The original Element was always a great looking DAC/Amp with plenty of people loving it’s look and functionality. A well machined aluminium chassis with a large central volume knob with light illuminating the ring, it’s classy.
On the back you have RCA inputs and outputs so it can be used as a DAC/Pre-amp for speakers, or as an amp only when paired with a different external DAC. You also have the gain button and power button (which also switches between headamp and pre-amp). On the front you have the headphone output socket, that is it. JDS Labs have packed in plenty of functionality into an attractive package, it really does look great when sat on a desk.
The new Element II has a better DAC section which now supports higher resolution bitrates, along with other enhanced specs. The amp section is based on the one in the Atom, which we all know is super clean with low output impedance. Gain is set at 1x and 4.73x, which should fit most peoples needs.
Sound:
Well the Element II, just like the original, is designed to power your headphones to their maximum potential without colouring the sound. It can be used with sensitive IEM’s, right up to most planar headphones without missing a beat, it is clean and exceptionally well controlled. The Element II is not a bright sounding DAC/Amp, instead it will let you hear the true signature of the headphones you are plugging in to it. Having such low output impedance means even the most sensitive IEM’s won’t have their sound signature altered.
The Element II perfectly demonstrates that neutral is not boring, and it allows you to pick the headphones to suit your needs rather than picking the amp for your headphones. The Element II also looks superb when on a simple desk, it is clean and minimalist and is all the DAC/Amp you really need for most headphones. I for one, appreciate that the Element II is not trying to wow you with colouration, nor is it analytical to the point of sounding cold and artificial.
Conclusion:
If you are looking for a clean and neat setup, that also sounds clean and detailed, you cannot go wrong with the Element II. Just don’t expect it to flatter you with a warm and analogue sound, it will reveal the true sound signature of your headphones instead.
Aesthetically you have got to love the stylish yet simplistic look of the Q350, they have a very refined look and build quality that will impress anyone who sees them. The Uni-Q driver array looks superb and the cabinets are well finished, feeling solid and heavy.
Setup:
Ideally you want to place the Q350 40cm or further away from any walls, they are rear ported and quite sensitive to placement, however they do come with foam port bungs in case you don’t have that much breathing room. Toeing them in slightly helps focus the centre image, however due to their design the off axis response is very good.
Sound:
Sound wise the midrange is definitely the standout part of the frequency response, grabbing your attention with plenty of energy and a lifelike presentation. It does an impressive job of sounding well integrated, yet cleanly separated from the lows and highs. The lows are punchy and surprisingly full, the port bungs will help you tune the low end to your preference, as fully open might be a little too full for some.
Extension is always going to be a little limited, however when listening to music I have never found it to be lacking. The highs have enough sparkle to prevent the Q350 from sounding too dark, and they bring out a good amount of air and detail in recordings. For a metal dome tweeter, the Q350 do not have a particularly sharp top end, which is good for relaxing and longer listening sessions, but it does mean they are a little safe sounding. The Q350 sound best when playing at slightly higher volumes, they just don’t sound very engaging at lower volumes.
Conclusion:
The Q350‘s have a good grip on the music, they do however lean towards a more refined and smooth sound than being overly punchy and energetic. This can work wonders depending on the music you listen to, and they are certainly not lacking when it comes to detail retrieval. When positioned properly they portray a very convincing stereo image, and the great off-axis response is welcome when you have people over.
Well what can I say, Shanling know how to make a great looking product and the UP2 is no different. Tempered glass in the front and back with subtle branding and a machined aluminium shell and volume knob/button. On the bottom you have a single USB-C port for charging and DAC duties, on the top you have the headphone socket and small hole where the internal microphone is located. It is sleek, slim and just looks great in person.
Build quality is great, the tempered glass should hold up well over time, along with the main aluminium body feeling strong. Having a USB-C connector is excellent as most new devices have now moved over to this connector. I really cannot fault the UP2 in terms of build.
Features:
Well the UP2 is first and foremost a Bluetooth receiver, it supports all the latest codecs too including LDAC and AptxHD. This really does make a difference when compared to devices that only support SBC and AAC.
