Koss Headphones had a 2014 full of flagship products launched this year, with its sights aimed at an optimistic future. The NFC enabled BT540i simplified Bluetooth listening on mobile devices, then their ergonomic SP330 & SP540 delivered comfortable music enjoyment for all. Finally, Koss will end the year on a high note with its new Pro4S stereophones, geared toward studio and music monitoring.

But what are “studio” headphones, and what makes them different from other models? Most headphones may have a compensated or enhanced EQ to tailor towards certain listener preferences — i.e. more bass. Reference or studio monitoring needs to be free of any tuning, for those who need to listen to an accurate representation of their content, like audio engineers and music producers.

So, we put the Pro4S to the test all month — at home, at a Hollywood recording studio, and on a TV production. Here’s what we found:

The design

The Pro4S is a full-sized, circumaural studio headphone that is a fine blend of transparent sound, comfortable durability, and practical design. Weighing a hair under 7 oz (195 g), even as an over-ear model, it’s compact and light enough for use in any environment.

Its tough, aluminum internal frame is encased by both metal and plastic molding, and outfitted with soft, breathable materials for the best strength and comfort. The headband is supported with memory foam and mesh cloth that feels weightless, even after many hours of wear. The ear cup hinges are also metallic and soft-locking, for added durability without creating temporal pressure.

Comfort and weight are vital for studio applications, where engineers can log many more hours of use than home listeners. That’s why the Pro4S also features the same “D-profile” ear cups first featured on Koss’ classic Pro4AAA, and its recent SP series headphones. Because of this shape, you’ll get great passive isolation that’s evenly distributed more naturally around your ear.  These cast aluminum ear cups have a high quality feel, and are fashioned with a shaved silver trim that may scratch easily, which isn’t a deal breaker for us, but still worth mentioning.

The cups lay flat for storage inside an included soft clamshell case, and the hinges can fold the ear cups towards the headband for further portability. This especially helps for location audio work, where space is limited and mobility is key. The headband is adjustable at discreet steps, and even at full extension, there doesn’t seem to be any signs of stress when bending or tweaking the phones.

Another key feature on the Pro4S is its dual-entry detachable cord. The circuitry automatically routes a stereo signal to both drivers, regardless of which side you plug into. Plus, the remaining open end becomes a pass-through output, so you could daisy chain another Pro4S alongside it.

The included 4.5 ft. (1.4 m) cable is coiled in the middle, in between two long straight sections. This distributes the cable’s weight more evenly, and helps clear up obstructions when plugging into any source. This is also half the length and weight of Sony’s MDR-7506 coiled cable, which is almost 10 ft. long.

While a longer cable could be more accommodating, Koss hit the right mark in length versus obstructiveness, with the added convenience of simply unplugging oneself from the cord entirely. The only downside is if this cable is misplaced, users will have a hard time finding a replacement other than what’s provided by Koss, because of the recessed ports on the Pro4S.

Made with rugged materials, comfortable cushioning, and lined with a simple silver trim, the Koss Pro4S is dressed to impress and made with comfort in mind. Aesthetics and features are great, but does it have the sound signature to match?

The sound

Studio or reference headphones are usually advertised to have a flat frequency response, where, ideally, all signals are reproduced uniformly across all frequencies without bias (example above). The Pro4S is driven by Koss’ new SLX40 elements that are tuned for reference, delivering what they advertise as “incredibly accurate and unbiased sound”.

Its specs seem to be on-par with other studio models, with a few differences:

• Response: 10 Hz – 25 kHz
• Sensitivity: 99 dB SPL
• Impedance: 35 Ohms
• THD: <0.3% average (@400 Hz – 1 kHz, 95 dB SPL)
• Max Load: 500 mW

While response and sensitivity are where they need to be, its has a lower impedance and load rating than most models. This is probably to accommodate a wide range of home studio setups and listening, but may have less gain headroom for some professional board outputs.

We lent these stereophones to several engineers in the music and film audio worlds, and their feedback was consistent. The Pro4S, in general, has the soundscape of a studio headphone, but seems to have a character of its own, with additional warmth in the mid range, and clarity in higher registers. However, no frequency bands seem exaggerated, and it retrieves enough detail in all ranges to gauge how tracks sit in a mix.

There are moments when this perceived slight emphasis can sit on the harsh side, when it comes to certain instrumentation. One of the music engineers who tested our Pro4S had difficulty assessing if the twang of an overdriven Telecaster was distorting. Upon switching back to his usual pair, this wasn’t the case.

Despite its accented soundscape, the Pro4S at least provides listeners with a pleasurable experience. For what it’s worth, casually listening to finished music with this pair is actually not as thin or lacking as other studio models. It may not perform like a true “reference” model, but it can at least produce a more neutral sound to a variety of subjective preferences.

The industry

This isn’t to discount the clarity of the Pro4S, which is especially beneficial for tracking vocals. We tested out this pair at a Hollywood dubbing stage, and could properly judge tonal differences between the originally recorded dialogue and the replacement voice-overs. These sessions can last for many hours a day, but there were no complaints of discomfort from the recording team. They especially enjoyed the detachable cord, so they could quickly leave the board for a coffee, without having to take off the headphones entirely.

We also lent the Pro4S to a couple production sound mixers, who primarily record on-set dialogue. Even on an upcoming reality TV series, where there are many mic sources and inputs involved, and characters unpredictably speaking to one other, the Pro4S could retrieve enough detail from all sources to properly EQ and mix. While on location, these headphones are great for long listening sessions, but its materials may heat up considerably on a warm day outside.

Let’s take a moment to compare the Pro4S to two current favorites in the biz — Sony’s workhorse MDR-7506, considered an industry standard, and Sennheiser’s more compact HD25-1, another widely compatible reference pair. All three of these headphones are geared towards professional markets, and the Pro4S seems to be the middle ground that addresses issues with current models.

The 7506’s are considered the standard and used in a variety of applications. It’s also circumaural, with minimal pressure around the ear, and a neutral soundscape that is uniform from production to post. The earcups fold inward towards the headband, but because it has a much longer cable, the 7506 can easily become a tangled mess during storage.

The on-ear HD25’s are more compact and also great for many situations, especially while on location. They have great isolation, and seem to distribute pressure evenly across the adjustable headband. However, the on-ear style can become fatiguing during long sessions, especially if the listener is wearing glasses.

Take the isolation and compactness of the HD25’s, with the sound and comfort of the 7506, add a detachable cable, and the Pro4S is a nice marriage between the two.

The verdict

Not only is the Pro4S quite possibly the most comfortable pair of headphones of its class, it has class too. It may have a sound signature that slightly deviates from a promise of “incredibly accurate and unbiased sound”, but as always, Koss’ functional design and build quality places the listening experience as a whole first and foremost. At $149 USD, the Pro4S is worth experiencing, no matter where your studio happens to be.

The post Koss Headphones Pro4S: Monitoring With Class appeared first on VR World.

Two new “stereophone” models are now available from Koss Headphones (KOSS), built from the ground up, for comfortably and portably enjoying music: the over-ear SP540, and the on-ear SP330. First seen at CES 2014, this duo features a smooth blend of comfort, design, and sound quality to enjoy at home or on-the-go.

The most prominent feature of this duo is its ear cup shape, which has roots in Koss’ Pro4AA and Pro4AAA models from the mid-1970’s. When the designers at Koss approached how to improve the music listening experience with the SP series, the “D” shape was a logical choice that was already successful throughout their history. Having a profile that more naturally forms with the human ear lends itself to better isolation, less pressure points, and an enhanced enclosure for delivering audio.

All materials used in the SP series design were chosen for specific functions. A majority of the body is made from a dense plastic blend, providing structure to areas that need to be rigid. The plastic has a soft coating for a smear-free surface and elegant feel. The hinges and internal frame, areas of constant wear and tear, are made of anodized aluminum to provide strength and improve lifespan. The headband and ear cups are lined with soft, breathable memory foam that properly contour a wide range of head shapes.

Somehow, Koss was able to combine all of these elements and still keep things lightweight and portable, even for the longest listening sessions. Let’s take a closer look at both models:

Koss SP540: the not-so-big big brother

At first, the circumaural SP540 seems to be the larger of the two, but both models take up roughly the same footprint. The earcups and headband are just full-size enough to create a proper seal around your ears. Factor in a weight of only 6.6 oz (187 g), and you have a pair that is both snug and comfy for long hours of wear.

Made of premium memory foam and protein leather, the SP540’s cushions are molded to gradually increase in density towards the back and bottom of the cup, evenly distributing pressure around the ear. The headband also has a strip of breathable memory foam inside, relieving further pressure. This result is a sound stage with a pronounced response and isolation.

