New British tech company Zuma has launched what it is calling a “world first high-performance product that combines audio and light to give users an incredible immersive experience”.
The Zuma Lumisonic is an ultra-compact two-way loudspeaker with a low-energy LED light, all housed within an easily installable ceiling light fixture. The firm says it offers a virtually invisible, wireless and clutter-free audio experience that combines circadian rhythm and mood lighting.
It has been developed over three years by a team led by renowned industrial designer Morten Warren (Zuma’s CEO and founder) and featuring Vivid Audio’s acoustic engineer, Laurence Dickie, who was the creator of the iconic Bowers & Wilkins Nautilus speaker (one of, in our opinion, the finest examples of high-end audio engineering in history).
(Image credit: Zuma)
As it is a light fixture, the sound projects downwards vertically from the ceiling, through a 75-watt co-axial two-way driver configuration. The Lumisonic boasts support for WAV, ALAC and FLAC files up to 24bit/192kHz, plus streaming via AirPlay 2, Spotify Connect and Bluetooth (v4.2).
The Lumisonic is voice controlled, too – it will work with Alexa at launch, and you’ll still need an Alexa powered device somewhere in your home. And built into the Zuma app are a series of wellbeing features that will enable users to play atmospheric soundscapes and combine them with sympathetic lighting tones. Think transforming your bathroom into a high-end spa with music and mood lighting, connecting your Peloton via Bluetooth for that real-life spin class vibe, or the sound of rain as you sleep under a canopy of Zuma speakers.
Users can select both music and the lighting to suit certain moods, and if multiple Zuma lights are installed in a ceiling, users can surround themselves with colour-tuneable lights and enjoy a virtually invisible array of loudspeakers above for an immersive audio experience.
(Image credit: Zuma)
Zuma also says it has incorporated technology that will, later this year, allow users expand the capabilities of the devices to include motion sensors, smoke alarms and security systems to the device.
The Zuma team developed a patented spring blade mechanism which the firm says will enable quick and easy installation and removal. A selection of round and square bezels with different and flush mounting options will be available at launch.
Zuma’s Lumisonic speaker light is priced at £375 per unit (excluding VAT). A companion light-only product called Luminare will be available in the summer, priced £125 each.
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Slate is getting into the audiobooks business. The online magazine and podcast subscription seller is launching its own audiobook store today in partnership with multiple publishing companies. The store will list and sell popular titles but with the added benefit of making the audio accessible through listeners’ preferred podcast app instead of a separate audiobook-only platform. This is likely its biggest sell for listeners, although Slate will compete on price, too. Listeners also will buy these books a la carte, meaning they don’t have to subscribe to an ongoing membership as they may through Audible, the biggest name in audiobooks.
The store and its functionality are powered through Slate’s Supporting Cast, its technology that powers recurring revenue audio services, like subscription podcasts. This means that on the back end, Slate is hosting publishers’ audiobooks on its servers and creating private RSS feeds for them, which can then be inserted into any podcasting app that supports them, like Apple Podcasts, Pocket Casts, and Overcast. The process basically looks like this: Listeners navigate to Slate’s store, buy a book, and can then either listen online or they can tap on the app of their choice to have the feed automatically inputted. They can also manually copy and paste the feed.
David Stern, vice president of product and business development, tells The Verge that its software automatically looks for suspicious activity and will revoke access if it suspects someone is sharing their private RSS link outside of a “very small flexible range.”
Initial partners include Penguin-Random House, Simon & Schuster, HarperCollins, and Hachette. Slate wouldn’t disclose its royalty agreements with these companies. The initial catalog is small, especially compared to Audible’s thousands of titles, but Slate seems to be interested in books that its team has reviewed for the website. As evidence for why Slate thought it should pursue an audiobook business, the company says it’s generated more than $1 million through its book affiliate business, and that it tested selling Danny Lavery’s Something That May Shock and Discredit You audiobook and sold 500 copies.
Slate’s move into audiobooks continues the trend of podcast-oriented companies looking to audiobooks and audiobook companies looking to podcasts. Spotify launched audiobooks in its app, hosted by celebrity talent, earlier this year and has reportedly put the founder of Parcast in charge of its audiobook efforts, per a Bloomberg report. Audible also brought podcasts to its app for the first time last year. (Apple, for its part, sells audiobooks through its Books app, not Podcasts app.) The broader bet seems to be that people who enjoy listening to things will want to do so from one app.
“It’s sort of a no-brainer,” Stern says.
Slate is positioning itself to let people choose what app they want to listen within, although neither Spotify nor Audible support private RSS feeds.
We’re in a relatively quiet period for Switch releases while we wait for Skyward Sword’s remaster to release in July. Thankfully, today marks the arrival of a new $10 calculator app on Nintendo’s console, which should stop your machine from gathering too much dust over the coming months. Hell yeah. Math.
The app, which was spotted by Eurogamer, is literally just called “Calculator” and is being published by Sabec. It’s single-player, which unfortunately rules out any team-based calculating, and it works in TV and handheld modes, according to its product page. We’d be remiss if we didn’t point out that the app bears a striking resemblance to the iPhone’s old calculator app, but being charitable, it’s possible that the app is only guilty of drawing inspiration from Dieter Rams’ classic design.
Math.Image: Sabec / Nintendo
Unlike Sony’s and Microsoft’s consoles, and even Nintendo’s previous machines, the Switch doesn’t have much in the way of non-gaming apps. It doesn’t have Netflix, Spotify, or those other pieces of software that we’ve come to expect will appear on basically any piece of electronics with a screen. But now, finally, it has a calculator app. Thank god.
(Pocket-lint) – There was a time when Fitbit had nine activity trackers in its portfolio, though the company retired the Flex, Alta and Zip lines when it launched the Inspire family in 2019.
The Charge 4 sits at the top of the trackers, with the Inspire 2 below, succeeding the older Inspire and Inspire HR. There’s also the Fitbit Luxe to consider too, which sits inbetween. You can read how the Fitbit Luxe, Charge 4 and Inspire 2 compare in our separate feature.
If you’re wondering whether the Fitbit Charge 4 or the Inspire 2 are right for you though, or whether to upgrade from Inspire or Inspire HR, here is how the trackers compare.
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Fitbit Inspire 2 vs Charge 4: Price
Inspire:£69.99 / $79.95 / €79.95
Inspire HR: £89.99 / $99.95 / €99.95
Inspire 2: £89.99 / $99.95 / €99.95
Charge 4: £129.99 / $139.95 / €139.95
The Fitbit Inspire 2 normally costs £89.99 in the UK and $99.95 in the US, which is the same as what the Fitbit Inspire HR cost when it first launched. The standard Inspire model without heart rate normally costs £69.99 in the UK and $79.95 in the US.
The Fitbit Charge 4 usually starts from £129.99 in the UK or $139.95 in the US, with the Special Edition models jumping up to £149.99 in the UK and $159.95 in the US. Accessories are available for all models.
Charge 3/Charge 4: Waterproof, premium in design, large touchscreen display
All models have interchangeable straps
The Inspire 2, Inspire HR and Inspire all feature a similar design, which is smaller than the Charge 3 and Charge 4. They also all opt for a plastic body over stainless steel, making for light, small and discreet devices with the Inspire 2 a little softer and rounder than the Inspire and Inspire HR overall.
The Inspire 2, Inspire HR and Inspire have a smooth silicone strap as standard, which is interchangeable and fastened with a buckle.
An OLED touchscreen display is present on the top of all the Inspire devices and there is also a singular button on the left for returning to main menu and quick access to settings. This button is physical on the Inspire and Inspire HR and inductive on the Inspire 2.
A heart rate monitor and charging pins sit beneath the Inspire HR and Inspire 2, with only the charging pins on the Inspire, and all Inspire models are water resistant up to 50-metres.
The Fitbit Charge 3 and Charge 4 are a little larger than the Inspire devices, making them more obvious when worn, though the Charge 3 and 4 have a more premium finish thanks to their aluminium bodies. They also have a slimmer profile than all the Inspire models.
