left – FG9R | Right – Revstar

Yamaha has new models of acoustic and electric guitars that are Made in Japan. Is it time to buy one? Let’s explore.

Yamaha is known as a leader in affordable quality instruments. But they sometimes release guitars that are made in Japan with a higher level of quality assurance and higher-end components. Yamaha’s team offered me two of these high-end ‘Made In Japan’ guitar models to review: the FG9R (‘R’ for rosewood, also available in mahogany), and the Revstar RSP02T (the P90 model). Both guitars provided for this review had to be sent back to Yamaha. 

TLDR version:

• • The acoustic guitar is selling for $4,100, which puts it in the higher-end price range of acoustic guitars. Does it hold up to competitors in that class? The answer is yes. 
  • The Revstar is currently available for a little  over $2,000 on Sweetwater. While that is still in a premium pricing category, it’s more affordable than most Gibson models in its class. Should you buy this guitar? I don’t think it would be a bad purchase, but I’m less enthusiastic about suggesting it. 

Both models come with premium hard cases. They are brown leather (or faux leather), similar in style to the cases that Gibson sells with their premium guitars (electric and acoustic).  

The FG9R is a surprisingly loud guitar with a deep, punchy, and bassy sound. The powerful and booming low-end reminded me of a Martin D-28, but it has noticeably more punch and note clarity than the softer tones of the D28. Another punchy guitar tonally to compare the FG9R would be a Taylor acoustic but in a reverse way. The FG9R has clarity and power like a Taylor. The high notes are also pronounced, but the mid-range is underwhelming whereas that is where a Taylor can often thrive. The mahogany model may be more pronounced in the midrange if it’s anything like the Gibson Hummingbird (which is also mahogany). But, I overall like the FG9R and I think that anyone who buys it will be happy with it.

The only big downside of the FG9R is that the tones clash with one another. Your mileage may vary. I can be heavy-handed when I play certain chord progressions. But if you’re not strumming hard, I don’t think you will ever experience this. 

Some people may be reluctant to spend this amount on a Yamaha, and they have a reason to feel this way. For a long time, Yamaha has been seen as an affordable option with lower quality. This provides a hidden advantage: touring artists can bring a nice guitar on the road without it being a big target for thieves. 

Both models feel worth their price tag, but it is easier to recommend the acoustic. The FG9R’s tone seems more unique to me compared to the Revstar. The Revstar, while sounding and feeling great, is still just a well-made electric guitar with P90s and could be more easily replicated by a more affordable model.  

The Aeros Loop Studio is a Swiss Army knife of music-making utility that helped me jumpstart my creativity. Here’s a peek at how this looper gave me the ‘kick in the pants’ I didn’t know I needed.

I recently had a plateau-breaking burst of creativity in my music-making journey. For the first time in over a decade, I’m earnestly writing songs again. So what helped me return to playing with a new, purpose-driven enthusiasm that I was sorely missing? The Aeros Loop Studio by Singular Sound. The company provided the looper to DMN for us to run it through its paces and it has not failed to impress. 

I previously tried simple loopers like the Ditto pedal. I found I couldn’t get much use out of these more limited devices, which I falsely thought represented every looper at my skill level. What a wrong assumption that was and one I was happy to have corrected.

It’s unfortunate that I let my first bad experience with a device turn me off to the idea of looping. Now that I’ve experienced the Aeros Loop Studio, I realize what I was missing out on. 

This looper lets one person be the whole band. A user can have six simultaneous layers of sound (with two layers) and multiple song parts. With expandable storage, you can save everything you make, including your sketches, in-progress ideas, or your final recording. Then it’s a cinch to jump back in any time and use the loops you’ve made in a live setting or pop the SD card out and drag the files into the DAW of your choice.

In reviewing the device for Digital Music News, I’ve found many ways the Aeros Loop Studio adds to my flow. Using a DAW has always been a frustrating and fruitless experience for me. I’ve stared at StudioOne’s settings for hours and couldn’t figure out how to get it to use my I/O inputs. Beyond something simple like GarageBand—they’re just too complicated for me to figure out. 

Even with Garageband, it’s hard to make it sound good just by recording my instruments by plugging them into my Audient interface. All the layers and sounds clash, regardless of my adjustments or what virtual amp is used (or absent). Alternatively, recording by micing my amps is an option–if I owned microphones and could place them optimally. The audio set-up and teardown isn’t in my wheelhouse, which contributes to being unmotivated to record. 

I’d rather be playing guitar and bass, listening to the tones I enjoy. So how do I take what I can do and turn it into any type of recording I need? With the Aeros Loop Studio, of course. 

The Aeros has two ¼ inputs and two corresponding ¼ outputs. I can hook up the Aeros’ inputs to two separate instruments simultaneously with this setup. That means I can play a bass line, then pick up my guitar and play some guitar over it. When I do this through the Aeros Loop Studio, I can prevent the sounds from clashing and get a great-sounding mix of what I’ve recorded into the loop. I also love that I can easily adjust individual track volumes using only the Aeros’ interface. 

Beats have always intimidated me. Being DAW illiterate, this was a hurdle I knew that I would face if I wanted to be the ‘one person band’ that I envisioned. I would love to find a low-cost drum machine with a next-to-no learning curve that fits my needs, but I still needed some kind of beat–and I don’t have a beat machine. Easy solution? I went to soundtrackloops.com to buy three packs of beats and samples. I cannot recommend them enough, and DMN is happy to be working with them. 

Before I had the Aeros, I didn’t have the motivation to tackle this. It always seemed like an intimidating thing that I would get to ‘eventually.’ The Aeros Loop Studio made that day come. 

The inspiration has continued beyond beats. The Aeros even motivated me enough to finally reach my goal of starting to incorporate synth into my songs! Arturia kindly gave me a license to Analog Lab V—and I highly recommend it. I’ve been layering in simple arpeggios I made using the tool. 

The biggest change the Aeros has brought is my enthusiasm for writing music. I no longer feel like there is this huge barrier to me making music, even casually. If I like something I make in the Aeros, I can easily pop the SD card into my computer and drag and drop my projects into Garageband (or any other DAW) and continue to edit it from there.

Once I started using the Aeros Loop Studio, it only took me about three weeks to get myself acquainted with and familiar with it. Most of that time can honestly be attributed to only having time to play on the weekends. Multiple times I’ve tried to give myself the kick in the pants I need to create music.

I’ve bought audio interfaces, new instruments and effects, tried to learn music theory—none of these were the solution I needed. After using a high-end looper like the Aeros, I’ve been able to break through my decades-long creativity plateau. The Aeros has encouraged me to actively try to ‘make music’ again instead of aimlessly venturing between jam session to jam session for over a decade. 

Who could benefit from the Aeros Loop Studio? Songwriters who want to sketch out ideas. Producers and production music houses that want to play around with ideas. Music hobbyists, DJs, and anyone who wants to be a one-person band will find this utility an indispensable part of their workflow.

The Aeros is $629; here is a link to the Singular Sound store to buy one!

Image: https://pixabay.com/photos/christmas-gift-new-year-holidays-3015776/

As we close out 2022, I wanted to share a handful of items that I personally got some enjoyment out of. We’re cutting it close on timing for this to be relevant, but a late gift is still a nice gesture. So, if you know someone who loves music or makes music, I hope this gift guide helps readers find some great ideas for people they care about.

Disclaimer: Some of these items (individually disclosed below) were provided at no cost in exchange for editorial coverage. I don’t care if you buy any of these or not, which is why you won’t find any affiliate links in this article. 

1) Yamaha TT-S303 Turntable (provided for this gift guide)

Vinyl is a fantastic way to enjoy music. Collecting records is fun, and the top royalty-generating way to listen to music. Holding something and appreciating the art it comes with provides a different, more intimate experience than digital streaming. 

Sonically, depending on the source material, many (including me) will tell you that the fidelity is unmatched on vinyl. I think that at around $500 — give or take $50 — this is a good option. 

It’s similar to Pro-Ject models within the same price range, but includes a more user-friendly tone arm with anti-skirt technology. This model also includes a built-in phono amp and speed adjustment from 33 to 45 RPM. That makes this a simpler standalone unit than the Pro-Ject I had previously been using, which required external phono and speed control. I like that. 

There is a downside. Yamaha’s Turntable comes equipped with a Moving Magnet (MM) cartridge and a built-in phono. I personally use a moving coil cartridge. Without getting in the weeds of it, the moving coil is a better type of cartridge, but it requires a setting to be adjusted on the phono amp. If you have an external phono, that’s easy to do. But, as far as I can tell from hours of research, it’s not possible on the Yamaha TT-S303. 

There may be moving coil cartridges that are compatible, but mine (Dennon DL-110) isn’t. 

I would consider this to be a solid beginner turntable, or even an upgrade for someone who may have purchased a lower cost turntable and wants something more serious. However, if your giftee might eventually get more into the hobby, I would get a Pro-Ject instead for the upgradability. 

2) Rock And Roll Warrior — a book by David Libert  (provided for review)

David Libert is an industry gem who has been active in the music industry since the mid-1960s. Scoring big with the hit “See You In September” with his group, The Happenings, he found himself taking on more and more of the business responsibilities of the band after the initial success from the hit had calmed down. This inspired his decades-long career of working with some of music’s most notable artists. 

David’s goofy sense of humor is on display in every page of the book. It’s one of the most ‘fun’ autobiographical books I have read, and I consider it a ‘must’ for anyone who works with talent, tours, or simply wants to know more about the inner workings of the music industry. 

3) Fender Fat Finger

I recently came across this little guitar gadget on Sweetwater, and I had to try it out. It’s a very simple gift, it makes for a great Hanukkah present (or stocking stuffer for the snowflakes who feel that every celebration in late December should be called ‘Christmas’). 

For only around $20, this makes a great gift for anyone who plays guitar or bass. The device claims to increase sustain. I noticed it to some extent, but the really nice thing about this is that sometimes, you just need an inexpensive gift for musicians. This is the perfect thing to get for someone who plays guitar or bass, particularly if you don’t know what to get for them. If nothing else, it’s unlikely that they already have one.

4) Little Korg synths

These are more or less toys for music makers, or people who want to start experimenting with making music and sounds. They (like the last entry) are relatively inexpensive (around $50) and provide ongoing fun. I have a couple that I keep in a desk drawer and bust out 1-2 times per month to play around with for 20ish minutes. There are sure to be people who get more enjoyment than that, but as someone who does not play keyboard, piano, or synth, I get a great deal of enjoyment out of these. 

5) Inside by Bo Burnam

Bo Burnam’s Inside is a special on Netflix. It’s also a contender for my favorite piece of media (including music, movies, and games) of the new millennium. 

Bo is able to take deep societal issues and communicate them in ways that nearly anyone can understand. He addresses how emotions are monetized and how this is psychologically impacting us as a species. I don’t want to spoil it too much, though I think that everyone should watch the special. However, the gift I am recommending is the vinyl record. Preferably ‘Inside – Deluxe’ which includes fantastic outtakes such as Bezos 3 and Bezos 4, and 1985. 

Here is a preview of what you are in for: 

If your giftee is not into vinyl, just hop on to Netflix and watch Inside together. Time together, appreciating great things, that is a gift in itself. 

7) Snark rechargeable

If you know a stringed instrument player, they probably have one or more of these. But, now they make them with rechargeable batteries. It’s a great ‘small gift’ that any string player will appreciate. 

6) Yamaha — Home Theater in a Box System YHT-5960U (provided for this gift guide)

Home Theater in a Box is a product type that has become increasingly hard to find. So a quality offering from Yamaha is a welcome addition — especially in our modern age of 3D mixed audio and more immersive sound design. 

This system is powerful for the price, thanks largely to the very nice amplifier that comes with the set. However, it does lack Atmos. So people who are really going for the latest in 23 audio may want to go a different direction. But, for people who will be happy with 5.1 (which I think is most people in a home theater setup), this is a good pick at a good price.  

Something I used to bely about HTIBs was the sub-par (often proprietary) amplifiers. These would be designed with proprietary ports and other inconveniences that prevented them from myriad use cases. For example, I may buy a HTIB and years later want to upgrade the speakers or just the amp. If the speaker ports are all proprietary, I cannot do that.  

With this system, you get an amp/receiver that will connect to anything and everything you need. It also uses traditional speaker wire. 

The sound quality is pretty good. It may not produce the same fidelity for stereo music that you would get from a nice 2-channel (or 2.1 system), but it does sound great for the price (around $700).

Something to note is that the amp when sold by itself is close to $600. So if you have any desire for 5.1 surround sound, I think that the HTIB provides a great value. 

7) Soul Asylum, Grave Dancers Union (30th anniversary)

A great Minneapolis rock album, Soul Asylum’s Grave Dancers Union is a fantastic album. It includes “Runaway Train”, which won the Grammy for Best Rock Song in 1994. It’s a great album, and a ‘must’ for alternative rock fans. 

Furthermore, this is a fantastic remastering! As someone who has been listening to this for most of my life (“Runaway Train” was the first song I knew all the words to) these songs have never felt so alive and textured. The soundstage has a great deal more depth compared to other versions I’ve heard, and the separation between the instruments allows every element to have individual clarity and vibrance. 

There are only 5,000 copies of this pressed to black-and-gold marbled vinyl (very clever). With how highly regarded this album is, it’s sure to be a valued collectors item for some. I myself bought two copies so I could listen to one and preserve the other. 

That’s all I have for you. I hope that this gift guide helps you find something special for that someone special in your life that either makes music, or loves music.

On June 7th, I had an opportunity to see a living legend, Sir Paul McCartney at Fenway Park in Boston MA. Does Sir Paul still have ‘it’ at age 80? Let’s find out!

Before I dive too deep into this, I want to send a huge thank you to Jillian Condran of Nasty Little Man. Not only did she arrange for me to be at this event, but she also went out of her way to help me after I showed up on the wrong date. Thank you, Jillian, and the people on-site at Fenway Park from LiveNation who helped as well! 

Showtime

The concert started at around 7:15 pm. At that time, Paul and his band casually walked onto the stage, and immediately started playing “Can’t Buy Me Love”. The crowd was electric! Paul played a couple of his newer songs. I hadn’t heard them before the show, but I enjoyed them more than I expected I would. After those initial songs, that was when Paul started addressing the audience. The audience responded with coordinated signs saying “We love you, Paul”.

Comparing Legends

The last concert that I wrote about before the throws of covid pulled us all away from the events, was Elton John. I kept going back to that in my mind throughout the performance. These are two of the best in the world. How do they compare? 

They do have their differences. For example, Elton seems to ‘leave it all on the stage’. He is there to give each performance his all, pouring his heart out. As an audience member, you feel a connection with him. With Paul, it was more like his showmanship was a natural byproduct of who he is. It feels effortless, like his wit and charisma are just a part of who he is; and that reflects in his stage persona through witty banter and fun anecdotes.

Paul’s Persona On Display + A Little Cheese

Moving on, Paul played more of his new songs, then interspersed a couple of Beatles songs in the mix. After some more banter with the audience, Paul stated that “I know the songs you people like the most, I can tell because you all have your lights [phones] up. I know that it’s The Beatles’ songs and not my new songs. But, we don’t care. We’re going to play them anyway”. That elicited a big round of laughter and applause from the audience. 

Paul performed “My Valentine”, a song he wrote for his newest wife. However, this part fell a bit flat for me. I’m happy for Paul, and I’m happy for Paul’s wife, but the projector was Natalie Portman and Johnny Depp doing sign language. 

I love the idea of integrating ASL into concerts as it allows more people to enjoy it. But, this implementation just was pretty laughable to me, only due to Depp. Natalie Portman was great, but watching Johnny Depp feel the need to hold a guitar throughout, and then play something inaudible that did not correlate with the music that we were hearing… it was just cheesy. 

Getting A Bit More Serious

It was starting to get dark, which lends itself well to the brilliant lighting and projector work that was accompanying the performance. The tone of the event changed when Paul started playing “Maybe I’m Amazed”. A beautiful song from his 1970 album, “McCartney”. From here, I personally felt a deeper emotional connection start to form between the performer and audience. The remainder of the concert will forever be etched in my memory.  

A Brief History Lesson

He followed that up with “I’ve Just Seen A Face” before the concert stopped and the stage was shrunk down. Large projectors moved from the back of the stage to the front, creating a continuous backdrop that only left around 10 feet in depth from the stage that had just been 60+ feet deep. Then, Paul gave us some history of The Quarrymen. 

The group that predated the Beatles included John, George, Paul, and two other people. Paul shared a funny anecdote about how each of the band mates chipped in 1 sterling pound to record the 5-pound album. They agreed that each of them would hold on to the record for 1-week, and they each took their one-week turn. However, when John Lowe had it, he kept it for much longer. They eventually had to buy it from him. This is something I had known about from previous Beatles Documentaries. But, hearing Paul McCartney talk about it in person was just different.

Then, we got “Love Me Do”, and more history of how that song was recorded. Paul shared that he was not prepared to sing the lines “love me do”, which were normally sung by John. But, George Martin said that he wanted the line to start at the same time as the final note of the harmonica part, which was also played by John. The result was a very nervous Paul singing it, and he claims that he can still hear his voice quivering when he hears that on the radio. 

Sir Paul’s Solo Time On Stage

Then, the stage began to change again. Everyone except Paul left. Paul was left there holding his upside-down Martin D28 (a guitar that I now feel a need to own. Thanks, Paul).

Paul started performing “Blackbird”. A beautiful song, with a beautiful intention. Paul had recently learned about the recently ended Jim Crow laws in the US, and the civil rights movement. He wanted to create a feeling of hope for people who had been and continue to be disenfranchised. As he sang, the part of the stage that he stood on was rising slowly. By the end, he was probably about 20 feet higher than he started and there was a series of screens on the front of the raised platform. Unfortunately, one of the screens was out, which slightly hindered the effect, but it was negligible in the grand scheme of things. 

Balancing The Emotionally Heavy With The Emotionally Light

After that, he played the emotional song “If You Were Here Today”, an emotional highlight that lays out what he wishes he could say to John Lennon. Following this, we had some more Beatles songs with Lady Madonna. At this time, an upright piano was brought out for Paul to play. I thought that it was just vibrant and beautifully designed, but it turned out that the front of the piano was a screen! You will see how it dynamically changed during the songs it was used, it was very cool! 

Being For The Benefit Of The Audience

A few songs later, Paul went on to play “Being For The Benefit Of Mr. Kite”. This song was accompanied by really cool projector art, it was super enjoyable. That said, while I love the music, and the presentation was fantastic, the only reason I am mentioning it is that I think that there could have been some other songs in this place instead, especially with it being a song that was originally sung by John. The instrumentation and overall presentation was great. I am just splitting hairs at this point. 

“Something” Extra Special

Paul went on to retrieve the Gibson ukulele that had been gifted to him from George Harrison. I knew what was coming next. However, there were surprises in store for me. Paul started playing “Something”, but after the first verse, the rest of the band joined in. I had heard him do the whole song solo with the ukulele, but this was nice. It was one of the highlights of the show for me. It was emotional and touching, and you could hear the love in Paul’s voice. 

The Emotional Balance

Paul knows how to build a great setlist, so after something that heavy, he knew we would need something light and fun. Something to remind us that life goes on. What was that? “Ob La Di Ob La Da”, of course! I don’t think anyone in Fenway (or the surrounding block) was not singing along. Paul’s energy radiated to the audience.

A Legend Caught Off Guard

Then something unexpected happened. The entire stadium erupted in a rendition of “Happy Birthday”. McCartney is turning 80 on June 18th, so it was appropriate. This allowed me to see Paul’s banter in a way that was not planned. Even though his wit and charisma seemed so natural, for all I knew, it was still rehearsed to some extent. This disproved any notion of that. Paul was taken aback by this but went on to express his gratitude. 

From there, he went on to inform us that the next song would be one that he had never performed live. He started singing, “out of college money spent, see no future, pays no rent”. I nearly lost it. I am so moved by Abbey Road, and the medley (kicked off by “You Never Give Me Your Money”) is a huge part of my connection with that album. As one small gripe, it’s not the first time he’s played it live. However, it might be the first time that he started it in media res. That, I do not know. He followed with “She Came In Through The Bathroom Window”.

He Said It, That’s The Title!

Next, we got “Get Back”, an awesome song that has been on the mind of anyone who watched the recently released “Get Back” film by Peter Jackson (highly recommended). This was of course interwoven with the pristine-looking footage that was released in that series. This was followed by Band On The Run. A fun, lighthearted Wings song performed with exceptional energy. After this, things got more serious again. It was time for Paul to do his finale. 

This started with “Let It Be”. Again, everyone in Fenway was singing. How could they not? We were all collectively a part of music history. Seeing one of the most fundamentally important figures in music history, and singing along with him in one of the most iconic songs ever written, was something you would have to experience to understand. 

BOOM

We got a little lighter again with “Live And Let Die”. But, it was accompanied by intense and impactful pyrotechnics. It was powerful! The only time that I’ve seen more intense pyrotechnics is at the two Kiss shows I attended (1999, 2019). Surpassing the bar set by Kiss is an unrealistic expectation to ever have. But, in this one song, it’s a more than worthy second place. When the chorus was about to start, there were 10 foot pillars of flame, so hot I could feel the heat on my face. There were also explosion sounds. A loud BANG that made me happy I was wearing earplugs (side note always wear earplugs at concerts). 

A Sing Along For The Ages

Then, without any time wasted, we hear “Hey Jude”. You could feel the collective emotion swell. People were crying, people were laughing, and people were experiencing it. At the risk of sounding cheesy, it was magical. When I say that the entirety of Fenway erupted to sing along with Ob La Di Ob La Da or Let It Be, that still wouldn’t compare to this. It felt like all of Boston was singing along with the outro. People had signs (they always do at Paul shows) and there was a handful of people who each had a “Na” sign. I then noticed myself on the jumbotron and realized I was sitting right by former presidential candidate John Kerry, pretty neat I guess. 

The Expected Encore – Slava Ukraini!

The song concluded, but everyone knew that an encore was incoming. Paul returned to the stage waving a Ukrainian flag. His bandmates followed suit with a Ukraine flag, UK flag, US flag, pride flag, and Massachusetts flag. I’m glad that the pride flag and the Ukraine flag were included. He could have easily chosen to omit them, and while they are small gestures, it’s better to have them than to not. 

The show went on. I thought the last chunk of songs was the climax, but I was wrong. It kept getting better!

The True Climax – John Performs

First, we got something I did not expect at all. Paul performed “I’ve Got A Feeling”, and admirably hit the high notes that were tough for him in his 20s with “all these years I’ve been wonderin’ around”. But then, John was on the jumbotron. They had isolated his vocals from The Rooftop Concert, and he was singing his part in the song. I nearly broke down. John died before I was born, but there are few that I hold in quite as high regard as him. This was the closest I will ever get to experience him live, and I got to see it alongside Paul McCartney. Again, magical. Don’t care if I am cheesy anymore. 

Classic Paul knew that he had to lift people up again from this emotional performance, so we went on to another fun track from The White Album, “Birthday”.

He then surprised me again by rolling right into “Helter Skelter”, another fantastic White Album song. And, another impressive singing performance from an 80-year-old singer. You could tell he didn’t backtrack himself, and he could have gotten away with it if he wanted to, but he didn’t, and I respect him that much for that. 

“In The End, The Love You Take, Is Equal To The Love You Make”

I already mentioned how much the Abbey Road medley means to me, so it was a boon when he started to play Golden Slumbers. This transitioned into “Carry That Weight” and “The End”. A most fitting end to the performance. 

As we close another year out, we can all breathe a sigh of relief. We made it, folks, time off is just around the corner! But, it’s not just time off. It’s also the time of year that we help the economy by showcasing our sentiments and care for one another. I’m talking, of course, about gifts! 