The SP540 features Koss’ same PLX40 driver elements as their new BT540i Bluetooth model, which debuted earlier this Fall. According to an interview with Koss, the driver type and tuning is identical between the two models. However, the SP540’s improved seal and profile, as well as closer proximity to the ear, accentuates its low and mid-low frequency ranges.

This is especially noticeable for Pop, Hip Hop, and Electronic genres, but may slightly muddy up Rock, Jazz, and Classical tunes. High frequencies are crisp enough without being fatiguing, although vocals could be warmer at times. Overall, the SP540’s sound signature is colored for mainstream music enjoyment.

Koss SP330: soft, snug, and small

For those who prefer on-ear headphones, the SP330 shares the same passion for comfortable listening. Made with the same materials as its big brother, the SP330 also provides a massaged sound that’s great for hours on end. At 3.8 oz (107 g), it’s about half the weight of the SP540, and easy to forget that you’re wearing it at all.

On the end of its lightweight and rigid frame sits two soft ear “pillows”, embedded with the same memory foam and acoustic fabric. The D-profile also improves on-ear listening, forming a similar seal to enhance isolation and reproduction. Because the acoustic grill is situated right over the ear canal, some of our testers have experienced discomfort when accidentally pushing against the ear cup, forcing air into the ear.

Despite its smaller size (and consequently smaller drivers), the SP330 still delivers a rich soundscape similar to its big brother. Because of its isolation, listeners can still get the most out Koss’ PLX30 elements, which provide firm lows and ripe highs. In fact, the SP330 seems to have a better grasp on lower frequencies than the SP540, allowing just enough without dulling the mid range.

Both the SP330 and SP540 include a detachable 4-foot, 3.5 mm TRS cable that plugs into a recessed port on the left ear cup. All of this folds flat into a soft clamshell case, ready to go for its next session.

Continuing the legacy

“We take a lot of pride in meeting people who’ve used the Pro4AA that they’ve had for many decades,” recalls Michael Koss Jr, Marketing Director of Koss Corporation, “One of the things we thought of when designing [the SP series] was trying to ensure the same type of legacy with them, so that thirty years from now, folks could come up to us and say the same exact thing.”

“I think that’s what sets us apart as a brand. If you think about it, especially in consumer electronics, there’s not many products out there from 30 years ago that are still functional and operate well. So I’m very proud that we come out with products that can stand the test of time.”

While it may be early to tell if the SP series can withstand such a lifespan, Koss is confident that their new headphones are built to last, backing them up with a lifetime warranty. Reading reviews on Amazon and other retailer sites, the initial feedback of the SP series has been very approving, all pointing towards a true bang-for-your-buck experience.

At $129 and $149 USD respectively, the SP330 and SP540 delivers premium listening and comfort at surprising value.

The post Koss SP330 & SP540 Reshapes Music Listening appeared first on VR World.

Forward

On any film or TV set, those responsible for recording clean dialogue and sound effects are the production sound mixers. They use a plethora of carts and rigs to rack mount most large mixing equipment, and ideally have a boom operator and utility/assistant part of their team too. When productions need to be more mobile, especially for reality TV or documentaries, there isn’t enough space or time to manage a hefty cart setup.

Sound bags have been around for decades, housing all kinds of portable recording and mixing hardware. But until recently, they’ve all been missing one element — a solid internal frame. Bags would immediately flop over or lose balance when placed down, sometimes damaging the equipment inside. Moreover, having a properly balanced bag while harnessed reduces strain to the body.

Since last November, three manufacturers have stepped up to the plate: K-Tek, known worldwide for their boom poles, teased its Stingray, a self-supporting bag with plenty of room inside. When K-Tek presented its pre-production units in the following April, during the 2014 NAB Show, newcomer Orca Bags showed off its OR-30 line. PortaBrace, another widely-recognizable name, also introduced prototypes of their new AO series, with a firm internal frame.

For this review, we’ll be focusing on the Stingray and the OR-30, two models that are very close in features, but with different approaches. Location sound mixers, especially those who are working primarily out of bag, have all kinds of preferences. While there isn’t a perfect bag for everyone, both companies have been very attentive towards feedback from those working in the field.

We’ve been following both models from their beta stages to final release — which one will be the right choice for you?

Before we begin

The K-Tek Stingray, the first model of its kind to have a rigid frame, is an audio bag that is advertised to be built “by sound people, for sound people.” Up until K-Tek’s announcement, other big players like Petrol Bags and Portabrace weren’t offering much innovation, or even having a dedicated designer for audio products.

The Stingray is a triple-bay bag, with a dedicated first row for a mixer/recorder, and a row above for wireless receivers. A third row is placed on the outside, with a surrounding exterior frame that could be used to clip on more hardware. The bag stands tall and wide, with plenty of storage in its multi-layered side pockets.

The Orca system, managed by former executives of Petrol Bags, was initially presumed to be piggybacking on the demand aroused by K-Tek. First seen at NAB 2014, with its strikingly similar characteristics and features, down to its blue color scheme, Orca was an aggressive competitor from the start. Its design elements definitely has roots with Petrol, but with as many demanded features as they could fit inside a smaller form factor.

The OR-30 is a more compact solution, advertised for easier installation, that also has three bays. Its third row for wireless receivers is shared with its front storage pocket. More hardware can fit inside the included side pouches, which are familiar accent from Petrol. Batteries another other accessories are placed in the back, allowing for a balanced bag.

Both the KSRA1 and OR-30 are the companies’ smallest models, designed for smaller mixers and recording equipment. During this head to head review, we will be simulating both bags with the same configuration, that represents a median of many gear setups:

• (1) Sound Devices 633 Mixer/Recorder
• (2) Dual channel wireless receivers
• (2) Single channel wireless receivers
• (1) Wireless IFB transmitter (for directors to hear dialogue)
• (1) Pair of reference headphones
• (1) Battery distribution system with Lithium-ion NP1 battery
• All necessary power & signal cabling
• Third-party bag harness

Because the Sound Devices 633 has six inputs, we will test as if the rig was to be used in a wireless-only situation, without a hardwired boom microphone. One of the single channel receivers could be replaced by a boom mic, but this setup would illustrate a “fully loaded” configuration. We’ll also be assuming that all wireless transmitters, mics, expendables, and other accessories are kept in a separate container.

First glance

With both bags side to side, you can already see a visible difference in approach to the same solution. Sound professionals need a bag that is roomy and lightweight, but one that can support itself.

The KSRA1 is longer with a proportionate width and height, and about 2 inches taller. The OR-30 has smaller dimensions overall, but both bags have roughly the same empty weight. The OR-30 may be slightly heavier because of its additional external frame.

While the Stingray is supported by a single internal polygonal frame, the Orca utilizes both an internal and external exoskeleton to hold its shape. Upon closer inspection, both frames are made of aluminum surrounded by nylon fabric cushioned interiors, and scratch-resistant exteriors. Based on stitching style, QC labeling style, zipper source, molding technique, and packaging materials, both bags seem to come from a similar region in China.

Accessibility is key

During productions, when problems need to be solved, it must be done quickly. Being able to access, re-patch, and troubleshoot connections without fuss is very important to sound mixers. Looking at both bags, there are definite pros and cons to each design.

The Stingray uniquely relies on its zipping side doors for all installation and access. Those extra 2-2.5 inches of height means more room for excess cabling, NP-style batteries, and easing stress on bottom-exiting connections. This is crucial for mixers like Zaxcom’s MAXX, which has XLR inputs on its rear, and beneficial for bottom battery mounts on Sound Devices’ 633.

Each side door is also a dual pocket for all storage: one internal mesh for more important gear, and one external for accessories. The only other opening on the Stingray is a bottom flap for cabling, or access for hardware placed in the exterior bay. Both side doors have dual zippers too, with enough space to route hardwired input and output cabling.

Because the Stingray’s length is kept to a minimum, most side-exiting connectors will protrude past the internal framing, which means the cable end will sit up against the side doors. The doors are soft, which at least gives enough flexibility, but may not protect the connectors from bumps. This also may affect storage space in both pockets.

Orca’s compact OR-30, on the other hand, follows a more traditional design that addresses current demands. All four sides, including a bottom flap, are held together with zippers, velcro, and buttons, that fully open up for easy installation. Once the bag is zipped up, it becomes clear how compact the OR-30 really is.

Nearly all side connections are pressed up against the side doors, and the zipper side openings don’t offer easy access. Because of its limited height, users have found themselves making a balance between the 633’s knob reach and side panel access. This becomes very noticeable when trying to access the 633’s memory card door, which can only open about 45 degrees, even when completely opening the right flap.

There is enough space for excess cabling, but bottom-exiting connections may also sit against the bag floor. The OR-30 also has available “Orca-Lift” pieces that compensate for this, helping hold up recorders that have rear connections above the floor. However, using this piece may conflict with wireless receiver slots in the middle bay. With the 633, unless you’re using L-style batteries on the bottom, you’re better off using the included cushions instead.