A textured elastomer band is present as standard for the Charge 3 and Charge 4 and they have larger OLED touchscreen displays than the Inspire models, protected by Corning Gorilla Glass. They also have an inductive button to the left of their display like the Inspire 2, rather than a physical button like the Inspire and Inspire HR.
Interchangeable straps are present again and the PurePulse heart rate monitor sits in the same position on the underneath of the casing, but the Charge 3 and Charge 4 add an SpO2 monitor too. Like the Inspire models, they are also water resistant to 50-metres.
Features
Inspire: Steps, distance, calories, active minutes, basic sleep
Charge 4: Steps, distance, calories, HR, elevation, active minutes, advanced sleep, VO2 Max, Built-in GPS, swim tracking, Active Zone Minutes, NFC
The Fitbit Inspire models and the Fitbit Charge 3 and Charge 4 all measure steps taken, distance travelled, calories burned, active minutes and continuous heart rate, though the latter is not present on the standard Inspire, only on Inspire HR and Inspire 2. Automatic sleep tracking, silent alarms, Reminders to Move and hourly activity are all also on board all models though, along with smartphone notifications.
All models, except the standard Inspire, also offer advanced sleep stages and Sleep Score, while the Charge 4 also offers Smart Wake, which uses machine learning to wake you up at an optimal time.
All models also have Fitbit’s SmartTrack, which is a feature that allows trackers to recognise certain activities and record them in the exercise section of the Fitbit app in order for users to categorise them and see a more detailed account of what they have done.
The standard Inspire’s features stop there, while the Inspire 2, Inspire HR, Charge 3 and Charge 4 add several more, marking the biggest differences between these trackers aside from their size and appearance.
The Inspire 2, Inspire HR, Charge 3 and Charge 4 also offer Guided Breathing, Cardio Fitness Level (VO2 Max measurement), Fitbit’s Multi-Sport Mode, Goal-Based Exercise and swim tracking. The standard Inspire is waterproof but doesn’t offer swim tracking.
Smartphone notifications are also more advanced on the Inspire 2, Charge 3 and Charge 4 compared to the Inspire and Inspire HR, with the newer devices offering Quick Replies for Android users and the ability to answer and reject calls.
The Charge 3 and Charge 4’s displays will also show all of the metrics found in the app on the display, including hydration and female health tracking, while the Inspire models offer some but not all.
Fitbit Charge 3 review
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The Charge 3 and Charge 4 also measure elevation. None of the Inspire models have an altimeter so they won’t measure floors climbed. In terms of GPS, the Inspire 2, Inspire HR and Charge 3 have Connected GPS, meaning they will use your phone to record a map of your running or walking route, while the Charge 4 has built-in GPS and Spotify control support, marking the biggest difference between it and the other Fitbit trackers being compared here.
The Charge 4 and Inspire 2 also have a feature called Active Zone Minutes which uses your personalised heart rate zones to track your effort for any energising activity, allowing you to earn credit towards the recommended 150-minute weekly goal for each minute of moderate activity in the fat burning zone and double the credit for vigorous activity in cardio and peak zones.
Last but not least on the feature front, the two Special Edition models of the Charge 3 don’t just offer different strap options, they also feature an NFC chip, meaning these models are both Fitbit Pay enabled, which the Charge 4 is as standard. None of the Inspire models have NFC.
The Inspire 2 claims to have a 10-day battery life. The Charge 3 and Charge 4 claim to have a 7-day battery life. The Inspire and Inspire HR models claim to offer a 5-day battery life.
Fitbit Inspire HR review
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Fitbit Inspire 2 vs Inspire HR vs Charge 4: Conclusion
The Inspire models aren’t as premium in their design as the Charge models, but they are quite a bit cheaper. The older standard Inspire model does the basics, but the extra money for the Inspire 2 is certainly worth it for all the extra features you get – heart rate, VO2 Max, connected GPS, swim tracking, double the battery life and a more refined design, to name but a few.
The Charge 4 is the most feature-rich device on this list and its built-in GPS will make it the clear winner for some. The Charge 3 only offers a few extras over the Inspire 2 with some extra function for smartphone notifications, more on-screen data, elevation data and NFC (standard in Charge 4, option in Charge 3), but it has a more premium design too.
The decision will likely come down to your budget and which features are really important to you. The Inspire 2 is the model we’d recommend over the standard Inspire and the Inspire HR, unless you can find the Inspire HR much cheaper. It’s double battery life also makes it a good contender for upgrading.
The Charge 4 is the model we’d recommend for those after a slightly larger device and a more premium look with all the features of the Inspire 2 (except the few extra days battery life), along with a couple of extras including built-in GPS and Fitbit Pay as standard. The Charge 3 is worth considering if you aren’t bothered about built-in GPS however and you can find it quite a bit cheaper than the Charge 4.
The new Atom’s headline ability is headphone playback, but don’t underestimate its value as a preamplifier. It’s a classy and versatile addition to Naim’s Uniti range.
For
Top-notch streaming
Great headphone stage
Also a great smart preamp
Against
No HDMI ARC input
Sound+Image mag review
(Image credit: Future)
This review originally appeared in Sound+Image magazine, one of What Hi-Fi?’s Australian sister publications. Click here for more information on Sound+Image, including digital editions and details on how you can subscribe.
UK-based Naim Audio became first renowned for its amplification, proving the importance of power quality from the early 1970s. Three decades later Naim was also quick to recognise the future of file-based and streaming music, and today enjoys great success with its Mu-so wireless speakers, while the Uniti range of all-in-one streaming systems deliver simple but definitely hi-fi ‘just-add-speakers’ solutions.
In a way the Uniti players brought together everything Naim has learned – the wireless, multiroom and control elements of the Mu-sos, with the solid hi-fi amplification developed over decades, including more recent trickle-down tech from the developmental fillip of investment made in the company’s no-holds-barred Statement amplifier project.
Now here comes the Uniti Atom Headphone Edition (£2399/$3290/AU$4299), which takes the smallest of the existing Uniti all-in-ones and does something rather unexpected for Naim – it throws out the part on which the company built its reputation, the amplification.
10 of the best British amplifiers of all time
(Image credit: Naim Audio)
Features
Well, that’s not entirely true. There are no amplifiers for loudspeakers, as provided on the other Uniti units (excepting only the Uniti Core, which adds networked hard-drive storage to the range).
But as the ‘HE’ of the new name suggests, it caters instead to headphones. On the front there are headphone outputs for jacks of full-size quarter-inch (6.5mm in new money) and 4.4mm Penteconn balanced connections, while round the back there’s a second balanced connection on 4-pin XLR.
We’re told that for this product Naim has used an all-new amp implementation designed especially so it delivers the best headphone amplifier experience, including a new transformer design to provide power tailored to the needs of the headphone amplification.
But this is not only a headphone amp. It’s also a preamplifier, and Naim has optimised its preamplifier performance also, “including elements originally used in our flagship Statement Amplifier” it says.
As a preamplifier it offers one analogue input pair on RCA sockets, and then digital inputs: two optical and one coaxial, plus USB-A slots both front and rear. There’s also Bluetooth available, which includes the aptX codec.
What doesn’t it have? It loses from the original Atom the HDMI ARC connection which was handy to play audio from your TV, and there’s still no USB-B connection to play direct from computer.
But its outputs are expanded, its variable preamplifier output available on both unbalanced RCA and balanced XLR outputs to feed your downstream amplification. This could play straight to power amps, since there is full volume control in the Atom HE – either from the remote, from its app, or from the heavenly Naim knob which sits on top, the only disadvantage of this positioning being that it is hidden when the unit goes on a good rack shelf, though its minimal height of 9cm means you should still be able to squeeze your hand in there for a knob spin when the urge presents itself.
