level of detail that will dig out texture and timbre regardless of whether it is from the voices of a chamber choir or daytime soap. Is it comparable to a grand’s worth of hi-fi separates? Not quite – nor would we expect it to be – but it is enough to deliver a kind of sonic maturity you won’t get from a budget soundbar or wireless speaker. And as a package, they’re a neater proposition than separates.
It’s a punchy sound, too, able to take on stabbing snares and hi-hats as well as heavy artillery. A good pair of hi-fi speakers should always be able to do both, and so it transpires with The Fives. Stereo imaging is good, provided the speakers are positioned with care and placed on a solid support.
So The Fives are a pleasing listen, but they’re not perfect. We’d like a more even frequency balance with better top-end refinement. While there’s a decent amount of bass for the speakers’ size and treble doesn’t sound particularly rolled off, certain frequencies tend to stick out in an almost arbitrary fashion – and, to a degree, this detrimentally affects the way these Klipschs convey timing and organisation.
Verdict
Overall, though, you do get a good return on your investment as a one-stop shop for home audio. If you want to use them for one thing in particular, you might get better value with a more dedicated component, but if it’s a do-all pair of speakers you crave, it’s well worth giving The Fives a go.
SCORES
Sound 4
Features 5
Build 4
MORE:
Read our guide to the best stereo speakers or best desktop computer speakers
Google is redesigning its offices for the post-pandemic world, and The New York Times has a big report full of pictures and videos outlining the company’s plans. But if I had to sum up the tech giant’s approach in two words I would choose “over” and “engineered.” Google has ambitious plans to shake up its offices, but some of them seem needlessly complicated.
As the Times notes, the standard for Silicon Valley offices has long been open plan, with designers and developers working by cheek by jowl in the name of “spontaneous collaboration.” (Though this is often a pretext to cut costs by cramming as many workers into pricey real estate as possible.) But, in a cautious COVID-conscious culture neither cramming nor cubicles can cut it: people want space, man. At least six feet of it.
Here’s the Times, paraphrasing concerns from Google’s VP for real estate and workplace services, David Radcliffe:
In its current office configurations, Google said it would be able to use only one out of every three desks in order to keep people six feet apart. Mr. Radcliffe said six feet would remain an important threshold in case of the next pandemic or even the annual flu.
Psychologically, he said, employees will not want to sit in a long row of desks, and also Google may need to “de-densify” offices with white space such as furniture or plants. The company is essentially unwinding years of open-office plan theory popularized by Silicon Valley — that cramming more workers into smaller spaces and taking away their privacy leads to better collaboration.
This makes sense! But Google’s approach to implementing these changes in its Mountain View offices are a mixed bag. Here are some of the methods mentioned:
Instead of rows of desks and meeting rooms, Google will use “Team Pods” containing “[c]hairs, desks, whiteboards and storage units on casters” that can be “wheeled into various arrangements, and in some cases rearranged in a matter of hours”
To create temporary divides between open plan desks, the company is testing inflatable robot walls that can be wheeled around and blown up like a bounce house.
“[A] fabric-based overhead air duct system that attaches with zippers and can be moved over a weekend for different seating arrangements.”
To accommodate remote workers in meetings, a new semi-circular “campfire” meeting room alternates seats for those physically present with screens for those calling in.
More outdoor work and meeting spaces, with tables and chairs in open-air tents.
To make hot-desking easier, Google is testing a workstation that remembers users’ settings, adjusting the local temperature and height and tilt of the monitor based on a worker’s card swipe. It even “brings up family photos on a display” for that cubicle feeling.
Optional “leaf-shaped partitions” called “petals” can be attached to desks to “to eliminate glare” and office chairs with built-in speakers in the headrest will play white noise “to muffle nearby audio.”
The inflatable robot wall in action. Image: Cayce Clifford for The New York Times
Again, some of these sound great. Who wouldn’t want more outdoor space in their office or meeting rooms that are more welcoming for remote workers? But the focus on modularity and adaptiveness seems like a recipe for disaster. The mix of inflatable privacy shields, fabric air ducts, dynamic hot-desks, clip-on desk partitions, and rearrangeable desks and storage make it sound like employees will have to build their office from scratch each day.
Indeed, some of these solutions are trying to solve problems that only exist in the first place because of open plan offices. You don’t need speakers blasting white noise at your head or removable partitions to reduce glare if you’ve got a room of your own to work in.
I’m sure the Times is playing up some of these more bizarre elements, and it’s not like Google employees are known for the hardships they face. (Play a tune on an appropriately-sized violin for the closure of the company’s complimentary massage rooms.) But it does baffle me somewhat that such complicated solutions need to be created in the first place. Maybe old-fashioned offices (with appropriate ventilation) could be the answer? Specially if you don’t have to fit in as many employees because more are working from home.
I may be alone in this, but I’ve always quite fancied a genuine, honest-to-goodness, walls-and-a-door office of my own. That was true pre-pandemic and it’ll be true post-pandemic, too. Ironically, it’s only being forced to work remotely that’s meant I’ve created a decent working space in my own home for the first time. If only I could get the same at the office.
We use cookies on our website to give you the most relevant experience. By clicking “Accept”, you consent to the use of ALL the cookies.
This website uses cookies to improve your experience while you navigate through the website. Out of these, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may affect your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