The OR-30’s front pocket is dual layered, accommodating all storage, and is shared with the extra receiver slots. The back pocket is dedicated for an NP1 battery, but space is very tight, so it’s better for storage than powering your rig.

Overall, both bags accommodate this setup well, as long as your day is peachy and stable. But if there’s ever a quick re-patch or hardware swap needed, the Orca’s tighter spaces will require more attention, which potentially means more downtime.

When it comes to accessibility, the Stingray wins this round.

Compatibility

Both bags seem to hold the equipment comfortably, with sufficient access to the mixer knobs and buttons, and other hardware controls. The slots to hold wireless gear are roughly the same size and flexibility too, so fitting single or multichannel receivers is no problem. Both the 633 and MAXX are quickly compatible in the KSRA1, but the OR-30 requires extra installation and handling.

One more consideration is the third row placement. The Orca’s third row is shared with its front storage, so zipper folds may interfere with hardware controls. But it can at least fully zip closed, protecting the gear inside. With the Stingray, the third row is placed on the outside, protected by an exterior frame, but potentially more exposed to the elements.

The Stingray has a better chance of storing six wireless transmitters with accessories inside, compared to the Orca’s single front pouch. However, for this test, we’ll assume that the sound operator stores all of this in a separate case.

Because both models can fully support this setup without performance issues or modification, this round is a tie.

On the move

With sound bags, recordists have the flexibility of fitting into tight spaces or mobile situations where a cart setup may not be ideal. The good news is that the Stingray and Orca both have that covered. Any difference between the two comes down to personal preference.

The Stingray has handles that slide away when not in use, while the OR-30’s handles are secured by detachable plastic clips. Both bags also include a padded shoulder strap for easy transportation. K-Tek and Orca both also have harnesses available for their systems. But because we’re focusing on the bags for this review, we’ll be using a third-party Versaflex harness that is widely used by sound mixers.

Because of the Stingray’s added height, we needed to experiment more to find the right body placement when harnessed. The sweat resistant backside of the Stingray is concaved to accommodate a variety of recordists’ body types, without affecting hardware space inside. An outer mesh layer allows some airflow to keep the bag dry — a big plus for hot and humid climates.

With the OR-30, there is less surface area contacting the wearer, and it seems to keep a better self-balance. Even though the load weight of both bags is roughly the same, the Orca’s smaller footprint makes the rig feel more contained, closer to the body. This allows for more flexibility during long hours on foot.

Another consideration for the OR-30 is that it has a better chance of fitting inside a larger container, like a Pelican case, during transport. Most sound mixers travel with their bag as a carry-on or shouldered item, but this is an option nevertheless.

Both models are built for mobility, but the Orca’s compact size and balance makes it a winner in this category.

In a nutshell

The KSRA1 and OR-30 are both innovative and awkward in their own rights, approaching a market demand from different angles. However, what K-Tek and Orca Bags have contributed to the industry is a crucial first step in the right direction. A good sound bag, like any other valuable accessory, should not just contain your equipment, but continue to adapt to your changing needs.

To wrap up (or if you skipped all the way to the bottom), here are the top reasons to decide which of the two location bags to choose:

K-Tek’s Stingray KSRA1 and Orca Bag’s OR-30 are now available across the US. At around $300-350 USD, they aren’t cheap, but the premium features are ultimately worth the investment. There is no clear victor to this battle — but only the beginning of a competitive future.

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Additional photo cred. ToneMesa Inc.

The post Battle of the Blue: K-Tek vs Orca Bags appeared first on VR World.

Mainboard manufacturers always push the latest and greatest integrated devices, but onboard audio is often left behind. The generic “HD Audio Device” chip is king, supplying the very basic multi-channel options and sample rates — disregarding the infrastructure, component quality, and connectivity that makes a true audio device.

For consumers that don’t want to settle for lacking audio quality, finding a value product without making compromises is difficult.

Enter the ASUS Xonar U7

Luckily, ASUS’ Xonar U7 USB sound card is an on-point choice for sound performance, features, and simplicity, all for a under $100. As a 7.1-channel sound card, headphone amplifier, and DAC in one, the U7 is an integral member of the Xonar family. Everything fits into a compact chassis, great for computing on the go, or even as a low profile desktop unit.

Besides the golden color trim, the U7 is unassuming at first. But what lies inside the U7 is what really makes it shine. Let’s take a look:

A single dial on top controls the volume of all “Headphone”, “Speaker”, and “SPDIF” outputs, which are toggled through by pressing down on the dial. The same knob controls volume on every source independently, so switching from Speakers to Headphones doesn’t blow out your ears. The U7 can even detect when headphones are plugged in or unplugged, and immediately switch between outputs.

On the front sits a 3.5 mm Headphone port, bridged to an integrated amp suited for 32-150 Ohm impedance. This is crucial for headphones that require more power, to deliver accurate reproduction at higher volumes. It may not be able to properly drive, say, Sennheiser’s HD 600 and above (300 ohm impedance), but can still accommodate a wide variety of music, reference, and studio models.

Some enthusiasts would complain that the Xonar U7 does not have a dedicated, full-size 1/4″ port. But due to its compact size, there was most likely no space to comfortably fit the component. It may be a deal breaker for some, but this is easily solved by using a proper adapter.

Next door is a Mic/Line input jack, which supports any 3.5 mm computer microphone, and is useful for your gaming headphones’ mic too. There is a dedicated microphone volume control alongside the port, for easy adjustments without having to dive into Windows settings.

The same input can also detect line-level sources (192 kHz/24-bit) like music players or instruments, for recording and even for listening. Enable the “Listen” functionality for the Xonar U7 Line device, under Windows’ Sound Properties, and you can route your favorite music player directly to speakers.

Finally, the important I/O panel on the back. Starting from the left, R and L outputs (RCA), Side Surround (7.1), Center/LFE, and Rear Surround outputs. Because this is a USB device, these are not amplified outputs, so you’ll need powered speakers (more about that later).

Next is the SPDIF port, for both coaxial and optical connections, with an included TOSLINK adapter. The controller supplies PCM, Dolby Digital, and DTS standards to AV receivers and home theater systems, for up to 7.1 channels.

Finally, there is a Type-B USB 2.0 connector that plugs into your system. There is also switch on the bottom with a selector between “USB 1.0″ and “USB 2.0″. This should be already set to 2.0, and your system needs to provide a fully powered port for full functionality and performance. Why there is even a choice is anybody’s guess, but ASUS claims this backwards compatibility can still supply 7.1-channel playback up to 48 kHz/16 bit sampling.

A Quick look inside

The Xonar U7 uses the popular Cirrus Logic CS4398 stereo DAC for headphone output (120 dB SNR), a CS5361 chip for A/D input handling, and a CS4362 multi-channel DAC (114 dB SNR) for all other outputs — pretty impressive for its overall size. At 0.0006%, total harmonic distortion/noise (THD+N) is also kept to a minimum, keeping outputs as clean as possible.

Controlling it all is a C-Media 6632A Audio Processor, a Class 2 USB audio chip fueled by its own dedicated DSP and drivers. Combine these chips with all Japanese solid-state capacitors on top of a 4-layer grounded PCB, and you have a device that’s built to last.

All outputs are capable of sample rates up to 192 kHz/24 bit depth, expected from a current HD audio device. However, when it comes to sampling, keep in mind that there is very little 192 kHz content out there to appreciate (or even notice the difference). For ASUS Xonar, this is more about numbers marketing than actual benefits. Higher sampling is useful for capturing music, but even mastering-quality “true vinyl” rips are encoded at 96 kHz / 24-bit.

For a product that only runs on 5V / 500 mW of USB power, the U7 packs a bigger punch than most discreet audio solutions, while also removed from the EMI-noisy environment inside a computer. The components inside aren’t the best in the market, but definitely a bargain for the U7’s price point.

Getting the Xonar U7 up and running is simple…

…but there may be a few bumps on the road.

After connecting it to your system, you need to install drivers from an included CD. Those who don’t have an optical drive need to download it from the ASUS support site. Instead of a standard .ZIP file, ASUS provides a .RAR archive for download, which isn’t native to Windows, and needs third-party software to access.

The U7 is compatible with Windows 8.1 64-bit down to XP. While there are no official drivers for Mac, it can still run off generic USB Audio protocol on OSX 10.6+, at least as a headphone DAC/amp up with full sampling.

From there, you have a variety of output connectivity to choose from. Stereo headphones, 5.1 headphones, 2 channel analog speakers, 4-7.1 channel surround — the choice is yours. However, keep in mind that all of the rear-panel analog outputs are passive, and you may also need RCA adapters to plug in the L & R speakers.