(Image credit: Naim Audio)
Streaming
And in addition to physical inputs, this Naim has all the streaming prowess of other Uniti members, and that’s to say as complete a set of protocols as you’ll find anywhere – so many, indeed, that when the range originally launched, it was significantly delayed by the paper trail for all the licensing involved.
So this includes being easily addressed from any Spotify app, free or paid, or using Apple’s AirPlay 2 to stream the output of a Mac or any app on an iOS app, and Chromecast too, for point-to-point streaming from Android devices. Those with music libraries on a PC can use its UPnP ‘server’ function. It’s also Roon Ready, and although the Roon-direct licensing was still going through when it arrived for review, it was nevertheless available in Roon via its Chromecast and AirPlay abilities.
Then there are the services available within the Naim app itself. These include internet radio and podcasts, Tidal, and Qobuz (the latter newly available to Australia). You may note these are services which offer higher-quality subscriptions; Naim emphasises this quality also in its internet radio app, with a section devoted to higher-rate streams than the often grungy desk-compressed pop stations.
And one last batch of capabilities – the Atom HE is multiroom-capable with other Naim equipment including the Mu-so wireless speakers, so you can have music playing in unison (and Uniti) throughout your home. Chromecast and AirPlay 2 offer other paths to multiroom and multi-device playback.
Best music streamers 2021
Setting up
Having previously reviewed the standard Uniti Atom, we found set-up here to be a breeze. You have to pair the remote control by holding it to the full-colour five-inch front-panel panel display while you push ‘Home’ for three seconds. Our Naim app, already installed on an iPad Pro, needed a reinstall before it saw the Atom HE on the network and delivered it a firmware update, losing contact until the update was complete.
Beyond that, we had absolutely zero operational issues, and indeed throughout our testing we were able to generate no criticisms at all – not one – because Naim has honed its highly versatile and potentially complex operation to something near perfection.
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(Image credit: Future)
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(Image credit: Future)
The Naim app presents all its streaming services on one screen, the inputs on a scrolling second screen; if that doesn’t appeal you can use the settings to reorder the inputs to your preference, banishing unused ones to the second screen.
We had connected a Thorens turntable via a phono stage into the analogue input. We connected our computer to an optical input, using a DAC between them as a USB-to-SPDIF converter.
To kick off, we ran the Atom HE’s unbalanced pre-outputs to our resident power amps, always a slightly nervous connection to make when the preamp is digitally controlled and might flick the output to max accidentally. (Once we had Roon connected, we specified a safety level beyond which the volume slider then can’t go.)
We addressed it first from Tidal on the Naim app, then from the Tidal app itself, then from Roon.
Indeed during the Atom’s visit it may have be physically located in one room, but it seemed omnipresent. Wherever we accessed music – on the music room computer, on our Chromebook, the iPhone, a tablet – there was the Naim Atom as a playback device waving at us as if saying ‘Play to me! Play to me!’ There are so many ways to play that surely any current preferred path to playback will fit right in.
(Image credit: Naim Audio)
Listening
We can fully believe Naim’s claim that the preamp of the Atom HE is actually superior to those of the current Uniti range. Even in our initial set-up without the benefit of the balanced connections, all the cues from our favourite tunes poured from power amp and speaker references, dynamically delivered, cleanly resolving the good and the bad.
The effect on Alex the Astronaut’s main vocal for Split the Sky can sound curiously excessive on systems lacking resolution, degenerating into a mush. Here it could be discerned separately, part delay, part reverb. More to the point, the music and the emotion were entirely unchecked. The quite awful subject matter of her remarkable I Like To Dance is chilling; her Triple J cover of Mr Blue Sky – The Go-Betweens’ Lindy Morrison on drums – is sheer joy.
The Tidal stream through the Atom HE easily outperformed Spotify’s relatively softened sound. Naim’s Uniti platform does not support the MQA encoding which Tidal uses to ‘unfold’ its high-res Masters to their high definition – Naim could change this by firmware update, it has said, but is being led by demand.
Whatever you might think of MQA, it may be that uncompressed FLAC high-res streaming as offered by Qobuz and Deezer represents a purer future – after all, with today’s bandwidths defined by streaming 4K video, what need for data compression of high-res music any more?
So with Qobuz newly launched in Australia, we took the opportunity to connect our Roon to Qobuz, and our Roon to the Uniti. Roon’s excellent quality check pop-up box reminded us that Roon via Chromecast dropping the high-res to 48kHz, so we switched to Qobuz direct inside the Naim app. And what a joy that was. Fleetwood Mac’s Go Your Own Way was almost alarmingly crisp; details on Toto’s Africa (the left-channel chuckle on the intro) astoundingly apparent, especially as our usual playback preference for this slice of soft rock is the vinyl 45.
Best music streaming services
(Image credit: Naim Audio)
On Kate Bush’s Running Up That Hill, the continuous rolling drums’n’bass were entirely segregated from the other parts, and the emotional lift of multitracked Kates as we reached the first ‘Come on baby, come on darlin’ was thrilling at an almost tactile level. We began regretting our agreement to return the Atom HE to distributor BusiSoft AV within an unusually brief two weeks; we were barely getting started and we were missing it already.
Headphone playback
Naim Uniti Atom Headphone Edition specs
(Image credit: Naim Audio)
Inputs: 1 x analogue RCA, 2 x optical digital, 1 x coaxial digital, 2x USB-A
Streaming: Apple AirPlay 2, Chromecast, UPnPT, Spotify Connect, TIDAL, Qobuz, Roon Ready, Bluetooth, Internet radio
Also visiting from Naim’s Australian distributor were the Final Audio D8000 Pro headphones, themselves a mere AU$4999 (£3995, US$4299) with their silver-coated cables trailing away to the Atom HE’s full-size headphone jack like weighty twisted tinsel.
The Naim had not the slightest trouble driving these esoteric 60-ohm planar magnetic headphones to their maximum ability, whether delivering a tight and punchy kick drum under the guitar and synthscape of The Triffids’ Wide Open Road, or highlighting the curiously lo-fi elements opening Gotye’s Somebody That I Used To Know.
The Naim and Finals delivered a mind-meltingly zingy portrayal of The Go-Betweens’ Streets of your Town, currently resurrected for advertising purposes by Ampol but here crisply separated to the point where our attention was constantly darting around the soundstage to small sonic elements like the cunning combination of panned rhythm guitars, the tight block hits in the left, each element easily individually selectable by the mind’s ear, yet held together in a finely musical whole.
We also ran more affordable headphone references – open AKGs, closed Sennheisers – and there wasn’t a pair which didn’t display their full abilities or receive more than enough power on tap from the Atom HE – enough, indeed, to achieve quite worrying levels without any hint of congestion or distortion.
The relevant figures are 1.5 watt-per-channel output into 16 ohms (from all headphone outputs), and output impedance of 4.7 ohms. The headphone amp remains in pure Class-A except for lower impedance headphones pushed to the extremes of volume, when a Class-AB circuit is “seamlessly” invoked.
If you like it loud (bearing in mind the dangers of so listening), the Atom HE will at least ensure you get your music with a minimum of damaging distortion.
After a head-pumping serve of Wolfmother’s The Joker and the Thief we wondered if we should take a rest, but Qobuz continued serving such delights that we didn’t, instead diverting to some high-res classical. This confirmed the dynamic reserve of the headphone output and a remarkable ability to stay tonally accurate across different impedance headphones. All this was from the standard unbalanced quarter-inch headphone socket; the balanced outputs could potentially lift the Atom HE’s game still higher.
Best headphones 2021
(Image credit: Naim Audio)
Having an assortment of active stereo speakers in residence for our group test this issue, it occurred to us that the Atom HE’s abilities as a preamp perfectly complemented just such devices. The ELAC Navis, for example, has balanced XLR inputs, to which we connected the Atom HE’s balanced outputs.