I love stuff, and as someone who tries a lot of stuff out, I want to help you find something awesome to get for people in your life who love music, or make music. 

This year, a handful of companies sent me products to check out for consideration in this article. Something to note, we do not have affiliate links in this article. I don’t care if you buy any of these or not, and I am sick of not being able to trust a single review out of fear that it was written just to get some Amazon Affiliate revenue.

For the guitar player who already has it all

Jamstik Studio Midi Guitar: – $800 

I can’t play keyboards, and I am notably bad at using DAWs. However,  I’ve always really liked the sound of synths, keyboards, and organs, and wanted to dabble in the world of midi. I feel like this would open up my options quite a lot in my novice personal recordings. What do I do (without learning a new skill)?

Last year, the company who makes the Jammy guitar reached out to provide a free demo unit. I was so excited because I thought that there was finally a solution to what I wanted. However, you may have realized that we never released a review or mention in a previous gift guide of the Jammy. It’s because I just didn’t like it and could not recommend it. There was too much latency, and it felt sort of ‘half-baked’. There was no sound produced in many of the frets on several strings, which made it challenging to know what I actually could or could not do with the device. 

Then, I got the Jamstik Studio. It was like they had designed a product based on exactly what I actually wanted. You can use this to play using any sound pack in your DAW of choice (for me, garageband) and there seem to be no dead frets. Not only does everything make a sound, it makes the sound I wanted it to. When I play a G chord on the Jamstik Studio with an organ sound pack up, it sounds like a G chord that was played on that kind of organ. There is even bluetooth so I can connect to my ipad and just play. I don’t need to get on my desktop rig and open up the mac app, I can just do it more casually and (no pun intended), jam. 

The Jamstik Studio Midi is getting the top featured spot in this gift guide because it’s just so damn cool!  If you know someone who can play guitar, but may want to have a way to record more music on their own that includes instruments other than guitar, I cannot recommend this enough. Just buy it already!

Headphones for on the go 

UE Live: $2200 ful price (on sale for $1,550) + UE Switch 

I have always been a big fan of the UE brand and their products. I think that they make some amazing audiophile, stage, and consumer products, and I tend to like the choices they make from a design and quality standpoint. 

If you are going to drop some big bucks, and I mean BIG BUCKS, and someone you really really really care about is super into sound quality and portability, look no further. The UE Live are top notch, reliable, water/sweat resistant, and they sound incredible. I did a full review on them, here that is for more detailed information. In fact, I would have to say that the UE Live delivers the best sound quality I have heard in an earphone. 

This year, I got to try out the UE Switch, which is a changeable faceplate for your IEMs. It’s simple, but it’s cool, and I am a fan (for the most part). They let me send in my UE Live (which are still the best-sounding earphones I have ever had the pleasure of using), and instead of the color design that used to adorn them, I now have three sets of faceplates that I can use. 

This is nice for me because I have a hard time deciding what style to get in my UE earphones. I am a very indecisive person. But now, that problem is eliminated. 

On the other hand, I do believe that this is one more thing that can break, which is not ideal. FOr the most part, these are great-looking. The wood finish looks real and organic, the brushed metal looks industrial and very cool, or carbon fiber which has a convincing 3d effect, they look awesome. However, for some reason, the denim print looks unconvincing. You can’t win em all. But, UE has great customer service (as noted in prior reviews) and they did inform me that there is a satisfaction period, so bear that in mind.

Would I recommend these to new buyers of UE IEMs and/or gift buyers? Maybe. It depends on the individual. For example, highly fashionable people, (and this can apply to performers and just music listeners since these can also be used on-stage) may appreciate the ability to coordinate and switch out between looks. 

Grado Gr10e – $300

I have an older model of these, and they sound great! Grado being Grado, they are a bit unique in how they like to have their in ear headphones work. Instead of using multiple drivers, they use one driver that can move and shoot sound to different parts of your ear.

Regardless of how they work, they sound great, and they are much more affordable than my other suggestion.

Pair either pair with one of the DACs on this list for a great combo. 

Headphones for at home

Grado SRX 80 – $125 

Grado RS1 – $750 

There are other premium headphone brands, but I have always been a ‘Grado guy’, and you gotta write what you know. Why are these ‘for home’? They have an open construction which is more like having little speakers on your head compared to other headphones. People will be able to hear what you are listening to, clearly. And the listener will hear 100% of the outside world. 

I am giving you options at two budgets, but since I acknowledge that there are countless great headphones out there, feel free to google the above models followed by “vs reddit [insert giftee’s favorite genres]” and figure out if there is something that better matches the tastes of your recipient. To give some clarity on my use case – I have an eclectic music taste, but have a leaning towards rock music. These headphones are outstanding to my ears, and with the SRX 80, they are a great price for many people’s gift lists. The RS1x is the current version of the RS1, and it’s a great gift if you want to spend closer to that amount. 

Pair with a DAC from this list for best results. 

Adapters, Dongles, and why they matter 

This year, I finally migrated away from Android and onto iOS. This meant ditching my LG phone, which had a great DAC and decent headphone amp. I had to find a solution for listening to my high-resolution music in an enjoyable way. The world of audiophile stuff is confusing, filled with overly opinionated people, ultra subjective, and daunting. So, I figured, maybe I can bring some clarity to one niche of this vertical for people who like things that sound good, and don’t want to get too deep in the expensive and confusing world of audiophiles.

To preface: People who really like good sound quality are typically unsatisfied with the stock hardware on digital devices they use to listen to music. When I switched over from my LG phone (which were famous for being good with audiophile sound quality) to the iPhone, I bought the $8 Apple lighting to headphone adapter, and I was super unhappy with it. There are a lot of people who swear by it online, but after A/B’ing it against anything else, I thought it kinda sucked. 

Where is this going?

If you know someone who LOVES to listen to music, and tends to appreciate quality, a DAC may be a great ‘outside the box’ gift idea!

A better dongle $40 

The DDhifi TC35(multiple versions available) is a great upgrade from the apple lightning to headphone adapter. I highly recommend it to people with phones who want better sound quality from their headphones.  Because it’s only $40, you can buy it alongside one of the pairs of headphones I recommend. Or, pair it with a Qobuz subscription (aka, the ONLY streaming service I personally like).

Wireless DACs $110+ 

These are super interesting and versatile little products. If you get a good one, it can be your main DAC for desktop use and mobile use. But, because they are wireless, you can also ply them into your home stereo and BOOM, you have a wireless audio system that is going to sound great!

Quedelix 5k – $110

One I have not tested but gets rave reviews is the Quedelix 5k. It’s only $110, and I am constantly thinking about ordering one for myself, just to give it a go. I feel confident about it enough to recommend it as a gift. It’s bigger than the tiny DAC above, but much smaller than the other wireless ones listed below. It also has a built-in microphone and a clip, so you can easily take calls while using it, and you don’t have to worry about where to put it because it can clip onto your pocket. 

Fiio Q5s – $250 – $300

I have tested the Fiio Q5s, and it’s a great product. I like this one for portability, it’s a bit smaller than the other one I tested (below). I don’t know if they still make them, but you can easily find them used for around $250 – $300, and there ain’t nothing wrong with being a little less wasteful and buying used items. This one also has a built-in microphone. 

xDuoo XD05 BAL – $450

I also tested the xDuoo XD05 BAL. This is more expensive at around $450. The sound quality does exceed that of the Fiio, but, it has some design quirks. If your gift recipient is going to use this at home more than on the go, I think it’s great. If they want something to use 50/50, I would say to go with the Fiio. The design quirk is that it has a power off switch in both the front and back of the device, so there is a risk of it turning off in your pocket by accident. It’s also pretty bulky, so bear that in mind. 

Wireless Headphones 

Shure Aonic 50 – $300

The Shure Aonic 50 are the best sounding over-the-ear wireless headphones I have tested. They provide a great balance of highs, mids, and lows. However, they are super bulky and the style is not for everyone. 

Bose NC 700 – $450

The Bose NC 700 are super aesthetically pleasing. Honestly, Bose’s product design team is kicking ass in recent years, and this is no exception. They look great, sound great, and the ANC is very strong. Here is a more detailed review I wrote about them.

Wireless Speakers

Wireless speakers also make a great gift, and I want to provide you with some options at various price points, based on personal experience. 

UE Boom/MegaBoom: $150 – $200 

I like these. They are simple, durable, and they sound pretty good for what they are. These are not meant to replace an audiophile’s stereo, but, they are handy, and I personally like to keep one in the bathroom to listen to audiobooks while I shower. Get the bigger one (megaboom) if you’re giftee may need it to get louder, or if they are clumsy because the Megaboom is drop resistant. 

Bose Soundlink Revolve plus – $330

This is a step up in sound quality. It’s less bassy, so if you love bass, go with the UE. But, if you like a more balanced sound, this is a great speaker. It’s not water resistant, and I don’t think it will handle many drops, but if you’re buying this for someone who appreciates aesthetics and takes care of their stuff, I like it. Plus, most people associate Bose with high quality, further increasing the gift value. 

UE Hyperboom – $400 

This thing is freaking huge. I recommend it if you want a big speaker that can get loud while still sounding great. I can imagine thins being a popular choice for people throwing parties or holding events, and the fact that you can pair multiple of them together for multi-channel-mono means that you can create a makeshift PA system. 

It can be used in a venue or for portable DJs. It even has Aux inputs, which is rare on wireless speakers. It’s super bassy! Like, beyond extreme. If you want a speaker for house parties, or you want the biggest (and, I think, best) Bluetooth speaker you can find, I think you’ll be really happy with this statement speaker. 

Q Acoustics, Q Active 200 – $1,500 on sale, $2,000 full price

Do you want to get someone wireless speakers that are more serious, and can be used as a primary stereo set, along with as a home theater? This is a great option! You get the Q active hub, which lets you use wifi to stream, which allows you to transmit far more data (meaning a higher audio fidelity). You also get actual stereo sound with stereo separation. It’s a real 2.0 system.

Know someone who can’t sleep, or is a light sleeper? 

Bose Sleepbuds: $300 

These are super interesting. They are wireless earbuds that you use while sleeping. They are essentially little noise machines that you stick right in your ear. I used them for a handful of nights, they do certainly work. I also found them to stay in for most of the night, and to be fairly comparable (considering it’s still a hard object in your ear). If you know someone who wakes up easily from sounds, I think these are a great gift. On a side note, the case they made for these is really cool. I love the sliding mechanism. 

BUT, and this is a big but, there does not appear to be a way to opt out of being tracked. You have to agree to their privacy policy to get ANY functionality, which feels invasive to me, but others may care less.

Some people honestly don’t like getting gifts. So, give them the gift of great music! 

Also, consider recommending some great hifi music to go with those new headphones and dacs you’re buying. This is the other piece to the puzzle of good music, because compressed audio, like that of spotify, leaves a lot to be desired. When you give your giftee their new headphones and DAC, and then they listen to high-resolution audio, it’s going to combine to be such a great gift and overall experience. 

What to listen to in high-resolution

Do you remember how I mentioned that some people really don’t want you to spend money on them? That is my mom. But, my mom is super-cool, and she is to thank for a huge percentage of my love of music. So, the following history lesson is my holiday gift to my mom. 

To preface, I am keenly aware of the fact that DMN’s readership includes the movers and shakers of the music business, and one of the things they should know is that my Mom, Laura Itman, played a part in the ‘discovery’ of The Replacements.  

My mom first saw The Replacements at The 7th Street Entry on a chance encounter, she just happened to be there. The 7th Street Entry is a historically important Twin Cities venue that is still considered cool to this day, but the capacity is maybe around 150 people. At that time, she worked at a bar called Duffy’s, which had a capacity closer to 1000. Upon hearing The Replacements, my mom immediately went to the booking people at Duffy’s and demanded they book The Replacements.

They laughed at her. There were just so many other bands at that time between Husker Du, Loud Fast Rules (later became Soul Asylum), and countless others, The Replacements didn’t seem special to the booking agents. But, she persisted for months upon months. One day, she got them to say “okay”, they were willing to offer The Replacements their first ever show that was going to pay them $1,000, which was a huge deal as they previously would have been making about 1/10th of that plus some beer tickets. 

She instantly saw the raw talent they possessed, and I would be remiss to not mention her, as she is a huge catalyst for my own love of music. Happy Hanukkah, mom!

“Sorry Ma, Forgot to Take Out The Trash” by The Replacements, is a masterpiece of rock and roll. This phenomenal release is worth a listen to all who love the genre, especially those who like their rock hard and fast. This remaster is outstanding, and really transforms the listening experience. So, even those familiar with the album ought to give it a new listen. 

From the first track, new depths are apparent, and the separation between instruments is just incomparable to my old CD, and mixes that were on streaming. 

However they got it done, bravo! The sound is phenomenal, and with this being one of my top 25 all time albums, I know it will get heavy rotation.

Do you know someone who likes music that is ‘undiscovered’? Here is something amazing they have almost certainly never heard of:

MEMEME – self titled 

MEMEME put together an emotionally honest and raw album, that highlights the evolving psyche of late 20 somethings as they figure out what they actually want in life, and navigate their way out of relationships they don’t want to be in. I don’t want to spoil it too much, just go listen to it. It’s a really great album, parts of it will get stuck in your head, and it leaves an impression. 

Sherbetty – If You Lived Here, You;d Be Homeless By Now

“If You Lived Here, You’d Be Homeless By Now” by a band called Sherbetty. They have an eclectic mix of influences, ranging from The Beach Boys to country, to The Butthole Surfers, and even some opera in between. I believe you will need the link to find them, I do not think they are on streaming. There is no doubt that this album is outstanding! The genre blends are innovative, and highly enjoyable.

Along with MEMEME’s self titled album, this in my top 25 albums of all time. If you know someone who likes rock music, it’s going to be an enjoyable experience. 

That’s it, folks! I hope you found something useful in here. Either way, thank you for reading!

Disclaimer: We do not use affiliate links. I don’t care if you buy these headphones or not. 

I’ve long been searching for what I call the ‘Goldilocks’ of wireless headphones.

It’s still a relatively new type of product and there are bound to be some hiccups along the way. But, have I finally found my Goldilocks pair? One that combines comfort, long battery life, good sound quality, style, and have good microphones because I also use headphones for calls? For the most part, the answer is ‘yes‘.

The Bose 700 UC headphones are beautifully designed! They are exceptionally lightweight and comfortable. I can wear them for 4+ hours and not feel any fatigue, which is important because these headphones are meant to be used for calls/capturing your voice just as much as they are meant to be used for listening to audio. People who spend a lot of time wearing headphones will love this pair. They are comfortable and light enough that you can forget you are wearing them, which seems ideal.

One design gripe is that they don’t fold in, so storage is still not as easy as it could be. But, it’s a pretty negligible omission because the design would have not looked as good if the headphones were foldable. The arms that the ear-cups are mounted onto are rounded. This allows for the ear cups to move freely and fit comfortably on your head. They can rotate a bit beyond 90 degrees and they also have the ability to pivot vertically. I can see why this would have made it challenging to make them foldable.

The user interface is through touch controls. While I am not a huge fan of button-free user interfaces on headphones, I can appreciate that they keep the design clean. That said, I did find the touch controls to be highly responsive, especially when compared with other headphones I have used with similar interfaces.

These are premium headphones and the sound quality is on par with other options around this price point.

The only wireless headphones that I thought had a superior sound quality for music were the Shure Aonic 50s. Aside from that pair, which I still use for listening to music, the Bose 700 UC headphones have become my go-to pair.

Surprisingly, these are a bit light on bass. I have preciously associated Bose with overpowering bass, so I actually appreciate that it’s toned down a bit. Perhaps it’s not that they have turned it down, but they have enhanced the highs and mids. But it is worth noting for people who like that really bass-heavy sound of previous Bose headphone models.

There is an app that you kind of need to download, so be aware of that. You will need the app for EQ control and to get the most out of the voice commands feature. This is a totally individualized thing, but I don’t like receiving notifications from apps that I haven’t approved notifications from (hence my future switch to iOS). I got a notification about how I could integrate the app with Spotify. It seemed like some sort of sponsorship/promotion, which annoyed me, but others will be less sensitive to this.

The Bose 700 UC headphones come with a USB dongle for quick and seamless connections, I appreciate that. It just makes things easier because I don’t have to disconnect/reconnect bluetooth on my computer. I can just unplug the dongle and not have to worry about it.

They do also offer a lower-cost version with fewer microphones, but I have not tested that pair. This pair is really intended for people who spend a lot of time on calls, hence the added microphones. While I do not have audio samples to compare, I can report that people did tell me that I sounded especially clear when on the phone with them while using these, and background noise was less prevalent than it is with other headphones I’ve used. So, it seems like a big win there.

The bottom line: should you buy the Bose 700 UC headphones?

I personally think you should. If you are already considering a pair of wireless headphones at the over $400 price point, I do not think you will be dissatisfied with these. They feel every bit as premium as you would expect from Bose and had I spent the money on them, I would be satisfied with my purchase.

Lava Guitars has released the Lava Pro model. A full sized carbon fiber guitar. It’s a unique instrument that is a lot of fun to play. But, is it right for you? Read this review to find out!

Update:

I have now tested two separate units of this Lava Pro Guitar. Both of them failed. The electronics just stop functioning altogether. The guitar sounds okay acoustically but is not worth the price tag compared to other guitars in this race.

I have also tested the Lava 3 guitar, which held a lot of promise. But, that guitar has also failed! That means that, of the four LAVA guitars I have tested, three of them have failed, and the fourth may have failed but I gave it away and would not know. The lava 3 sounds bad without effects active, so it’s especially worth avoiding.

Quick guide:

Who do I recommend this guitar for:

• • People who are looking for a full-sized acoustic guitar in the $1000 – $2500 range.
• • People who really want to use the built in effects.
• • People who like a sharper sound with a lot of clarity and definition in each of the strings. This guitar is really even and punchy sounding. The closest thing I would compare it to would be a better sounding Ovation guitar or a less warm Taylor Koa.

People I do not recommend this for:

• • People who have played the Lava Me 2 and did not care for the feel of plastic compared to wood.
• • People who need a guitar they can rely on for touring and gigging. I really like this guitar and it’s a lot of fun, but I had to send back my initial demo unit due to it no longer charging. This rendered the effects and the pickup non-functional.

Background

In October of 2019, I released a review for the Lava Me 2. A travel sized acoustic guitar made of carbon fiber with a built-in delay, reverb, and chorus effects. I really liked that guitar, despite one shortcoming that was inherent from the materials; I was unused to how carbon fiber would feel, especially throughout the neck. It required some adjustment, as I was subconsciously used to a certain vibrational feedback I would get while playing, but it was something that I could get past. Overall, it’s become one of my favorite guitars to just pick up and mess around with due to its compact size and the fun I get from getting to use effects without dealing with cables/headphones/neighbors or any of the complications I face as a hobbyist guitar player who lives with shared walls.

When Lava reached out to me to see if I would be interested in reviewing one of their Lava Me Pro guitars, I was really enthusiastic! A large part of why I write these reviews is because they are for products in categories that I often consider making purchases. Guitars are an item that I, and many others, have spent countless hours, vacillating on the decision ‘to buy or not to buy’. It’s a difficult decision to make! Yes, there are countless great reviews out there, fantastic videos, and many other ways to educate yourself. But, money is money, and it can be hard justify spending it on non-essential products sometimes. Especially since we are not talking about something inexpensive enough to be an ‘impulse buy’.

One of the downsides I find with most reviews is that they are incredibly subjective, to no fault of the reviewer. Musical instruments are an incredibly subjective product to review. The impact of personal preference, and difficulty in finding someone who may have a relatable opinion create an environment where I still don’t know what to buy. You’d think video reviews would help, but the way that a reviewer plays and the gear they used to record impacts how a guitar sounds. To give an idea of how I am approaching this review: “I am a casual player”. I’ve been playing for over 10 years but probably perma-plateaued at around 6-7 years in. I do a lot of basic strumming while using a pick.

Overview

I think that this is a guitar that is worth the money with a few caveats. It fits into/possibly invents an interesting category of what I am calling ‘affordable luxury guitars’. The overall fit and finish feel very premium. The style of the guitar and its included marketing/labeling come together to create the feel of a product that is about $1000 more than what you actually pay for each model.

I perceive the quality of the instrument itself is similar, if not slightly higher than guitars at the same price point ($700 for the travel model and $1200 for the Pro) and you are also given a decent case with the purchase. It’s a flexible hybrid case. It’s not safe to let TSA handle it, but it’s far nicer than the foldable gig-bag I am used to getting with acoustic guitars. One thoughtful addition on the case is the backpack style’s straps. It’s a nice addition and the straps are easily adjustable and made of what feels like a durable strap with a faux leather covering.

Sound Quality

In terms of sound, the Lava Pro really delivers. It has a very balanced sound overall. I found that I was able to get a nice booming sound on the lower end which was very satisfying and the high notes twinkle and sound really clear. I would say that it is more detailed than it is warm. You do lose something when you go away from wood, but you also get something in that enhanced clarity. I especially like to play lead parts and riffs on this guitar. The chords are not underwhelming, but one of the things you lose from wood is versatility.

A wood body acoustic’s sounds can be varied greatly between soft and warm chord progressions to really pronounced individual notes. The Lava Pro sounds great, but when you strum it softly, it just sounds like you are strumming it softly. It doesn’t sound that different from when you play it more loudly with harder strumming.  To some, this is going to be a huge bonus. Others may love it less.

Carbon fiber is going to sound different from wood, but if I were to compare it to any other guitar, I would compare it to a Taylor Koa model. It has a ton of clarity from high to low and you get a lot of definition in the sound, but it has a much more sterile sound than a wood guitar would. It makes the Koa guitars sound warm, but that is something I like about the carbon fiber guitar. It’s not a bad sound, it’s just unique.

Design and Features

The guitar comes in two color combinations. The face of the instrument is only available in a carbon-fiber patterned graphite color, but you have the choice between a silver or gold neck and hardware combination. In images, I felt the gold looked nicer and opted for that, however I do regret this as the gold looks a little more ‘cheap’ in person than it does in photos.

The guitar does also include built in effects, just like with the travel sized Me 2 model. You have delay and chorus once again, however, this time you have more control over the effects, the internal speaker is much louder. This allows for the sounds to be altered in much more noticeable ways.

Problems

The only things I don’t like about this guitar are that you have to buy a proprietary strap, the charging port location, potential durability concerns (which could be a fluke) and dubious recycling policies.

The strap has huge pegs that completely prevent the use of all normal straps from fitting. This applies to both the full sized and small models of their guitars. To add insult to injury, the proprietary strap cannot be bought by itself. Instead, you are forced into buying an ‘accessory bundle’ which includes things you are certain to not care about, but it makes it cost over $100 just to get a compatible strap. I think that’s a little bit consumer-hostile.

The placement of the charging port on the pro model needs to be changed in the future. It’s exactly in the place the guitar would rest if placed on the floor with the back of the neck leaning against an object. This will result in broken charging cables.

The first Pro model that was sent to me stopped charging after 5 months of use. I had to send it back and get a whole new guitar sent to me since there are not authorized repair people who could have replaced the battery or charger inside. So, I had to send back the entire unit and when I asked ‘what will happen to the unit I sent back’, because it is made of plastics and contains other parts, like a battery, which are not good for the environment. They were unable to provide any information on recycling.

Effects

The effects themselves have their advantages and disadvantages. One really nice addition is the ‘turbo’ button, which seems to only work when plugged in as sort of a ‘high-gain’ mode (increases the volume). Overall, you are given much more control over the effects and the modulation is far more dramatic than the travel model.