So if you have an existing system for your desktop, like a Logitech surround set, you’ll still need to use its power control and therefore, gain stage two different knobs to set your levels. The same is true for reference studio monitors, which need to be powered and tuned properly for accurate mixing. I recommend playing a song, setting the U7 volume to ~90%, then slowly increase the speaker control to its highest comfortable volume without distortion, then only adjust the U7 from then on.

This is probably the only downside of the Xonar U7, but only because of USB power limitations. As a mobile DAC and headphone amplifier, there are less potential headaches.

Packaged with the drivers two different DSP suites – Xonar and Dolby. The “U7 Suite” controls settings for every source individually, including speaker setup, sample rates, and your usually unnecessary “environmental effects”. While in Headphone mode, you can adjust the U7’s built-in amp gain from -12 to 0 dB, depending on your headphone impedance.

The “Dolby Home Theater v4″ suite is loaded with profiles of different EQ curves, volume leveling, and surround visualizations. The “Volume Leveler” setting has a similar feeling to the “Crystalizer” effect heard on Creative audio cards. This compression/excitation effect could give your music and games an extra oomph, but when reference listening and mixing audio, all effects can be disabled by accessing the Dolby taskbar quick menu.

Music, gaming, studio monitoring, and more

The Xonar U7 has you covered.

Being able to at least hear clean, properly driven 24-bit sound is worth the price tag alone. Audiophiles may have more discerning requirements, but this could also make a great gift for friends who haven’t yet experienced the difference. Enthusiasts will pay hundreds, if not thousands on graphics and computing hardware – why leave audio behind?

Music, no matter which output you choose, sounds great on the U7. Without all the DSP effects, you can still enjoy clean, unbiased digital audio. It may not be able to properly drive audiophile-class headphones or passive monitors, but it can improve most consumer or prosumer setups. Even the Line-in passthrough has independent A/D conversion, so I can route content off of portable FLAC players, like the Astell&Kern AK100, with minimal information loss.

As mentioned before, you may need to experiment with speaker gain staging, because all rear analog outputs on the U7 are passive. Regardless, all genres of music shine with the U7, it just comes down to your headphone or speaker choice.

Gaming audio is also improved, especially if surround speakers are in play.  Surround channels are usually not provided as much power as other channels on discreet solutions, to discourage EMI. With an external device like the U7, there are much stronger signals to the surround L & R channels.

For headphones, the U7 can handle your favorite stereo pair, or even true hardware surround models, and provide a clean digital source. Most current games, especially FPS titles, already use upmix algorithms that provide virtual surround stages for stereo headphones. So using the C-Media Xear or Dolby effects in the included suites, which realistically only adds the “room” back into the mix, is unnecessary.

This product isn’t marketed for studio or reference accurate listening, but it’s still an option for those getting started. RCA connections (front left and right speakers) are unbalanced, but this is rarely an issue for short distance cabling. The U7 could properly send signal to a pair of Yamaha HS8 powered studio monitors, without distortion or a noticeable noise floor at comfortable volumes.

As a DAC, the U7 is also ASIO (Audio Stream I/O) compliant, providing low-latency interaction with sound/music editing applications. Users can choose between 16 and 24-bit, and as low as 4 ms latency.

Verdict

When we add up its rich audio processing, connectivity, features, and compact size, the Xonar U7 has exceeded our expectations, especially at a MSRP of $89.99. At a fraction of how much you would invest in quality graphics, there is practically no reason why you should settle for onboard audio today.

And for that, BSN* is awarding the Xonar U7 with our Editors Choice Award.

The post ASUS Xonar U7: An Audio Upgrade for All appeared first on VR World.

Segway dancing, thousands of Japanese schoolgirls, and a continuous shot taken by a drone-mounted camera…

… It must be the newest music video by OK Go.

Alternative Pop band OK Go, masters of the viral music video, just released a new flick for their “I Won’t Let You Down” single.

Every time the band seems to have outdone themselves, they push the envelope with something new. Directed by Morihino Harano, the four men glide around the Longwood Station Studios courtyard on Honda Uni-Cub segways, joined by hundreds of synced dancers, for fantastic visuals from all angles.

Like OK Go’s “This Too Shall Pass” & “The Writing’s On the Wall” one-takers, there is a sense that we are watching raw footage, with only the ends trimmed off. When crew members (actually a cameo of Japanese pop group Perfume) prepare the shot in the beginning, their actions are fast forwarded, which means the action/music were performed at half-speed for safety. This was a crucial production decision for operating a complicated drone shot, while choreographing almost 2500 cast, crew, and extras.

As the drone ascends upward for the finale, the array of dancers turn into an unbelievable LED-like marquee, shaping the band members’ faces, and the occasional “アイ　ウォント　レッチュー　ダウン”, phonetic Japanese for “I Won’t Let You Down”.

Whether or not you like their music, OK Go will continue to wow audiences worldwide with visually impressive music videos.

The post OK Go's New Drone Music Video appeared first on VR World.

Ignition Creative London delivered a dazzling, 21st-century trailer to celebrate Stanley Kubrick’s “2001: A Space Odyssey”, for its first theatrical re-release in nearly fifty years. As part of the British Film Institute’s Sci-Fi: Days of Fears and Wonder program, a digitally remastered edition of this masterpiece returns to venues across the U.K.

The trailer below perfectly blends the film’s most iconic moments with chilling narration by HAL9000 that has haunted us for generations. It will forever instill a level of fear of AI and machines that we as humans are very likely to remember forever, for as long as such a movie exists.

On November 28th, the “2001: A Space Odyssey” screening will be followed with a panel with stars Keir Dullea and Gary Lockwood. Other screenings will take place at venues across the U.K. until the end of 2014. BFI will also be featuring other famous Kubrick works during this sci-fi season, such as ‘1984,’ ‘Clockwork Orange,’ ‘Brazil’ and ‘Barbarella.’

Die-hard Kubrick fans in Los Angeles will also be able to view this newly remastered ‘2001’, digitally transferred by Warner Bros., at the Arclight Hollywood Dome on November 2nd.

The post '2001' Gets A 21st Century Revival appeared first on VR World.

In an act of sheer marketing brilliance (or insanity), Virgin America produced a new video that takes you on a boring journey from Newark (EWR) to San Francisco (SFO) – in real time.

During this grueling 6-hour adventure, VA maddeningly illustrates the cross-country trek that economy flyers experience when travelling from East to West.

With American airline companies financially struggling over the past decade, domestic flights are becoming less pleasant to endure, especially if you’re on a budget. Unfortunately, entertainment and comfort are seen more as line item luxuries that force loyalty, rather than encourage it.

All of our planes come standard with windows, armrests, reading lights, and rear-­mounted magazine pouches. #amenities #winning

— BLAH Airlines (@BLAHAirlines) October 21, 2014

But don’t let their pretty “mood lighting” fool you – Virgin America will still charge for baggage and all amenities, just like any other airline, on top of a higher average airfare. While the concept is both hilarious and daring, this campaign only proves that “BLAH Airlines” has an unimpressive interior and equally mundane passengers.

Plus, we were hoping at first glance that it was a new Interpol music video.

The post Virgin America Launches 6-Hour Ad Campaign appeared first on VR World.

The end of loud commercials? Definitely worth an award.

The Advanced Television Systems Committee’s (ATSC) will be awarded a Primetime Emmy Engineering Award for their successful collaboration with industry groups to end the reign of really, really loud commercials on television.

The FCC, SMPTE, and other organizations already mandate “safe level” broadcast standards for both video and audio. However, some advertisers would use heavy audio level compression to achieve much higher perceived loudness and clarity while staying within the approved decibel limits.

This advertising practice became widely popular during the 2000’s, and when the US made its official switch to all-digital television broadcasting (DTV) in June 2009, it became even worse. Because digital audio signals are perceived on a different scale than analog, producers could push compression levels to its limits.

By that point, consumers were fed up.

ATSC won the fight

Since the Commercial Advertisement Loudness Mitigation (CALM) Act passed Congress in 2009, and the POTUS signed it into law in December 2010, the ATSC A/85 Practice has “optimized the audience listening experience by eliminating wide variation of television loudness.”

When the FCC’s new rules implementing A/85 went into effect in December 2012, the Practice was also updated to improve education and guidance for measuring loudness of surround programming, in both multichannel and 2-channel downmixed formats.

The ATSC will be awarded the Emmy at the 2015 CES Show in Las Vegas.

Check out the full press release here

The post ATSC Wins Emmy for Loud Commericals Ban appeared first on VR World.

Remember when NFC was cool? It still is. With the NFC-enabled BT540i Bluetooth headphones from KOSS, you can easily pair to a compatible device and enjoy surprisingly sweet sound quality with just a tap.

The BT540i is the latest in KOSS Corporation’s (KOSS) expansion of their “mobile” products line. Since 2012’s CES Show, KOSS has introduced many full-size, in-ear, and sport models that incorporate mobile device functionality, like many other consumer audio companies.

