Arylic S10 Network Streamer (Durwood)

Arylic A30+ Network Amplifier & RK30 Satellite Speakers (Alberto Pittaluga)

Logitech Media Server / LMS Infrastructure Update (Alberto Pittaluga)

Proscreencast SC01 (Jürgen Kraus)

TempoTec Serenade X (Jürgen Kraus)

Wiim Mini AirPlay 2 (Loomis Johnson)

The post Network Devices/Streaming appeared first on Music For The Masses.

Logitech Media Server is a piece of software, and it’s well described here: https://en.wikipedia.org/wiki/Logitech_Media_Server

The highlights:

• It gets music files or streams from a plethora of diverse origins (files on local storage, files from private or public cloud storage, streams from other private streaming platforms eg another LMS or from public services eg Spotify, Tidal, Qobuz…), transcodes formats if need be, and streams/sends the songs towards compatible “renderers”, i.e. music players which in their turn feed the actual audio hw (DAC -> AMP -> Transducer)
• It’s available for Windows, Mac and of course Linux, including a few specialised Linux distributions
• It therefore runs on “usual” X386/64 hw, Apple hw, and – what matters most – on a huge array of low cost and especially low power consuming SBCs (Single Board Computers)
• Considering today’s available hw performance level, its system (CPU/RAM etc) requirements for an even fancy home setup are unbelievably low
• It’s free (GNU)

LMS does not “play music”, it just collects music, and manages its stock and access, and distributes them to the actual music players (the “renderes”).

As a “renderer” you can use either a preconfigured hardware device e.g. a Chromecast, a Squeezebox, etc which can be reached via various channels like wired ethernet, wifi ethernet, BT, AirpPlay and protocols like DLNA etc, or you can install a compatible receiver software on a general purpose system e.g. your pc, your Mac, your xbox, etc, or finally you can build a “hardware rendering device” from scracth, which is indeed my case and the good news is that it is way less complicated than it seems.

The physical system acting as LMS server may also have a Renderer inside, to “manage files, and play them out” from the same machine. Even in such case though that machine will keep being able to stream audio to other external Renderers.

While streaming audio to Renders, LMS can also manage keeping them “in sync”, resulting in simultaneous music playout in different rooms, for example.

So summarising:

• LMS is “the server”, the manager of the whole system. It cllects and indexes music files, makes them browsable, and sends (“streams”) them to companion devices called “Renderers”.
• The Renderers are the devices which get digital music data streams from LMS and push them into a locally connected DAC>AMP>Speaker/HP/IEM stack.

How I deployed it

No I won’t write a full book on the infinite ways to deploy an LMS infrastructure. I’ll just describe how my own infrastructure has been organised, for you to take inspiration

My LMS is running on an SBC-class computer.

In my specific case we’re talking about a BananaPi M2+ (recently upgraded from a NanoPi NEO2 , which is now dedicated to other tasks) but it could easily be “any” RaspberryPi, or dozens of similar alternatives.

My Banana-LMS server is wired-connected to my main home network switch.

Another SBC-class server is acting as a general file server for my home needs, that’s where my digital music files are deposited, and my Banana-LMS accesses them via NFS. In a simpler setup, I could plug a USB drive right onto Banana-LMS of course.

Once installed, the LMS server publishes an HTML interface. Which means that from any one of my PCs, or Laptops, or wifi devices (phones, tablets, daps…) I can access it as long as I can browse onto its address.

LMS creates an index of all music files on the storage, much like any “media manager” application does (including those inside DAPs).

Let’s now suspend the LMS description for a sec, and pass on to the Renderers.

Renderers

My first Renderer was is – guess what – a RaspberryPi Zero W.

As you read above, a Renderer is a device which takes the digital music data from the LMS server and sends them to the actual DAC. To do so, some sort of “music player” application is required. My choice on that is PiCorePlayer which I like as it offers two great features at the same time: it’s super-easy to install, and it sounds wonderfully well.