The result was wildly successful – a brilliant pair of speakers provided with a perfectly-pitched preamp output backed by physical inputs, streams galore, an app, a physical remote control and Naim’s big knob. Adding good active speakers to the Atom HE makes for a wonderfully compact yet versatile system, boosted by its particular powers to make your headphones sing when privacy is required.
Verdict
The Atom HE is an excellent addition to the Naim Uniti range – something genuinely different in offering a streaming preamplifier with a top-quality headphone amplifier. Use it alone with headphones, with power amps, or with active speakers, and you have a system just as versatile in its streaming abilities as the Mu-so, more versatile in its connections, and far higher in its hi-fi quality. And it comes with the best knob in hi-fi. It’s a big thumbs up from us.
Naim has launched a ‘Headphone Edition’ of its multi-Award-winning Uniti Atom just-add-speakers streaming system. The new just-add-headphones variant essentially gets rid of the power amplifier and speaker output stages and instead goes big on the headphone output. To that end, there are three headphone sockets on the front panel – the standard 6.3mm, plus balanced 4-pin XLR and Pentaconn.
While the standard Uniti Atom has a headphone amplifier feeding a 3.5mm jack, the Uniti Atom Headphone Edition has been “fully re-engineered” to deliver a more advanced headphones listening experience. Using technology trickled down from its flagship Statement amplifier, Naim has developed a new discrete headphone amp which it says is capable of driving even the most premium headphones. Naturally, Naim would point you to Focal’s high-end pairs, while the relatively niche balanced connections lend themselves to accommodating further examples of such.
(Image credit: Naim)
The Atom’s internals are based around an all-new discrete transistor circuit design, too, with a new transformer design providing power to it.
Like the existing Uniti Atom, but unique in its implementation in a headphone amplifier design, the Uniti Atom Headphone Edition is a fully formed music system, with built-in streaming smarts and connections aplenty. At its core is Naim’s streaming platform, a gateway to streaming services (such as Qobuz, Tidal and Spotify), internet radio and DLNA playback. Support for AirPlay 2, built-in Chromecast and Roon builds on that streaming savviness. Analogue and digital connections, including USB, coaxial, optical, RCA and phono, are also onboard for connecting additional sources.
While the new Atom has been designed with headphones users in mind, it can of course also be used as a streaming preamplifier, either connected to a power amp, or a pair of active speakers.
The Naim Uniti Atom Headphone Edition is available now, priced in line with the standard Uniti Atom at £2399 ($3290, AU$4299). And, while it probably has more niche appeal than the standard Atom, if it’s as good for headphones as its sibling is for speakers, we’re looking at another desirable member of the Naim Uniti family.
MORE:
Read our Naim Uniti Atom review
Our pick of the best audiophile headphones 2021
Check out these superb straight-up headphone amplifiers
The Progression is a hugely capable and versatile integrated. Rarely have we come across an amplifier that offers such sonic insight and control
For
Staggering clarity and detail
Superb build and finish
Modular nature
Against
Headphone socket on the rear panel
Dan D’Agostino Master Audio Systems (to use the company’s full name) only plays at the top table. Despite its hefty price tag, the Progression Integrated amplifier is the starting point for the brand’s range, but that doesn’t make it a diluted facsimile of products further up the chain. It’s more like everything the brand knows in a condensed package.
At its most basic, this is a line-level analogue integrated amplifier costing £19,998 ($18,000, AU$34,995). But add the optional digital module for an extra £6000 ($5000, AU$8995) and you get a good range of digital inputs alongside network streaming capabilities.
Want to play records too? There’s a switchable moving magnet/moving coil phono stage module available for an extra £2250 ($2000, AU$3995) and it offers a decent range of cartridge loading options. In case you wondered, it is possible to fit both the digital and vinyl modules at the same time. As an aside, it’s unusual to see such a large difference in the USA and UK prices given the exchange rate.
Our review sample of the Progression has the digital module fitted, which has us wondering whether it should even be described as an amplifier – maybe streaming system would be more appropriate?
Features
(Image credit: Dan D’Agostino)
The category lines between product types have blurred significantly in recent years and this is yet another example. No matter, though. As a just-add-speakers unit, the Progression Integrated is a truly mouth-watering proposition.
It’s a powerhouse, no doubt. The combination of discrete, balanced, direct-coupled circuitry with a generous power supply results in a claimed power output of 200W per channel into an 8ohm load. That’s plenty, but the impressive thing is that the claimed power doubles as the load impedance halves. In practical terms, that means this unit is capable of driving any speaker to serious levels without issue.
Connectivity is good, with four balanced XLR inputs, plus two single-ended options (one of which would be used for the optional MM/MC phono module if chosen).
The phono module’s gain of 60dB should be able to accommodate all but the lowest output moving coil cartridges on the market without issue. There are a variety of selectable cartridge loading options available to help fine-tune the performance with the cartridge of your choice.
The digital board fitted to our review sample is also well equipped. Buy this and you get digital inputs – a USB type-B, coaxial and optical – along with a network renderer and access to streaming services such as Tidal, Qobuz and Spotify. The digital module can connect to your network wirelessly, though we always recommend going the wired route for the extra stability it brings. Roon compatibility is also on the menu.
The module’s onboard DAC supports music files up to 24-bit/192kHz PCM and DSD256, which should be more than enough for most people. It also decodes MQA, so you can make the most of Tidal’s hi-res Masters offering alongside other recordings so encoded.
Build
(Image credit: Dan D’Agostino)
There’s no complaining about the D’Agostino’s build quality. This is an immaculately crafted beast. Every surface is beautifully finished and that large volume dial moves with impressive smoothness, exhibiting nothing in the way of obvious play. The two power meters look a little ornate but work well in their dual role of showing volume and signal level. They also help when we want to set the balance between the channels more accurately.
The dedicated Progression app to run the streaming module is decent, too. It looks like a reskinned version of the well-established mConnect media player software, and we have no issue with that. We’ve used mConnect for a number of years with various products and it has proved reliable. Some of the amplifier’s controls are only available here, so you can’t change digital input or select the internal streamer any other way than using the app.
This integrated runs warm in use, so it makes sense to take care over positioning. Make sure you leave plenty of room for ventilation around it and that your chosen support is comfortable with the amp’s hefty 26kg weight.
Any amplifier at this level demands high-quality sources, of course. While the built-in digital module might be all the source that most people will need, we also plumb in our reference Naim ND555/555 PS DR music streamer to test the line level and digital inputs. Our usual Technics SL-1000R/Kiseki Purple Heart MC record player together with Nagra’s Classic Phono (phono stage) provides back-up as an alternative analogue source.
At the other end of the signal chain, we have our trusty ATC SCM50 speakers alongside Wilson Benesch’s Precision P2.0 floorstanders and ProAc’s new K1 standmounters. The Progression shows no particular preference and works well with all of them.
Even the 6.3mm headphone output proves unfussy, delivering great results with the likes of the Focal Stellia and Beyerdynamic T1 (3rd Generation) over-ears. However, it’s a shame the designer thought that putting the headphone output on the back panel was a good idea. It plainly isn’t.
Sound
(Image credit: Dan D’Agostino)
Listen to this D’Agostino in full flow and you get a glorious experience. At this level, it’s fair to expect excellent detail resolution and superlative transparency, and we get both. We play Jupiter from Holst’s Planets Suite and are swept along with the energy and drama on offer.
This is an amplifier that excels at displaying the power and scale of an orchestra in full swing. Yet, despite all the sonic fireworks, it’s the Progression’s framework of composure and control that is most striking. It never sounds stressed no matter how high the volume level goes or complex the music gets.
It’s a taut and precise presentation; one that edges towards the lean side of neutral without going as far as to be criticised for being thin or lacking in tonal colour. It’s this balance that allows the amplifier to sound so nimble for something so muscular.
Stereo imaging is terrific. The Progression paints a broad and expansive soundstage and populates it with crisply focused instruments. The orchestra is convincingly layered and there’s a pleasing impression of depth. This positional grip isn’t compromised when the music gets difficult either.