This circumaural Bluetooth model utilizes updated componentry and touts exceptional sound quality, while being very simple to use.

Here’s what you need to know:

That was quick

With our NFC-ready Google Nexus 5 (LG), unboxing literally look less than a minute.

Also included are a micro-USB charging cable, 4-foot 3.5mm cable for corded listening, warranty card, and instructions in both English & Russian (for some reason), all inside of a stylish soft-shell case.

After turning on the BT540i and tapping my phone to the right earcup’s edge, the Nexus 5 immediately enabled Bluetooth and synced up. No diving into menus, scanning and pairing – Done.

With products like our iPad Mini, which doesn’t support NFC, we had to traditionally enable the iPad’s radio, turn the headphones into “discovery” mode (sliding the power button for 4 seconds), and sync the BT540i once it shows up on iOS.

Function over form

With it’s high-density plastic supported by an aluminum frame, fully rotating/folding ear cups, soft foam leather cushioning, and clothed headband, the BT540i delivers the core elements most important to listeners. Weighing in at 8.2 oz, they’re not as light as a pair of Bose Soundlinks but definitely less straining than what’s offered from other consumer models.

The headband and cups are snug enough to offer good passive isolation, while soft enough for long hours of wear. The cups create a solid seal around our ears, and there is very little bleed that could disturb people nearby, even in quiet environments. Because the hinges and cups can rotate on multiple axis, the BT540i can accommodate for any head shape.

All of the controls are ergonomically placed on right ear cup, with the volume, transport, and power keys logically ordered around the rim. The buttons are easy to press, with audible feedback either from the headphones or from your mobile device’s OS. Flipping the power switch illuminates an LED indicator light that shows sync status and battery level.

Using the same framework as their PRODJ200, these headphones are covered in matte black with metallic, grooved barrel hinges and KOSS emblems as accents. The overall design is minimalist at best, and while enthusiasts will argue that what really matters is the componentry inside (it does), at a certain point there needs to be a sense of branding.

There are many, many black headphones on the market, and Koss’ entire over-ear headphone line pretty much stays within this box. Why not add a small trim of color? Bring back the subtle blue tones of the PortaPro, which till this day is the pair that most consumers associate with the brand.

Better components = better sound

To better illustrate the technology encased inside the BT540i, check out this quick video:

Koss introduced their new PLX40 driver elements inside, producing a slightly colored profile across it’s 100 dB SPL & 38-Ohm circuitry. Because of an overall improvement in power efficiency, there is little to no noticeable noise floor in both Bluetooth and hardwired modes.

The main reason why they chose to use the PRODJ200 frame is because it allowed enough space to fit the wireless and battery components inside, without having to compromise driver size. The diameter of a driver element is a crucial for natural signal reproduction, and anything smaller than 40mm usually results in a more colored profile to compensate.

Listening to an uncompressed source via the 3.5mm connector does reveal a slight boost in the lower frequency bands, however this bump is potentially beneficial for information loss during Bluetooth encoding/decoding. Regardless, what you hear is a smoothed out listening experience for enjoying music on the go, no matter how you connect.

Jazz. Classical. Alternative Rock. Metal. Electronic/Pop…

Every genre had a consistently pleasing listening experience across all of our devices, both over Bluetooth and corded listening. Because the BT540i seems to have a relatively flat frequency response, it has enough headroom for those who want to EQ their experience device-end.

Unplugged

For cord-free listening, these phones utilize an aptX codec over Bluetooth 3.0, which is a solid wireless delivery format. With most current devices moving onto Bluetooth’s 4.0, it’s surprising that headphones haven’t moved onto this SoC by now, which is not only more power-efficient, but has lower production costs too.

According to our recent interview with Koss, the advantages are too slim for audio products, so they stuck to the current high-quality standard.

The internal battery is advertised to last 8 hours, but we’ve consistently tested it to be closer to 6.5 hours of continuous listening time at moderate, comfortable volumes. That’s not bad, considering you may only need to charge 2-3 times a week to handle your daily commute.

Charging the BT540i isn’t quick, but isn’t slow either. From an empty tank, these stereophones are ready to go in about 90-120 minutes via a micro-USB connector. Trying AC adapters (not included) of different outputs makes little difference for charging speed and holding life, but for headphones you should stick to a plug of 1A or less for longevity.

On the move

Like many of its competitors, Koss is aiming its sights on mobile devices. So how does the BT540i perform on current mobile platforms?

Android 4.4 (KitKat) – On the Nexus 5, long pressing on the play/select button only activates a call-only voice dialer on stock Android. While this may differ on Samsung or HTC builds, it would be nice if this could engage a Google Now prompt for more robust hands-free control.

The noise-cancelling mics seem aggressively tuned, so we’ve found the need to speak at higher than normal volumes during calls so that our speech wasn’t garbled or phased out – this was the same on any OS.

Pressing the play button immediately starts your last track played track on Google Play Music. Apps like Spotify can override this, which is how I jumped from an NFC tap straight into my music in seconds. Transport and volume controls are free from quirks.

iOS 7/8 – On any current iOS device, long pressing the play button starts a Siri prompt, which listens for a multitude of actions that is always growing and adapting. Pressing the play button once starts iTunes, and all transport/volume controls are fine.

While the iPhone 6 does have a NFC chip, it’s currently designed only for the Apple Pay system, which is a shame since Apple has locked itself out of a world of simple device compatibility.

Windows 8 Mobile – For some reason, we had a difficult time pairing the BT540i with a Surface Pro. Both devices recognize each other, being a standard Bluetooth connection, yet they refused to pair every time. At the time of this review, we didn’t have another W8 device to try, so hopefully this is an isolated issue.

Koss moves forward

Last week, we interviewed Michael J Koss, CEO & President of Koss Corp, about these stereophones and how the company plans will stay fresh for music lovers for the years ahead.

Even though Koss adapted to current market trends for consumer audio, the BT540i would have made a better smash hit if it debuted a year before. As overseas production increased over the past couple years, the rise in availability of low-cost consumer headphones have skyrocketed too.

The BT540i is well built, acoustically pleasing, and very simple to use – especially at its price point of $199 MSRP. If there’s anything negative to say, it’s the fact that Koss should have released it sooner.

Overall, we’re very pleased with this pair, and will continue to be an everyday carry for some of our editors. The BT540i is a good indication of where Koss is heading, but they’ll need to continuously stay with or ahead of the curve, no matter how dedicated their loyal fans have been over the decades.

The post KOSS BT540i: Solid, Simple, Sound. appeared first on VR World.

Miluawakee, WI – KOSS recently unveiled its new BT540i NFC-ready Bluetooth headphones, indicating what lies ahead for this iconic American audio brand.

Bright Side of News* has an exclusive interview with Michael J. Koss, President and CEO of KOSS Corporation (NASDAQ: KOSS), about what went into the design of the BT540i, and how the company brand will stay fresh in the minds of music lovers in the years ahead.

Bright Side of News*: I’m really digging the BT540i, and noticed that the design is based on a similar framework as your PRODJ200 model. Was there reason behind this?

Michael J Koss: It’s already a robust design that gives us a really good working platform. These phones will experience more movement and flexing than a pair you would stay at home with. Ergonomically, the cups lend themselves to proper button placement. And we also have room within the body to lay out the Bluetooth, battery, amp and other circuitry, without having to sacrifice diaphragm size.

BSN*: Speaking of diaphragm, Koss is really pushing the PLX40 driver elements. Were these made here in the US?

MJK: We still design 100% of our transducers in-house, and manufacturer them here in Milwaukee or with other contracted manufacturers. We never source third-party hardware.

BSN*: Koss isn’t new to the Bluetooth world, what does this offer?

MJK: Right, things have changed considerably over the past years. With our earlier Cobalt model, introduced in the early 2000’s, the problem was there wasn’t a big enough installed base of transmitters. We sold it with both a USB-dongle transmitter for your computer, and headphone-jack version for plugging into mobile players – and that was back in the day of “plug & pray”.

Because you had those extra parts, overall it affected convenience. So while [Cobalt] had success, it was nowhere near where it should’ve been. Now with NFC, Bluetooth can be taken to a whole new level.

BSN*: Speaking of Bluetooth, the BT540i utilizes Bluetooth 3.0. Did your team look into Bluetooth 4.0 during the development process?

MJK: Yes, but we decided to go with 3.0 and aptX codec. The major benefits to 4.0, as it stands today, are for devices that need continuous monitoring capabilities, like heart monitors. We weren’t going to gain anything from that platform for audio performance.

It’s important everybody realizes that we could have the greatest wireless technology and best codec in the world, but if the source material (music) isn’t [high quality] as well … You can always have great point-to-point transmission, but if the source material has lousy compression or distortion, all the AMP/DAC’s in  the world aren’t going to help.

We’ve known this since our first IR-transmitter products in the mid-1970’s.