One problem/advantage that I find over the travel model is that the internal speaker is significantly louder than in the smaller guitar. This is great for having more dramatic effects but also a drain on the battery life.

One of the questions I got a lot in the comments for the travels sized Lava me 2 guitar were asking about the battery life for the built in effects and pickup. The travel sized model has a fantastic battery life, I can get about 20 hours of playing on it. However, that is one of the major downsides to the full-sized guitar. The battery only seems to last about 3-4 hours and it also drains while it’s turned off. My travel model’s battery lasts far longer and does not drain while not in use.  I think that the speaker inside that is pushing out the effected sound is substantially louder than in the travel guitar. This leads to a far more dramatic effect on the sound, but it also means a shorter battery life in addition to the draining while inactive.

Warranty and Durability

Another question I got in the comments of the travel guitar were about how to get it fixed if something happens to the guitar or in the event of a defect. I reached out to LAVA and here is what they said:

“For the warranty issue, firstly, the customer can contact the store they purchased for any problem. And they would definitely help them out. While if they purchase online, the customer can directly contact us via the platform. And if is a small problem, we can help them fix out by shipping some small part for them to fix, or if is something big we will ask them to send it back to Hong Kong, and we will take care of it. Whether we will change a new one or just fix the problem, it depends.”

Because I have already had to send back an entire guitar due to a battery/charging issue, I am not confident in recommending this guitar based on durability or warranty. It troubles me that due to one component malfunctioning, I had to get an entirely new instrument and that the company, Lava, would not provide any information about whether the guitar I mailed back would be recycled. I think it’s extremely wasteful for an entire guitar made from plastic (with a rechargeable battery) to be sitting in a landfill somewhere simply because the company does not have the means to test issues and diagnose problems.

Sound Samples

Here are some audio samples of how the guitar sounds acoustically. Both with and without effects. This was recorded using my Olympus LS-100 stereo recorder.

(Clean)

(Chorus playing chords)

(chorus playing singles notes) – LOUDER, TURN DOWN SPEAKERS/HEADPHONES

(Delay)

Here are some examples of what the pickup sounds like directly plugged into a JFET D.I. channel on my Audient ID14.

(Clean)

(Turbo Mode)

(Effects)

Last October, I wrote a review for an instrument-making startup called Lava Music.

I wanted to write this quick article today to just point out a few things that I feel Lava Music is doing right. I am hoping to see more of these qualities emulated by other instrument makers. Because anyone buying an acoustic guitar appreciates a more premium experience regardless of their budget.

Lava was kind enough to send me their Pro acoustic guitar model, and there is a review for that in the works. In the meantime, I wanted to focus on a few things that I won’t be mentioning in my review because they are about the company itself.

Accessories and Packaging

When I received the full-sized acoustic from Lava (the Lava Pro), I was impressed by the nice inclusions. First, they include a fairly high-end case for their price point. In fact, both the travel guitar ($700) and the full sized ($1,200) include a relatively sturdy softshell case. It’s not a flight case or anything I would feel safe checking with an airline, but it’s much nicer than what I’m used to getting at these price points (which is a flimsy gig bag if anything at all).

A pretty decent case for a free add-in!

When I opened the package and looked at the guitar, my wife (who designs packaging for a living) immediately said “oh, they must really like Apple.” Apple is one of the best companies to emulate when it comes to packaging and positioning in marketing, so this can be considered a good thing, even if it’s less innovative.

Even the tags that are on the product are foil stamped and made from thick card-stock. They are reminiscent of Apple’s “Designed by Apple in California” messaging.

This made me think of “Designed by Apple in California.”

Creating a new category

Something interesting to note about the brand is that they are coming in as an affordable luxury brand. That’s a gap that needed to be filled. Previously, there were a handful of tiers in acoustic guitars that hadn’t changed in the 15 or so years that I have been frequenting music stores.

Previously, your options primarily consisted of:

• $50 – $150: cheap models (you typically get what you pay for);
• $175 – $300: the slightly-less-cheap and approaching-decent models (sometimes you can get super lucky and they sound great);
• $300 – $750: the mid-tier guitars that are great for most people;
• $750 – $1,500: high-end with lower quality materials or manufactured in worse conditions (example: Martin or Taylors with faux wood backs, or guitars manufactured in questionable conditions to drive down the cost); and then
• $1500+:  high-end

Differentiating and smart marketing

I also like that Lava are including some built-in effects. I have a lot more to say about them in my full review, but I appreciate that they are doing something that adds to the fun of the instrument right out of the box.

Lava is doing stuff right outside of the products themselves. For one, they see the value in working with Digital Music News. I can acknowledge that I am biased in that, but I often come across companies with a niche target market who are focusing their outreach efforts on things like PR or social media ads. These are sub-optimal for reaching a niche audience (and it should be noted that social media companies often do nothing to mitigate hate speech on their platforms, perpetuating and worsening a massive global problem). 

Instead of blowing a few thousand dollars per month on a retainer for PR or sub-optimal/unethical advertising, Lava has one person who just emails sites like ours to see if we would be interested in reviewing their products. And it works! Here I am, talking about them.

Final Thoughts

Overall, I think Lava is off to a great start and I am hoping to see more companies take cues from them. They have a unique product in a unique price point and they seem to be smart people. Acoustic guitars that you can just pick up and  play with some effects and no cables is a great thing for hobbyists with expendable income. It’s a lot of fun to play around with, and it can really enhance the sound produced by a standalone musician with no cables or additional gear. 

I recommend them to anyone who needs a guitar at either price point ($700 or $1,200) and it’s a great option for singer-songwriters and buskers as well thanks to the portability and built in effects.

But Lava’s smart approach goes beyond guitarmaking; they’re also beating the competition with savvy marketing, product packaging, and price positioning.  Which is why I think you’re going to hear more from Lava in the future.

The Pretty Things | Photographer: Joop van Bilsen (ANEFO) – GaHetNa (Nationaal Archief NL)

I recently had the opportunity to speak with Phil May from the band, The Pretty Things. One of the most influential people in rock history, and you’ve probably never heard of him.

Phil May is a founder of a band called The Pretty Things.  He founded the group with Dick Taylor in 1963.  Taylor had previously been in a band called Little Boy Blue And The Blue Boys with Mick Jagger and Keith Richards.  That group would eventually become The Rolling Stones.

The two bands would ultimately go in very different directions artistically, but early on, they were somewhat rivalrous. There was even an instance in which Jagger himself insisted that The Pretty Things not be allowed to perform alongside the Rolling Stones — more on that in the interview.

The Pretty Things were born in an era in which rock music was still something risqué.  This would pose a problem for the band as they became the first British band to get busted for drug possession.  In an era in which parents were already wary about letting their kids listen to The Beatles, The Pretty Things were something parents definitely didn’t want their kids to listen to.

The band would undergo numerous changes throughout their history.  They had 33 members over the years and the band went through numerous artistic changes as rock music evolved between 1963 and 2019. They evolved from rhythm-and-blues to psychedelic to a more traditional ‘classic rock’. Interestingly, the band was banned from New Zealand for their corrupting influence on youths, according to May.

The Pretty Things have had a profound influence on music as we know it.

They had rock superstars such as David Bowie and Steven Tyler as fans.  Bowie even covered two of their songs on his album Pin Ups, and May discusses in the interview how much of a super-fan he was.  More controversially, their album S.F. Sorrow was the world’s first rock opera.  It was an album that clearly influenced The Who’s Pete Townsend and their album, Tommy, although Townsend refutes that fervently.  In the interview, May discusses how he knows that Townsend had listened to it. Things got heated — listen to the interview for more on that.

My copy of “The Final Bow” by The Pretty Things

When you look at The Pretty Things’ catalog of work, you may start to wonder why you haven’t heard of them — especially if you’re savvy in classic rock.  There are a few reasons why, and we delve into those in this podcast, but it boils down to the industry focusing on commerce over innovation.  This is a natural byproduct of business as it intersects with art.

The band wanted to try new things, make great music, and not be confined to making albums that sounded like their previous releases.  This presented a problem for labels, who were focused intently on their ROI.

The band remained strong and continued to release albums, even despite this.  The band did recently put on a farewell show, The Final Bow, with special guests like David Gilmour and Van Morrison. You can purchase the vinyl and DVD combo from Burning Shed.

Check out the podcast to learn more about the band and one of rock-and-roll’s most interesting stories!

2019 gift guide

The Digital Music News 2019 gift guide. 

Disclaimer: None of the links in this article are affiliate links. We do not earn anything if you choose to purchase any of these items. All of the companies with products listed in this list either generously provided a free unit to use for testing, or are products I purchased on my own. If you would like to have a product reviewed in a future article or gift guide, please email noah@digitalmusicnews.com

Best Headphones | The Grado Limited Edition White Headphones

Grado White Headphones – 2019 gift guide

These headphones are an absolute treat to listen too! Let me preface this by saying, these headphones will only be available until December 31st.  If you’re reading this after that, you’re going to have to get these pre-owned (and let’s be real about the audiophile community; at a HUGE markup).

As expected, these headphones sound absolutely outstanding.  The white theming on them is visually unique and I like that it’s done to celebrate the anniversary of The Beatles’ White Album.  They are constructed of maple, despite the white coloring.  I was also surprised that the default connection is 1/8th-inch and comes with an included adapter for ¼-inch. This is the opposite of my RS1 pair, which by default has the ¼-inch and less convenient adapter to convert to 1/8th-inch.

These headphones are priced at $750 and provide an outstanding value for the price.  They also make a great gift (to receive or to gift yourself) for the audiophiles out there.  If you or someone you care about is an audiophile and looking for a new pair of headphones to enjoy, I cannot recommend these enough.

You can get your pair here as long as it’s before 12/31/19.

Guitar Gadget | Roadie Guitar Tuner

Roadie Tuner – 2019 gift guide

The Roadie Guitar Tuner is a neat gadget. I am including this because it makes for a cool gift for a very specific circumstance. If you need something to get a guitarist or bassist, you want it to reflect on their craft, and you don’t know what else to get them, you should get them this. It’s not perfect: the interface is clunky and it has a hard time getting the low notes right on acoustic guitars, but it is a neat gadget that will get used and has some thoughtful inclusions like a rechargeable battery (Snark should pay attention to that).

Guitar | LavaMe 2

Lava Guitars – 2019 gift guide

For more info on this, check out my full review or you can go on the companies website, here. 

In short, this is a cool travel-sized guitar! These are brand new to US customers and can be had for around $650 USD. They are carbon fiber acoustics with built-in delay, chorus, and reverb.  The effects are somewhat hit or miss depending on what you are wanting to do, but it’s cool that they included them and I doubt any guitarist will not want to play around with them from time to time.

The guitar is super light, comes in matte finishes and has a much more well-rounded sound than any other travel guitar I have played. In my review, I said that it has more of a dreadnought sound compared to other travel-sized options like the tinny joke of a guitar by Martin, the backpacker or the flat sounding baby Taylor. For a long time, I have been saying “don’t get a travel size acoustic, get a parlor guitar” but now, I am saying “get a parlor guitar if you like them but if you just want a small guitar, I suggest the Lava Me 2”.

Bluetooth Speaker | UE Boom 3

UE Boom 3 – 2019 gift guide

I like the UE Boom speakers. I feel that they have some great features like water resistance and their sound quality is on-par for the price range. It’s not going to replace anybody’s home audio set-up, but it’s a great-sounding, portable speaker. I especially like this year’s introduction of a charging base. It’s an add-on, but it’s affordable and I think adds convenience because it’s basically always charged.  The charger is not some ugly or generic cord that you’ll want to stash in a drawer anytime it’s not in use.

Custom In-Ear Headphones | Ultimate Ears CSX

CSX Earphones – 2019 gift guide

Ultimate Ears introduced something else that is new and innovative this year. Unfortunately, I did not get to experience it in the way I wish I could have. Their new product is the CSX. It pairs the internal components of their Pro models with a shape that is more comfortable for regular use. Basically, they go into your ear less deeply.  These exclusively require new molds to be done, but they have a cool way of doing that now.

They mail you a box with these little foam earplug things that you put in your ear and plug into electricity. You pair it with an app that guides you through the process of having these things fill in your ear and take a third reading of the inside of your ear, creating a digital mold.  This mold gets sent to UE and they start making your earphones.

The problem for me was that the mold just didn’t work for my ears. I don’t know if I have oddly shaped ear internal spaces, but the impressions they got from me were unusable. Thankfully, UE is a company filled with really nice (and truly top-notch) customer service representatives who offered to send me another pair of UE 18+ Pros that were to be filed down a bit so they went less deeply into my ear, more like a CSX.

As it turns out, there is only so much filing down they can do (making the CSX’s body shape more unique from the Pros than I originally realized) and they still go pretty much the depth into my ears as my other Pros.

One other thing that is new for this year is the STOW cases that you can get for UE IEMs. These are sold separately but I think they are super nice! They are really high-quality leather and you get two size options, I call them pocket size and non-pocket sized. Each is about 1.5” across but they vary in depth. I recommend the deeper one if you have a long cable or want to carry extra accessories.

Either way, I want to acknowledge UE’s customer service team and consistently outstanding sound quality across their models. I am happy to have another pair of 18+s and this pair even has my initials on the side instead of UE. Also, Ultimate Ears has phenomenal customer service, Erica Lomotan was beyond helpful and Logitech uses a really good PR company, Finn Partners (hence the frequent reviews).

 Wireless Earbuds | Cambridge Audio Melomania 1

Cambridge Audio Melomania – 2019 gift guide

I have been sent several pairs of truly wireless earbuds and this is the only pair to be even halfway decent. I personally am not a huge fan of this product type, I feel like it creates an inconvenient situation whenever you want to take out an earbud because of either having to hold it or pop it in and out of its case frequently.

I like the retro PC color scheme on them but they come in a variety of colors. The sound quality is pretty decent! I also tried the xFyro’s which were abysmal and had outdated Bluetooth tech) and the Optima Nuforce wireless earbuds which seemed like just another generic and junky pair that you would find on Kickstarter, which was surprising because I normally like their products.

The Melomania 1 Wireless earbuds can be had for $129.99 and I feel like they are a great value at that price! If you want to feel confident about finding a pair of truly wireless earbuds in a midst of false advertising and junky crowdfunded brands, these should be your go-to. Also, these stay in the ear a lot better than it looks like they would and they come with various ear tips for different sized ears.

Album – Box Set | The Final Bow by The Pretty Things

The Pretty Things Final Bow – 2019 gift guide

If you are unfamiliar with The Pretty Things, this is a great time to familiarize yourself! I recently had the honor of interviewing Phil May, lead singer and songwriter for the band, to discuss his career in music. We’ll be releasing that as a podcast in the near future, but in the meantime, let me tell you a bit about the band.

They formed in 1963 and have had a 55+ year career where they have been releasing albums that are extremely good as well as innovative. They started out as a rhythm and blues band that I would consider to be ‘heavier’ by modern terminology compared to other burgeoning rock bands at the time like The Beatles or The Rolling Stones. In 1967, they recorded the worlds first rock opera, following the titular character, S.F. Sorrow from cradle to grave. This was a pioneering psychedelic album that was recorded at Abbey Road Studios alongside Pink Floyd as they recorded A Saucer Full Of Secrets and The Beatles as they worked on The White Album.

They continued releasing albums throughout the years, their next release in 1970, Parachute, was deemed ‘album of the year’ by Rolling Stone Magazine. But this year, after 56 years of playing, the band performed their farewell show, “The Final Bow”, which was recently released via Burning Shed. This show, with special guests like David Gilmour and Van Morrison, includes a vinyl record, two live concert DVDs and two live music audio CDs and a 52 page book. If you act fast, you can still get one of the 500 copies signed by Phil May and Dick Taylor. The one pictured above is my copy and I plan on buying a second so that I can leave this one sealed.

This release is an instant ‘must-have’ for anyone who is passionate about the history of rock music, especially in paying attention to the chain of influences that brought music to what it sounds like today.

Honorable Mention Album | Kiwanuka by Michael Kiwanuka

Michael Kiwanuka’s Kiwanuka – 2019 gift guide

As soon as one starts listening to the opening track, “You Ain’t The Problem,” the listener should know they are in for an  absolute treat by one of today’s top talents in music and songwriting. Michael’s music tends to contain deeply moving chord progressions, the perfect amount of ‘wall of sound’, drawing from influences of rock, soul, rhythm and blues to envelop the listener in a cocoon of enjoyment until the album ends.

The way he blends genres and seems to exist outside of the typical modern rock music landscape brings something much needed for many listeners. It’s music you can move to, has meaningful messages and rotates between minimalist and epic motifs is something really worth listening too. For a perfect sample of this blending, check out the track “Hard To Say Goodbye”. If you have never listened to Michael Kiwanuka, a good place to start is his most popular hit “Cold Little Heart”.

Speakers | Q Acoustic Concept 20

Qacoustic Concept 20 – 2019 gift guide

The big stand-out for me is the Q Acoustic Concept 20s. I have a full review on them for more information. These speakers have a new ‘Gel – Core’ technology that really helps to absorb a lot of the vibration produced by the speakers. That helps keep the sound more clear and punchy. I highly recommend these to anyone in the market for a great pair of bookshelf speakers.

Office Supplies | The Logitech MX Vertical Mouse

Logitech MX Vertical – 2019 gift guide

The Logitech MX Vertical Mouse is a great gift for people who spend a lot of time at their workstations. The alignment of the mouse helps to drastically alleviate shoulder and neck pain. I can vouch for this because I am someone who suffers from pain in my upper shoulder and neck and this mouse has made a huge difference. The one thing I will say is that you basically need to have a wrist rest cushion to make it comfortable and that comes with some caveats. For example, the bottom of the mouse is often bumping against the cushion, but it’s a worthwhile tradeoff because the pain reduction is that drastic.

Lava Me2 Travel Sized Acoustic Guitar. A unibody, carbon fiber, acoustic electric travel guitar with built-in reverb, delay and chorus. 

Update: The guitar is now available for sale in the US! Here is a link to buy it on Amazon

I was recently contacted by a new guitar company called Lava. They are a Hong Kong-based company that is looking to introduce its travel guitars into the US.  After a brief email exchange, they agreed to send me one of their second-generation guitars in exchange for a fair and honest review.

The guitar arrived very quickly. Upon unboxing I found a hybrid case containing a matte black Lava Me2 guitar and a micro USB cable. The guitar comes with Elixir strings, which I like using, so that is a plus.

First impressions

The guitar is super lightweight. I didn’t know what the cable was for, but I figured out where to plug it in.  I saw a little charge indicator light come on, then waited. It turns out that what I was charging was a built-in acoustic effects control. It is probably the coolest unique feature I have found on an acoustic guitar, maybe ever! I will discuss this more in-depth later in the review.

The molding for the guitar back

Another first impression: it does take some time to get used to the carbon fiber neck. Like most guitarists, I am used to my hand sliding across the wood, and that does have a significantly different feel. The neck – and the feel of the strings against it especially – is very different from what I am accustomed to. It will unquestionably take a lot of time to get used to.

Lava also includes three guitar picks of varying weights. They call these ‘perfect picks’ but I didn’t notice a substantial difference compared to my other picks (generally tortex). But, one of them was a large triangular, medium-light pick and I liked that. Overall, they made for a nice addition.

Lava also includes a carrying case which I really like.

It’s nicer than your average gig-bag as it provides some protection. I still would not advise flying with the included case. It’s a soft-shell case and it does have an adjustable backpack style strap system, but the issue with plane travel has less to do with the case and more to do with how much flying sucks. You are totally at the mercy of the airline and if they want to make you check your guitar, you’re kinda stuck either waiting for another flight or risking it. And while the case feels somewhat protective, I would still worry about it getting tossed around or other baggage falling on it because it’s not a flight-case. That said, I think the case is perfectly fine for pretty much every other situation.

Sound quality

The guitar sounds exceptional! I was extremely impressed by both the fullness of the sound and the volume at which it played. I have been a longtime advocate of parlor acoustic guitars and a longtime hater of guitars like the Martin Backpacker. I just feel like mini guitars like the Martin never produce appealing sound. But, this guitar somehow achieves more of a full/dreadnought sound. My one complaint here is that while the sound is extremely full, with twinkling highs and booming lows, there is a lack of depth. I attribute this to the unnatural materials used, but I could be wrong about that.

Effects

One of the main features of this guitar is its built-in effects. These do not require you to plug into an amp to enjoy and are a really innovative addition. If you are playing at low-to-moderate volumes, the effects are clear and noticeable. You don’t get a ton of control with the three nobs, but you get enough to play around and have a little fun. These features are not likely to be a huge game-changer beyond just having something cool to show off or integrate into a few songs.  Beyond that, they lack the versatility to really manipulate the effects on a broad scale.

The effects you get are delay and chorus, but you can dial down the delay to act as more of a reverb. The reverb is a bit of a mixed bag; I noticed a little bit of a chirpy noise that accompanies harder strokes against the strings. It sounds like there is an echo that is rushing to get out.

Comparisons

In order to provide an idea of how the guitar sounds, I recorded some samples using the Lava Me2, my Fender acoustic parlor guitar and my Takamine G series acoustic, which is full-sized with a cutaway. Please bear in mind, I’m not the best guitar player, this is just an attempt to try giving some audio examples to potential customers.

Lava Me2, clean, strumming open chords

Full Size Acoustic, strumming open chords

Parlor guitar, strumming open chords

Full Sized Acoustic, single notes

Parlor guitar, single notes

Lava Me2, clean, single notes

Parlor Guitar, strumming, bar chords

Lava Me2, clean, strumming, bar chords

Lava Me2, chorus strumming, bar chords

Lava Me2, chorus, single notes

Lava Me2, delay, single notes

Lava Me2, delay, strumming

Lava Me2, chorus strumming, open chords

Overall

I think this is a great travel sized guitar. I vastly prefer it to pretty much any other travel sized option I have tried. I still really like my parlor guitar, so this would not be a replacement, but it offers a far fuller sound that is more comparable to a full sized acoustic than what the parlor guitar is able to achieve. If you are in the market for a travel sized acoustic and you want a sound that is more akin to a full size, I do not think a better option exists.

Choice of colors

A wallet-friendly pair of bookshelf speakers with great sound.

I was recently sent a pair of speakers from Q Acoustic. Previously, I’d tested and reviewed Q Acoustics’ 3050 and 2020 speakers and thought they were great for their respective price points. Initially, I was intrigued by these speakers because of their design. They have the option to include stands for these bookshelf speakers, so I thought it gave them a really nice look, especially in the white version.

Design

Getting them unboxed, the quality of these speakers for the cost was immediately noticeable. These can be purchased for $400, and for that price, I cannot think of a speaker I would more strongly recommend. I’m using them with the Q Acoustic stands, which brings the price up to $650, but I still think they are an incredible value at that price.

I personally find the stands to be stylish (my wife doesn’t agree, so they won’t please everyone).

Once I got them set up and running, I was really impressed by their sound! Compared to the 2020s, these had a much fuller sound. It was sort of like a mix between the smoothness of the 3050s, with a more dramatic punchiness than the 2020s. They have lots of clarity thanks to the evenness of the highs, mids and low-end tones.

Comparison to tower speakers (3050)

The 3050s are great, but I think at this point, I would recommend them for much larger rooms than I can currently afford to live in. This could also be a byproduct of the listening conditions I personally prefer over what is more universally considered ‘good’, but I prefer the sound of the punchy bookshelf speakers over that of the sometimes overly warm and smooth tower speakers.

I’d have to bring the towers up to a louder volume than is really acceptable in an apartment building in order to get the same fullness and punchiness of sound I get from the bookshelves at moderate volumes.