We switch to Massive Attack’s Heligoland and are floored by the D’Agostino’s low frequencies. They’re superbly defined, beautifully layered and punched out with rare agility. There’s plenty of muscle and authority of course, but that’s to be expected given the power output on offer. What surprises – and impresses – us the most, though, is the Progression’s articulate nature.
Things are surefooted rhythmically rather than truly enthusiastic, but there’s enough in the way of drive and musical momentum to keep us satisfied. Unlike many similarly priced, high-powered alternatives, the D’Agostino manages to sound musically cohesive and emotionally engaging.
The midrange is wide open and delivers Hope Sandoval’s vocals on Paradise Circus brilliantly. Her voice is rendered in an unusually clean and precise manner, though the Progression avoids sounding clinical by having enough in the way of natural warmth and dynamic nuance to convince. The highest frequencies certainly aren’t shy, but they remain nicely integrated and brim with information.
The D’Agostino’s sonic strengths shine through regardless of whether we use analogue or digital inputs. The onboard streaming module holds its own against similarly priced alternatives too, though such is the clarity of the analogue circuitry that a carefully chosen (invariably pricier) premium music streamer would deliver even better results, as listening to the Naim ND555/555 PS DR through it proves.
Our time with the D’Agostino had us trawling through our music collection, impatient to hear what all those familiar tracks sound like through it. It’s rare to find such a powerful amplifier sounding so transparent and responsive.
Verdict
There’s no doubt the D’Agostino Progression Integrated is a hugely capable product. It delivers a superb all-round performance and its modular nature means it offers far greater flexibility than most rivals. Regardless of whether you’re after a straight high-end integrated or something more fully featured, the Progression Integrated is something that must be heard.
SCORES
Sound 5
Features 5
Build 5
MORE:
Read our guide to the best stereo amplifiers
Read our Chord DAVE/Ultima 5 review
Read our Nagra Classic Preamp/Classic Power review
Voice control isn’t the sole preserve of wireless smart speakers, you know. Barking “Alexa, open Just Eat” at your Echo Dot (or other Alexa speaker), or “Hey Google, what’s in my calendar for today” to your Google Assistant speaker just for the joy of hearing that your schedule is clear, is now commonplace. But using spoken word to command the main music system in your home – your serious, great-sounding hi-fi setup – may not seem so natural. It may be a jump many audio enthusiasts are reluctant to take, even. But give this a moment’s thought, music lover, because verbal control over your hi-fi might be just what your household needs.
Here, we explain the various ways in which you can have voice control as part of a hi-fi system, whether you are keen to use Amazon’s Alexa, Google’s Assistant or Apple’s Siri platforms, and whether you want to bring your a traditional ‘dumb’ system into 2021 or are looking to invest in a new set-up with virtual voice assistance at its core…
(Image credit: Amazon)
Add voice control by connecting a smart speaker
One of the easiest routes to giving your vintage hi-fi system a voice is by connecting an external smart speaker to it.
Add Alexa The Amazon Echo Dot smart speaker comes with its own built-in driver under its little spherical fabric jackets, but you can beef up its audio by making it play through the speakers in your sound system instead. (Amazon launched a speaker-less Echo Input device a few years ago for this very purpose, but it’s now been discontinued.) This may be handy, but note that audio quality will be limited here.
The Echo Dot offers wired and wireless connectivity, and will work with just about any integrated amp, receiver, soundbar or pair of active speakers with a 3.5mm aux input or Bluetooth connection. With either connection, all of the audio – including Alexa’s verbal answers – will play through the connected speakers in your system.
The diminutive, cheap and cheerful Amazon Echo Dot has a 3.5mm output, which means you can wire it to any receiver, integrated amp or powered speaker with a 3.5mm input. Alternatively, it features built-in Advanced Audio Distribution Profile (A2DP) Bluetooth, meaning you can connect it wirelessly to any Bluetooth-enabled receiver, speaker or soundbar.
Best Alexa speakers 2021
Add Google Assistant Want Google Assistant to run the show instead? Similarly, you can pair a Google Nest Mini* (Google’s version of the Echo Dot) over Bluetooth for voice commands and music to play through your Bluetooth-toting system. However, it does not have a 3.5mm output.
*Older Google smart speakers, such as the Home Mini, can also do this.
Best Google Assistant speakers 2021
How about hi-fi with Alexa or Google Assistant integrated?
As we’ve explained, almost any receiver, integrated amp or powered speaker with a 3.5mm input or Bluetooth connection will essentially ‘work’ with Alexa (or Google Assistant, for that matter), if you’ve already got an Alexa- (or Google-) powered device to physically or wirelessly connect it to.
Products with Alexa and*/or Google Assistant baked in, however, do not require you to already own and connect a third-party smart device. These products – ‘smart’ themselves – have integrated microphones to pick up your commands, and run Amazon’s voice software internally, rather than simply being able to work with the technology. These are, for now, more or less limited to wireless ‘smart’ speakers, though.
*Some wireless speakers are platform agnostic and support both Alexa and Google Assistant, such as the Sonos One.
How about the Amazon Echo Link/Amp or Sonos Amp?
(Image credit: Sonos)
If it’s an Amazon Echo device, that means Alexa must be built in, right? Wrong. The Echo Link and Echo Link Amp – Amazon’s music streamer and music streaming amplifier respectively – don’t have integrated microphones so still need a third-party Alexa device, such as an Echo Dot, connected to be obey commands and be part of voice-controlled music groups throughout your home.
Similarly, the Sonos Amp – which you may well think would be voice controllable – doesn’t have an in-built microphone for voice control. It will, however, respond to voice commands issued to connected Alexa-, Google- and Siri-powered devices, including, naturally, the Sonos One.
Sonos: everything you need to know
Multi-room hi-fi platforms with Alexa support
If you’ve yet to buy a hi-fi system and want to get one that puts voice assistant friendliness at its core, there are now several hi-fi and home cinema components that have Alexa-friendly multi-room platforms built in. These include those based on Yamaha’s MusicCast, HEOS by Denon, and BluOS, all of which offer an enhanced Alexa experience when a third-party Alexa device (like an Amazon Echo) is connected to them through specific Alexa ‘skills’.
MusicCast MusicCast is a wireless multi-room audio system built into several Yamaha AV receivers, soundbars and wireless speakers. It allows these devices to be connected together through your home wi-fi network and controlled by an app on your smartphone or tablet. By adding Alexa through a third-party Alexa speaker, you can kick back on the sofa and simply ask for music on your MusicCast AV receiver.
In case you didn’t know, Alexa provides capabilities (called ‘Alexa Skills’) that enable us to create a more personalised experience according to the kit we own, which can be downloaded from the Alexa Skills store, or simply by saying “Alexa, enable [skill name].” Since said skills are cloud-based, they don’t take up space on your device, so there’s no limit to the amount you can enable. There are two Alexa skills that work with MusicCast: the MusicCast Smart Home skill and the MusicCast skill.
The MusicCast Smart Home skill brings standard Alexa commands such as power on/off, volume control and play/pause/skip to the party. To turn on the AV receiver in your living room, you just say, “Alexa, turn on the Living Room.”
The MusicCast skill goes beyond the basics, giving you control of unique MusicCast functions, like linking/unlinking rooms and direct access to playlists and favourites. In order to access the MusicCast skills, you need to add “ask MusicCast to” after the “Alexa” wake word (or whatever your wake word is): for example, “Alexa, ask MusicCast to link the Living Room to the Kitchen.”
(Image credit: Future)
BluOS
An operating system developed by NAD Electronics and its sister brand Bluesound, BluOS sits at the core of connected products from those two brands, plus Dali and Monitor Audio.
To add Alexa voice control to your BluOS multi-room system, simply download the BluOS Voice Control skill in the Alexa app and link your BluOS-enabled products. You can then tell Alexa to play songs or playlists from subscribed services like Amazon Music, Tidal and Deezer, adjust volume levels or pause what’s playing with a single voice command.