The UP2 can also be used as a USB DAC with a PC and does not require drivers to work. The internal headphone amp is powerful enough for most IEM’s and easy to drive headphones.
You can quite easily control the music via the UP2, the volume wheel can be pressed in to play/pause, double click to skip a track forwards, and triple to skip back. You can pick up phone calls and the UP2 has a built-in microphone for that duty. The UP2 has around 11hrs battery life on SBC, when using LDAC or Aptx it is slightly lower.
Sound:
The UP2 is an excellent sounding Bluetooth receiver, using a separate Bluetooth receiver and DAC chip means you really do get high quality Bluetooth audio. I’ve been using the UP2 with some Campfire Audio Andromedas and there is absolutely zero background hiss, match that with the low output impedance and you have an impressive wireless setup. The UP2 doesn’t really have much of a sound signature of its own, being neutral and detailed depending on what you pair it with.
With LDAC playing it’s getting harder and harder to tell between Bluetooth and CD quality wired from a DAP (of course you have to be playing CD quality over Bluetooth for LDAC to do its magic). No longer do we have to put up with mushy highs, and one tone bass notes over Bluetooth, now we can have excellent dynamics and detail retrieval, it is making me rethink the whole Bluetooth thing, and that’s a £79 product paired with a £1049 pair of earphones.
Of course, there is still an argument to have a dedicated DAP, with a better amplifier and better components, but usually at a much higher cost. For daily use however the Shanling is perfect, the difference in sound quality really isn’t that big and one that is easy to live with if you value convenience. Yes the UP2 + earphones isn’t as slick as a pair of true wireless earphones but the sound quality is superior to all true wireless models we have tested, along with having better battery life.
Conclusion:
Well the UP2 really is a great little device, the sound quality when paired with a device that can transmit LDAC or Aptx HD really is closing the gap between wireless and wired, with no substantial drop in audio quality. The UP2 is the perfect on-the-go partner for a pair of quality earphones or easy to drive headphones, I forgot to add that the UP2 is clean and neutral sounding to boot.
The YU4 are a seamlessly finished product that looks sleek and polished. The rear panel on the left side has the inputs and bass port and the right side has the bass port and speaker wire terminals. The front is clean and smooth, with a power button and volume control on the left side. The size of the YU4 allows them to fit nicely on a larger desk or on a cabinet/windowsill. You could stand mount them but I think they are a little small to be used for a main system.
Build quality is great, the cabinets feel substantial and the inputs on the back are all very sturdy. For an active speaker at this price range, the Kanto’s feel very well made.
Placement:
The YU4’s smaller bass driver means they are best used in a near-field setup rather than in a typical hi-fi setup. Using them in a more typical hi-fi setup you lose a little body and the sound is a little more focussed on the midrange/treble. These are rear ported and placing them close to a wall will reinforce low frequencies, you can play about with the distance between the back of the speakers and the wall to create the best amount of bass without bloom due to resonance. In a near field setup they sound best when they have some room to breathe.
Functionality:
The YU4’s have a 3.5mm aux input, a pair of RCA inputs which can handle a standard line-in or at the flip of a switch it can be used as a phono input from a turntable (there is a built-in phono pre-amp). You also get Bluetooth with AptX support, a subwoofer output and 2 optical inputs. There is a USB port on the back, but this is not for audio use, purely for charging USB devices unfortunately.
You get a remote which allows you to control all the functions of the YU4’s, including inputs, bass and treble controls and standby on/off. The remote allows you to fine tune the sound and is really handy if you are not next to the speakers.
YU4 sound:
Bass: The bass on the YU4’s varies depending on how they are placed, but when you find the right spot, they have good reach (limited by the driver/enclosure size) and the bass is tight yet full bodied, however there is sometimes a little bloom in the mid-bass. Of course, for a speaker of its size, you have to be realistic when it comes to extension and volume, but the bass is present and controlled and gives the sound good overall balance. You can dial in a little more bass with the remote, but I have found that it becomes a little boomy if you do this. Kicks lack a little weight and come across a little dry, but bass guitars have good articulation.