Performance

Music sounds great through these speakers. The one thing that was lost between these and the larger tower speakers is some of the finer details in the treble. The power of the mids and lows somewhat overwhelmed them, but this is a pretty standard tradeoff. Because there is less room to create the bass, you get a more forceful sound out of them, which is that ‘punchiness’ I referred to earlier.

Film and TV were also handled really well by these speakers. One of the problems I have with the tower speakers is that the smoothness of the midrange also makes voices a little less distinctive and pronounced. I think that people with large spaces and no shared walls may enjoy the larger tower speakers, but I found that the volume control between dialogue sections and more special effects-driven sections to be all over the place.

The consistent sound levels may have something to do with the more compact soundstage that the bookshelf speakers provide. But part of the solution may also come from the ‘Gelcore’ technology that allows for more evenness of volume without causing vibration noises. This allows for a pretty even volume, and I didn’t find myself constantly holding the remote to increase or decrease the volume of whatever I was watching.

Construction

Gelcore

Gelcore is a new technology that Q Acoustic invented and deploy in the Concept 20s. It separates the inner and outer walls of the speaker with a glue-like compound which remains viscous. The gel helps isolate the vibration into the inner cabinet of the speaker. This allows for fewer vibrations to be transferred into the room, enhancing the clarity of the sound.

An additional layer on the Concept 20 speaker stands is also used to enhance the experience for those who choose to purchase them. This new technology is absolutely effective and there is a clear and audible difference (your neighbors will also appreciate it if you have shared walls). Luckily, this will be utilized in future Q acoustic models as well; it’s the most important new addition to these speakers as compared to the previous models tested.

Overall

I think these speakers are a great purchase! These can be had for under $550 from various online stores. Anyone in the market for a pair of great-sounding bookshelf speakers will be extremely pleased with the Q Acoustic Concept 20s.

Todd Rundgren (photo: © Lynn Goldsmith)

I had the opportunity to speak with one of music’s most influential figures, Todd Rundgren.

Todd is a true pioneer of DIY.  He’s among the first to record, produce and play all the instruments on his albums.

He’s also teamed up with various bands throughout the years, including The Nazz, Utopia, The New Cars and Ringo Starr and his All Starr Band.   You may know Todd from hits like “Hello It’s Me” or “I Saw The Light,” but he’s also famous for “Bang On The Drum All Day”.

Rundgren is a constantly changing artist.  No two albums sound quite the same, he’s not afraid to progress.  Even being on the forefront of technology is par-for-the-course with Todd!

In 1992, he had the first ever commercially available downloadable music via CompuServe.  He then pioneered a subscription platform (suspiciously similar to Patreon…. yes, shade) called Patronet.  It allowed fans to bypass the CD makers and industry middle-men and get content directly from Todd for a subscription fee of $40 per year.

He is also one of the most respected producers in music, having worked on albums for Badfinger, The New York Dolls, Grand Funk Railroad, The Tubes, The Band, Hall and Oates, MeatLoaf, Patti Smith, XTC and many more.

There was way too much to go over in 20 minutes, but I did my best with the time allotted.  Here is what we discussed (full transcription below).

Noah Itman: Excellent. Well Todd, thank you so much for taking the time to speak with me; it’s really an honor to have you on the line.

Todd Rundgren: Oh, thank you so much.

NI: Excellent. So I wanted to talk to you just about all of the facets in your career within 20 minutes, so I’m going to try to cram a lot in there.

TR: No problem.

NI: So from The Nazz to now, you’ve reached so many different parts of music. And I feel as though the variety of albums you’ve created has been extremely diverse. So I’m curious, what has been sort of like the catalyst for change? What has allowed you to be such a shape shifter within music?

TR: Well, it’s part of what I grew up with. The Beatles were, well they were more than like a musical inspiration; they had a form factor that didn’t really exist before. I mean, there were always guys that [had] put bands together, but there was no sort of success [to] where The Beatles defined it. So that was the excuse to get into music in the first place, just find three or four other friends in the neighborhood, you form a band. And that meant that me, a guy who wasn’t too handsome, and too forward, I could be in a band. And once you became a Beatles fan, you realized that they didn’t stay still, they just kept evolving, and changing. So I thought that’s what you were supposed to do; so that’s what I did.

NI: Well, I think it turned out to be a fantastic path. And with The Beatles in mind, the first time that I actually got to see you was at a Beatles tribute in Minnesota where I lived, you were doing a tribute with Ann Wilson, John Entwistle, and Alan Parsons. I’m wondering what that experience was like, to be able to do a cover show for a band that influenced you so greatly.

TR: Well I mean, that was a lot of fun, but more significantly I guess was playing with Ringo, and actually playing with a Beatle; as opposed to just playing Beatles material. And I guess through that, I also got — getting to know Ringo, you sort of get — you absorb a lot of history. It’s not like you sit down and grill him, but over the years, he tells you little anecdotes and stories about what The Beatles went through. So it’s as if you were a temporary Beatle, yourself.

NI: Wow, what a feeling.

TR: I know. You have to kind of — it’s something you have to sort of get over, if you’re going to play with Ringo; you can’t be in constant awe of the fact that he was in the world’s most influential band.

NI: Yeah, absolutely. I can see that being a hurdle myself. I also wanted to talk a little bit about your intersections with The Beatles via production, specifically with Badfinger Straight Up. So within that album, it’s always been a favorite of mine, particularly your versions of songs. And one always stood out to me that I was curious about, and that is with the song “Suitcase.” I find the version from your production, versus George Harrison’s production, to be so wildly different that I’m wondering if it was the same tracks that were initially used, or if it’s completely re-recorded.

TR: Some things were re-recorded. When I got there, they had — actually, they were halfway through a second version of a record. So they did a whole album withGeoff Emerick, and from what I understand, Apple America didn’t feel like there was a single on it. That’s when they went back and started working with George Harrison. But then George got distracted by the concert for Bangladesh. So he dropped out of the project, and then essentially just left it to me to tie together whatever there was from the first two recording projects. And then whatever else I did new. So when I first got there, we started recording material that had been written in the interim; that had not been available for the first two projects. And then when we got through those, went back and evaluated both the Geoff Emerick sessions, and the George Harrison sessions, and then pulled out what I thought would fit. Even the George Harrison stuff had overdubs and remixes done to make it sound less like Phil Spector, which is what George — what all of his records sounded like in those days, like five acoustic guitar players, and the drums, like in the soup, way back, and lots of reverb and stuff. So I sort of undid that, trying to find a sound that wound unify all three sets of sessions.

NI: Well, it did really turn out fantastically; it’s one of my favorite albums. So moving forward to, I wanted to ask about A Cappellaa little bit. So within A Cappella, there’s — I feel like that’s a really unique album, in and of itself, just for the recording methodology that you used. Was there — so I know that you already mentioned that The Beatles were a major influence for allowing you to be so — just changing, in an evolving way. But with A Cappella specifically, was there a certain moment in time that spurred that influence?

TR: I don’t know that there was a particular moment.

I had in my head a lot of different possible projects that I wanted to try; I mean even at one point, I wanted to do an album that was essentially all marching band.

NI: Wow.

TR: But I never got to that. I could still get to it, I suppose. But essentially, I had in my head the possibility of doing an album that was essentially all vocally based. And it just seemed like, to me, the time to do it, mostly because of sampler technology. By then, I had a sampler, and I could like put vocal sounds into it, and essentially play it like a keyboard. So it could have been a much more sort of conventional sounding acapella record if all I did was sing, but I did a lot of processing of vocals, and vocal sounds, and putting them into a sampler, and playing them with the sampler and that sort of thing. So I think that technology did, ironically enough, have a hand in the Acappellaalbum, in terms of making it possible.

NI: So I’m glad that you mentioned technology, because I feel as though technology has been something that you’re always on the forefront of. I remember watching a video of you doing digital rendering of video in the 80s. And so I wanted to know what the future holds for your video and music combinations.

TR: Well, I’ve done a lot of video for the current show that we’re touring.

NI: Oh, awesome.

TR:  Since it’s a combination of the usual spring tour that I would do. But since I don’t have a record out, we’re sort of focusing on the book that was released in December. And that entails not just playing the songs, but there’s also a lot of archival material. And it’s essentially parts of the show where the band almost becomes a soundtrack to the video; in other words, the point of focus would be the video more than would be the actual live performance. Because there’s a travel log, essentially, about the trip that I made around the world. There’s sort of a fashion show video that shows all of the different outfits that I’ve worn, and that sort of thing. So yeah, I continue to do video, and actually, it’s become so much easier than it used to be; that I’m able to do the lion’s share of it just on my iPad.

NI: Wow, that’s impressive.

TR: Well, yeah. The impressive part is the fact that I can do it on the iPad.

NI: Yeah, just as a one man act, I mean, that’s extremely cool. And it’s really your voice that’s being translated then, so it’s your visual message, which I think is extremely cool. On the technology note. So being the first like major artist to be commercially available via download, what was the inspiration, like what got that as such an important factor for you to have that available?

TR: Well I was attending a lot of computer conventions, and things like that, and symposia, and I was giving talks about certain stuff. And I got invited to one that was focusing in particular on sort of music and arts, and computers. And had reached a point here, in around the mid ‘90s, that unfortunately, everyone is now scrambling to monetize the internet. I think up until that point, it had been, essentially, a free forum of ideas and stuff. So I got the idea, since I didn’t have anything in particular that I wanted to speak about, or I wasn’t hyping a product. I was just listening before I had to do my speech, and it occurred to me that you could devise something that would replace what a record company does; in that a record company, essentially, is a bank, in a way, and they get money from people who buy the records.

And then they give it to you, but they usually give it to you in advance, before the record has sold. And I realized, if you already had an audience, and you went directly to that audience, and you said, okay, I will give you a behind the scenes look at what I’m doing, and give you things that the average public would not have access to, if you pay me upfront, essentially, to make the record. And that was the basis of Patron basically replacing the record company, or taking them out of the formula, and allowing the artists to go directly to their audience to get funding for their projects.

NI: It’s so interesting, and especially with the name being Patron. I wonder with the service Patreon becoming so prevalent currently, if you feel as though there’s sort of a similarity between the two concepts.

TR: Well, that was the essential concept, the whole idea was to build an environment that fans of artists would occupy. But that it would also be — it would be like an authoring environment, so everyone who was a member could also have a space that people could visit, and you could expose your work even if you didn’t have an audience yet. You could build an audience using that environment. But I also discovered all of the issues that are now plaguing YouTube and other similar services, bad actors within your own system, privacy, and security issues, and all of that other stuff. In the end, I didn’t have the resources to keep up. So that’s when I just stopped supporting it.

NI: I can understand it. I also had a music tech venture that had a similar outcome, but nowhere near as cool as Patronet, so definitely can relate to that. So to go back to music, with White Knight, there was — the focus seemed to be collaborations. I’m curious, what was the order in which that was determined? Did you decide that you wanted to do an album of collaborations and then reach out to the different artists that participated? Or was it that you had this pool of artists that wanted to work with you, and so that was the creation of the White Knightalbum.

TR: It was more the former than the latter. I wanted to get into collaboration for a couple of reasons. One is it’s actually a more normal way to work nowadays; the music world is rife with collaboration, so I thought, let’s give this a try. It was also, aside from the creative possibilities, when you’re in a world where you have to essentially promote yourself, in a post recording industry world. One of the best ways to do it is to collaborate, because every time you work with someone, you get exposed to their audience, and they get exposed to yours. So I think aside from whatever musical successes White Knight might represent, it was the audience expansion part that I was just as interested in, and that seemed to be going fine. So I’m going to continue to do collaborations, although I won’t necessarily base entire albums on them. It’s kind of the other issue we’re dealing with; the fact that audience listening habits have changed so radically, that making an album is sometimes overkill, because people buy songs. And then occasionally, they buy albums, but they don’t make the kind of quality time to listen to a whole album anymore. So you’re kind of wasting — to a degree, it’s wasted effort, for some portion of audience.

NI: I can understand that, but I still feel, at least on a personal level, that the cohesive nature of an album is something that I personally really appreciate, and [that] I feel as though you particularly excel at. I mean, A Wizard, a True Star, which I had the pleasure of getting to see live at the anniversary tour, through Liarsand White Knight.  Just the cohesiveness of the album, to me, it’s always been something that I really appreciate. So if there’s any — just thought that I could interject there; I think that your fans still very much appreciate it.

TR: Well, I’ve always been an album artist; it’s been easier for me to come up with an overarching concept to guide the writing process. And I probably will continue to make records that way. It’s just that the way that the music finds its way into people’s ears may naturally have to change; in other words, it goes back to something like before the ‘60s, when an album was exactly that, it was a collection of songs that had been previously released. So it’s possible to record an album, but you don’t release it as an album, you release a bunch of songs, and then eventually, you release the album.  And that can, I guess, ostensibly satisfy both kinds of listeners; those who are just taking things a song at a time, and that dwindling audience who makes time to sit down and listen to a whole album.

NI: That makes sense, and I think that there’s definitely a place for both. So thinking of just individual tracks. One question I had for you was, for the various places that you’ve had synchronized placements, is there one that was a favorite for you? That you were like oh, it really blends well with my song, or you just particularly like the film or TV show that you were being synced in?

TR: Well, I don’t think about it too much. It’s not like I — when you’re doing sync licenses and things like that, that’s kind of found money, so you don’t mettle with it that much. There are probably circumstances in which I wouldn’t want the music to be used, but otherwise, if someone thinks that it’s especially appropriate, I’m not going to be precious about it. It still bothers me to hear Beatles songs used in commercials, but it’s a whole other audience now; a lot of times they’re selling products to people who weren’t even born when The Beatles were big. So they don’t feel the same way about it. And likely people don’t feel the same way about my stuff. I do have to say that it’s never been a large part of my income, except for one instance, and that was “Bang The Drum All Day.” And especially when it became the theme song for Carnival Cruise Lines, I almost could have retired on that. But then they started sinking all those boats, and they had to change their image. So waiting for someone else to come along to nab that spot.

NI: Okay, well thank you so much for your time, Todd. I really do appreciate getting this opportunity to speak with with one of the most important figures in rock n’ roll history.

TR: Thank you very much. I wish we had more time, but it’s one of those things.

Premium Electronic Earplugs, The Etymotic Music Pro

Ever wonder if it’s worth it to spend $300 smackeroonies on hearing protection for the loud things you may attend? Well, I had the opportunity to try out a pair of super-premium earplugs, so “look no further”!

My History With Etymotic and Hearing Protection

I have always really liked the brand Etymotic. Their ER6i headphones were the first purchase I made towards higher fidelity audio. Those headphones were stolen, but once I started attending local concerts frequently back in Minneapolis, I would never be seen without my ‘Ety plugs’ earplugs. I would order several pairs at a time so I could give them away to people I knew would use them at various local concerts.

The ER-20 XS

So I was really excited when Etymotic reached out and asked me if I would be interested in trying their super-premium Music Pro Electronic Earplugs!

I Would Have Tried Them Earlier, But…

The Elton John Farewell Yellow Brick Road concert was my first time getting to really test these in a way that I felt I could write about it. Having known about their existence and being genuinely curious, I was really excited to get to try them! However, the only chance I had to try them before was in some dome in Downtown LA.

There, a really questionable Pink Floyd cover band was performing (or maybe they were fighting with the sound guy for 90 minutes) to repetitive graphics that were being projected onto the walls and ceiling of the dome. The sound there was so awful that I didn’t consider it to be a fair opportunity to review these earplugs.

Anyway…

Full disclosure, I didn’t  have to pay for the earplugs (usually $300). Etymotic sent them to me in exchange for the review. I greatly appreciate getting to try them, especially because I don’t know if I ever would have tried them on my own dollar.

But, Man, These Things Are Awesome!

First, I think that any hearing protection during loud events is smart. It doesn’t have to be a super premium product like this one. But if you love live music and you will get a lot of use out of these, I think you will be really happy with them!

Controls, Case and Presentation

The Music Pros have a little switch that is difficult to access when they are in your ears.  The switch controls how much volume reduction you will get from your surroundings. I didn’t find that tremendously useful, so I kept them on the weaker setting. I think that this could be more useful if you are closer to a speaker or maybe using them for your own live music performance.

This shows how the switch is hard to access when in ear. Also, I feel like this pic is slightly uncanny… Maybe it’s the dude’s sideburns being so straight or that his ear looks to pale. I don’t know.

They also come with a really nice hard case, which you can purchase separately for under $7.

One thing that I dislike about the Music Pro Earplugs is the lack of an ‘off-switch’.

You have to take out the little hearing-aid batteries or they’ll drain themselves.  On top of that annoyance, the batteries themselves are tiny.  You’ll have to bring a pack of batteries with you for ongoing use.

Comparing The Different Types Of Earplugs

I also brought my ER 20 pair to the Elton John concert so I could A/B test them. Using the powered ones at home or in a quiet environment, it’s somewhat akin to using noise cancelling headphones that actively use a microphone. It’s difficult to describe, but if you have used noise cancelling headphones, it is similar but much more subtle.  In the concert setting, I started with the Music Pro earplugs and when I switched to the ER 20s, it sounded muffled by comparison.

I feel like there are three tiers of earplugs. You’ve got your foam ones that we all know (which heavily muffle treble and mids), the rubber ones like the ER 20s (which provide a more even volume reduction across frequencies), and super premium ones like the Music Pro Earplugs which seem to preserve the most detail.

Now that I have tried all three, I would say that the gradation of quality between them is consistent at each step. Meaning that if you have tried foam ones then upgraded to the rubber ones and noticed the difference, it’s an equal improvement when you go from rubber to powered.

Should You Buy Them?

That depends. How much are you comfortable spending on earplugs? How much do you think you will use them?

If you’re the type of person who lives for live music and the price tag doesn’t make you flinch, then these things are great!

The one thing is that you need to have a lot of extra batteries. Are you happy with foam earplugs? If so, you probably don’t know what you are missing and should at least buy a pair of the rubber ones. Are you happy with the rubber ones? Cool, stick with them. Do you feel like you want a little more clarity in the live music you are hearing than the rubber ones can provide AND have a lot of money to spend on earplugs? Then, you should totally get these and I think you will be happy with them!

Specs

Photo by Noah Itman – Digital Music News

Music can be an incredibly powerful factor in our emotional wellbeing.

Artists who truly are passionate in creating and performing music possess a unique ability to impact the lives of their audience. A great performer can provide a unique form of escapism that can alleviate the struggles of daily life.

There are artists who take their performance to another level. Todd Rundgren, for example, had a thematic costume change between nearly every song in the 40th anniversary tour for A Wizard, A True Star. Some artists hit that next level through their pure showmanship; forming a parasocial bond with their audience. Elton John fits into the latter category perfectly. 

A Precursor (Modern Stress)

Stress, meanwhile, has the opposite effect. It can make doing otherwise enjoyable things more difficult because it can be hard to pull yourself out of stress. 

On Tuesday, January 22nd, I was getting stressed out. I was in a rush to get to the concert on time.

• I had to multitask walking my dog with getting some batteries for the earplugs I wanted to use and test at this concert.
• On the way out of the building, I was having to deal with tiny problems being a huge deal to my landlord to keep peacefully living in an absurdly overpriced apartment.
• It turned out my dog ate some cat poop and had to be walked twice.
• The awareness that all of these issues are petty and inconsequential in the world, yet not being able to immediately pull myself out of the negativity.

Once on the train, I saw that one of my favorite writers had released a new article so I read it. It was bad timing. The article, while brilliant, was massively depressing. Here is how it starts:

“The issue before us is death. Not only our individual death, which is more imminent for some of us this morning than others, but our collective death. We have begun the sixth great mass extinction, driven by our 150-year binge on fossil fuel.”

-Chris Hedges, TruthDig.com, 01/21/19

That was when my small spiral of minor annoyances converged with the greater fears we all possess. I then noticed that it was 7:45 and the show was set to start at 8pm. I was still at least 25 minutes away. While it may be cliche, I really did not want to miss getting to witness Elton John perform any staples like “Tiny Dancer”. 

The Concert

The events of the previous hour left me feeling anxious and overwhelmed. I bring all of this up is because I think it’s important to convey my mentality when arriving at The Staples Center and how Elton John was able to impact me.

Photo by Noah Itman – Digital Music News

Upon arrival, I could hear the end of “I Guess That’s Why They Call It The Blues” and was finding my seat during “Border Song”

After we sat down and I could see Elton John, a wave of happiness hit me. I was there! Getting to see one of music’s most important, influential and legendary creators in modern history. “Border Song” wrapped to a close and he gestured in praise of the audience.

Then I heard the intro of “Tiny Dancer”. 

I struggle to think of the words to try represent the waves of positivity I felt emanating from Elton John. Here is a man who truly loves what he does. You could feel how much energy he drew from the crowd, how much he appreciated every person that was there, singing along.

Within moments, I had forgotten about the stresses of the day. I was lost in my feeling of joy and admiration and thankful to be in the presence of a true luminary. 

Full house at Staples Center | Photo by Noah Itman – Digital Music News

Genuine Showmanship

Elton’s piano was on a platform that moved from side to side on the stage. At first, I hadn’t noticed because it moves slowly, but it’s cool and I feel that it perfectly represents his stage presence. Meaning that Elton wanted to be closer to everyone in attendance so that it didn’t matter where you sat, you got to experience that. This is, of course presumptuous of me, but that is the attitude that seemed to emanate throughout the performance. 

Photo by Noah Itman + a free gif making tool – Digital Music News

As the show moved on through “Rocket Man” the audience joyously sang along. Elton would occasionally share in between songs and discuss how he and Bernie Taupin had worked together, really describing the ins and outs of their early days. Their desire to be heard by the world. One of the deeper moments of this was in the lead up to “Someone Saved My Life Tonight” when Elton described how he had hit his rock bottom and how that song was somewhat of a respite. To balance that, we had some more fun with “Levon” before things got a bit more somber with “Candle In The Wind”. He chose to do the Marilyn Monroe version as opposed to the Princess Diana version.

Photo by Noah Itman – Digital Music News

Photo by Noah Itman – Digital Music News

A Funeral For My Negativity

And then, the stage went black. The stage lights were off, all you could hear was the audience. Then there were weather sound affects. Wind, then thunder and lightning (with accompaniment of flashing stage lights) followed by more quiet and the light hum of a synthesizer.  I noticed the faint silhouette of a heavy amount of machine smoke swelling around the stage as the sound got louder. I knew what was coming. My favorite Elton John song that I knew was on the setlist  “I didn’t expect him to play Grey Seal or Empty Sky”, was starting. The synthesizer roared forward as the lights suddenly filled the stage with color. It was time for “Funeral For A Friend/Love Lies Bleeding”.

After the piano section of the intro and the pace was about to pickup, the percussive BANG that signifies the song’s transition was so powerful that I could feel it. It was one of my most exciting experiences of recent live music memory. Once the rhythm picked up, I did notice a moment or two where it felt that maybe one of three percussionists was off beat, but it was a short lived phenomenon. The song roared forward! Elton bellowed out in the chorus and he was really giving it his all. I doubt that the performance could have been any better. 

I love confetti… Photo by Noah Itman – Digital Music News

Elton then took some time to discuss HIV/AIDS and his charity

I feel that it was brave how he chose to do it. He specifically called out how the disease is treatable, this is something we can work towards eliminating. It’s stigma that perpetuates this horrible disease. He even pointed out that, in America, the highest density of the disease is in the deep south. Religious fundamentalists and their persecution of homosexuality is something we need to remain aware of and actively combat in our society. Coming out of that speech, I truly felt like this was something Elton had genuine passion about.