BluVoice is the voice-control interface (or trigger word) that acts as the intermediary between BluOS and a compatible voice assistant, so BluOS owners can ask their Echo device: “Alexa, ask BluVoice to play new songs on Tidal”.
DTS Play-Fi Similarly, to use Alexa with DTS Play-Fi hi-fi products, you’ll need to ask a connected Alexa-supporting speaker to play music, which it can then do across the rest of your compatible Play-Fi products.
HEOS When it comes to the HEOS platform, we’d point you towards the What Hi-Fi? 2020 Award-winning Denon AVC-X3700H (above). It’s an 8K-ready home cinema amplifier, but those intending to use it for music playback can also take advantage of the AVC-X3700H’s hi-res audio decoding of files up to 24bit/192kHz and double-speed DSD. Most importantly – in regards to voice control, at least – there’s a HEOS Home Entertainment skill to enable in the Alexa app, which means you can control all of your HEOS-enabled devices by conversing with Alexa through.
HEOS-based Denon and Marantz kit that supports AirPlay 2 can also benefit from Siri voice control when controlled by an iOS (iOS 11.4 and later) device, too. Which leads us to…
Can I voice control my system using Siri?
In a word, yes – as long as something in your system supports AirPlay 2.
While Apple’s Siri voice assistant is integrated into the Apple HomePod or HomePod Mini smart speakers, other speakers (such as the Sonos One) and streaming systems (such as the Bluesound Powernode 2i and KEF LSX) rely on AirPlay 2’s connection to your iOS device to speak to Siri. You simply have to Open the Apple Home App on your iPhone or iPad and select ‘Add Accessory’ to add, group and then voice control your device over Siri.
However, Siri’s usefulness is more limited than Alexa’s and Google Assistant’s, only allowing you to directly ask to play music that’s either on Apple Music or stored locally on your iOS device. You can ask to play from Spotify too, but you’ll need to say “on Spotify” after your request.
MORE:
See our pick of the best smart speakers 2021
Or the best multi-room systems 2021
Starting from scratch? Read up on the best hi-fi systems 2021
After more than a year of iOS exclusivity, social audio platform Clubhouse is releasing its Android app. It will be available in beta on Google’s mobile OS today in the US, allowing users to sign up and participate in its audio-only chat rooms.
“Our plan over the next few weeks is to collect feedback from the community, fix any issues we see and work to add a few final features like payments and club creation before rolling it out more broadly,” the company said in a blog post.
The Android app, which the company says has been the top request from its community by far, will roll out to other English-speaking markets and the rest of the world in the days and weeks ahead, the company said. Users outside the US will be able to pre-register for access via the Clubhouse page in the Google Play store, to be notified when the Android app is available in their area.
However, Clubhouse says the platform will remain invite-only for now, meaning it’s still not open to just anyone, “as part of the effort to keep the growth measured,” the company said in a statement. Over the summer, the company plans to begin migrating what it says are millions of iOS users who have been waitlisted while the company built the app’s infrastructure.
Clubhouse
Despite limited access Clubhouse has generated significant buzz, thanks in part to its early popularity with the venture-capital crowd dotted around Silicon Valley. The company was recently valued at $4 billion after a new funding round.
However, this early excitement has meant multiple big tech firms are interested in launching similar audio features of their own. Twitter has already rolled out its own Spaces feature, Discord has added Stage Channels, and Facebook, Spotify, Slack, LinkedIn, and Reddit are all at varying stages of adding similar audio-only features to their services.
The company acknowledged in its post announcing the Android app that the platform had grown faster than expected. “This had its downsides, as the load stressed our systems—causing widespread server outages and notification failures, and surpassing the limits of our early discovery algorithms,” the post stated. “It made us shift our focus to hiring, fixing, and company building, rather than the community meetups and product features that we normally like to focus on.”
With more than a year under its belt, Clubhouse has turned its attention to attracting creators to its platform, and recently announced the results of an accelerator program which will see it fund 50 audio shows on the platform. Now, with its release on Android, Clubhouse is finally letting US users with an invite on the biggest smartphone OS in the world get involved.
(Pocket-lint) – When the Xiaomi Mi 11 Ultra touched down at Pocket-lint HQ it made for a moment of genuine excitement. This flagship, which has more features than, well, any other handset we’ve seen in recent times, is one of those rare moments of a company trying to be different; to standout for the right reasons.
Not only does the Mi 11 Ultra have one of the boldest screens on the market, it has a second screen on its rear too. It’s one of those unusual double-screen devices – we’ve seen other different implementations before, from the Vivo NEX Dual Display to the Meizu Pro 7 and beyond – with the Xiaomi’s smaller touchscreen integrated into the camera unit to act as a notification and control centre. You can see why the tech nerd in us got all excited, right?
Except, having used the Mi 11 Ultra for two full weeks as our own device, it’s stood out for too many of the wrong reasons. The camera bump is huge, the second screen adds nothing of genuine use (and sometimes actively gets in the way), the screen’s touch-responsiveness is unacceptably bad, and the MIUI software continues to deliver irks that, at this high-end level, simply don’t add up to the ‘Ultra’ experience we were expecting.
Design
Dimensions: 164.3 x 74.6 x 8.4mm / Weight: 234g
IP68 dust- and water-resistant (1.5m for 30 mins)
Finish options: Cosmic White, Cosmic Black
Build: Ceramic back in aluminium frame
Under-display fingerprint scanner
Upon pulling the Mi 11 Ultra from its box, it was impossible to not continually stare at the rear camera unit. That protruding bump is huge – the biggest we can ever recall seeing on a phone. At least it’s wide enough that the device doesn’t rock around when laid flat (well, flat-ish) on a desk.
Pocket-lint
The build quality is second to none, though, especially standout if you’re seeking high-end details such as a ceramic rear, aluminium frame, water-protection, and curved screen edges. It’s every bit the flagship in such regards.
Odd, then, that the included transparent case does an assured job of undoing much of that high-end look. It’s an essential for protection, though, so we’ve had it wrapped around the phone’s body the majority of the time. But it’s just a budget translucent bit of plastic.
The reason it’s ultra-light plastic is likely to avoid adding too much additional weight to the Mi 11 Ultra’s already hefty frame. We thought the Poco X3 Pro, at 215g, was one chunky monkey. The Xiaomi tops that, at 234g. It’s not as though it’s going to hurt your wrist during use or anything, but it’s an undoubtedly heavy phone to be carting around and using day to day.
In addition to offering face unlock sign-in, the Mi 11 Ultra also has an under-display fingerprint scanner – which we’ve found generally ok, but occasionally to falter. We actually prefer the Mi 11 Lite 5G’s side-positioned one.
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Thinking about it, we actually prefer the Lite model for its overall lightweight design and eye-catching colour finish. Which really isn’t the position this Ultra should be in – being somewhat usurped by the baby in the Mi 11 range.
Rear (within camera unit): 1.1-inch AMOLED, 126 x 294 resolution
The Mi 11 Ultra’s 6.81-inch AMOLED display has some truly flagship specifications. It’s got a WQHD+ resolution, for starters, which means more pixels are packed onto its surface than you’ll find in many competitors these days. There’s also a 120Hz refresh rate to up the smoothness, which is particularly noticeable when scrolling or in some faster moving games.
Pocket-lint
There are other headline features here, too, such as Dolby Vision for HDR (high dynamic range) playback and a peak 1700 nits brightness – meaning the maximum punch this screen can output is really, very bright. But you’re not likely to have it cranked up to the max much of the time and, actually, when it’s in lower-light conditions and the brightness falls it begins to crush black levels – a problem others, such as the Oppo Find X3, can also suffer. It’s subtle, but it’s there, and can affect those Netflix sessions.