Midrange: This is where the YU4’s really shine, with great separation the midrange is given space to breathe and has plenty of insight and detail. The upper midrange is not pushed back, so there will occasionally be a little sibilance if it is present in the recording. Vocals are rendered with excellent clarity and the tonality is good. Acoustic guitars have good reverberation, and the layering of instruments in the midrange is excellent. Overall performance in the midrange is very good with a slight lift in the upper mids that can add a little bit of a hard edge to certain notes, but this is a minor gripe.
Treble: The treble is not dialled back on the YU4 and has very good energy in the lower treble region. This makes cymbal crashes stand out with great energy but it might be a little too exciting for those who are a little more treble sensitive. The treble control on the remote works quite well, and just dialling it down a notch or two can help on hotter recordings. There is a slight metallic tone to the highs sometimes, not being the smoothest or most refined, but again at the price point they do a very good job at pulling out finer details and adding air to the sound.
Bluetooth: Bluetooth performance when paired with an aptX compatible device is remarkably good, with very much the same core sound signature with slightly compressed dynamics. These work very well with bluetooth devices and the performance doesn’t drop massively compared to a wired connection.
Conclusion:
The Kanto YU4 with matching S4 stands make an excellent near field setup, without the stands they do a good job as a backup/bedroom or kitchen setup. Their size is a good middle ground between real bookshelf speakers and desktop monitors and they have excellent features in a polished housing. All this is backed up with an expressive and open midrange, ample low end to give the sound some warmth and body and an airy and well extended top end. You could add a sub to the system to bring up the lows a little, but as they are, they make a fine pair of desktop speakers.
What Is Hi-Res Audio – The History of Digital Audio
Hi-Res audio has now become a standard feature when looking for a new audio device, whether that’s headphones, earphones or portable players. It has also become a rating for high quality music files. That little gold logo has become very important… but what does it mean?
Audio Formats
To understand what hi-res audio is, it’s worth having a basic understanding of digital audio and how it’s recorded. The majority of music we listen to these days, at some point during the recording and mastering process, has been made into digital audio. Once upon a time, audio was recorded onto tape and then cut straight onto vinyl, a completely analogue process.
Nowadays music is mainly recorded onto computer drives using software like Protools, Ableton or Logic. Tapes are still sometimes used to record onto, but they tend to be transferred onto the drive as well. The recorded audio is converted into digital audio and then stored on the drive to be edited in the software.
Historically, digital audio has been available in a number of different file types. MP3 and AAC are not hi-res formats. They are early developed file types that compresses audio data in order to achieve small file sizes: convenient for storing on devices with minimal storage, while compromising on sound quality. Nowadays this compression is used on streaming services such as Spotify and Apple Music, so it’s worth knowing that however convenient they are, the sound quality will be compromised.
There are four main file types which are capable of storing hi-res audio. They are WAV, AIFF, FLAC and ALAC. The quality of these file types can range from 16bit CD quality audio up to the highest hi-res audio quality. WAV and AIFF are raw, uncompressed formats which are not commonly used for general listening due to the very large file sizes. FLAC and ALAC are the most common formats for hi-res audio. They are both lossless compression formats, which means the file sizes are much smaller and they can store metadata, which is all the information about the piece of music.
Bit Depth and Sample Rate
Now the complicated part. Before hi-res audio became mainstream, music was typically recorded with a bit depth of 24bits and a sample rate of 44.1khz or 48khz. The bit depth determines the number of bits of information in each sample and the signal to noise ratio, while the sample rate determines the number of samples of audio taken per second. If you want to know more about bit depth and sample rates, I would suggest you do some research online, as there are a lot of articles on this. Alternatively, you can ask us down below and we’ll do our best to answer.
The digital audio on a CD is always 16bits and 44.1khz. This is a standard process for CD, and was calculated by very smart people to get the best from this format. Before hi-res audio was a format we could easily listen to, CD’s gave us the best digital audio quality, with Super Audio CD’s providing the hi-res audio of its time and an early glimpse of DSD audio. We’ll save that for another video. Now thanks to portable audio players having high quality DAC chips and also very large, expandable storage, hi-res audio is something we can all experience wherever we want.
Unlike CD quality, hi-res audio has a minimum bit depth of 24bits and a sample rate of up to 192khz. To achieve this, the audio has to be recorded at a much higher sample rate than was done before. This requires a lot more storage, as the data is much larger.