ALLENTOWN, PA – SEPTEMBER 08: Elton John performs onstage during his “Farewell Yellow Brick Road” tour at PPL Center on September 8, 2018 in Allentown, Pennsylvania. (Photo by Kevin Mazur/Getty Images for Rocket Entertainment )

The show moved onto “Burn Down The Mission”. I want to mention how great the digital projectors and entire stage set up was at Staples Center. I was somewhat taken aback by how great the projectors were. The depth of the color and brightness made the backdrops mistakable for giant screens.

ALLENTOWN, PA – SEPTEMBER 08: Elton John performs onstage during his “Farewell Yellow Brick Road” tour at PPL Center on September 8, 2018 in Allentown, Pennsylvania. (Photo by Kevin Mazur/Getty Images for Rocket Entertainment )

The show got a bit more slow and reflective with songs like “Daniel” and “Sad Songs”, it was kind of nice to have a break. I feel that it was a nice breather between more intense moments of the performance. 

It was then time to culminate in the climax of the event with a slew of more fast paced, exciting songs like “The Bitch Is Back” with video accompaniment of people in drag attending a swanky mansion/pool party.  You had standards like “I’m Still Standing” and the obligatory “Crocodile Rock”. The real high point came with “Saturday Night’s Alright For Fighting” with video of various fight scenes from across cinema history. Including one of Elton delivering a high kick to someones face from the “Kingsman” movie. 

this guy gets it…Photo by Noah Itman + a free gif maker – Digital Music News

Encore

That concluded the ‘regular’ show but I think, at this point, encores are an expected part of live performances of this caliber. Elton returned and performed “Your Song” followed by “Goodbye Yellow Brick Road”. It was emotional for many in the audience and for Elton. A video montage played of various parts of his career. Despite only having been alive for part of it, I still felt a sense of nostalgia and reminiscence.

The backdrop showed an image of Elton on stilts wearing ridiculously oversized boots. That had me remembering the first time I watched the film Tommy, sitting on the floor  in my grandmothers basement and saw Elton perform as the Pinball Wizard. It was deeply emotional and touching. After the song, Elton brushed away a tear and said “I will miss you but I will remember you because you are in my soul” and I believed him. Despite this being just another show in a multi-year farewell tour, he put all of his effort into each song. He shared his genuine emotion with us, the audience. 

“I will miss you but I will remember you because you are in my soul”

He exited the stage on a conveyer belt that took him into a trap door on the side of the projector screen. The cameras, which had also zoomed around and showed the audience like at a sports event, was centered in on the back of his jacket, showing it on the big screen. 

The camera then stayed stationary as a prerecorded image of Elton walking into the distance was on the screen. Slowly, the background he was walking in to morphed into the album cover “Goodbye Yellow Brick Road”, and then it was over. 

The Impact

In the course of a few hours, one man was able to transform the attitude of myself, and countless other members of the audience who had been experiencing the stresses of modern living. It is performers like Elton John who can seemingly extend your life by blanketing you in pure positivity.

It is so easy to get caught up in the daily struggles of life and start feeling overwhelmed by stress, fear, concern for our individual and collective future, etc. But the collection of moments I experienced at this concert will forever be something I can hold on to, to remind myself that there can be beacons of positivity in the world. You just have to listen to their songs.

It was an amazing night and I cannot thank the team behind Elton John enough for the production and for allowing us to attend. A special thank you to Imani Troy and Jessica Sciacchitano for the outstanding seats and for being a pleasure to work with!

A review of the HEM8s and their plastic waste.

Pros: Good quality for the price!

Cons: Somewhat bottom heavy and lacking some of the detail I prefer on highs, somewhat narrow soundstage, SO MUCH PACKAGING!

Rating and overall thoughts: 6/10

If you are looking for in-ear headphones and want to spend around $400, buy these and you’ll be really happy with them. 

I have reviewed a few of Optoma NuForce’s products before, and these guys keep delivering really good headphones for their respective price points.

The cons that I do have are minor and non-detrimental to the product.

First, I found the EQ of the headphones to be a little flat and bland for my tastes with an emphasis on low end.  They have a strong level of bass, but it doesn’t wash out the rest of the sounds.  It was just that it was warmer than I had expected.

I definitely prefer when the bass is not so powerful that it drowns out the mids and highs but at the same time, I like a little coloration to the sound.  So it’s hard to say if I felt these really achieved that. 

My other beef with these is how much packaging is used.

Again, some people will be into this and I think that one (of the several layers of Russian doll-esque packaging for these headphones) could be repurposed for other stuff.  I just am somewhat of a fan of the planet, so I feel that excessive packaging is plastic waste and this is kind of a-bit-much.

Even if I wasn’t a fan of not destroying our planet through plastic waste that will undoubtably become part of Garbage Island, I still feel like I’m being asked to throw away a lot of stuff.  It’s the same reason I don’t like fliers left on my car.  Depending on who you are, it might be a dealbreaker, so I gotta point that out. 

On the flip side of that, they do include a lot of useful accessories as well.

They send more ear-tips than anyone will ever need, so you’re sure to find a fit in both the rubber and foam options (both included).  Also, they come with two cables.  One of them is more the ‘audiophile’ braided version with presumably some better metals.  The other one includes a microphone and is a combined/singular cable. 

So much stuff!

Other than those gripes, I think the Optoma Nuforce HEM8 headphones are a good purchase!

I tested them with a variety of music genres and thought that they had a full sounding bass, decent mids and somewhat ‘meh’ highs.  They were there, but they sounded a bit on the tinny side compared to my Grado GR8s (which are $100 less) although these had more clarity overall.  This is possibly due to the 10 – 40,000 Hz frequency range.

Rating: 8/10

Pros: Outstanding sound quality! Bluetooth adds convenience and the battery system on the wireless is novel.

Cons: The price tag. Poor microphone wind resistance makes these unusable for outdoor phone calls.

The Ultimate Ears UE Live

A couple of months ago, Ultimate Ears sent me a pair of their brand new UE Live headphones in exchange for a fair and honest review. This is my first time getting to review a pair of their headphones that have Bluetooth so part of review is specifically about that.

The UE Live is now the flagship model for Ultimate Ears. In doing A/B tests with the previous flagship, the UE 18+ Pro pair, it is immediately noticeable that the new model’s name is much less of a mouthful….

Onto the sound quality!

Sound Quality:

These sound great! But, is that a surprise? These are $2,400 headphones so they are made for a very specific type of user. People who are very focused on audio fidelity and also have a need for on-stage in ear monitors. The Bluetooth option is not going to be suited for live usage. I think there is still a risk of latency and signal interruption that can be detrimental to a precise live performance, so the Bluetooth is really geared at the casual listener.

The UE Lives are a massive improvement in sound quality compared to the model the previous flagship, the UE 18+ Pro. The bass is tighter and there is so much more shimmer to the treble. All of this without washing out the midrange. The sound stage has opened up considerably. One of the downsides of the previous iterations was that I felt that low, mid and high frequencies were in constant competition instead of cohesively forming a great overall experience.

I remember comparing the sound quality of the UE 18s to my Grado GR8 in ear headphones.  And while I could objectively state that UE 18s were delivering a higher fidelity, I had preferred the sound coming through the Grados. I had determined this was due to the number of drivers that the UE’s had. That there were so many they that they were effectively competing for my attention when compared to the singular driver in the Grado headphones. The singular drivers created an experience more akin to over-the-ear headphones, on-ear headphones and even stereo speakers than the somewhat jumbled feeling UE 18s.

I am very happy to say that this is no longer the case.

The UE Live headphones deliver a mind meltingly pleasurable listening experience that feels more organic than any of their previous models.

I guess more driver and quality improvements were the answer because I am not finding that the varying frequencies have to compete with one another on the new model. They do not sound ‘jumbled’ and I feel they provide a far better representation of headphones that deserve to cost thousand(s) of dollars.

This is thanks to those the EIGHT speakers inside each of these in ear monitors. It really seems like a crazy amount but it works so well!

The wired sound is a night and day improvement in quality compared to wired, but I found myself using Bluetooth anyway 90% of the time.  After all, I cancelled Tidal (after 3 years of loyal patronage to their $25 per month Hi-Fi plan because of terrible app development and beyond lacking customer support) so the highest quality I am generally hearing for content is 320kbps from Spotify. Overall, convenience won this battle.

Bluetooth:

I can say that the Bluetooth option has been really great for me!  The previous pairs of UE that I have received for reviews were never ultimately contenders for my go-to headphones.  To clarify, I am an anti-social person who wears headphones nearly all of the time that I am out in public, so I get an average of 1-3 hours per day just going from point A to point B. Having the Bluetooth and having the cable that goes behind the neck allows me to just take out the headphones and let them dangle around my neck when not wearing them which is extremely convenient. That it part of why I never see myself becoming a fan of totally wireless earbuds like the Airpods.

Battery life on the Bluetooth is not good.  I was able to get 2-3 hours per charge BUT I don’t think this is a problem thanks to a unique technological offering.  What really sets the Bluetooth apart from others I have tested is that the control and microphone dongle thing has a snap-on cradle (pictured below) that you need to use to charge it. This cradle also is a tiny backup battery that can charge your headphones back to full TWICE!

The one thing I cannot forgive is the abysmal performance of the microphone in anything outside of ideal situations.
I commute by walking and I frequently use that time to speak on the phone with people. When I try using the UE Live w/Bluetooth, all I hear from the other end after I speak is “what?” or “can you repeat that?”.

At first, I thought I had a lemon and that it couldn’t be that bad. It turned out I was wearing them wrong (UEs no longer behind your ears) but UE had already sent me a backup BT cable to test so I can now confirm that while properly wearing the headphones, these are not usable for phone calls unless you are indoors with little to no background noise.

Fit and Finish:

These are a super-premium product aimed at consumers with either a high disposable income, low cost sensitivity, or both. That in mind, I feel that I have to comment on the reduced quality of the carrying case.

This is going to come off as petty. Especially since I did not pay for my pair, but I feel it is worth mentioning because things like a case are a part of ‘fit and finish’ and I feel are an important part of buying a super-premium product.  So I feel it worth pointing out that the hard case these came with feel plastic-y compared to previous cases. The weight is lighter and it feels like it can take less abuse before breaking.

Note: I went with the round case in black this time so I can not comment on whether the quality has changed on the other cases.

These also came with a microfiber slip case (like what comes with sunglasses) and this is surprisingly nice addition that was not included in previous models.  It is what I carry with me 100% of the time when I have these headphones with me (which is most of the time).

One gripe is that the rubber on the cable is like a no-slip, somewhat sticky feel.  This is not ideal because it rests on a wearer’s neck so if you are wearing them and turn your head, it might catch the cable on your neck and cause you to feel like an earbud is going to slip out.

Specs:

• Input sensitivity:105 dB @ 1 kHz, 1mW
• Frequency response:5 Hz – 22 kHz
• Noise Isolation:-26 decibels of ambient stage noise.
• Impedance:10 Ohms @ 1 kHz
• Internal speaker configuration:6 balanced armatures, 1 True Tone Plus driver & 1 6mm neodymium dynamic speaker

Final thought:

These headphones are awesome! If the price doesn’t bother you, I would totally go for them!

Here are the new UE Pro CIEM’s. Being used by a pro, probably.

I recently had the opportunity to hop on a call with the team behind Ultimate Ears’s Pro line and get filled in on what they have been working on.

This is one of my favorite brands to work with because I really appreciate their focuses on quality, providing a useful product that is functional and protects the hearing of musicians and comes in a variety of price points without diminishing quality at the entry level. The UE Pro CIEMs are great for both pro artists and for audiophiles thanks to their phenomenal sound quality so I recommend learning more if you are either of those.

The reason for this article and for my recent conversation with the company is that UE is updating their entire line! They have a new flagship and a new entry level model and their whole range has improved technology for the drivers, connections and cabling. They also have a better integration for Bluetooth in their new line which I am very excited to test!

I will be reviewing the Live pair with Bluetooth once they are available so keep an eye out for that review.

Here is there press release which has a lot more information:

Today, at Musikmesse, Ultimate Ears, announced Ultimate Ears LIVE, the brand’s new flagship custom in-ear monitor (CIEM), and Ultimate Ears 6 PRO, both using Ultimate Ears’ patented hybrid acoustic architecture. And, in a relentless pursuit to improve reliability, the entire Ultimate Ears CIEM lineup is now upgraded with the Ultimate Ears IPX Connection System, a durable new cable connection system that can withstand the rigours of music touring and minimize the need for service and maintenance.

“Our intention when designing our new flagship model was to create not only the best sound, but also the most reliable monitor possible. With UE LIVE, you’re getting our best: pure, raw stage energy. We also needed a sweat-proof and tour-proof cable system, so we co-developed a solution from the ground up with a company that specializes in hearing aid and medical-grade cables. The UE IPX Connection System was designed to handle everything a musician deals with nightly — sweat, makeup, hairspray, humidity, set up, break down and travel.”

Philippe Depallens, vice president and general manager of Ultimate Ears.

Ultimate Ears LIVE

UE LIVE is ideal for festivals, arenas and stadiums, and offers a perfect solution for touring musicians. Built with a hybrid acoustic architecture, these monitors incorporate the most complex and powerful acoustic systems Ultimate Ears has ever developed, including six balanced armatures, one dynamic driver and the True Tone Plus, an upgraded version of Ultimate Ears’ proprietary True Tone Drivers. Each driver is designed to handle its specific frequency range, giving UE LIVE the purest signal path Ultimate Ears has ever created.

Ultimate Ears 6 PRO

I think it’s safe to say that this guy is enjoying his UE Pro 6’s. Or maybe they are the UE Live.

UE 6 PRO was designed as an introductory hybrid solution for drummers, bass players, DJs and hip-hop musicians. Taking advantage of the same hybrid acoustic architecture as UE LIVE, UE 6 PRO gives warm tonality, along with impactful bass and clear audio reproduction. This design includes two dynamic drivers for midrange and bass, along with Ultimate Ears’ original True Tone Drivers for high-frequency fidelity.

Ultimate Ears IPX Connection System

Here is the new connection for all the UE Pro CIEM offerings

This new system, co-created with estron a/s, provides a lightweight, IP67 certified sweat-proof, durable connection between cable and connector, allowing for easy swapping between different cable types. The Ultimate Ears SuperBax is a road-worthy cable, strong enough to hold a 12-pound barbell, yet so lightweight and transparent that it becomes virtually invisible. With significant reliability improvement, this new system can handle thousands of cycles of connect-disconnects.The new UE IPX Connection System can be plugged into any audio interface with a ⅛” (3.5mm) headphone jack.

Pricing and Availability

Another great color option for your UE Pros, whether you want the UE Pro Live pair or the UE Pro 6’s

UE LIVE and UE 6 PRO can be pre-ordered today and are expected to be available and ship worldwide in early May 2018 through Ultimate Ears and authorized dealers, for a suggested retail prices of $2,199 and $699, respectively. Numerous color and custom faceplate options are available. For more information, please visit pro.ultimateears.com/uelive and pro.ultimateears.com/ue6. The UE IPX Connection System is expected to be available worldwide on all custom in-ear monitors orders starting in April 2018 through pro.ultimateears.com and authorized dealers. The connection system will be incorporated into the full Ultimate Ears CIEM lineup. You can choose between a 50”, 64” or Bluetooth version of the system.

I really like how simple it will be to swap out which CIEMs are being used on the Bluetooth/wireless connector.

You can experience the new products and cable system at the Fischer Amps/Ultimate Ears booth at stand C43 in Hall 4.1 at Musikmesse. For more information on new products, please visit pro.ultimateears.com.

About Ultimate Ears Pro:

Ultimate Ears Pro, a brand of Logitech, revolutionized the way artists perform music on stage with the creation of its custom fit professional earphones in 1995. Today, more touring artists use Ultimate Ears Pro products than any other brand. For more information, please visit pro.ultimateears.com.

Something interesting happened to me recently.

Ari Herstand was working on an investigative report, Music PR Company: 25% of Our Clients Are Entitled Little Brats, discussing how Manimal PR was under-delivering to its clients while charging exorbitant rates.  While he was fact-gathering, I received a very strange (yet entertaining) email, but more on this in a minute.

The terrible email etiquette is what motivated me to write this article.

Normally, a full review of a company would be a great opportunity for that company to reflect upon what they are doing right, and what they are doing wrong.  Maybe even approach the writer doing the research and kindly ask for feedback.  I can totally relate.  As companies, we sometimes have major blind spots, and getting constructive criticism isn’t always pleasant, but it is almost always helpful for improving your business.

The company that Ari was investigating made all the wrong decisions regarding situations like this.  And for some reason, they decided to drag me into it.  I’m not totally sure why they did this.  Maybe they thought that we’d be afraid of some empty threats and pull the article, but that wasn’t the case.

In the end, I was cc’d on an email that was a perfect example of bad email etiquette. Something that nobody should ever send from their business account.

I’ve hyped this long enough, here is what Manimal PR’s Owner and Founder emailed to Ari and several member of her team with me as CC:

“Hi Ari, Hope this email finds you well. First off, congrats on your new book! I had no idea you made it in the music industry, super grateful that I know about you now. I’m definitely going to pass on your site and book to all of my industry friends and tell them exactly who you are.

[Editor’s note: the book she is referencing is Ari Herstand’s best selling How To Make It in the New Music Business, which has been adopted by most music business programs around the country for their curricula.]

I just wanted to let you know as the owner and founder of Manimal PR, that my staff and I have received several complaints from my clients regarding your borderline invasive and leading questions regarding their experience with us as well as their personal finances. Our clients are very loyal to Manimal PR so they’ve been kind enough to forward us all of your prying requests.

Manimal PR is my company and I take great pride as we are one of the leading PR companies in North America. I want you to know that my legal team and litigator are watching and documenting every email being sent to our clients.

You have made it very clear that this is a personal and biased vendetta for you based on your best friend’s experience. I sincerely apologize that P4k, Spin, Noisey and other top tier magazines passed on his content. As a publicist it is always hard to be the bearer of bad news when entitled egos are on the line, and that is the risk we take with PR. We are 100% transparent about the risk as it is in writing all over our timelines as well as invoices. We did secure him a premiere though despite all of the negative feedback on his music.

[Editor’s note: after speaking with Ari, he has no idea who she is referencing. Ari interviewed over 20 people for his report]

I’m so sorry you feel the need to blame your best friends rejection in the media on Manimal PR as a whole, but it also makes sense as we have seen the kind of tabloid journalism you are responsible for.

Anyways! I’m so excited to read what you drum up for us! I’ve put my girls AKA my staff on copy just in case you have any exciting questions for us.

PS: I read your piece on Submit Hub. That’s too bad you feel that way, Jason Grishoff is a genius. Definitely a pioneer in the industry. Did you receive some negative feedback on your music?

Best,

xN

Nathalia Bas-Tzion Beahan

VP|Manimal PR| Manimal Films

MANIMAL PR

MANIMAL FILMS

twitter:@manimalvinyl | @MANIMALprTEAM “

Does it stop there? Unfortunately for them, no…

It takes a big person to admit and understand when they are wrong and by contrast, it takes a weak person to double down on being unprofessional and to sling mud when they’ve been accurately called out. Guess how Nathalia from Manimal responded to one of her current clients who was similarly receiving poor service and asked to be refunded, referencing Ari’s article?

If you guessed that she responded maturely and professionally, you guessed wrong.

Here is what she replied to her client:

“[Anonymous],

So you go and read a piece of complete garbage that was written by a hack ego-maniac because we passed on his music and now you’re demanding a refund and threatening me with a lawsuit?

[Editor’s note: we have verified that Ari never submitted his music to Manimal. She is flat out lying to make herself look better.]

Have you read any of his other “reviews”? He trashes everyone EXCEPT himself. But I’m sure you don’t care. P4K passed on your music so It’s clearly our fault you missed an opportunity.

I also have a wonderful team of litigators and lawyers that have been following this whole defamation article as well and I have forwarded them your threatening email with all your false accusations.

We have never, ever taken advantage of you. Most PR companies charge $2000 a month with a 3 month minimum whether they land press or not. I urge you to call Girlie Action, Forcefield, Tell All Your friends and see what they tell you. We gave you a great deal and landed you press. We have it written ALL OVER our timelines and invoices that we are NOT responsible for who passes.

The article is calling us scam artists when it’s actually entitled people like you who have unreasonable demands because your music sadly does not fit the radar of the upper echelon of music journalism. You hire companies to get you press we do our job and then it doesn’t suit your entitled ego and demand refunds.

The truth is, I unfortunately should have never taken you on and that is my fault. I took a major risk thinking people would pay attention. So with that being said, send me your Paypal and I’ll be stoked to send you all of your money back. Grateful that my company and I had the opportunity to get you great press and work for free for you.

Best of luck in all your future endeavors.

Best,

xN”

This is pretty clearly a volatile and toxic person who is making the conscious decision to put feelings over both integrity and businesses success.

Not only is defamation only a fair claim to make if the information is not accurate, this is also a tremendous learning opportunity for Nathalia to make some serious improvements to her business to provide a better service to her clients. Will she do that? I hope so, although her air of entitlement is indicating otherwise.

It would be nice if companies like Manimal could take constructive criticism to improve themselves and provide a better and more valuable service to prospective clients.  That would then validate their argument and their mission statement which seems like a good thing to do.

Always remember the importance of etiquette, especially email etiquette as the evidence never goes away and can harm your business in the long term.

When you think of terrible ways that a company’s representation (or even ownership in this case) have responded to things in the past, I hope this is near the top of your list.

This will st my third time reviewing a pair of custom Ultimate Ears IEMs.  They’re the best in-ear headphones I’ve tried.

To start, I was provided a free pair of these headphones in exchange for a fair and honest review.

My initial impression.

The sound seemed a bit more condensed and less roomy than the previous flagship, the Ultimate Ears 18 pros. I did notice that there seemed to be more of a break-in period with this new pair.  But once I broke them in, I was blown away by the amount of detail I was hearing!

I think that the biggest change from the previous iteration is the reduction of color in the sound.  When I was listening to them, at no point did I feel that any sound range was over- or under-powered.

I do feel that they fall short in one fairly significant way: the highs are a bit underwhelming.  The detail is there, and I can hear the high notes.  But the power of the lows and mids make them less of a focal point.  This could be due to a flatter EQ curve, or it could be that the tuning of the drivers/armatures favors the low and mid range sound.

Just one problem:

I’m left with one major question after reviewing this pair: ‘who are these headphones for?’.

The versions I test carry a very high price tag of $1,600 (not including tax).  That includes the wood faceplates for an extra $100.  Most people who are willing to drop a couple grand on headphones prefer over-the-ear or on-ear headphones for relaxed listening as opposed to the more ‘on-the-go’ nature of in-ears.

Beyond that, pro users who want these for on-stage monitors have cheaper options from UE starting at $400.  And there’s plenty of competition for audiophile-focused in ear headphones in the $300-$500 range.

That said, if mobility is primarily driving your purchase, then I think these may be the best in-ear headphones available. Having the ability to use them on-stage is a great addition as well.

All of that said, do I still think the UE 18+ pros are the best in ear headphones?

Kind of, yeah.

In fact, I love using these!  Those were just questions I raise because I personally want to understand how UE/Logitech is approaching this market, and what their sales look like.

One final note: I’ve always loved the packaging and presentation of UE custom IEMs, and these were no exception.  I also got a wood finish for the predecessor model (UE 18 Pro), though the look has changed.   They got rid of the metallic border surrounding the wood which I like visually.

Previous Model (Left) | New Model (Right)

Final verdict:

If you are price insensitive, want custom fit in ear headphones, want to be able to customize them and get amazing sound quality, I recommend these. Especially if you want the mixed utility of on-stage use for professional performance. I personally feel that they are the best in-ear headphones that I have ever listened to in terms of fidelity, even compared to some other more expensive headphones out there.