PiCorePlayer on Linux platform is distributed complete with a bare-bones Linux distribution, ready to work and do its job – and its job only – at the best of the hosting hardware ability. The maximally stripped-down, highly-optimised nature of PiCorePlayer’s underlying Linux distro is crucial to its performance as a low noise music player.

It’s good to note that PiCorePlayer also optionally carries LMS built in. That means that in an even simpler situation I could have avoided keeping a standalone Banana-LMS device acting as a server, and I could have elected one or my Renderers to the role of Renderer and Server for itself, and for all others.

Once at least one Renderer (the PiCorePlayer) is installed and running, I can go back onto LMS’s webpage – called from a phone, while sitting on the sofa – and I’ll see a Renderer available in my network. At that point I can browse and choose a song from LMS’s visual index, a Renderer to send it to, and click PLAY.

I have a total of 3 RPi-base Renderers active right now.

Allo

My first Renderer is the aforementioned RaspberryPi ZeroW, and it’s called Allo, at it hosts an Allo MiniBoss I2C DAC card.

Such mini-network-DAC box is subsequently connected to an Allo Volt+ amp box, giving juice to a pair of Roth Audio OLIRA1 bookshelvers. Depending on my seasonal feelings, the Allo renderer and its downstream line is either installed in a sitting corner in my livingroom, or takes some place on my desk and around it as a nearfield setup, for some non-overpretentious-quality audio output.

Groovy

My second PiCorePlayer-based Renderer is a Raspberry model 3B+, which is sitting on my desk, next to my PC.

To this Renderer one of my Groove units is normally plugged in, and it’s the resource I tap onto when I want to enjoy some specific drivers directly paired to the Groove. Hence the name “Groovy”

Indeed, Groovy is also what I typically use as a realiable, reasonably-clean USB host to audition other USB-input DACs or DAC/AMPs that I happen to receive from time to time.

Fun

The third PiCorePlayer Renderer is named “Fun”, and it’s based on a more recent RaspberryPi model 4B.

This is the support device for my “main desktop stack” for headphones at the moment, ending into my Burson Fun headphone amp – hence of course the name given to the PCP device.

Cutting the laptop out

Until some time ago I used to have a 4th Rendering point represented by my Windows Laptop itself. You do that by installing a windows app called SqueezeLite-X, which takes care of talking to the backend LMS server – much like a PiCorePlayer does. I used to, as I said, then more recently I quit using my laptop as a host for musical playing for good.

Long story short: the level of perturbance generated on a multipurpose, multimedia, gaming-level laptop like mine is significant. While a filter like the iFi Nano iUSB 3.0 undoubtedly helps reducing much of that, it’s nevertheless quite evident that cutting the problem at the source instead of fixing it later is a smarter option, when available! So I quit employing a noisy platform like a laptop in the first place, and now excluisively adopt less-noisy-to-begin-with ones for my musical pleasures.

More about LMS

So LMS allows me to browse my local digital music collection, and “play out” my preferred tracks on any of my connected Renderers.

I can reach that and browse through it via a normal web browser, or a nice number of supporting apps – either fully dedicated ones (e.g. OrangeSqueeze or others, available on Google Play) or multi purpose ones (e.g. UAPP, Neutron, HiBy Music, or any other app featuring DLNA-Controller capabilities)

If music tracks are decently tagged LMS also does some nice job in terms of music collection presentation. You can also have it acquire and cache album art, album and artist info, and even lyrics from various online resources.

If you access it via a browser you can choose the GUI “skin” you prefer, or customise your own if you are skilled enough. The UI is not remotely as phantasmagorical as on higher rank systems like Roon, but still quite pleasing nonetheless, with the non-secondary side-benefit of being… free!

And there’s more: a host of additional features can be activated / removed in forms of plugins.  Some examples:

Format conversion. LMS can convert to/from countless digital formats “on the fly”, i.e. while actually sending the file to the Renderer (and the DAC attached to it). So for example it can convert (e.g.) a DSF 128 track into a 24 bit / 176.4KHz PCM FLAC file while sending it to an endpoint which won’t natively be able to decode the DSF itself. Big caveat: this does require quite some muscle! My BananaPi-LMS does not have enough for that, for example. So for all DSD-level tracks I have, I took care of creating their relevant PCM (FLAC) version, and stored it as an alternative version of the same album on my NAS, and let LMS access them too.