BSN*: Let’s move onto design. Other than the STRIVA, the BT540i seems to just follow the rest of your black & grey over-ear stereophone line. There are many black headphones on the market today, why is Koss sticking to this color scheme?

MJK: Well, “black is the new black!” (Laughs)

BSN*: “True, it’s like, how much more black can this be? None, none more black.”

MJK: We may do color at some point, but black has always looked very elegant, a style nobody is going to object to. Some of these brands out today have gotten away with brighter colors for very expensive models, which is interesting because we’ve been in this business for long enough to have gone through all the fashion fads.

Typically, color variants would gravitate towards lower price points, because people wouldn’t take them seriously. I think when you look at the design elements: the ear cushions and cups, headband covers, and accents, it doesn’t it look fake or phony because it feels like a nice pair of gloves or a quality handbag.

BSN*: Regarding Koss Corp. as a whole, its current challenges of loss reports & downgrades on Wall Street, and the consumer market being flooded with tons of brands both domestic and from overseas… With so much of the “company story” or mission statement that reminisces about the past, what steps is Koss taking to ensure it stays a recognizable name for the years ahead?

MJK: The fact that we have a history, that lends itself to authenticity of our product line – that’s very important to us. That’s the reason why we wound up featured on ‘Mad Men’ recently. It was a period piece, but when my son [Michael Koss Jr.] visited the film set, it was pretty evident that the producers were complimenting how Koss has always stuck to what it did, in a very authentic way.

So when we talk about being the “original American stereophone company”, we really mean that. Our products have been so successful over the years, and there aren’t many brands that can maintain that type of presence in your mind. Just like a Leica camera, you can see how that family has always stuck to its knitting.

With our products, sound is the most important thing we believe in, while making them as comfortable as possible, so you can enjoy it for long periods. But we look at sound character as being the most unique feature first, and we haven’t strayed too much from that.

Fads fade – so we’ve focused on what we do best, and we’ve developed a very solid following of those who love buying our products.

BSN*: What about the next generation of consumers?

MJK: Products like our BT540i are a good indication of what lies ahead. You may have seen our new portable Bluetooth speakers, the upcoming Studiophone, and two new D-style cup models that have a throwback ergonomic design, at the CES show this year.

These are really signals to where we are headed in the future. At some point we also look towards refreshing our popular PortaPros too, because there is no other model that can match its size, design, comfort, and features at its price point in the market today.

BSN*: Any final comments?

MJK: Everyone we’ve sent these phones to have commented with good experiences. There are many Bluetooth headphones out that just don’t cut it when it comes to audio quality, amplification, and power efficiency. We’re very happy about the performance and the people seem to be happy about it too.

BSN*: Thanks for your time.

~

BSN has been testing a pair of BT540i headphones this week. Stay tuned for an in-depth review of this product, and how it tips its hat to the company’s past, while aiming its sights for the future.

The post KOSS Corp: 'Sticking to What We Do Best' appeared first on VR World.

It’s a perfect final week of Summer on Chicago Ave. With the right balance of humid heat and cooling breeze, locals are crowding city streets and parks for that last chance of T-shirt-and-shorts freedom. What better time to host the “David Bowie Is” exhibit’s USA debut at Chicago’s Museum of Contemporary Art, where visitors will be fully immersed in David Bowie’s archive of over 50 years of original costumes, photography, set designs, album artwork, and rare performance material.

The exhibit itself is a chronological retrospective of how Bowie influenced the reinvention of musical and visual expression, challenging the essence of pop culture throughout the decades.  From early childhood upbringings, his early influences & beginning projects, to venturing across every phase of his artistic rebellion, ‘Is’ showcases objects and recordings you can experience both visually and audibly.

Here’s a sneak peek of ‘David Bowie Is’, along with a brief chat with Robert Genereux, Director of the guidePORT system at Sennheiser GmbH:

To compliment a vast amount of acoustic content, the curators of Victoria & Albert turned to Sennheiser for their guidePORT portable listening device. These devices are increasing in popularity for museums and other special events, but what makes guidePORT stand out is it’s ability to switch between multiple audio streams based on location. As visitors venture through Bowie’s life, they’re able to listen in to his early raw recordings and journal entries, snippets of pop culture references, interviews of artists who have influenced him.

The guidePORT coordinates two different signals broadcasting from backstage. All audio content travels through unused portions of the upper 2.4 GHz range, while identifier beacons transmitting at low outputs are placed at key points throughout the exhibit. These beacon boundaries can be sculpted to specific shapes, which allows a travelling exhibit like ‘Is’ to adapt to new museum spaces.

As the guidePORT senses an identifier beacon, it switches its listening frequency to the appropriate audio stream.  Once you move towards another identifier beacon, your device crossfades into the next stream, allowing for a seamless experience.

Sennheiser also showcased their new 3D Audio technologies in the finale portion of ‘Is’, where visitors remove their headphones to find themselves in the middle of a crowd surrounded by screaming fans, among a collage of live Bowie performances.  This experience is driven by Sennheiser’s Auro 3D upmix algorithms that extract as much information from original mono and stereo recordings, adding a new dimension to the listening experience without any additional effects.

Adding to the surround setup, height loudspeakers are included into the mix, which can help recreate the ‘room’ the original recording took place.  Rather than synthetic room reverb effects, the fidelity of center and left/right channels are preserved, placing visitors right in the crowd.

‘David Bowie Is’ is in-your-face, captivating, and hypnotizing affair that both die-hard fans and curious culture enthusiasts will enjoy.  While curators would not comment about future destinations after Chicago, they did hint that several other museums across the country are still very interested in showcasing the Starman’s life. If you’re ever nearby Chicago, this exciting event will be at the MCA until the first week of January 2015.

The post 'David Bowie Is' Rocks the Windy City appeared first on VR World.

Earlier this week, the $1-billion Instagram introduced Hyperlapse, a simple and brilliant way to create timelapse videos on your phone.

Like their original app, which currently has over 240 million users, Hyperlapse will initially only be available on iOS.  While multiple timelapse camera apps have already popped up in both mobile marketplaces, Hyperlapse sports a minimalist interface, as well as image stabilization for every frame. The effect is pretty eye-catching:

This video posted by The Verge compares a raw shaky walking video with Adobe’s warp stabilizer, to the same video processed with Hyperlapse. While not original in concept, the image stabilization on Hyperlapse is what really makes the app shine. At the very least, you can still shoot a video and share it at original playback speed, and end up with a smooth video.

There are only three main steps for the app.  Record your journey, set your playback speed, and choose to share it directly to Facebook or… Instagram, of course.  The only quirk is the lack of audio for your videos, which makes sense considering the low frame rates, although the option to choose a background jingle to accompany your flicks would be nice.  Also, users need to be sure their device has enough storage to shoot long lengths of video.

Hopefully “timelapse selfie” doesn’t become a thing.

The post Instagram Launches New App ‘Hyperlapse’ appeared first on VR World.

Earlier this week, the $1-billion Instagram introduced Hyperlapse, a simple and brilliant way to create timelapse videos on your phone.

Like their original app, which currently has over 240 million users, Hyperlapse will initially only be available on iOS.  While multiple timelapse camera apps have already popped up in both mobile marketplaces, Hyperlapse sports a minimalist interface, as well as image stabilization for every frame. The effect is pretty eye-catching:

This video posted by The Verge compares a raw shaky walking video with Adobe’s warp stabilizer, to the same video processed with Hyperlapse. While not original in concept, the image stabilization on Hyperlapse is what really makes the app shine. At the very least, you can still shoot a video and share it at original playback speed, and end up with a smooth video.

There are only three main steps for the app.  Record your journey, set your playback speed, and choose to share it directly to Facebook or… Instagram, of course.  The only quirk is the lack of audio for your videos, which makes sense considering the low frame rates, although the option to choose a background jingle to accompany your flicks would be nice.  Also, users need to be sure their device has enough storage to shoot long lengths of video.

Hopefully “timelapse selfie” doesn’t become a thing.

The post Instagram Launches New App 'Hyperlapse' appeared first on VR World.

It’s difficult to imagine pop rock music today, without the iconic contributions from David Bowie over the past decades.  From his early Ziggy days to his musical and aesthetic experimentation onward, Bowie influenced the continual reinvention of the art form, challenging the essence of pop culture. 

‘David Bowie Is’, the first international retrospective exhibit of its kind, has already been viewed by more than half a million visitors around the world in London, Berlin, São Paulo and Toronto over the past year. Curated by London’s Victoria & Albert (V&A) Museum, this experience is now heading to Chicago’s Museum of Contemporary Art.

More than 300 objects including handwritten lyrics, original costumes, fashion, photography, film, music videos, set designs and Bowie’s own instruments will be showcased for all to see.  A documentary about this world tour will also debut in select theaters across the nation on the same day.