The screen is also curved, which might look nice to the eyes, because it helps diminish the appearance of edge bezel, but in the case of the Mi 11 Ultra is an often fatal flaw. Why? Because the screen’s touch responsiveness is terrible. By this we don’t mean touch sampling rate, rather the simple fact that the software will often think the screen in being accidentally touched and ignore your input. Even really prominent input, such as when scrolling through pages, often stutters or ignores input.
There’s a software section to choose between the degree of accidental edge touch that’s permissible, or even custom adjust it, but whatever we’ve done it’s been an ongoing issue. Furthermore the screen seems to time-out – such as when watching an advert in a game, for example – and isn’t actively ready for input immediately afterwards. It can take two, three or more taps to get the device to re-engage. And that’s nothing to do with the standard 15/30/60-second auto-timeout. No, this is different. And it goes a good way in breaking the Mi 11 Ultra’s potential.
Accidental touch is something that also affects that rear display. So often we’ll have Spotify running and pick the phone up, only to accidentally skip back to the beginning of the current track. We get that having such controls available for a quick tap could be useful, but most of the time it’s just been a hindrance. And quite often the notifications, owed to poor servicing from the MIUI software, will say things like “checking for messages” from WhatsApp, for example, without delivering anything of actual use.
We’ve already said the tech nerd in us was excited about the prospect of this small second screen to the rear, as it seemed like a smart way of getting quick notifications that you could then pay further attention to. In reality, however, that’s what a full-size always-on display can do already – which the Mi 11 Ultra offers.
Plus, as we’ve come to learn when trying to watch shows in near black-out darkness, having this second screen means you don’t get to “hide” your phone from alerting you and lighting the room in one way or another – unless, of course, you turn the feature off entirely.
Pocket-lint
Oh, but what about selfies, surely that’s where this screen comes into its own? Well, you’d think so. But to use the main cameras to shoot you’ll need to select the ‘Rear display preview’ from within the camera app, which will show you all selfie ready in that small display, but then there’s no logical way to shoot the shot. Fumble too much and you’ll likely end up clicking out of the main camera app with your fingers touching around the phone anyway. So, no, it just adds layers of confusion that needn’t be there.
Overall, then, this second screen has served as little more than a because-it-can gimmick.
Performance
Qualcomm Snapdragon 888 platform, 12GB RAM
67W fast-charging (wired and Qi wireless)
5,000mAh battery capacity
Wi-Fi 802.11 a/b/g/n/ac/6e
24-bit/192kHz audio
5G connectivity
Being a true flagship, Xiaomi has gone all-out when it comes to top-tier specification. The Mi 11 Ultra is kitted out with the Snapdragon 888 platform and 12GB RAM, so no current app is going to be a bother to run.
Pocket-lint
What is a bother, however, is as we’ve highlighted above: the screen’s response. Load up a game like South Park: Phone Destroyer and because the screen will often not register touch input, you’re left with the frequent possibility of losing during play as a direct result of this hardware/software combination. PUBG Mobile? Forget about it.
So while the Mi 11 Ultra has the capacity to deliver these games at their very best – the smoothest frame-rates and so forth – it’s irrelevant. It’s not a gamers’ phone by any means as a result.
The battery capacity, at 5,000mAh, is relatively large. Depending on how you approach using this phone that can mean decent longevity. However, given all the available features – WQHD+ resolution at 120Hz – there’s greater likelihood that it’ll be a stretch to get through the day. We’ve been just about managing it, but often with 20 per cent left after around 13 hours of use.
Pocket-lint
Using the phone in this way will see the software suggest doing a large number of things that dumb the features down. Resolution drop. Refresh rate drop. Dark mode activation. Quicker screen auto-off. Always-on display deactivation. Disallowing apps to auto-start. The kind of things that you would otherwise want to always keep operational for that true flagship feel in use. So, in many ways, it’s as though the Mi 11 Ultra’s software is keen to hamper its performance potential.
We’ve seen Xiaomi’s MIUI software in numerous iterations and it’s often varied in its success – sometimes for no apparent reason. In the Mi 11 Lite 5G, which is our favourite in this series, we had no issues with receiving app notifications. In the Mi 11 Ultra, however, it can be temperamental. As we’ve said in many other Xiaomi/Poco/Redmi reviews (multiple brands under one roof) you’ll need to dig into the software and tinker with whether an app has no restrictions to ‘Battery Saver’ – otherwise it may not always be readily available.
Pocket-lint
One clear positive we can highlight about the Mi 11 Ultra is the fast-charging. It’s got a 67W charger, which is among the fastest you’ll find anywhere, and makes for rapid top-ups. It’s the same for wireless charging apparently – although we haven’t been able to test and verify this. Good job, really, as that quick-to-deplete battery has a way to help keep it juiced up in little time.
Given the prominence of place given to the camera unit on the rear of the Mi 11 Ultra, it’s safe to say that it’s the most prominent feature of this flagship. It’s here that the Xiaomi often pulls its (considerable) weight, delivering images that are high quality and frequently outclass the competition.
Pocket-lint
As a quick summary, the rear unit houses three cameras: the main wide-angle, a 24mm equivalent wide-angle with 50-megapixel resolution; a 0.5x ultra-wide with 48-megapixel resolution; and a periscope zoom, also 48-megapixel, that delivers 5x optical zoom (so a 120mm equivalent).
There’s no gimmicky lenses, no useless macro or dedicated mono sensor, just the core of what you’re really likely to want. Now, the 5x zoom is quite a ‘steep’ jump from the main sensor, but it is possible to pinch-zoom between the two with results of varying quality. You can even do this when live-recording video, which is pretty impressive in result.
As we’ve seen from pretty much every maker with multi-faceted cameras, there’s a slight disparity between the colour balance and quality from each lens though. There’s also a delay when ‘jumping’ between the available lenses – select between the main optic and 5x, for example, and you’ll first see a digital zoom from that main sensor before it suddenly updates with a different fill from the true optical zoom sensor. Not a major drama, but it’s not 100 per cent immediate when selecting between the lenses.
Pocket-lint
: Main cameraMain camera
The Mi 11 Ultra’s ultra-wide lens is also a bit toowide-angle – we think it should be 0.6x to avoid some of the more considerable barrel distortion really. But, unlike typical 8-megapixel ultra-wide sensors, this one is capable of delivering decent quality at 12-megapixels (using four-in-one processing technology, as the Mi 11 Ultra does on all its shots).
It has to be said that the Mi 11 Ultra’s 5x optical zoom delivers crisp and clear shots. It’s particularly apparent here, because so many competitors use digital or hybrid zooms and talk them up to such an extent that you almost believe the results will be good – but nothing can beat a true optical zoom as Xiaomi has graced the Mi 11 Ultra with here.
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The main sensor is equipped with on-sensor phase detection autofocus, there’s laser autofocus too, and optical image stabilisation to keep everything smooth and sharp. It’s a well equipped sensor that delivers fine results indeed – whether in daylight, low-light, backlit or really any given set of conditions.
Pocket-lint
: Main cameraMain camera
In short: the Ultra’s forte really is found in its photography prowess. Whether it’s worth having such a giant hunk of a camera unit to the rear for the sake of that, however, is another question.
Verdict
The Xiaomi Mi 11 Ultra does a really good job of shouting “shiny, shiny!” from the rooftops and being undoubtedly alluring for all the bells, whistles, and other embellishments that make it an altogether different and standout device. It wants you to look at it and think “that’s more exciting than the Samsung Galaxy S21 Ultra” – because, from a pure features and spec point of view, it really is.
But once you brush away what are frankly excess features – some of which, such as the second rear screen, are nothing but gimmicky – you’re left with a device that fails to get many of the basics right. The screen response is unacceptably bad. The camera bump is huge – and not really worth it for the sake of that second rear screen. The MIUI software has various moments of failing to send notifications too.
The Mi 11 Ultra is a rare moment from Xiaomi. One that’s excited us more than any other phone of late. Yet, when it comes to the crunch, it’s the one Mi 11 device that’s left us ultra disappointed. The promise is huge, but it just hasn’t lived up to the potential.