If you want to buy a pair, you can find them here.

Back in March, I reviewed the Ultimate Ears UE 18 Pro custom in ear monitors (here it is if you want to read it).  Now, there’s something better on the way.

The UE 18s have since become my daily go-to for listening to music on the go.   I absolutely love the quality these little headphones deliver and I just got an email from Ultimate Ears saying that they have improved this model!

You can expect to see a review of them here on Digital Music News shortly after the New Year.  But until then, lets go over what we know so far.

The new ones are called the UE 18+ Pros.  And the big change is the addition of True Tone Drivers.  That means that all of the whopping 6 drivers (per ear) will be getting a 3khz boost in frequency.  They’ll provide an even more accurate representation of what the people behind your favorite music want you to hear.  As Ultimate Ears puts it:

[this will] enhance the upper band frequency response. An adjusted midrange gain improves presence, altogether bringing a clear yet warm sound.

This was previously only available in the PRMs (which require custom tuning) and the RR models by Ultimate Ears.  So I’m very excited that they will be present in the 18 Pros!

Here’s word from their CEO:

Do you or someone you know enjoy music? How about making music? Either way, these holiday gift ideas can help you pick out the perfect gift.

Let’s jump in…

Headphones

Wireless

This year has been another big year for wireless headphones and speakers. I personally have reviewed two pairs that fall under the $100 price point.  Here, I recommend one, and recommend not getting near the other.

Syllable D900 mini

These wireless earbuds are pure garbage!

The price point of $50 may seem compelling at first, especially given the truly cordless concept.  This just like the upcoming Apple AirPods (which I also think are dumb)!  But even if you have a family member that really wants this design, just don’t do it!

The sound quality is terrible, the embedded microphone is terrible, and if you want to communicate with someone, good luck.  Basically, you have to take the earpiece out and hold it in front of your face, as there’s no strap/cord of any kind.  These earbuds aren’t coordinated, and there’s an audio lag between the left and right ear.

On top of all that, they can easily be lost.  And they are uncomfortable to wear with any of the included rubber fittings.

Moving on…

Noontech Zoro II Wireless

These over-the-ear wireless headphones also cost only $50 at the time of this review.   They are nothing special, but that kind of makes them great.  They include your basic accessories like the optional 3.5mm cable and a carrying case.  And they sound decent enough (you won’t not want to use them).

I’m actually pretty impressed at the price. They seem to be of decent quality (I’ve dropped mine a few times, still fine).  And the hinges to collapse the headphones, while not saving much space, aren’t flimsy.  If you have someone on your list who really wants wireless headphones but you don’t want to break the bank, I totally recommend these.

Even if they’re complete idiots, you can teach them that spending more doesn’t always mean a better product.

Wired Headphones

NuForce HE2

These little IEMs (not custom molded) kick ass in my book!  I like them more than I liked the UE 400s, which retail for double the cost of the HE2s!

The sound is balanced, not overly bass-y and they included more fitting options than any human would ever realistically need. Actually, the packaging overall was really top notch.  At $200, these aren’t for those unenthused about audio quality.  If they like their white Apple earbuds, let ’em keep on liking them.

But if someone on your list likes audio quality and wants a simple but solid IEM, I recommend these.

Pump Audio Earphones

These in-ear headphones are okay, but not amazing.  They cost under $90 at full retail.  I recommend them for hip hop/rap fans because the bass is ridiculously overpowered.  I normally take points off for that, but they still are better than a pair of Beats by Dre. Plus, the price actually makes sense for the quality.

These are also pretty good for working out.  In fact, the overdone bass isn’t as bad of a thing for me at while biking or running. They come with a case that I like, and a few sets of rubber and foam ear-tips.

Hi-Fi Accessories

DACs

Do you have someone on your gift list that likes Hi-Fi and has great speakers and headphones?  Something they may not have is a USB DAC.  Those are devices that translate the 1s and 0s of digital music back into analog frequencies.  They range greatly in price, but I’ve found great quality ranging from $100-$300.

These can get into the thousands of dollars, but I haven’t tested ones even nearly that expensive.  But I’ve very much enjoyed the DACs that I’ve used in the $100-$300 range.  I think they make a great gift!

The AudioQuest Dragonfly

This is the first dedicated DAC I bought, and I’ve been using it both on my computer and on my Android phones with great results.  The version I have is a bit outdated now (the 1.2), but that means you can get it for cheap. They have newer models as well, although I have not personally tested them. This is one of my favorite holiday gift ideas because if you have someone who has never used a DAC, they will probably notice the improvement right away and greatly appreciate it!

One cool thing about this one is that the Dragonfly emblem lights up with different colors, depending on the Hz of what you’re listening to.

The Apogee Groove

This is a bit of a doozy.  It sounds great, really great!  But, at $300 it’s towards the top of the budget in my suggested range. Apogee always succeeds in making beautiful products, and a dedicated DAC from them is a great offering.  But I feel there may be better bang for your buck elsewhere.

And fair warning: I nearly blew my eardrums using these.  The rubber buttons for volume control don’t give you a good idea of how loud it will be, and Tidal’s volume settings were higher than my system at the time.

Nuforce uDAC5

This DAC costs $199 on Amazon, and it really is right between the other two in terms of quality.  Something worth noting on this unit is that I noticed very little coloration to the music listened through it.  I really like the physical nob for volume control, especially with the lack of physical controls on the Dragonfly and the very meh rubber buttons on the Groove.  Also, the DAC5 does have DSD support.

Speakers

The UE Boom 2

Depending on your budget for this ‘special someone,’ I think this is a great portable speaker! It’s beautifully packaged, which is always nice for a gift.  It’s waterproof and the sound quality is pretty good.  I can’t call a Bluetooth speaker’s sound quality ‘great,’ though personally I don’t think they aren’t meant to sound great.  Instead, the big advantage here is compact size, portability and simplicity.

That said, I do think this is one of the better sounding options I’ve tested.  At $199 ($149 on sale), it’s not cheap.  But if you want to get a higher-end Bluetooth speaker, I think this is the one to get.  And, the color options along with its water— and shock-resistance are big bonuses.

iClever IPX5

This speaker isn’t amazing (just gonna get that out of the way).  But it’s only $25!  That price point makes this an easy choice for someone who only ‘kind of’ wants a wireless speaker.  Or, if you know someone into music and tech and you just don’t know what to get for them.

Q Acoustic 3020

These are $250 bookshelf speakers that sound like they could easily be $500.  I absolutely love them, especially for smaller spaces, bedrooms, or even for better options to use for computer speakers over 2.1 systems. They come in a variety of colors to satisfy the style desires of anyone on your list.

Music

Childish Gambino’s “Awaken, My Love!”

I have one easy pick here.  It’s my favorite album of 2016 by a vast margin making it one of my #1 holiday gift ideas.  That is: Childish Gambino’s “Awaken, My Love”.
Don’t expect a rap album like “Camp” or “Because The Internet,” this is so much more than that.  If you have someone on your list who likes rock, soul, R&B, funk, psychedelic or hip hop, they need to listen to this album.

You can buy the CD from retailers (I assume) and Amazon also has it. Vinyl?  That’s coming next year.

Subscriptions

I’m biased because of sound quality.  But if you have someone on your list who hasn’t gotten into a streaming subscription yet, or you just want to save them $25 a month if they already use it, I’d suggest a Tidal gift card.

For Musicians

IEMs for the stage

The UE 4 pros are one of the best options for custom fit IEMs I can think of.  They are $399 (not including the molding).  Sounds high, but there’s a world of difference when using IEMs on stage compared to just floor monitors.  It can make a huge difference in precision, as you will be able to hear everything you need to without the mix drowning it out.

Hand Strengthening

Did you know that grip exercises are not very helpful for musicians?  I have always had trouble with the muscle under my thumb on my fretting hand, despite using grip exercisers.  That’s because strengthening the muscles also shortens it and reduces flexibility.

The ClinicallyFit Xtensor seeks to solve this for all musicians by offering a resistance-based reverse hand exercise tool.  For $30, I think it makes a great holiday gift idea!

Guides

‘How To Make It in the New Music Business’ by Ari Herstand.

This is a great guide for up-and-coming musicians.  It’s by DIY artist (and DMN author) Ari Herstand, and it breaks down everything you need to know about selling music online, mastering social media, and conquering live gigs.

This isn’t a pie-in-the-sky guide to ‘making it’ or getting a lucky break.  It’s about forging a living wage through music, without complicated, soul-crushing contracts.  It’s a philosophy on not only controlling your creative path, but capturing a far greater percentage of the revenue generated by your art.

Check it out, here.

KSI reached out to DMN to let us know about his new album. With nearly 15 million subscribers on YouTube and billions of views, he is one of the most successful rappers on the web.  We wanted to pick his brain about his career and current events in the industry.

DMN: Do you see more ad revenue from gaming, music or miscellaneous content on YouTube?

KSI: I honestly could see more income from YouTube and my music.  In this day and age, YouTube has million of viewers for music, and it may well be one of the best sources for music, let alone music video wise.  So yeah, I can see a change in revenue where I could be making more from music.

DMN: YouTube royalties are a heated debate in the music industry.  Do you feel the major labels are justified in their battle to increase artist earnings on YouTube, or do you think they are asking too much from YouTube?

KSI: Good question, there’s really not a right or wrong here.  Because, you might think artists already make enough money from deals and revenue so they don’t need more money from YouTube.  But then, you might think that an artist and a label, has the privilege to get more money if their video is posted on YouTube!

DMN: There has recently been controversy about Facebook taking down videos with content owned by UMG.  Do you think Facebook needs licensing so that its users can upload cover songs and lip-syncing videos, or do you think Facebook has a right to not want to be involved in that?

KSI: I don’t know man… it’s hard to tell. UMG definitely has the right.  But honestly, people are just having fun posting these videos of them singing and lip-syncing so for me it’s good.  But if people are stealing songs and using them against the copyright laws, UMG definitely has the right to take down videos.

DMN: Tell me about your tour?

My tour’s been sick man!!  I’ve been to Paris, Antwerp, Amsterdam!  It’s amazing, I’ve had a girl throw a bra on stage in Newcastle.  That was… Cool!

And the fans have been fantastic, incredible support!

DMN: Forbes has stated that you are worth approximately $4.5 million.  Is that accurate?

KSI: Hahaha, well. I’m obviously not going to tell my earnings around on the internet.  But let’s just say, Forbes are usually pretty reliable.  I’ve been blessed to make good money from YouTube and rapping, so yeah!

DMN: Why do you think Vine died?

KSI: Honestly, I don’t know. Vine was supposed to be the next big thing, but it never turned out that way.  Some of their bigger stars left Vine for YouTube for more revenue and for more money of course.  But honestly, the hype died a while ago.

DMN: Which YouTubers have influenced you?

KSI: Ehm, keeping it 100 here.  No one really in particular.  I just saw a bunch of videos on the internet, and saw that people were making money off it.  I got influenced to step up my game by many a FIFA YouTuber.  Well, they know who they are.

DMN: Are there any that particularly got you interested in creating content?

KSI: Not really, no.  As I just stated, a lot of people were making videos and I thought that would be cool.  I then met some people who I still get inspiration from though.

DMN: What are some of the musicians that have influenced you and what was the first song or artist that you really felt a connection to their music?

KSI: I listen to all kinds of music.  Of course I listen to Drake, Kanye and the big rappers.  But, there’s this small rapper named Mayzin that I’ve been speaking with lately.  He’s a really chill dude and he’s definitely a talented artist.  Everyone who is reading this should definitely check this guy out.

And you know, we may have some music together soon!  But then I can chill with some Marvin Gaye, and some old school music like Elvis or Sinatra.

DMN: Tell me about your new album.  When are you targeting a release and on which platforms?

KSI: Well, I can’t tell you much about the album.  But, the album can be expected around February time or maybe a bit later.  Definitely going to come out on all the platforms, all of the digital ones and of course CD/physical copies.

DMN: Are you working with anyone for distribution, publishing, collaborative artists?

KSI: Can’t say much about this honestly right now.  All I can say, is that Wacka Flocka Flame and JME might be involved :)

DMN: What sets this album apart from your previous ones?

KSI: Well, this is actually my first album.  And it definitely has a bit more touch of mainstream rap, and American rap.  And it kinda fades away from grime, not that I made any grime music in the first place.  But I do get compared to grime artists often.

DMN: How did you find out about us?

KSI: I found out about your website really casually.  I just found some very well made blogs, so I contacted you about it, and it was cool!

Recently I was given the opportunity to review two pairs of Q Acoustic speakers as they prepare for their US launch. In preparation, I did some research into their existing reviews, all of which praised them as having fantastic quality for an extremely fair price. Needless to say, I was excited to get my chance to listen.

I was sent a pair of the 3020s and the 3050s in exchange for a fair and honest review. I do feel conflicted about this but also obligated to point out that one of the speakers I received did happen to be a lemon (aka defective). It was one of the two 3050 speakers and the issue was that the midrange driver and tweeter seemed to not be functional. I do completely forgive this for two major reasons: One being that this is the first time the company has shipped speakers to the United States and the other being that the company was so accommodating that a replacement speaker was sent out with extreme rapidity. I received the new 3050 within about three business days of letting my contact know there was an issue.

Both pairs were tested using multiple configurations of cables and amplifiers to get the most accurate results I could. Just to note: both pairs do come in a variety of finishes to match your decor style.

3020 Bookshelf Speakers

First I want to discuss the 3020 bookshelf speakers. These speakers are a dream for those on a budget without the amount of space to provide a proper home to tower speakers. I absolutely enjoyed every minute of listening with one exception, that being the bass was a bit low-energy and flat. That’s not necessarily a bad thing and for all I know, part of the blame may lie within the over-emphasis of bass in most home audio systems. I believe this can be attributed to manufacturers focusing on the home theater market over the home stereo market because many people enjoy the booming and powerful sound that can result of overpowered bass. The lack of this overpowering bass was also a strong point however. As someone who sold home theater equipment for several years, I can tell you that so many customers come in with the concern of “how do I get speakers that I don’t have to constantly adjust the EQ or volume for to be able to hear dialog and not have ridiculously loud sound effects and music?”. The answer to that is balance, which the 3020s have in spades.
I used these for home theater while connected to my TV using a toslink/spdif cable into the NuForce DA120 amp as well as RCA through my Cambridge Audio Azure 351a and an ultra-budget Chinese made amp I picked up on Amazon for around $20. I was very pleased with the balance these speakers provided. At no point was there a need to adjust the volume or EQ and I tested that with sources ranging from horror and action films to dialog heavy films like Amadeus.
The pair I was sent was the lacquer black finish and they look great! They even included cotton gloves to avoid getting them covered in fingerprints while setting up.

Specs:

3020 Bookshelf Speaker Specifications:

• Enclosure type: 2-way reflex
• Bass Unit: 125m
• Treble Unit: 25mm
• Frequency Response (+/- 3 dB): 64Hz – 22kHz
• Nominal Impedance: 6ohm
• Minimum Impedance: 4.0ohm
• Sensitivity: 88dB
• Recommended Power: 25 – 75w
• Crossover Frequency: 2.9kHz
• Dimensions H/D/W (Inches): 10.23 x 8.89 x 6.69
• Weight: 4.6kg
• Sold in: Pairs

QED Silver Anniversary XT Speaker Cable Specifications:

• Wire Gauge – 16 AWG
• Unique SPOFC triple braid 5 x 16 x 0.1mm
• X-Tube Technology
• Jacket OD – 3.90mm
• Cross-Sectional Area – 1.50mm²
• Loop resistance – 0.021 Ohm/m
• Capacitance – 50pF/m
• Inductance – 0.47 µH/m
• Dissipation Factor – 0.0006
• Ideal For Use In All Installations

3050 Tower Speakers

The 3050’s were the real treat, even compared to the 3020s. I hooked them up using multiple configurations (more on that below) and found that bi-wiring makes a difference and I recommend that method to all who have these speakers.
With the 3050s music was significantly more powerful than the bookshelf pair. This is understandable given that they are tower speakers but I do recommend them more if you have the space for such large speakers.

There is one caveat however. Because of the larger speakers and having two low drivers per channel, these speakers do require more attention as a home theater set of speakers. There will be differences in volume between dialog and everything else. I do feel that the improvement in sound quality does justify this however because while listening to music, the bass is impressively powerful while managing to not overpower the mid or treble ranges.

I was sent the American Walnut finish (which is a laminate) and they look beautiful! I really like the subtle design, rounded edges and even the style of the metal ‘feet’ that go under each speaker.
I feel that me getting one ‘lemon’ speaker was an absolute fluke. I can tell by the responsiveness of Q Acoustics that this is not something that happens to them frequently, if ever. Each speaker is quality checked before being sent out but being one of the first people in the United States to receive a pair of these, I feel it must have been a small kink in their US expansion as they became more familiar with the transporting process intercontinentally.

Specs:

Q Acoustics 3050 Floorstanding Speakers Features:

• 2-Way Reflex Enclosure Type
• 2 x 165mm Bass Unit
• 25mm Treble Unit
• 44Hz – 22kHz Frequency Response
• 6ohm Nominal Impedance
• 92dB Sensitivity
• 2.6kHz Crossover Frequency
• Dimensions H/D/W (Inches): 39.37 x 11.73 x 7.87

QED Silver Anniversary XT Speaker Cable Specifications:

• Wire Gauge – 16 AWG
• Unique SPOFC triple braid 5 x 16 x 0.1mm
• X-Tube Technology
• Jacket OD – 3.90mm
• Cross-Sectional Area – 1.50mm²
• Loop resistance – 0.021 Ohm/m
• Capacitance – 50pF/m
• Inductance – 0.47 µH/m
• Dissipation Factor – 0.0006
• Ideal For Use In All Installations

Cables and Bi-Wiring, Do They Matter?

Cables

I was extremely lucky to have the help of my friends at AudioQuest to help me A/B test each pair of speakers using both standard speaker wire and more premium options offered by them.
AQ sent me one pair of the Rocket 33s (bi-wired) for the 3050s and a pair of the Type 4 cables for the 3020s.

I had never tried using premium cables personally so this was a great way to experiment for me because the quality of cables making a large impact is a heavily debated topic (as are the benefits of most things in the hi-fi world).

First, I tested the 3050s using stock cables that came with an old Sony HTIB (home theater in a box). These cables were silver in color and extremely thin. I then upgraded incrementally by switching to copper speaker cable I purchased at a RadioShack and the sound quality improvement was noticeable immediately. It wasn’t so dramatic that I wondered how I could have enjoyed the speakers without them, but noticeable nonetheless. There was more clarity and the soundstage opened up, creating a less condensed sound.
Then I tried the AudioQuest Rocket 33’s and I got to try bi-wiring the speakers and the improvements were tremendous! I was immediately taken aback by the increase in clarity and definition, especially on the lower frequencies. It was practically a night and day difference! Part of this may be because I was bi-wiring this time but my tests with the 3020s confirmed to me that speaker cable quality can absolutely make a difference. Using a bi-wired setup allowed for more separation between the drivers. It may not be something that is immediately noticeable unless you’re trying to hear it (possibly a bit of placebo in there for me) but I did enjoy it.

I used the same RadioShack cable for the 3020s as I did not have more stock cables from HTIBs so I’ll only be able to compare the RS cables and the premium ones for that pair. Once again, there was a tremendous improvement.
It’s interesting to note however that I noticed more of a difference when using my personal amp (the Cambridge Audio Azure 351a) as opposed to the review unit by NuForce. The premium cables did not fit into the budget amp I got from Amazon so I was not able to test the cables using that amp.
Despite lacking a bi-wire configuration, the difference was still dramatic enough to make me recommend using these premium cables in the future to all who want to get the most out of their audio system.

Overall

I strongly recommend both sets of speakers depending on how much space you have. They are both priced excellently and I think they have proved to be an excellent company to check out if you want to enjoy great fidelity without spending over $1000. I suggest the premium cables to consumers who are price insensitive because they are a considerable leap in cost but the quality is noticeably improved. I also found the sound separation to be improved by the bi-wiring configuration.

A representative of Optoma reached out to me and asked if I would be interested in reviewing their new Bluetooth in-ear headphones, the NuForce BE6i. I was given a free pair in exchange for a fair and honest review.

The headphones arrived quickly, within a couple days of speaking with the representative. I quickly charged them because I was eager to give them a try especially knowing that they use APTX and AAC as part of Bluetooth 4.0 standards, I knew these have the potential to deliver pretty good quality, even from sources like .flac files and Tidal HiFi streams. I was also eager to test them as work out headphones because they are water and shock resistant.

What you get in the box:
These headphones don’t skimp at all when it comes to included accessories. I really like the zippered case and bonus points for including two pairs of Comply foam ear-tips.

Here’s a photo:

The Design:
The design on the Optoma NuForce BE6i is pretty solid in my opinion. They are not overly flashy and they seem to be more designed around utility than fashion (always a plus for me). They also have magnets in the back of each earbud so they can snap together easily for when you have them around your neck which I found convenient (pictured up top). They come in two color options, gold and graphite and both are made from a durable (albeit heavy compared to the also less durable plastic used by some manufacturers) aluminum. The cable connecting the earbuds is flat and the controls for volume and power rest on the cable that goes to the right ear. I wasn’t a big fan of the controls system but I also think that Optoma did the best they could with the available space since there is very little space to add controls unobtrusively.

Sound Quality:
The sound quality is fine, I wasn’t expecting audiophile levels of quality here but I was still pleasantly surprised. They are definitely bass heavy but that’s not a bad thing to me in this scenario because of one thing: many people (myself included) like more low-end output when working out. It can make it easier to hear the beat and keep motivated especially when running. This could also be because I tend to listen to different music when I’m exercising from when I’m hanging out or more focused on the music itself.

Durability:
These headphones are durable as hell! I put them through some pretty aggressive tests while using them ranging from dropping them on concrete multiple times and taking a few steps on them to simulate ‘accidentally’ stepping on them if they fell off while running. I even wore them into the shower to test the water resistance since rain is not very common here in Santa Monica. At no point did they stop working so I have zero complaints in this category.

Let’s all thank the nice person for posing for the source Optoma while wearing these in a sporty fashion!

Additional Information:
The battery life is rated at about 8 hours but I got closer to 6.5 hours. This could be because I was also testing out the microphone and was using Tidal’s Hi-Fi quality for a majority of my music listening.
The call quality was only okay. I could tell that there was less of an emphasis on this compared to the other headsets and headphones with integrated headsets like the ones made by Plantronics. This could be because Plantronics has become established as a leader in headsets and have worked on utilizing technology to reduce things like wind noise. The NuForce pair did not work as well against wind noise (people I was speaking with did mention more that they heard wind and I was therefore inaudible) but the bigger problem was most likely the placement of the microphone. The microphone is in the same place as the headset controls which means it sits closer to the side/back of your neck or even shoulder.

Verdict:
If you want a pair of Bluetooth in-ear headphones and you want to use them for working out, I absolutely suggest this pair. Especially when paired with the Comply foam eartips, they stayed in my ears well and only required a few adjustments during especially long and impact heavy exercises. These could also be great for hiking and camping because of their water resistance.

An exclusive interview with Crispin Glover and Digital Music News.

I was given the opportunity to interview one of my favorite actors and showbiz rebels Crispin Hellion Glover. I cannot thank Crispin enough for giving me this unique opportunity to better understand someone who has been able to truly do something he loves while making substantial and provocative artistic statements.

Please make sure to check his site (CrispinGlover.com) for information on live performances and projects he is involved in!

Noah Itman: What inspired you to make your album “THE BIG PROBLEM ≠ THE SOLUTION. THE SOLUTION = LET IT BE” and do you think we’ll ever get a follow-up album?