To give visitors the best immersion possible, V&A partnered with Sennheiser for their guidePORT technology, a personal listening system that automatically switches between multiple broadcast streams based on location. As fans approach different areas of  ‘Is’, the guidePORT locates an identifier signals and tunes to the appropriate high-quality audio stream.

Along with these personal devices, Sennheiser also places Neumann loudspeakers around the exhibit to drive a special 3D mix algorithm, consisting of Bowie concerts from over the years.

BSN* is invited to an exclusive preview of ‘David Bowie Is’ the weekend before opening, to the general public on September 23rd.  Stay tuned for more photos, videos, and special access to the tech that will drive this unprecedented experience.

The post Sennheiser-Driven David Bowie Exhibit Coming To Chicago appeared first on VR World.

Earlier this year, Blue Microphones updated their “Spark Digital” condenser microphone for compatibility with both PC/Mac and now Lightning-based iOS devices, giving budding artists a simple, entry-level tool they need for a studio sound at home, or on the go.

USB condenser microphones and consumer mobile recording were all the rage at NAMM Show and other creative events over the past 5 years.  Blue Mics believes their Spark Digital will deliver the “same performance and detailed audio found in professional studios”, elevating beginning artists to the “next level of home recording”.

Sounds promising…  but does it also talk the talk?

Everything you’ll need to start recording is in box, with minimal assembly required. The microphone body easily screws into the base shockmount, and from there a single connection below bridges the Spark Digital to either a desktop, laptop, or compatible iOS device and headphones via the appropriate cables.  Also included is a soft carrying bag and owners manual.

As always, Blue didn’t skimp on design. The desktop stand is both stylish and sturdy, while allowing enough room below the mic to route the USB cabling. The shockmount, however, is underwhelming and noisy at times, which I’ll cover later in this review.  A pop filter is not included, and available for separate purchase through their customer service.  Without it – watch those “P”s.

Most of your controls are right at your fingertips. On the front sits a glowing knob that adjusts the microphone gain and your headphones. Both settings are married together, but even with the knob turned all the way down, a full signal is still sent via USB, so this is more of a volume control.

Pushing on the button mutes the mic, but you cannot hear playback when enabled. Although connecting your cans directly into the Spark ensures latency-free monitoring, the output has a noticeable hiss underneath. Plugging your headphones into the system instead, while cleaner, would be jarring to listen to because of digital conversion lag. The actual recording does not have this hiss, but I found myself switching between Spark and laptop after takes to ensure a quality recording.

Now for the “Focus” control on the back.  Simply put, while ON, this is a high-pass filter starting at 100 Hz. In the the OFF position, there’s about a 3 dB bump @ 90 Hz for a “punchier low-end” advertised in the manual. Overall, this mic has a very colored characteristic, which I’ll cover next.

Tech Talk

The Spark Digital shares the same capsule and components as its original analog brother, replacing the XLR innards with a USB converter housed inside the same body.  It features the same cardioid pickup pattern, focusing in on whatever is directly in front of the mic element, and rejecting most information from surrounding angles. The DAC converts at a 44.1 kHz sampling rate, by 16-bit depth, which is a common standard for music listening, however most “studio-grade” recording is captured at a much higher specs.  While 44.1 may be satisfactory for entry-level voice work, higher bit rates are more crucial when recording a wide variety of instrumentation.

Looking at the frequency response, this mic comes with character.  Although it shouldn’t be used for flat reference recording, these curves at least allow for smooth and present vocals to immediately sit into a mix. The manual states the Spark Digital has a 32 dB adjustable gain, but like most USB condensers I still found myself almost kissing the mic to get an achievable voice-over, plus cranking it up ~10 dB in post. One quirk is my mic still sends a full signal to my system regardless of where the knob is turned, which may be a bug on my end. The fact remains that USB voltage can only drive a condenser mic so far, so staying close to the element is key when using the Spark.

Performance

Anyway, enough jargon.  Check out these raw, unsweetened samples and decide for yourself:

Voice Over:

I brought up the shockmount earlier because it’s a let down. Despite having a stylish and simple design, the shockmount is only effective if the mic stays perfectly perpendicular, without any handling or movement immediately around it.  The rattling you hear appears to be the gap between the mics screw threads and the mounts bottom surface not making a complete seal, and I hope this is a quirk with just my unit. Shockmounts are meant to isolate the mic from handling noise, not create it.

Acoustic Guitar:
“G Chord”

The low end on an acoustic guitar may be a bit muddy, so you may need to tinker with mic placement and maybe even the Focus switch so it doesn’t overpower the track.  Overall, it plays nicely with guitar, but because power output on the mic is limited by USB, you need to get up close.

When connected to a Lightning-based iPad or iPhone, iOS immediately recognizes it as an input device. Free recording apps like TASCAM’s “PCM Recorder” work well, with little discernible quality difference. Monitoring through the Spark’s headphone output still has the introduced hiss.  “It just works”, but whether you’ll actually be using an iDevice to handle your home recordings is a whole different argument.

As far as USB condensers go, the Spark Digital is a fine choice for budding creatives: with its sound quality, flexibility, and ease of use.  While it does have room for technical and structural improvement, for a $200 price point, this can at least make a good gift for someone just entering the world of home digital recording. Blue Microphones’ Yeti Pro is also worth checking out, featuring both XLR and USB connectivity, switchable pickup patterns, and higher recording quality options.  Overall, we enjoyed playing with the Spark Digital, and look forward to what’s next from Blue.

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Earlier this week, Google quietly updated the stock camera app in Android KitKat 4.4 compatible devices, steadily rolling out this update to more phone models through the coming weeks. The Camera app feels streamlined overall, with noticeable changes in camera performance, features, and especially UI.  This of course stems from Google receiving sub-par feedback for image quality on their “flagship” Nexus devices, and since mid-2013 it’s become their main mission for mobile.

LG already packed a decent camera on the Nexus 5, but in its first weeks of release, the final image compression really caused sour response from Android enthusiasts.  Snapping shots on other apps like Instagram or VSCO Cam offered shockingly better results compared to the stock app.  Since then there have been several updates that improved image quality, HDR processing speed, and integration with the rest of the OS.  With this new release, images are now .PNG format, which cuts down on compression even further.

So what changed for the better on the Nexus 5? Here’s the quick & dirty:

Here’s the main viewfinder.  The most striking change is a huge shutter button the right side, which along with the Nexus’ soft menu buttons, takes up about a quarter of the screen.  While a bit clunky and unattractive, you can at least now see the whole frame, which on the previous version took a bit of guesswork with a zoomed-in preview before you snapped.

Tapping on the hideaway menu reveals familiar options – camera selection, flash, HDR.  They also added the grid option back in,  a nice touch for those more geometrically demanding.  However, the manual exposure option is disabled in settings by default, and can cause a slight panic attack at first boot.   Tap focus/exposure is still available too.

Swipe from the left of screen, and you’ll get your mode menu. Everything is there, with a new Lens Blur option, which is similar to HDR in a way that composites two images at slightly different angles, creating a blurred effect around the main subject in focus.

In Lens Blur mode, after you snap the first shot, you slowly tilt your device upward while keeping the subject centered. This range of this effect can then be altered in the Photos app later on.  Processing can be set for either low or high quality in the settings menu, and the results are not too pixelated or dramatic. Of course this is with good lighting, but your experience may vary.

Panorama mode is improved, taking the gyro sensor and image processing cues from the Photo Sphere mode.  You can choose both horizontal and vertical orientations, and the results are actually pretty good.

There’s no difference in low light or HDR processing performance, but in the end, the N5 is a solid smartphone with current mobility standards for $350 – really, what’s there to complain about?

Finally video – compression is noticeably better, but autofocus is still finicky.  There is still no addition of tap focus/exposure, which was a big demand for those who wanted more than general users.  One major difference now is the elimination of vertical video, because who the heck wants to see another skinny YouTube clip anymore.  There’s no difference in audio quality, and you can hear the noise reduction hiss really kicking in to try to block the drone of a nearby street. Of course, this may be a hardware issue on the Nexus 5.

~

While the update does not immediately show up as a push notification on the Play Store, you can still find it by diving into Google’s app list there, and download it manually.  Overall, this “version 3.0″ consolidates and improves upon Google’s mission to improve mobile photography, and we’re still excited to see where they’ll take it next.

Will it make your selfies more socially acceptable?  Maybe in the next release.

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The iconic Union Station in Los Angeles, California is not only the largest rail station in the western United States, but also the bustling hub of many historical and pop culture events since its opening in 1939. With its beautiful architecture inside and out, this landmark has also brought inspiration to the fine arts. Its large, ominous walls were showcased in classic noir flicks like In the Mood, and its cavernous, former ticketing hall was used several times for The Dark Knight trilogy.