Tidal, Spotify, Qobuz integration. Adding account credentials to LMS, it will connect to those services and make them available for browsing from within its GUI, and for reforwarding to the Renderers – just like it happens for any local-resident digital track.

UPnP / DLNA integration. I partially already covered this above. Any DLNA-capable mobile device (phone, tablet, dap, etc) can home interact with LMS. If the device only has DLNA-client support, you can only use it as a sort of Renderer – i.e., you need another device to browse LMS and push music from LMS into the DLNA-client device. If the device has full DLNA-controller support, instead, then it will be able to browse LMS in full authonomy, and call tracks to play onto itself. This – of course – can happen from “inside home”, and from “outside home”, provided you made your LMS accessible from the outside of course, and that your outgoing internet bandwidth is at least decent.

Airplay integration, Webradio integration, etc etc etc

Summary and conclusions

So, summarising: Logitech Media Server can be the heart and the brain of an entire domestic audio infrastructure.

What it ultimately offered me is:

• A centralised visual database of all my local digital audio material
• Some nice integration with extra artist / track information
• Access from within home, and from outside (via VPN).
• An “easy” way to keep digital audio transport off from general purpose computer hardware and OS (higher audio quality)

All this at an extremely low cost profile: LMS and its various Rendering companion sw packages are free of licenses, they can run on ARM-based hardware which is both inexpensive to buy (compared to an X86/X64 class alternative) and to electrically power up.

LMS served me well as my main audio infrastructure until a few months ago, when I switched over to Roon. I’ll write another piece on that… soon(tm).

The post A Logitech Media Server / LMS Infrastructure (Update) appeared first on Music For The Masses.

The included fabric-covered cable, however, is very microphonic and lacks any memory function, which makes fit awkward. I do note that HifiGo also sent me a lavishly-packaged Kinera Leyding cable (review to follow), which was much more-user-friendly.

Quasi-custom shaped shells are large and fairly heavy but comfortable for extended use and, especially with the grippy Azla tips, seal and isolation are excellent. Aesthetics are okay for the price point (I personally think the translucent acrylic undersides look a bit downmarket), but build is solid.

Pairing with source is hyper-critical for the SeeAudio Bravery—through much trial and error I ascertained that sources with higher output impedance (such as my Aune T1 Mk2 tube amp) made the bass sound bloated and tubby, while sources with lower output impedance, such as my Hidisz S3 dongle, considerably tightened the low end and sped up transients, albeit at the expense of some warmth and note weight. (I do believe that the Bravery is particularly susceptible to damping factors, whereby low damping makes causes slow, indistinct bass and high damping  makes it leaner but cleaner).

All that said, the SeeAudio Bravery is easy to drive at 18Ohm/110dB and, surprisingly, I found my unamped, Quad-DAC equipped LG mobile to be as good a match as any. Likewise, I found the included foams to provide the best combination of low end boom and zoom.

As thus driven and tipped, the SeeAudio Bravery presents a mildly U-shaped signature with a bright tonality and a lush note texture. This is a forward-sounding IEM, with a narrowish but deep and well-rounded soundstage which places the performance towards the middle but avoids congestion on complex arrangements. Instrument separation and layering are good but there’s not a ton of air between the performers. 

NOTE: The upgraded Kinera Leyding cable audibly widens the stage and increases the sense of space between musicians.  Low end is impactful for an all-BA–subbass isn’t deep as good DD sets and, at least with the stock cable pitch resolution isn’t optimal  and the lowest notes can sound slightly monotonic on some material (although, again, the upgraded cable improves low-end resolution, especially on electric bass).  

The SeeAudio Bravery does avoid excessive bloom and has plenty of midbass presence and volume. Mids are slightly behind but very clear; male voices have a lot of body. There’s a considerable rise and added energy in the upper mids and lower highs, which can make female voices and synths sound a bit sharp or shouty at times.  