Crispin Glover: There are some more recordings that have been made since “The Big Problem ≠ The Solution. The Solution = Let It Be.” Those recordings have been made with one of the same producers as “The Big Problem ≠ The Solution. The Solution = Let It Be.” The recording for “Ben” was made with this same producer although the reason for recoding “Ben” was because I was in “Willard”

With the record “The Big Problem ≠ The Solution. The Solution = Let It Be” I was approached by Barns and Barns who wanted to record with me. I knew their work and thought it would be a lark to record something with them. I recorded some things and then they let me know they were interested in making an album. It became apparent to me that a concept should be had and so I thought about some of what had been recorded and realized there already was a bit of a theme and that by recording other new things and getting rid of some of the things that were already recorded a good concept could come out of it. This is where The Big Problem ≠ The Solution. The Solution = Let It Be.. came from.

The album came out in 1989 and this was well before the Internet so a telephone number (not my home number) was printed on the album for people to call with their answer. Many people figured it out. The telephone message let people know information about how to order my books.

Clowny Clown Clown has had more attention in recent years than the rest of the album in the last several years because Youtube has made the promotional video available and many more people have seen that than heard the rest of the album. I am glad I made the video for that song, but of course a lot more has gone in to making the films.

We worked on The Big Problem ≠ The Solution. The Solution = Let It Be. for a couple of years.  A lot of work was put in to it, and I am proud of the album. I think novelty album is probably the best way to describe it because you would really not call it a rock album, nor a poetry album. I do not think of “novelty album” as a pejorative.

There is another album’s worth of material that has small finishes that need to be made to release it. My mind mostly is on making and distributing my films and acting in other’s films. One of my favorite parts of making the films is working with the music for the films. Performing music is much lower on my priorities, but I am proud of the album and I need to put the second one out at some point and there could be something on the horizon for that.

NI: Are you willing to reveal what the secret message was and how many people answered it correctly?

CG: It is more important that people think about it on their own. Many people thought of it as what I was thinking it was. But that does not mean it is the only thing that is the correct way to think about it.

NI: How was the process of finding a distributor and publisher? Was there ever any difficulty with getting it manufactured in multiple formats?

CG: It was released through Restless Records in 1988 or 1989 at the time they still released records on Vinyl, Cassette Tape and CD. I was concerned.

NI: Can you tell me a bit about your upcoming shows this weekend?

CG: Yes, they are at the American Cinematheque at the Egyptian Theatre on Hollywood Blvd in Los Angeles this Friday and Saturday (3/18/16 – 3/19/16) at . Here is a link with more information http://bit.ly/1R1sbKq as well as my web site CrispinGlover.com

The live aspect of the shows I perform before the films I tour with are not to be underestimated. This is a large part of how I bring audiences in to the theater and a majority of how I recoup is by what is charged for the live show and what I make from selling the books after the shows.

For “Crispin Hellion Glover’s Big Slide Show” I perform a one hour dramatic narration of eight different books I have made over the years. The books are taken from old books from the 1800’s that have been changed in to different books from what they originally were. They are heavily illustrated with original drawings and reworked images and photographs.

I started making my books in 1983 for my own enjoyment without the concept of publishing them. I had always written and drawn and the books came as an accidental outgrowth of that. I was in an acting class in 1982 and down the block was an art gallery that had a book store upstairs. In the book store there was a book for sale that was an old binding taken from the 1800’s and someone had put their art work inside the binding. I thought this was a good idea and set out to do the same thing. I worked a lot with India ink at the time and was using the India ink on the original pages to make various art. I had always liked words in art and left some of the words on one of the pages. I did this again a few pages later and then when I turned the pages I noticed that a story started to naturally form and so I continued with this. When I was finished with the book I was pleased with the results and kept making more of them. I made most of the books in the 80’s and very early 90’s. Some of the books utilize text from the biding it was taken from and some of them are basically completely original text. Sometimes I would find images that I was inspired to create stories for or sometimes it was the binding or sometimes it was portions of the texts that were interesting. Altogether, I made about twenty of them. When I was editing my first feature film “What is it?” There was a reminiscent quality to the way I worked with the books because as I was expanding the film in to a feature from what was originally going to be a short, I was taking film material that I had shot for a different purpose originally and re-purposed it for a different idea and I was writing and shooting and ultimately editing at the same time. Somehow I was comfortable with this because of similar experiences with making my books.

When I first started publishing the books in 1988 people said I should have book readings. But the book are so heavily illustrated and they way the illustrations are used within the books they help to tell the story so the only way for the books to make sense was to have visually representations of the images. This is why I knew a slide show was necessary. It took a while but in 1992 I started performing what I now call Crispin Hellion Glover’s Big Side Show Part 1. The content of that show has not changed since I first started performing it. But the performance of the show has become more dramatic as opposed to more of a reading. For performing the shows I have always worn a black suit, white shirt and black tie with dress back shoes. The performance is a mixture of presentation and stepping in to characters and characterizations of the styles of books, so the dress has to be a neutral presentational suit.

People sometimes get confused as to what “Crispin Hellion Glover’s Big Slide Show (Parts 1&2)” is so now I always let it be known that it is a one hour dramatic narration of eight different profusely illustrated books that I have made over the years. The illustrations from the books are projected behind me as I perform the show. There is a second slide show now that also has 8 books. Part 2 is performed if I have a show with Part 1 of the “IT” trilogy and then on the subsequent night I will perform the second slide show and Part 2 of the “IT” trilogy. The second slide show has been developed over the last several years and the content has changed as it has been developed, but I am very happy with the content of the second slide show now.

The fact that I tour with the film helps the distribution element. I consider what I am doing to be following in the steps of vaudeville performers. Vaudeville was the main form of entertainment for most of the history of the US. It has only relatively recently stopped being the main source of entertainment, but that does not mean this live element mixed with other media is no longer viable. In fact it is apparent that it is sorely missed.

I definitely have been aware of the element of utilizing the fact that I am known from work in the corporate media I have done in the last 25 years or so. This is something I rely on for when I go on tour with my films. It lets me go to various places and have the local media cover the fact that I will be performing a one hour live dramatic narration of eight different books which are profusely illustrated and projected as I go through them, then show the film either  What is it? Being 72 minutes or It is fine! EVERYTHING IS FINE being 74 minutes. Then having a Q and A and then a book signing. As I funded the films I knew that this is how I would recoup my investment even if it a slow process.

Volcanic Eruptions was a business I started in Los Angeles in 1988 as Crispin Hellion Glover doing business as Volcanic Eruptions. It was a name to use for my book publishing company.  About a year later I had a record/CD come out with a corporation called Restless Records. About when I had sold the same amount of books as CD/records had sold it was very clear to me that because I had published my own books that I had a far greater profit margin. It made me very suspicious of working with corporations as a business model. Financing/Producing my own films is based on the basic business model of my own publishing company. There are benefits and drawbacks about self distributing my own films.  In this economy it seems like a touring with the live show and showing the films with a book signing is a very good basic safety net for recouping the monies I have invested in the films

There are other beneficial aspects of touring with the shows other than monetary elements.

There are benefits that I am in control of the distribution and personally supervise the monetary intake of the films that I am touring with. I also control piracy in this way because digital copy of this film is stolen material and highly prosecutable. It is enjoyable to travel and visit places, meet people, perform the shows and have interaction with the audiences and discussions about the films afterwards. The forum after the show is also not to under-estimated as a very important part of the show for for the audience. This also makes me much more personally grateful to the individuals who come to my shows as there is no corporate intermediary. The drawbacks are that a significant amount of time and energy to promote and travel and perform the shows. Also the amount of people seeing the films is much smaller than if I were to distribute the films in a more traditional sense.

The way I distribute my films is certainly not traditional in the contemporary sense of film distribution but perhaps is very traditional when looking further back at vaudeville era film distribution. If there are any filmmakers that are able to utilize aspects of what I am doing then that is good. It has taken many years to organically develop what I am doing now as far as my distribution goes.

NI: How many of these presentations have you done? What do you get from them?

CG:I would say between 100 and 250 performances, but I really need to sit down and calculate.

NI: What points do you want to make that aren’t necessarily accepted in the mainstream media? Give a preview of the film. Why is it a “semi-autobiographical, psycho-sexual tale”?

CG: I am very careful to make it quite clear that What is it? is not a film about Down’s Syndrome but my psychological reaction to the corporate restraints that have happened in the last 20 to 30 years in film making. Specifically anything that can possibly make an audience uncomfortable is necessarily excised or the film will not be corporately funded or distributed. This is damaging to the culture because it is the very moment when an audience member sits back in their chair looks up at the screen and thinks to their self “Is this right what I am watching? Is this wrong what I am watching? Should I be here? Should the filmmaker have made this? What is it?” -and that is the title of the film. What is it that is taboo in the culture? What does it mean that taboo has been ubiquitously excised in this culture’s media? What does it mean to the culture when it does not properly process taboo in it’s media? It is a bad thing because when questions are not being asked because these kinds of questions are when people are having a truly educational experience. For the culture to not be able to ask questions leads towards a non educational experience and that is what is happening in this culture. This stupefies this culture and that is of course a bad thing. So What is it? Is a direct reaction to the contents this culture’s media. I would like people to think for themselves.

Steven C. Stewart wrote and is the main actor in part two of the trilogy titled It is fine! EVERYTHING IS FINE. I put Steve in to the cast of What is it? because he had written this screenplay which I read in 1987. When I turned What is it? from a short film in to a feature I realized there were certain thematic elements in the film that related to what Steven C. Stewart’s screenplay dealt with.  Steve had been locked in a nursing home for about ten years when his mother died. He had been born with a severe case of cerebral palsy and he was very difficult to understand. People that were caring for him in the nursing home would derisively call him an “M.R.” short for “Mental Retard”. This is not a nice thing to say to anyone, but Steve was of normal intelligence. When he did get out he wrote his screenplay. Although it is written in the genre of a murder detective thriller truths of his own existence come through much more clearly than if he had written it as a standard autobiography. As I have stated, I put Steven C. Stewart in to What is it? When I turned What is it? in to a feature film. Originally What is it? Was going to be a short film to promote the concept to corporate film funding entities that working with a cast wherein most characters are played by actors with Down’s Syndrome. Steve had written his screenplay in in the late 1970’s. I read it in 1987 and as soon as I had read it I knew I had to produce the film. Steven C. Stewart died within a month after we finished shooting the film. Cerebral palsy is not generative but Steve was 62 when we shot the film. One of Steve’s lungs had collapsed because he had started choking on his own saliva and he got pneumonia. I specifically started funding my own films with the money I make from the films I act in when Steven C. Stewart’s lung collapsed in the year 2000 this was around the same time that the first Charlie’s Angels film was coming to me. I realized with the money I made from that film I could put straight in to the Steven C. Stewart film. That is exactly what happened. I finished acting in Charlie’s Angels and then went to Salt Lake City where Steven C. Stewart lived. I met with Steve and David Brothers with whom I co-directed the film. I went back to LA and acted in an lower budget film for about five weeks and David Brothers started building the sets. Then I went straight back to Salt Lake and we completed shooting the film within about six months in three separate smaller productions. Then Steve died within a month after we finished shooting. I am relieved to have gotten this film finally completed because ever since I read the screenplay in 1987 I knew I had to produce the film and also produce it correctly. I would not have felt right about myself if I had not gotten Steve’s film made, I would have felt that I had done something wrong and that I had actually done a bad thing if I had not gotten it made. So I am greatly relieved to have completed it especially since I am very pleased with how well the film has turned out. We shot It is fine! EVERYTHING IS FINE.  while I was still completing What it? And this is partly why What is it? took a long time to complete. I am very proud of the film as I am of What is it? I feel It is fine! EVERYTHING IS FINE. will probably be the best film I will have anything to do with in my entire career.  People who are interested in when I will be back should join up on the e mail list at CrispinGlover.com as they will be emailed with information as to where I will be where with whatever film I tour with. It is by far the best way to know how to see the films.

After Charlie’s Angels came out it did very well financially and was good for my acting career. I started getting better roles that also paid better and I could continue using that money to finance my films that I am so truly passionate about. I have been able to divorce myself from the content of the films that I act in and look at acting as a craft that I am helping other filmmakers to accomplish what it is that they want to do. Usually filmmakers have hired me because there is something they have felt would be interesting to accomplish with using me in their film and usually I can try to do something interesting as an actor. If for some reason the director is not truly interested in doing something that I personally find interesting with the character then I can console myself that with the money I am making to be in their production I can help to fund my own films that I am so truly passionate about. Usually though I feel as though I am able to get something across as an actor that I feel good about. It has worked out well.

NI: What has been your experience with touring? Have you had any difficulty with booking and finding the right venue?

CG: I am now in my 11th year of touring. It is a continuous organic process. I have a rider that is specific for the technical aspects that are needed. Most cinemas are equipped for my shows but it has a lot to do with venues that are interested in bringing my kind of shows and films to their audience. As it can be seen with the time that I have taken to tour with the shows and films I am serious and diligent about it.
NI: What are some of the other things you’re working on right now?

CG: I will be showing the preview of my next film production which is a feature film with myself and my father.

The new film project with my father is currently untitled. This new film was shot at my property in the Czech Republic. There has been an enormous amount of work in Czech. When people hear I am coming to my chateau they always say “Have a great time!” as though I am going on vacation. But I actually have way more difficult work here than at my house in LA. In the last two years I have been at my property in Czech more than LA, but also on the road with my shows and films or acting in other people’s films, more than either of my homes.

I do have some Czech heritage but more specifically I needed to purchase property somewhere that I liked that I could have a good place to build sets. It fit the needs and when I purchased more than ten years ago the dollar was high against the Czech currency so it was a good value. Also property taxes are far lower in Czech than in the US so an industrial sized property is less expensive to maintain there than it would be in the US

I have completed principal photography my next feature at my property in Czech. The crew and cast stayed at my chateau in Czech.

The sets for this film production was in construction for over two years. At the same time the sets were being built I was in the process of continuing to develop the screenplay for myself and my father to act in together on these sets. My father, Bruce Glover, is also an actor who has appeared in such films as “Chinatown” and “Diamonds Are Forever” and he and I have not yet acted together on film.

My father, Bruce Glover, is an actor who has appeared in such films as “Chinatown” and “Diamonds Are Forever” and he and I had not acted together on film, or anywhere for that matter. It is relatively easy to direct my father. But it was more difficult when I let him get involved with some of the writing. There are things about working with one’s own father that are good and difficult at the same time. Ultimately the results of the film and personally will be good. This will be the first role I have written for myself to act that will be written primarily as an acting role, as opposed to a role that was written for the character I play to merely serve the structure. But even still on some level I am writing the screenplay to be something that I can afford to make. There are two other projects I am currently developing to shoot on sets at my property in the Czech Republic. These films will be relatively affordable by utilizing the basic set structures that can be slightly re-worked for variations and yet each film will feel separate from one another in look and style yet still cinematically pleasing so they will be worth to project in various cinemas.

The current production for myself and my father is not Part 3 of the “IT” trilogy. It is a completely different film. I have been showing a two minute preview of this film at my shows on my recent tours. This marks the first time I have acted with my father Bruce Glover who has been seen in such films as Diamonds are Forever, Chinatown and Ghost World.  This is my first film to have been shot with 35 mm negative.  My first two features were shot with standard 16mm film then blown up for a 35 mm negative from a digital intermediate.

I love the grain pattern of film and this is also why I enjoy 16mm as well as 35mm. So far my feature film projects have been shot on film.

This is my third feature film production. This will not be “IT IS MINE.” Nor will it have anything to do with the “IT” trilogy. It is not part 3 of the “IT” trilogy.

I should not go in to too much detail for part 3 of the “It” trilogy yet as “IT IS MINE.” will not be the film I shoot next. There are other projects outside of the trilogy that I will shoot next. The Czech Republic is where I own a chateau built in the 1600‘s. I have converted its former horse stables in to film shooting stages. Czech is another culture and another language and I need to build up to complex productions like “What is it?” and the existing sequel “It is fine! EVERYTHING IS FINE.” “IT IS MINE.” is an even more complex project than the previous two films put together, so it will be a while yet for that production. I will step outside of the trilogy for a number of films that deal with different thematic elements from the “IT” trilogy.

NI: Do you have a personal favorite role or performance you have done in movies?

CG: Some of the performances I like of myself are:

• Layne in River’s Edge
• Larry Huff in The Orkly Kid
• Dr. Abuse in Influence
• Danny in Teachers
• George McFly in Back to the Future
• Andy Warhol in The Doors
• The Thin Man Charlie’s Angels
• Willard in Willard
• Bartleby in Bartleby
• Grendel in Beowulf
• Cousin Dell in Wild at Heart
• Dueling Demi-God Auteur in What is it?

NI: What are some of your thoughts/frustrations in both the music and film industries?

CG: I do not consider myself enough a part of the music industry to properly comment on any frustrations with the music industry. What I mentioned above about the corporately funded and distributed film industry with my reaction in my film “What is it?” is an appropriate answer for this as questions well.

NI: What do you see as being the strongest area of opportunity within both the music and film industries?

CG: Creativity!

Intro

Today I’ll be reviewing two pairs of high-end, audiophile focused in ear headphones.  The custom fit Ultimate Ears UE 18 Pros and the universal fit UE 900s. I think they are both great depending on your budget and specific tastes in music. I hope that you enjoy reading this and find it helpful if you’re currently considering either one of these pairs of in ear headphones.

At NAMM & Company Background 

One of my favorite experiences at NAMM was the Ultimate Ears booth.  Prior to arriving, I had been contacted by a representative from their company offering to give me a free scanning of my ears for custom fitting in ear monitors.  They provided me with two pairs of headphones for review, the UE 900s and the UE 18 Pros.

I want to thank Ultimate Ears for providing me these headphones, especially since I made it clear that I could not guarantee a positive review. I was firm in my statement that I will be reviewing each product honestly.

The ear scanning process was actually really interesting.  You get to see exactly what the scanner sees in real time and you get to see a 3D image of your inner ear.  I thought it was cool and it only took about 10 minutes.  Here’s what the inside of my ear looks like… in case you’re into that sort of thing.

[Quick tip: If you are ever planning on getting custom fitted for in ear monitors, I suggest getting some ear cleaning solution and using it at home prior to the fitting, just in case you have any wax buildup because removing it is necessary to get a proper scan.]

Before the scan took place, I was briefed on the company history and some of the products that Ultimate Ears offers for IEMs (we didn’t discuss their Bluetooth speakers at all).  The founder is named Jerry Harvey who has been an engineer for Van Halen, Kiss, Morrissey, the Cult, the Knack, David Lee Roth, Mötley Crüe, k.d. lang, and Linkin Park.  He invented the Ultimate Ears in ear monitors in 1995, while working for Van Halen. The drummer, Alex Van Halen said he was hearing too much volume from the stage monitors and it was making it more difficult for him to play. Jerry then created his first pair of IEMs which isolated noise, as well as improved the clarity he could hear from his drumming.

I also learned that Ultimate Ears had partnered with Capitol Studios to create a reference model of IEMs, and they were eager for me to try them out.  I was really impressed by the presentation and packaging of the product, but it wasn’t the ideal model for me because I personally enjoy the EQ of non-reference based headphones. Then again, I don’t mix audio.

The Demonstration

After the scan, I actually got to demo the various models Ultimate Ears offers through an extremely clever way they were presenting them.  They had iPads running custom software next to iPod touches that had music for the comparison.  You could also unplug the iPod and use your own device, which I did since I had my phone with my USB OTG adapter and could compare the models using high-resolution audio and even some DSD files and run it through my AudioQuest Dragonfly DAC/headphone amp.

The presentation had me wearing demo IEMs that let me select from the different UE models and actually hear what they would each sound like. Once selected, the change was instantaneous and I spent about 20 minutes comparing different genres of music using different pairs of IEMs, all just by tapping the model on a screen.  It was really cool and I thought it was innovative and effective for figuring out which model I liked most.

I most enjoyed the listening experience of the UE 18 Pro model.

Comparing the Two Models

I enjoyed both of the models but there were definite strengths and weaknesses in each.

I felt the UE 900s are a great pair of IEMs for those who listen to electronic music.  They had a fairly balanced tone that was not overly exaggerated.  I did notice it was stronger in the mid- and mid-to-low range than it was in the highs. The mid highs were not quite as clear as I would have preferred, but still definitely acceptable. They also performed well with rock music and rap.

The UE900s are the only offering from Ultimate Ears that are universal fit and not custom molded.  Ultimate Ears previously had more models that were universal fit and lower-end, but the company decided to discontinue those in order to focus more on the high-end market.

The packaging and presentation is really well done, and you are given more tips for ideal sizing than you will probably ever need, but it’s a nice touch.  Despite the options for tips, its really hard to find a comparable fit to the customs.  Thats not a knock on the 900s, I don’t think any universal pair could match that level of comfort.

The case that was included was nice too, I like that it’s not as bulky as my other IEM cases tend to be. However, I feel that the way the headphones have to slip into the case combined with how it opens and closes is a bit more annoying than it would have been had it opened like their older cases.  I found the cable would often get in the way of the case completely closing.

It’s understandable that the UE18 Pros outshine the 900s in terms of sound quality.  They have 6 armatures per ear, compared to the four per ear in the 900s.  They were also much more balanced.  The 900s have a dual low-end armature that does slightly overpower the lows so they cover the highs, which is why they may have seemed a bit weaker in that range.  This also is why I’ll be recommending the 18 Pros more for fans of rock music.  I also liked the case a lot for the 18 Pros.

It was a nice touch that my name was on the case of the 18 Pros.

The 18 Pros have truly been a joy to listen too, regardless of the genre of music I was hearing through them.  There is however more work involved with maintaining them because of the custom fit nature of the pair. They need to be cleaned nearly every time you use them, even if you are very hygienic and Q-tip regularly.

They do come with a handy tool for keeping them clean at least.

Value

It’s genuinely hard to recommend either pair based purely on their cost/value comparison unless you are price insensitive for the 18 Pro model or you really prefer the fitting options and out-of-the-box usability of the 900s and want a behind the ear looping IEM.  I prefer the sound quality of my Grado GR8s which only need a single moving armature to produce a more natural and balanced sound, while coming in at $100 less than the UE 900s. You can read my review of the Grado GR8 in ear headphones here (as well as learn why buying fashion focused/’trendy’ headphones is never a good investment).

Both models come with durable, braided cables but you get an extra replacement cable with the 900s. The replacement cable does not have a microphone or volume buttons although the stock cable does.

Interestingly enough, the packaging and presentation of the 900s surpassed that of the 18 pros.  I believe its because they are intended to be on store shelves instead of being available through order only.

For the 18 Pros, I love the way these sound!  But at a retail price of $1,350, they just are really expensive.  If you’re price insensitive and don’t mind paying the premium, then I do recommend these.  It would be great if there were ways to try them out in the same way I got to at NAMM for those who didn’t attend that event, but if you’re an audiophile, I’m sure you’ll be satisfied with how they sound.

The headphones also have my initials on the inside where they indicate which is right and left.  They used red for right which I like since its familiar to speaker setups via RCA cables.

Likes/Dislikes

The fidelity on the 18 pros is breathtaking.  I was listening to “Heart Of The Sunrise” by Yes as it’s a standard for my testing and I was beyond impressed by the clarity of the vocals using this pair of IEM’s. It seemed that the six drivers inside were able to provide an astounding level of depth I was able to hear in Jon Anderson’s voice whereas I normally hear mostly the higher range of his vocals and I don’t get to experience the airiness and full cadence of his voice.  The bass line in that song was punchy and satisfying and the harmonics from the synths, pianos and keyboards were all perfectly nuanced while remaining clear and not hidden in this otherwise busy song.