Also consider
Pocket-lint
Samsung Galaxy S21 Ultra
A neater camera integration, better software, and fewer irks make the Samsung the phone that Xiaomi should have beaten – but failed to do so.
Read our review
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Xiaomi Mi 11 Lite 5G
This, our favourite of the whole Mi 11 range, is everything the Ultra isn’t: it’s lightweight, its colour finish is more eye-catching, its battery lasts longer (despite being less capacious), and, for whatever reason, the software implementation here hasn’t been problematic. You don’t get outstanding cameras by comparison, of course, but you do save two-thirds on the Ultra’s asking price. And you still get 5G connectivity!
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.
Apple is planning to add a new HiFi tier to its Apple Music streaming service, and it could coincide with the launch of its AirPods 3 true wireless earbuds, sources say. Hits Double Daily quotes music label sources as saying the HiFi tier will allow high-fidelity music streaming (we’re assuming CD-quality) and cost the same $9.99 (£9.99, AU$9.99) as the current Individual tier.
Both the new tier and the AirPods 3 will launch “in the coming weeks”, the sources say. Apple’s annual WWDC developers conference starts on 7th June, so there’s a chance we could see a launch around then.
An Apple Music HiFi tier would compete directly with Spotify, who should be launching its own CD-quality Spotify HiFi tier later in the year.
The two firms are arch-rivals. Apple was recently reprimanded by the European Commission for taking a cut of any music subscriptions bought from within apps running on its iOS operating system. It was also criticised for not allowing firms to advertise other – potentially cheaper – ways of subscribing on their iOS apps. The case followed a complaint from Spotify in 2019.
Last week, Spotify raised some of its prices, which didn’t go down particularly well in some quarters. And, it also launched podcast subscriptions, which is another area in which it will compete directly with Apple.
The third-gen AirPods have been rumoured for a while now. The AirPods 2 launched in 2019, so the earbuds are due a refresh. The next model is expected to look similar to the AirPods Pro, but without Pro-only features like active noise cancellation (ANC).
Amazon currently offers a high-fidelity service called Amazon Music HD. At £12.99 ($12.99) a month, it costs a little more than the standard Amazon Music Unlimited tier but it does include hi-res versions of a number of tracks. Whether Apple wants to go down the hi-res audio route remains to be seen, but it looks like all could be revealed in the next few weeks.
Epic Games didn’t sue Apple to get a big payout, but that’s because the lawsuit itself is an investment. And to rewrite Apple’s rules, Epic is spending a fortune.
The reason Epic’s Fortnite got thrown out of the Apple App Store was that Epic rogue-updated Fortnite to offer a payment mechanism that bypassed Apple’s 30 percent cut of all in-app transactions. Apple booted Fortnite for violating its rules. Epic threw an… epic… hissy fit about this, culminating in the trial starting this week. While Epic has cobbled together an alliance called the Coalition for App Fairness — along with Spotify, Match Group, Basecamp, and Tile — there’s one more tech behemoth in play. Epic Games Store runs on Amazon Web Services. So does Fortnite itself.
The fight with Apple echoes Epic’s tactics elsewhere. The Epic Game Store is a clear challenge to Valve, which has an iOS-like store called Steam that also takes a 30 percent cut of sales. In a basic act of moral consistency, the Epic Game Store contains — in addition to games by other developers — other game stores. It also takes only a 12 percent cut of sales. Just last week, Microsoft announced it would cut its take on PC games to 12 percent to match Epic, from 30 percent. (It also filed a letter of support for Epic in the current case.)
Epic CEO Tim Sweeney said in 2019 that the Epic Game Store’s hardball tactics against Valve will continue until either the store is profitable or Valve lowers its cut. Epic will torch an estimated $593 million by the end of 2021 on the Epic Games Store, according to court documents in the Apple case. At many companies, losing this much money would be a problem, but that figure is only slightly more than Epic’s Fortnite revenue from April 2020, which was $400 million that month.
Fortnite pretty much prints cash because the video game industry has hit on a business model that almost no other part of the entertainment industry can match: in-app payments. For Spotify, it’s not a fatal problem to dodge the App Store and its cut. I just go to a desktop computer, enter my credit card information, and — thanks to recurring billing — I’m done.
Fortnite is different, and it’s why a video game company is leading the effort to challenge the App Store payment rules. In Fortnite, if I want to buy a sweet dance move, I spend Epic’s V-Bucks to do it. The store refreshes every day, so if I want the new hotness, I need to act immediately. (There’s also a seasonal pass and a recently-introduced monthly subscription, but these do not seem to be as explicitly geared toward impulse buys.) Last year, in-app purchases were estimated to account for 40 percent of all gaming revenue.
Epic’s position gets weirder. Part of the story will involve people who imprinted on Neal Stephenson like ducklings, but before we get there, let’s run down what we know about the economics of Fortnite and the Epic Games Store to get a rough sense of how much money is in play.
It’s true that Fortnite is free to download, but in-app purchases more than make up for that. In 2019, Epic Games had revenue of $4.2 billion, with earnings of $730 million. (We know this because Epic, a private company, sold a stake, and those meddling kids at VentureBeat got a hold of numbers as a result.) Epic’s 2020 numbers are forecast at about $5 billion in revenue, with $1 billion in earnings, according to VentureBeat; in the court documents, Epic’s total 2020 revenue is projected at a mere $3.85 billion. In the two years Fortnite was available in the App Store, iOS customers alone accounted for $700 million in revenue for Epic, according to the court documents.
“Epic is in a fortunate position because Fortnite is the most popular game in the world,” says Christopher Krohn, an adjunct associate professor of marketing at the University of Chicago’s Booth School of Business.
Apple’s revenue split from digital purchases is a little complicated — it’s got special rates for small developers, for instance — but in Epic’s case, Apple gets 30 percent of all in-app purchases. That’s in line with Minitel, the French pre-internet, which also had a 30 / 70 split for third-party content, says Bill Maurer, a professor of anthropology at the University of California Irvine who specializes in payment processors. Frankly, it looks like a carrier fee.
“At some level, Apple’s being greedy, because it doesn’t depend on this revenue,” says Michael Cusumano, a distinguished professor of management at MIT’s Sloan Business School. “It’s rolling in money from the iPhone itself.” On March 28, Apple reported its quarterly earnings — almost $24 billion in net income, riding mostly on strong sales of the iPhone and Mac; the previous quarter was a blowout for the company, with revenue of more than $100 billion.
Greed isn’t illegal. It’s also probably what’s motivating Epic, despite its CEO’s bluster. Epic wants to build something called the “metaverse,” an online haven where superhero IP owned by different companies can finally kiss. (The idea is based on Snow Crash, a 1991 book by Neal Stephenson.) The revenue potential here is the kind of thing that sends VCs into thinkfluencing fever dreams.
Fortnite is already a hangout space, one where IP from Marvel and DC can legally interact. Add to that the Unreal engine, which fuels a number of games as well as shows such as Disney’s The Mandalorian, and its other developer tools, and you’re looking at what could potentially be a piece of a metaverse. Should Fortnite, the Epic Games Store, or another Epic offering underpin a major chunk of a metaverse, the amount of money Epic is torching on its store and these lawyers will look like a wise investment against the fuckload of money it stands to make.
You can see why they might not want to cut Apple — or Valve, or Google, or anyone at all — in at 30 percent.
Look, I’m going to pop my popcorn and, as Sweeney put it, “enjoy the upcoming fireworks show” at the trial. I don’t think the outcome will matter much, since any verdict is going to get appealed immediately. But at the very bottom, it seems obvious that Epic’s position is the same as Apple’s: greed is good. Forget the fight to own the metaverse. The real world belongs to Big Tech, and we’re just NPCs who drop loot for the corporate players.
(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.
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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
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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
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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.
Read our full review
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Writing by Steve Withers. Editing by Mike Lowe.
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