Treble is well extended and very full-sounding, without the metallic edge that sometimes affects the mids. They are not as hyper-revealing or analytic as something like the NF NM2+, but retain nice sparkle despite their weighty highend presentation.  Percussion is particularly vivid and crisp and low-level details like handclaps and cymbal reverberations are captured well.  Integration between frequencies is good but not perfect—again the mids stand out just a little.

Tonally, the SeeAudio Bravery by no means aspire to transparency or audiophile accuracy—there’s a definite coloration to their sound which injects a lot of sheen and aliveness to the proceedings; uptempo genres have a real toe-tapping quality even if, as noted, these can sound a bit metallic at times.  

Well regarded, comparably-priced players like the Logitech UE900S or the JVC FXD1 are better at the technicalities, with more accurate, less colored timbre, better coherence and a smoother, less spiky midrange, while the Aune Jasper is likewise more refined and coherent, with better-tuned bass. However, the SeeAudio Bravery trumps all the aforesaid in that hard-to-define quality of listener engagement—it simply sounds bigger, bawdier and more exciting.

I remain undecided if  the SeeAudio Bravery is a good value at $279—it probably comes down to whether you favor its more dynamic, spicier quality over the more tonally accurate quality of a Moondrop, Shozy, etc.

Consider, however, that unlike most of its peers, which require a DAP or amp to sound good, the SeeAudio Bravery works well with a humble phone (although you’d also be well-advised to upgrade the cable, so perhaps it’s a wash). Undoubtedly, the bold tuning, with its aggressive upper  mids, will prove polarizing and/or exhausting to some. BUT they  dorock hard. Which, at the end of the day, is tough to put a price on.

Disclaimer: Sent to me gratis by HifiGo for review purposes. From our experience, HifiGo is certainly aggressive about pushing out samples, but have  never solicited (tacitly or otherwise) favorable reviews nor (unlike most of their competitors) gotten pissy when we’ve panned one of their products. So kudos to them.

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You find an INDEX of our most relevant technical articles HERE.

The post SeeAudio Bravery IEM Review (1) – Young, Gifted And Whack appeared first on Music For The Masses.

They certainly are solidly built—heavy, with a supple, premium cable, although the design seems somewhat utilitarian for a $250 piece.  Despite their considerable weight the JVC HA-FDX1 are very comfortable for extended sessions. Isolation is excellent. The steeply angled nozzles, however, make fit challenging, and these tend to shift around in my ears, which impacts perceived bass.

The JVC HA-FDX1 have been described, as “balanced plus,” which I infer means that the whole spectrum is emphasized equally, though I hear them more as a gentle reverse-V, with the upper mids being pushed slightly forward.  (Note: these were tested with the stock black-sheathed filters). Tonality is slightly warm and note texture is rich and full-bodied and overall clarity is very good without being analytical. Soundstage is very wide and panoramic, albeit with limited depth, and stereo separation is notable. Imaging is also good, with precise instrument placement. 

This is a very coherent phone, without odds peaks.  Low end is well-articulated but restrained and lacking some depth and thump, although midbass is ample and big-sounding.  Mids, as stated are quite prominent and energetic, which accentuates voices. Treble is smooth but compared to good hybrids not especially well-extended or hyper-detailed. Transients are reproduced accurately, but some snap and sizzle is lacking on cymbals and piano keys. 

These seem to be engineered for accuracy and refinement, as opposed to energy—they have a more natural tonality than something like the peaky Ibasso IT03 or even JVC’s bass-monster FW01.  (The single-DD FDX1 actually has a similar presentation as the all-BA Logitech UE900S—slightly warm, smooth and coherent, without undue emphasis on the highs or lows, however the UE900S has more sizzle and microdetail).  That said, I could not seem to get my toes tapping to these—there’s an overall lack of drive despite the rich note texture. In contrast, something the Moondrop KPE or the BQEYZ Spring  may fall short on the technicals (tightness, coherence, evenness of FR), but are a more engaging listen. 