There is really nothing I can think of that I did not like when it comes to sound quality on the UE 18 pros. As I mentioned previously, there is a good deal of maintenance and cleaning but that’s due to the custom molded nature of the headphones and I don’t blame the brand for that in any way, especially since they include a cleaning tool.

For the UE 900s, I enjoyed them but the quality was noticeably less than the 18 Pros.  This is completely understandable given the $1,000 difference in price, so I’m not considering it a negative.

I particularly enjoyed listening to synth heavy electronic music with this pair. The song that immediately stood out to me as a great song to highlight the quality of this pair was “Lions on the Astroturf” by ZibraZibra.

The 900’s also were very enjoyable for rap music.  I particularly enjoyed the melodic and not overly bass-y sounds of Jay Z’s “Blueprint 3” and this pair of headphones allowed me to enjoy all of the complexities within each beat.  I also listened to the song “Last of a Dyin’ Breed” by Ludacris featuring Lil Wayne because it’s the kind of rap song with very heavy bass and that sounded good too.

When it comes to rock, this is where I start having a harder time recommending this model.  The rock just didn’t feel as lively or natural as it does when I’m listening through my Grado GR8s.  However, if you listen to more EDM or hip hop, I definitely recommend this pair of headphones.  If you’re upgrading into the world of Hi-Fi from a fashion brand like Beats or Skullcandy you will be immediately impressed and I think very happy with your purchase.

The braided cable seems to always undo itself when wound up, unless I tuck the 3.5mm jack into the cable which seems a bit less annoying at times. Its far from being a deal breaker but I felt it was worth mentioning.

Do I Recommend Them?

In short, yes I do. Both pairs are really suited for a different kind of listener and their price points make that apparent.

The UE 18 Pros are some of the best in-ear headphones that money can buy. They’ll satisfy even a discerning audiophile with their quality, you can customize them to look pretty much however you want and they are not uncomfortable since they are molded to your ears.

The 900s, while I still recommend them, I think they have a very specific ideal demographic. That being someone who is making their first or second upgrade into higher end and higher fidelity headphones who is not fooled by the fashion brands that claim there quality is higher than it truly is. Someone who doesn’t want to get custom fit IEMs and someone who likes rap/hip hop and EDM more than they like rock music will enjoy this pair.

It ultimately comes down to what prices you are comfortable with in your search for a good pair of in ear headphones.

Professional Use For Musicians

It’s worth noting that you can get custom fit IEMs for $399, the Ultimate Ears UE 5 Pros.

If you’re a stage performer and need an in ear monitor, they offer additional noise isolating features and can be a great way to hear the whole mix.

Specs

UE 900s

• Earphone type: In-ear
• Internal Speaker Configuration: 4 proprietary precision balanced armatures
• Sensitivity: 101.2 dB (50 mV, 1kHz)
• Frequency response: 20 Hz – 20 kHz
• Impedance: 30 ohms, 1 kHz
• Ambient Isolation 26 dB
• Input Connector: 1/8″ (3.5 mm) gold plated
• Cable Lengths: 1219.2 mm (4 ft)
• Sensitivity (mic): -58 dBV/Pa
• Frequency Response (mic): 100 Hz – 10 kHz
• Weight (cable and earbuds w/ eartips): 17.7 grams

UE 18 Pro

• Earphone type: Custom Molded In-ear
• Internal Speaker Configuration: 6 balanced armatures and 4 passive crossovers.
• Sensitivity: 115 dB @ 1 kHz, 1mW
• Frequency response: 5 Hz – 22 kHz
• Impedance: 21 Ohms@ 1 kHz
• Ambient Isolation: -26 decibels of ambient stage noise.
• Input Connector: 1/8″ (3.5 mm) gold plated
• Cable Lengths: 48” – 64” depending on your choice

ClassicsOnline HD*LL, a premier high-resolution classical music streaming and download service, has just rolled out its all-new 2.0 version.  This update includes an improved audio player, easier-to-use navigation, and faster downloads.

The first artist I sampled on ClassicsOnline HD*LL was Philip Glass, and I was immediately impressed.  The audio fidelity is phenomenal.  I A/B compared it with the same tracks on both Spotify and YouTube, and I can confidently say that I won’t be using either of those services to listen to classical music anymore.

ClassicsOnline HD*LL offers streaming and downloading up to 192kb/24bit.  CD quality downloads available in ALAC, FLAC, and WAV formats start at just $5.99. Writing about the first version of ClassicsOnline HD*LL in Stereophile Magazine, Jason Victor Serious stated: “High-resolution classical music streaming is here, and it sounds wonderful.”

Many of the world’s favorite classical labels are available on ClassicsOnline HD*LL including Naxos itself, BIS, Brilliant Classics, Chandos, Harmonia Mundi, Ondine, Sony Classical, and many other great labels.  Over 70,000 albums are currently available with more added every week.

ClassicsOnline HD*LL is owned and operated by Naxos, a DMN partner and a world leader in classical music.  This company is no stranger to technological innovation, so it’s not surprising that Naxos is at the forefront of delivering high-resolution classical music to the most demanding audience when it comes to quality.

“Naxos has never been afraid of making classical music available online, starting with www.naxos.com in 1996 and naxosmusiclibrary.com in 2002, long before subscription streaming services became fashionable,” Naxos founder Klaus Heymann told us.

Naxos expects this combination of better sound and value will prove irresistible to classical music consumers, whether they are die-hard fans or people discovering classical music for the very first time.

To celebrate the launch of version 2.0, ClassicsOnline HD*LL is offering 50 percent off its annual subscription rate.  As an added bonus, this special deal includes one free high-resolution download per month from a short list of releases that the editors feel showcase how great high-resolution audio is when experienced.

Do you actually care about how good the music you are listening to sounds? Do you like to have the price of stuff you buy at least somewhat of make sense to what the quality of the product is?

If you do care and you are still using Bluetooth audio, then you’re an idiot.

I do not understand why anyone would pay a premium for reduced quality and the minimal convenience of not having a headphone cable, yet many companies seem to be offering them. They are becoming ubiquitous in the same way 3D was among television manufacturers in 2012.

Despite this, I don’t see many people actually wearing them around, even in a pedestrian packed city where headphones are on nearly half the people I see walking around.

Image by TheeErin, licensed under Creative Commons Attribution 2.0 (CC by 2.0).

I think I know why: the cost increase combined with the quality trade-off is not appealing to most people.  And when it comes to the Bluetooth-enabled Backbeat Senses, a recent entrant by Plantronics, there are just too many issues.

For example…

Sound Quality.

rating: 4 out of 11

(Image by Brendan Henry, licensed under Creative Commons Attribution-NoDerivs 2.0 Generic (CC BY-ND 2.0)

The sound quality on the Backbeat Sense’s is acceptable, when the headphones were wired.  Not great, certainly not terrible. But they’re definitely overpriced at $180!

Maybe it’s just me.  As someone who gives half-a-shit about the fidelity of sound (I get it, most people just ‘skim through’ music), the audio quality from streaming via Bluetooth causes a huge reduction in my enjoyment from listening to music.

I’m impressed by how well the Senses isolate outside noise, with cushiony earpads doing most of the heavy lifting.  The sound quality is also decent for making calls, and I was impressed with the embedded microphone.  The person on the other end of the line had no idea that I was using anything different than what I normally use (a built in mic on my Sony Xperiz Z3 or my Plantronics Voyager earpiece).

That said, the quality of the audio is greatly reduced compared to wired use.  Not only is the sound compressed and tinny, but there were interruptions in the form of gaps of silence.

Wired use produced decent sound.  The Senses are slightly weak in the midrange frequencies and strongest in the highs. The bass level was adequate.  Personally, I don’t like exaggerated bass from headphones, so the blended outcome was satisfactory.

Now, if you switch from 3.5mm stereo cable to the Bluetooth option with the Plantronics Backbeat Senses, you can expect the following:

1. Noise and interference

2. Flat and tinny sounding drums

3. Bass that lacks smoothness and only has punch-y-ness to it

4. Guitars that sound way too treble-y and dull, sort of like a washboard

5. Vocals that get lost in the mix and do not sound organic, at all

6. Interruptions and gaps in your audio

7. The headphones will go silent and need to re-connect

Connectivity/Bluetooth.

rating: 2 out of 11

Image by Muhammad Taslim Razin, licensed under Creative Commons Attribution-NoDerivs 2.0 Generic (CC BY-ND 2.0)

I had a number of issues with the Bluetooth maintaining a connection on the Senses, even on a full charge.  This was more of a tedious issue than a deal-breaker for me.

Perhaps more annoyingly, there were times when I felt the motion sensitivity getting in the way of the experience.  For example, the headphones have a feature that pauses and plays the music when the headphones go from a resting position (around the neck or laying on a table) to actively being used.  There would be times that I had to take the headphones on and off, then wait for the little chime, to indicate that they were active again.

The Backbeat Senses are made to connect to two devices at a single time, but I found that this capability mainly interfered with audio quality.  The experience shifted to degraded audio quality anytime there were more than one devices actively connected, and people on the other end of the line suffered as a result.

Value.

rating: 3 out of 11

Image by Steven Depolo, licensed under Creative Commons Attribution-NoDerivs 2.0 Generic (CC BY-ND 2.0)

I’m in the minority for even caring about audio fidelity.  But with the Backbeat Senses, there’s a significant reduction in quality that even an untrained ear can detect.  Not only that, there’s generally cost increase for Bluetooth-based audio products, whether it be Bose, Beats, JBL, Marshall, Bower and Wilkins, whatever.

Despite this onslaught of involvement, Bluetooth seems to be the ultimately equalizer of mediocrity.  With Bluetooth-based listening, the quality of the brand ultimately has little effect on the quality of the sound.  There’s only so much EQing that can be done to a compressed signal, and that ultimately affects the ‘high end’ imprimatur.  In other words: “you can wrap a turd in gold, but it’s still a turd.”

 Looks/Build Quality.

rating: 7 out of 11

This person sure looks they’re enjoying the headphones. But that’s kinda their job… What’s she looking at anyway while holding her phone like that?

The style of them is fairly plain, which I like.  If you read my last headphone review, you already know I’m not a fan of headphones that are overly plastic, and more focused on cosmetics than decent fidelity.

Functionality.

rating: 4 out of 11

At least this guy thinks they’re functional

The headphones have a really interesting feature: push a small button on the bottom of the left earpad, and it activates a microphone to amplify the noises of the world around you.  Interesting, but perhaps this is a classic ‘technology in search of a problem’.

This feature is designed to allow the listener to keep the headphones on while still interacting with outside noise.  Let’s say I’m wearing headphones and I notice someone trying to speak to me.  But in this scenario, it’s easy to shift one of the earcups off the ear.  In fact, that takes the exact same amount of effort as pushing the button, which is why I question the point of it.

Additionally, few know that this technology exists, especially on this particular set of headphones.  So, for me to push a button that suddenly lets me hear someone without removing my headphones, sort of makes me look like an asshole. Presumably, you would think I was ignoring you or just trying to read your lips.

Battery Life.

rating: 1 out of 11.

Image by lungstruck, licensed under Creative Commons Attribution-NoDerivs 2.0 Generic (CC BY-ND 2.0)

The battery on the Backbeat Senses is horrific!

I use the app PLT Hub on my phone to give me an approximation of how many hours of use I will get before needing to recharge.  The results aren’t spectacular:  PLT will say 12 hours after fully charging, despite Plantronics advertising 18 hours of music streaming on a full charge.  If I actually got 12 hours, I wouldn’t be complaining, but that is not the case.  After about 45 minutes of music streaming, a 10 minute phone call and another 20 minutes of music streaming, my battery went from having 12 hours remaining to only 8 hours remaining.  I’m not a mathematician, but something here isn’t adding up.

Here are the specs, in case you care:

• Connectivity: Bluetooth 4.0 +EDR, AVRCP, A2DP, HFP 1.6 Wideband, HSP 1.2
• Multi Point: Connects to two devices
• Wireless Range: Up to 330 feet from device
• Battery: Lithium Ion (Claimed to provide at least 18 hours of streaming, only could do closer to 12 hours)
• Charge Time: 2.5 hours
• Noise-Cancellation: Passive, DSP, dual microphones
• Voice Alerts: Available in 14 languages (US and UK English, Cantonese, Danish, EU-French, German, Italian, Japanese, Korean, Mandarin, Norwegian, Russian, EU-Spanish and Swedish) depending on which region you purchase them in.

TLDR/Overall Thoughts

rating: 3.5 out of 11

So, would I recommend the Plantronics Backbeat Sense headphones?  I don’t know, they’re not bad, but they’re not worth over 100 bucks either.  If you find a pair in the $30-50 range, I’d say “why not” with about as much enthusiasm as I’d recommend drinking some water if you’re feeling a bit thirsty.

I’m not saying that Bluetooth products should never be purchased.  They make for great phone headsets for calls, a safer option for driving while using the phone.  It’s also handy have one of those little Bluetooth speakers for music, as long as you don’t spend more than $15 bucks on it.

But what do we really gain from using Bluetooth audio, aside from slight convenience?  Is that slight convenience enough for you to cough up a premium price for mediocre quality products?  I can say that I would never have paid $180 for these and I probably wouldn’t even be reviewing them if Plantronics didn’t provide them for the purpose of this review.

Here are the specs, in case you care:

• Connectivity: Bluetooth 4.0 +EDR, AVRCP, A2DP, HFP 1.6 Wideband, HSP 1.2
• Multi Point: Connects to two devices.
• Wireless Range: Up to 330 feet from device.
• Battery: Lithium Ion (Claimed to provide at least 18 hours of streaming, only could do closer to 12 hours)
• Charge Time: 2.5 hours
• Noise-Cancellation: Passive, DSP, dual microphones
• Voice Alerts: Available in 14 languages (US and UK English, Cantonese, Danish, EU-French, German, Italian, Japanese, Korean, Mandarin, Norwegian, Russian, EU-Spanish and Swedish) depending on which region you purchase them.

Worth A Thousand Words….

If you want to buy headphones based on who is promoting them, or because you’ve seen product placement for them in almost every recent music video… then it’s too late for you.

You’re going to over-spend on plastic-y garbage that defines ‘fashion over function’.  You’ll blow your hard earned cash on Beats by Dre… and that’s okay.

Don’t Think, Just Buy!

But the headphones I’m about to review are too good for you.

I know that there are droves of people who buy brands like Beats and Bose, because their high price and marketing cause them to be perceived as a ‘nice’ brand. They do the most effective advertising, and consumers typically confuse high price with high quality.

The question is whether you’re willing to fall into the same trap.

Instead of buying for fashion, try something better, like a pair of Grado headphones.  The ones I’ll be reviewing today are the Grado GR8e in-ear headphones, which retail for $300.

Grado GR8e

Let’s quickly compare. The Beats By Dre Pro cost a whopping $400!  As you can see from their webpage, Beats claims that these are ‘the headphones used to mix in every major studio’. This is an absolute lie.  I know people at several major studios and they would not use fashion headphones for mixing.  One person who works in a major studio even told me that he bought a pair of these headphones and promptly returned them because the bass was so overpowered.  It was causing pressure on his eardrums, even at low volumes.

In contrast to that, you can get an ‘on-ear’ pair of Grado headphones for as little as $80 (SR-60 pictured below) and I’m willing to bet that these will surpass the quality of even the $400-600 offering from Beats by Dre (and the $300-400 ‘top of the line’ offerings from Bose).

Grado SR-60

I’ll buy you a beer if I’m wrong.

For a second opinion, I spoke with a real music professional, i.e., some who makes music for a living and has a certified ear for quality.  The earphones he owns and uses daily for listening are the Bose Q20i in-ear headphones with noise cancellation (retail price: $299.99).  We both did a quick A/B comparison using the same content on the same audio player for a fair comparison.

Bose Q20i

Even inside the industry, there’s only partial knowledge about headphone quality.  Once my outside authority was wearing the Grados and the music was playing, he was very clearly impressed.  He told me that the quality he got from the Grados was substantial enough for him to be able to work on the music he is making outside of his studio.  He had never experienced the same feeling with any other in-ear headphones.

This simple case study is the reason that Grado should be advertising. At least getting their product distributed through electronics retailers (right now, Grado distributes through direct sales and hi-fi specialty stores).

Grados are at exactly the same price point as the Bose headphones, while offering so much more fidelity and warmth than Bose can provide.

As part of this review, I’ve been spending the past couple of months bathing my ears with the smooth, rich and creamy sounds of the GR8e headphones. I am loving every minute of it!  The content I have been listening to vinyl archives stored in 24bit-192Khz lossless files, high resolution music from HDTracks, some 320kbps MP3s and some .flac rips of CDs I own. Mostly I was playing them through an AudioQuest Dragonfly (v1.2) DAC/headphone amp.  My software setup is Audirvana+ on OS X and USB Audio Player Pro on Android.

The earphones come with three sizes of silicone tips, intended to fit most ears.  I had a significant amount of noise caused by the cable brushing against me while walking and found the solution was to loop the cable around my ear and basically insert the earphones upside down.  Acknowledging that this was not ideal and caused me to look a damn fool, I found a new solution.  I ordered a pair of foam tips that not only stay in place more securely, but also isolate the music better and block out more external noise.

Foam Eartips

I do have one complaint or shortcoming that I felt could be improved on the Grados.  The rubber cable felt cheap and I think would be improved by having a fabric covered cable.  Aside from this (extremely minor) issue, I genuinely enjoy every minute with these headphones.

Grado GR8e

Grado president John Chen recommended that I give them ample time to break in, although 100 hours may have been a bit more than required.  But the sound definitely opened up as time went on.  Maybe that’s part of the beauty of having a moving armature design instead of having three or more armatures jammed into a tiny package.

Comparing these to other IEMs I have tested, Grado easily outshines anything I have heard.  Even while attending the Newport Beach Home Audio Show and testing out IEMs with price tags well over $1,000. Still I found nothing that could compare with the realistic sounds that were pumping through my Grado pair.  They have great separation between instruments with powerful, booming and realistic bass tones.  I could deeply appreciate the higher quality of HD Tracks’ re-release of the self titled Red Hot Chili Peppers, and appreciate the smoother strings with more powerful choruses in orchestral music like Philip Glass’s Koyaanisqatsi soundtrack.

I challenge any other headphone makers to create the same level of quality; I’ll happily review the attempts.

Here are some tech specs, for the serious listener:

• Driver: Moving Armature
• Connector: 3.5mm stereo mini-plug
• Frequency Response: 20 -20,000 Hz
• Sensitivity: 118dB/1mW
• Impedance: 120 ohms
• Max Input Power: 20mW
• Cable: 51″/130cm
• Weight: 9 grams

Al Walser is a man who knows how to get ahead in the music industry. Despite being unknown on American mainstream radio,  Walser, an independent artist from Liechtenstein, clawed to mainstream fame as a nominee in the 2013 Grammy Awards.

So how’d he do it?  Listen and watch as we discuss his motivations, his musical influences and how he has gotten to where he is now in his musical career.

And, check out Al Walser’s new album, Al Walser Comes Alive, released at the Viper Room in Hollywood, CA.  You can watch the show by clicking the album cover below.

 

We all know how to spot them: the colossal egos, the public outbursts, the outfits no mother would approve of.  These are the defining characteristics of the artists we love to hate.  All that’s required to join this exclusive club is a healthy sense of self-worth and a willingness to make terrible choices that millions of people will scrutinize.

Here is a list of today’s top ten members:

10. Nickelback

Nickelback “Photograph”

This band of Canadian bros took everything we loved about Nirvana, jacked it up on monster truck wheels and packaged it to look great on Walmart clearance shelves. The fact that they’ve sold 50 million records around the world coupled with near universal derision from music lovers shows that we really do love to hate Nickelback.

9. Skrillex

Skrillex “Bangarang”

Dubstep icon Skrillex is known more for his genre-defining haircut than for any of the tabloid faux-pas that define so many others on this list. When your music sounds like monster farts, however, you don’t really have to do much to get people scratching their heads. Before re-emerging from a warehouse party as Skrillex circa 2010, Sonny Moore fronted screamo band From First to Last in the 2000s, only reinforcing that this man has an uncanny talent for spearheading lame musical fads.

8. Axl Rose

Guns n Roses “Sweet Child O’ Mine”

This hair metal prima Donna almost doesn’t deserve to be mentioned because he’s put out such little new material in recent years. The decade long wait for ‘Chinese Democracy’ along with tales of concert no-shows suggest that the Guns n’ Roses frontman may just run on a different timeline than the rest of us. Or maybe he’s spending all that time primping his cornrows. Either way, you should know something’s gone awry when all your original band members have left and your replacement guitar player is wearing a KFC bucket for a hat.

7. Scott Stapp/Kid Rock

Creed “Higher”

This dynamic duo gets paired together for a notorious stint on tour (4) involving some groupies and a couple of our favorite turn-of-the-century rockers. One might expect such debauchery from the king of trailer park rock, but Creed frontman Stapp may have lost a few true believers when he welcomed this ménage-a-trois with arms wide open.

6. Lana Del Rey

Lana Del Rey “Born to Die”

Queen of Americana mope cabaret Lana Del Rey received an immediate backlash after a subdued (and out of tune) performance on Saturday Night Live in 2012. It seems Lana may be better suited for dramatically taking long, slow drags off a cigarette than for singing on stage. It’s alright though – soon enough James Dean will show up on a motorcycle and they’ll ride off into a sultry, never-ending sunset.

5. Justin Bieber

Justin Bieber “As Long As You Love Me”

Ever since Justin Bieber morphed from child YouTube sensation into a full-fledged teen pop star, the world at large has been subject to an increasing stream of questionable choices from the Billboard chart topper. One particular quote stating that Holocaust victim Anne Frank “would have been a belieber” left many wondering if the Biebs had taken a detour off the deep end. After an arrest in 2014 for drunk driving and assault, it appears that Bieber has become not just a menace to our eardrums, but to society as a whole.

4. R. Kelly

Kelly “I Believe I Can Fly”

This smooth voiced hit maker is living proof that fame gives you a get-out-of-jail-free card. After an incident involving a video camera, a questionably legal fan, and R&B’s golden child himself, the public began to gather that no one was safe from the crooner’s Midas touch. Once the proverbial sour taste left our mouths, we were left wondering what other secrets R. Kelly might keep trapped in the closet.

3. Miley Cyrus

Miley Cyrus “Wrecking Ball”

Does every pop star groomed by the Disney Channel have to have a good-girl-gone-bad phase? If so, none come close to the candy-colored, bong-ripping outrageousness of Miley’s latest foray into pop music. Pals including Robin “I know you want it” Thicke and mustache-creeper extraordinaire Terry Richardson must have father Billy Ray nursing an achy breaky heart.

2. Kanye West

Kanye West “Good Lyfe”

When it comes to artists we love to hate, “College Dropout” superstar Kanye West may as well be the head of the alumni association. Between his takeover of Taylor Swift’s VMA award speech, his self-proclamation that “I Am a God,” and the bizarre green-screen love session that is the video for ‘”Bound 2”, Kanye has no trouble proving that his ego is big enough for all 10 positions on this list. The only reason we gave him the number 2 slot is because he’s almost trying too hard to earn our seal of disapproval.

1. Bono

Bono “Where the Streets Have no Name”

It’s one thing to express a never-ending spiritual quest in songs such as “Where the Streets Have No Name” and “I Still Haven’t Found What I’m Looking For,” but when you try to be a superhero for the entire continent of Africa it starts to look a little like a savior complex. Either way, when you make your new album mandatory listening for every iPod owner on the planet, you may just be admitting that people are having a hard time caring about your band anymore.

Provided by Decluttr