This week – Invisible Cities, an opera about Marco Polo?s descriptions of his journeys to Emperor Kublai Khan, was the first of its kind to be performed, processed, and delivered live wirelessly to a ?roaming audience?, who were experiencing it all in an active public space. But because every cast member, singer, and dancer is integrated into the environment (think ?flash mob?), each audience member experiences different elements of the unfolding events depending on his or her location, giving it a more personal feel.

Senneheiser, a leader in wireless equipment for live events, provided key components to ensure that this 70-minute production, from capture to delivery, was as clean and uninterrupted as possible in a large, RF-heavy environment. The vocal performances were captured with Sennheiser?s Digital 9000 Wireless Systems, transceiving uncompressed signals with great dynamic range. Each performer also received customized audio feeds of vocal and orchestral buses, powered by Sennheiser?s 2000-series IEM (in-ear monitor) systems, to make sure everybody was on the same page.

The humble orchestra, outfitted with an array of Sennheiser and Neumann condenser microphones, performed the opera inside Union Station?s Harvey House restaurant, which was mixed and connected by a fiber optic line to the control room, 1000 feet away in the main hall. Inside there, the vocals, music, and effects were processed, compressed, panned, and prepared for delivery to each audience member?s RS-120 headphones via FM stereo broadcast, managed by Bexel antenna systems.

So what was it like? Well, we could post up a video, however with such an event where the audience is individually and personally experiencing it on headphones, the result would be frustratingly out of context. In fact, if you took off your headphones during the show, you?re instantly thrown out of the experience, and all you see is a lone man appearing to sing to himself amongst waiting passengers and the homeless, inside a crowded, noisy train station. Basically, you just ?had to be there?. I can offer this quick glimpse though, with my cans pressed up against my smartphone (sorry about the shakiness):

From the video, you can probably hear that the delivery isn?t as remarkable as the attention to detail given to all the steps beforehand. Granted, this was a makeshift recording on a mobile device, and should be taken with a grain of salt. The overall mix was broadcast over FM radio for the best coverage to more than 50 listeners roaming around a wide area, and so it needed to be compressed to fit the bandwidth. Ironically, this limits the resulting quality, and introduces noise and RF interference issues to what these engineers painstakingly prepared for in the capture and processing stages. But this preparation ensured the best accompaniment possible for a mesmerizing evening.

If you?re interested in experiencing the next show (I highly recommend it!) limited tickets are available at the Invisible Cities site until mid-November 2013, with some special discount pricing available. For more information, visit: www.invisiblecitiesopera.com

Additional photgraphy credits – Dana Ross and Joshua Park

The post Sennheiser Powers First "Wireless" Opera in LA appeared first on VR World.

Sennheiser has great microphones available for almost every level of profession and price point, in both music and entertainment applications. The MKE 600, a newer ?video journalist? version of their shotgun microphones, is no different. If you?re already familiar with their K6 module series, like the ME66, the MKE 600 combines the best of both into a one-piece product, like optional battery power, plus a high-pass/low cut filter.

The MKE 600 is roughly 10 in. (265 mm) long, and weighs 128 g, housed in a lightweight but durable casing. The box also includes a foam windscreen, carrying pouch, user?s guide, and the MZS 600 hot-shoe shockmount.

But hey, what better way to describe this ?videographer? model than…. a video? Check it out below to hear this mic in action, a shootout against other similar models, and a scene from an upcoming short film! (Watch/Listen in at least 480p for the best audio)

So it?s not as ?present? or ?bright? as the ME66 combo, but for $400 it?s a decent choice for a warmer shotgun sound. Of course, what you hear is from the mic placed overhead on a boom stand overhead, in optimal and quiet conditions. When placed camera-top, the mic has an optimal range of 4-6 feet, which is good for your everyday interview shots.

The MZW 600 windscreen and MZS 600 shock mount are very handy, giving users a head start in mounting the mic to camera. Sennheiser?s KA 600 cable, sold separately, conveniently connects the mic?s XLR output to a 3.5?? mini-TRS input. From a packaging standpoint, some cameras have XLR input and some don?t. But when an overwhelming percentage of these videographers are using DSLR?s, which only have a 3.5?? mic-in, it?s difficult to understand why Sennheiser does not include this vital accessory in box.

Overall, price to performance, the MKE 600 is a good choice for those who need powering options and durability on-the-go, and as a solid entry-level shotgun microphone for sound recordists.

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NAB 2013: Shure gave us a first look at their VP83 & VP38F LensHopper hot-shoe microphones designed for the serious DSLR videographer who needs solid audio features on-the-go.

These two new compact camera-top microphones really stood out on the show floor at the show this year, with its fantastic design and neat features built in. Both models have a directional supercardiod polar pattern, and have a more natural frequency response compared to the slightly ?tinny? feel of other similar products out today. Both models are hot-shoe mountable, come with foam windscreens, and are suspended by Rycote?s popular Lyre-series shockmounts, which we think is a very nice touch.

The VP83 (shown on the left) is compact yet durable, with easy controls. On the back sits a gain selection switch (-10 dB, 0, +20 dB) and low-cut filter switch. The 3.5 mm cable connects directly to your DSLR or camcorder, coiled in the middle for more stability and less clutter. Combine that with a claimed 130 hours of battery life off a single AA battery, and you?ve got a solid camera-top solution.

The VP83F (on the right) has similar features of its little brother, but with an integrated flash recorder. It records uncompressed WAV files at a 48 KHz / 24-bit data rate, onto a removable microSDHC card (up to 32 GB) independently from the camera audio input. Because most cameras compress and even introduce some unwanted noise into its onboard recordings, having a dedicated high-definition recorder at finger?s reach is a very exciting feature. So users can either record directly to camera, record on both sources as redundancy, or even bypass the camera altogether and sync up the better recording later.

On either side sits two 3.5 mm jacks, one for an audio out to your camera, and the other for real-time headphone monitoring. The menu system is very easy to read, and easily navigable through it?s five-position joystick. With it, you can set filters, mic gain, headphone gain, manage files, and playback options. The VP83F has a rated 10 hours of battery life while recording, off two AA batteries.

With their all-metal construction, sleek design, and surprising sound quality, the VP83 and VP83F are one of the best products we?ve played with at NAB this year. Prices are still TBD, but both of this mics will be available in Summer 2013.

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NAB 2013: MXL has a large reputation in the music world for their lineup of vocal and instrument microphones, and now they plan to look ahead to tap the mobile multimedia market.

The Marshall Electronics site was bustling with their newest rack mount and camera-top monitors and other broadcast products at this year?s NAB Show. At the corner of their floor space stood their new Mobile Media line of microphone systems built specifically for entry-level DSLR and mobile rigs. 

In general, these microphone systems are designed with mobile in mind, connecting directly to camera, tablet, or phone with a matching impedance signal to lower-Ohm devices. While iOS devices were displayed, these products aren’t just for iPhone – MXL didn?t want to be tied down to proprietary ports such as Apple?s 30-pin or Lightning connector. Instead, a 1.8?? TRRS connector plugs into most compatible devices that treat it like any other in-line microphone.

However, there are challenges with the 1/8?? connector to mobile devices, mostly its inherent sync issues (2-4 milliseconds) behind video. While they?re looking into apps or updates that could correct this problem, this may not be a big issue for the general public creating web content – but it will matter if they want to reel in a prosumer customer base.

Their mics, like this FR-310 hot shoe shotgun model, has features similar to other equivalent models currently available, such as high-pass filtering, gain switching, and battery power. The mics also include bracket arms that attach to either mobile devices or cameras, in handheld or tripod mounting configurations.

Next to it were other types of microphones tailored towards mobile connectivity. The handheld MM-525 with its interchangeable capsules, the MM-424 boundary mic for desk or conference scenarios, and a selection of other battery powered condenser vocal models for recordings on-the-go that they believe are near to broadcast quality.

MXL really featured their FR-500WK portable wireless system, available sometime this Spring. This pair of UHF receiver and transmitter are switchable to 64 channels, are hot shoe mount friendly, and run off AA batteries. The receiver?s line level connection runs to either a padded 1/8?? cable straight to DSLRs, or a 1/8?? to XLR cables to connect to more professional cameras. The transmitter also has an onboard mic built in for speaking with the camera operator or for backup. While we weren’t able to test the 500WK set?s sound and reliability, they seem to be a highly portable duo for only $399.

But with so much new focus on prosumer multimedia, will MXL continue to cater towards a larger portion of their performers?

?We?re never giving this up – this is a real market, we?re one of the largest supplier of microphones to [musical instrument retailers]? said Perry Goldstein, Director of Sales & Marketing of Marshall Electronics, gesturing towards the smaller stand of MXL?s well known vocal/music condenser mics. ?So that?s a big business, we?ll never exit it. But our growth is going to come from our mobile line. Not many people are going into a traditional studio anymore, so this is the future.?

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