Disclaimer: Borrowed from Durwood, who opined that he was not overanxious to get ‘em back. Tuning filter used the “blue” filter (which was the “green” filter on Jürgen’s specimen). It is the filter with the middle dampening.

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You find an INDEX of all our earphone reviews HERE.

You find an INDEX of our most relevant technical articles HERE.

The post JVC HA-FDX1 Review (2) – Where The PRAT At? appeared first on Music For The Masses.

Dacs and Amps

A Bit is a Bit, isn’t it (Alberto Pittaluga)

Using headphones/earphones with newer Apple computer (Jürgen Kraus)

Reconstruction Filters for Dummies (Alberto Pittaluga)

The 1/8 Rule and the Apogee Groove by Jürgen Kraus

The #1 Dongle Dilemma – Power v.s Compatibility (Jürgen Kraus)

1001 Critical Facts about Dongle (Jürgen Kraus)

Earphone Technology and Modding

The Principles of Reversible Earphone Modding by Jürgen Kraus

Driving demanding Dongles with Phones and DAPs (Jürgen Kraus)

Nozzle Mesh Screens and What Happens if You Removed Them by Durwood

Calibrating and Using A DIY Rig for Measuring Frequency Responses by Jürgen Kraus & Biodegraded

Removing Memory Wire From Knowledge Zenith (KZ) Cable by Slater

Eartips

Tweaking Tips – A Simplified Guide To IEM Silicone Eartips by KopiOkaya (2020-03-24)

The Iconic AZLA SednaEarfit Silicon Tips – Is Their Price Justified? by Jürgen Kraus (2019-12-22)

Announcing The Premium Eartips Project by Jürgen Kraus (2019-10-01)

The Flip Tip: Creating Big Widebore Tips From Reversing Starlines by Slater (2019-09-16)

Sound and Tuning

Nevergiveup In The Belief And Oppoty To LetMusicBurn – The Evolution Of Blon BL-05s (by KopiOkaya (2020-09-23)

Believing in Beryllium – A Sound Belief by KopiOkaya (2020-09-01)

Believe In Driams: The Oppoty To Tune The BLON BL05 by KopiOkaya (2020-02-20)

Chi-Fi Tuning – Why It Sounds So Damn Piercing To Western Ears? by KopiOkya (2020-01-07).

Tuning The KBEAR Diamond – A Killer Earphone Ready To Go! by Jürgen Kraus (2019-11-29)

Lucy In The Sky With Diamonds – The Euphoric Effects Of Carbon-Based Drivers by KopiOkaya (2019-11-27)

Servers

A Logitech Media Server / LMS Infrastructure (update) (Alberto Pittaluga

General Tips And Advice

Quick Tips & Dirty Trips To Score on 11/11 by KopiOkaya (2019-10-23)

How To Clean Headphones Using Simple Household Items by guest author Asim Bashir (2020-08-08)

Behind The Scenes

Why So Cheap – The Story Of Chi-Fi (Part 1) by KopiOkaya (2019-10-07)

Why So Cheap – The Story Of Chi-Fi (Part 2) by KopiOkaya (2019-10-17)

Why So Cheap – The Story Of Chi-Fi (Part 3) by KopiOkaya (2019-10-29)

Philosphical

Our Gear of the Year 2021 compiled by Jürgen Kraus (2021-12-31)

Our Gear of the Year 2020 compiled by Jürgen Kraus (2020-12-31)

Our Year 2020 in Review by Jürgen Kraus (2020-12-30)

Tempus Fugit – On Short-Lived Hype In Chi-Fi by Jürgen Kraus (2020-03-22)

Corona Is No Beer For Chi-Fi Manufacturers by KopiOkaya (2020-02-24)

The First 10 Months Of Audioreviews.org by Jürgen Kraus (2019-12-31)

Our Earphones Of The Year 2019 compiled by Jürgen Kraus (2019-12-29)

(JK’s) IEM Test Tracks Explained by Jürgen Kraus (updated 2020-04-23)

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