The upside to this is that the higher bit rate provides more dB of dynamic range, meaning the 24bit recording has a dynamic range of 144dB compared to the 96dB provided by the 16bit CD recording. The result is more headroom for peaks at the recording stage, avoiding the risk of clipping. It also gives a greater separation between the recorded audio and the noise floor.
Using a larger sample rate will increase the amount of samples taken of the audio per second, and this is where it gets tricky. The higher the sample rate, the higher frequencies a system can record. So a sample rate of 44.1khz reproduces frequencies of up to roughly 20khz, and increasing the sample rate will increase the frequencies that can be produced. Technically this seems like a no-brainer as more information can be captured during the recording process, making sure to grab all the detail possible.
Conclusion
The argument to this is that we can only hear frequencies up to 20khz, and that’s pushing it. So why would we need more? Well that seems to be a subject where no definite answer has been determined. Please feel free to give your opinions to this below.
Right, here we are. Is hi-res audio worth all the fuss? If you have a very good set of headphones or earphones, and you use them with a very nice portable player or plug them into a high end home system, then I’d say that you will notice the difference between CD and hi-res audio. On the other hand, if you listen to music on your phone using the earphones supplied with it, or you listen to your music wirelessly, CD quality will probably be as good as you need. Saying that, most people still listen to Spotify and seem very happy with it, so what do I know? And don’t even get me started on vinyl or we’ll be here all week.
The Shanling M1 is the perfect everyday DAP, also doubling up as the perfect gym companion, offering a clean and detailed sound for under £150, very impressive.
The Shanling M1 is a tiny player, it is shaped like the later iPod Nano and is sleek and easily slips into your pocket. The front is glass, the edges are aluminium and the back is plastic, you have a volume wheel (which is also the select button) on the top right hand side and the power button underneath. On the other side you have playback buttons (skip track and back), on the bottom you have the USB C port for charging and also file transfer along with the headphone jack and MicroSD slot. The power button also works to unlock the screen, overall the look and feel of this player is excellent.
The M1 comes with a USB cable, Card reader and 4 screen protectors, all you need is a microSD card with music on. Available separately is a leather case, and you can also purchase extra screen protectors.
The user interface is easy to get around, you have plenty of settings and then when in your music you can either browse by Artist, Album, Genre, Playlist, Favourites or display all tracks. The wheel acts as the scrolling mechanism, and click inwards on the wheel to select. The playing screen displays the album artwork, with the format below and the track name and artist. The button layout is not as intuitive and natural as the M2s, but it doesn’t take long to get used to it.
This player has some added functions, it can be used as an external USB DAC for your computer.
The USB C port can feed a digital signal to an external DAC too, it has high and low gain settings, EQ, two way Bluetooth (AptX) support and more.
Sound
I would class the Shanling M1 as one of the more neutral sounding players, it’s sibling the M2s has a noticeable warmth to the sound that the M1 doesn’t have. The M1 has plenty of gain, but the actual output power is lower than the M2s, meaning the M1 is best paired with in-ear headphones and easier to drive full size ones.
There is still a slight smoothness to the sound, which makes this an easy listen. The lows are slightly full and easy to follow, they are not lacking in extension are definition but they are slightly fuller than a strictly neutral sound.
The mids are detailed and present, and the highs are well extended with possibly a hint of softness making this a non fatiguing and easy listening player.
Conclusion
The M1 is the perfect player for everyday easy listening and also for sports use. It’s size and aftermarket case allow you to clip it to an armband, and the bluetooth support allows you to go wireless when out jogging.
It has some great features like USB DAC support, USB output support, Bluetooth and more, it may not be the most powerful player but for under £150 you get a surprisingly clean and detailed sound.
In return for money spent, the sound quality that the Lindy HF-100 Premium Hi-Fi Headphone puts out is no less than stunning. When guessing what these headphones cost, we overshot like England penalty-takers; we never guessed that this sound would be available for well under £100. If you want to keep someone convivial, buy them these headphones and you will have a friend for life; albeit a very preoccupied one. Perfect for use at home or on the move, but an amp or dedicated music player is required. At 60ohms impedance/100dB sensitivity these will not be sufficiently powered by a phone alone for example.
Pros
Ridiculously Good Value
Comfortable
Travel Case
Alternative earpads
Removeable cable
A taste of audiophilia for under £100!
Cons
Not suitable for use straight from a phone
Cable runs to both left and right earcups
Intro
Headphones for £100 and under have been a mixed bag generally; at this price point, designs have been compromised in some way in order to keep down costs and the more substanial the headphones looked, the more substandard they sounded. So with all this baggage the Lindy HF-100 had its work cut out and impressed us despite it all.
Key Features
Being a full size headphone, the Lindy HF-100 includes the expected accessories such as jack adaptor and storage case but with a nice pair of alternative earpads too – these are a little firmer than the earpads which are fitted to the headphones when new and will change the sound signature, try these if the original pads do not suit you.
First Impressions
The Lindy HF-100 is a low-cost full size headphone from the Lindy brand, a name perhaps linked with a plethora of gadgets, connectors and peripherals. Our surprise at how good these headphones sound may have been partly due to them being new on the headphone scene, but now that they have come out again for this review I have only the cost in mind, and we’re still delighted.
Sound Quality
The Lindy HF-100 Premium Hi-Fi Headphone has a fun sound; very engaging, and with a decent bass. Not woolly and voluminous, but well controlled and balanced. They respond very well to EQ, the bass boost on my FiiO E12 not being lost on them. Midrange is clear and spacious, with a good amount of detail. Higher up in the midrange the sound is a little uncompromising in terms of stiffness – there is no peak here to cause the listener discomfort but the HF-100 can seem a little starchy and unyielding where a more expensive headphone would be smooth, for example the SoundMAGIC HP-150. With good quality recordings this is a minor detail, but low bitrates and poor recordings may get fatiguing to listen to after a while.
Summary
As with everything you get what you pay for. Although I should make that ‘most things’ as there are exceptions to this rule; not least the Lindy HF-100. A while ago, I would have expected to achieve a sound like this if I were to spend £150 or over. But not any more.
Open back on-ear headphones. Retro design. Excellent sound with brilliant detail and clarity. SR325is has won many awards. Very efficient headphone voice coils (low impedance) means it can be driven by pretty much any device (even the humble iPod) and does not need a dedicated headphone amplifier. Hi-Fi speakers of similar quality would cost thousands. Hand made by Grado in Brooklyn New York. Grado has been in business since 1953, making turntable cartridges.
Open back over ear headphones. Very comfortable over ear design perfect for long listening sessions. Midrange and high end treble clarity is exceptional. Japanese brand with pro-audio pedigree (also make studio headphones and microphones).
Closed back over ear headphones. Very powerful bass response (ideal for gaming and movies). Replaceable parts (cable and ear pads) make it possible to service the headphone. Beyerdynamic headphones are used throughout the BBC (look at photos on Radio 1 website). Made in Germany.
Closed back over ear headphones. Closed back design ensures good isolation from noise and also means you don’t annoy people sitting nearby. Good bass response and high degree of accuracy. Coiled, detachable cable (can be replaced). Shure is a pro-audio manufacturer of monitoring earphones and microphones.
At the Hifiheadphones we appreciate products that sound as good as they look. All too often good looks are not backed up by solid audio engineering. Audio Technica seem to have got it just right with their newest range of stylish consumer and semi-pro headphones.
If you follow the world of professional audio you won’t be surprised they sound so good, as Audio Technica have a background in professional sound and audio equipment. Audio Technica are primarily known for their range of professional microphones and studio headphones.
It may not be a surprise that Audio Technica are the number one headphone manufacturer in Japan. A bit like Sennheiser in Europe, Audio Technica have the Japanese market well and truly sown up. Audio Technica are widely regarded as the best headphone manufacturer in Japan.
Audio Technica offer a large selection of headphone models to suit most budgets and applications, including portable/iPod, high end hifi models, noise cancelling and semi-professional headphones. Audio Technica have really paid attention to the aesthetics and design – their headphones look beautiful.
Audio-Technica ATH-OX5 SonicFuel Closed Back Headphones
