SONY WH-1000XM5 Wireless Headphones Review

Key improvements over the WH-1000XM4 include a simpler folding design, a better carrying case, more comfortable earpads, and Bluetooth 5.2 instead of 5.0.

Specifications

Microphones Eight microphones and two processors

Noise cancellation Sony HD Noise Cancelling Processor QN1

Speaker size 30mm driver

Supported audio codecs SBC, AAC, LDAC

Sensors Capacitive touch on right headphone, accelerometers for on-ear detection

Battery life (music) 30 hours with ANC, 40 hours with ANC off

Wireless connectivity: Bluetooth 5.2 with multipoint connection support

Headset weight: 250 grams (8.82 ounces)

How Long Does the Sony WH-1000XM5 Battery Last?

The Sony WH-1000XM5 has a battery life of 30 hours with Bluetooth and noise-cancelling enabled. If you were to turn off noise-cancelling you’d be able to eke out an extra 10 hours (40 hours total). The overall increase over the XM4 is just two hours. For those in a rush, a ten-minute charge offers around five hours of battery life.

Sony WH-1000XM5 Design

I’ll get this out of the way early, I’m a sucker for the new design. The way the product looks is one of the biggest factors that buyers take into consideration when buying a pair of over-ear headphones and as much as I’d love to believe that function trumps all in the world of technology, there are only a handful of brands that succeed with an unashamedly ugly design. Sony has nailed the design brief for the WH-1000XM5 with language such as “noiseless” being thrown around to describe what is essentially just a sleeker and slimmer model.

Fact sheets talked about the design being better at avoiding costly wind noise, however, I never found that to be a problem on the previous model and didn’t see a major change here when comparing the two.

Storage

The topic of storage has been beaten like a dead horse by reviewers, but the ease of transport for travel situations has taken a hit with the new design. It’s clear that a large emphasis on style has been brought to the forefront with the WH-1000XM5 and while the previous generation XM4 could fold into what was essentially a bag half the size of the current generation, the XM5 can only fold flat.

It’s an issue that’s less of a problem for those who haven’t travelled post-pandemic as they simply won’t be able to tell the difference. Factor in a little more space for your next overnight trip and I’d be surprised if you found it an issue at all.

When I first got my hands on the Sony WH-1000XM5, I loved them for their looks alone. However, they had big shoes to fill in hopes of continuing the lineage of top noise-cancelling headphones on the market. I’ve been using the headphones for a year now and they remain my go-to wireless noise-cancelling headphones, and I use them every single day.

And while I’ve used cooler-looking headphones from the likes of Focal and Master and Dynamics, these Sony noise-cancelling headphones beat them on performance, weight, and simplicity of design. These are the headphones I recommend everyone buys unless you’re a diehard Apple user because I found that the AirPods Max better integrates with your iPhone.

Ultimately, I can comfortably say that Sony has continued its legacy as the king of noise-cancelling headphones with the WH-1000XM5.

Sony WH-1000XM5 at a Glance

Available in White, Black, and a new Midnight Blue colour via the links below. Unlike its nearest competition – the Bose 700 – there’s no silver colour option for the WH-1000XM5.

At the time of writing, there are very few deals available, however, Sony Australia often has free delivery and next-day shipping deals on orders over $200 so I recommend jumping on that one. Keep an eye out on websites such as Kogan, as I’ve seen prices as low as $465 AUD. If you’re a Qantas Frequent Flyer, you can pick up a pair for 112,870 points.

What’s the Competition Offer?

The Apple AirPods Max ($899 AUD) is currently the only pair of headphones I’m willing to pit against the Sony WH-1000XM5 because of their integration with the Apple iPhone. However, the Bose QuietComfort 45 is another great option but only manages 24 hours of battery life which is almost half that of the Sony. The Master and Dynamic MW75 have recently been released and offer very similar specs and a gorgeous design as usual. Of course, they cost a great deal more than the Sony WH-1000XM5 at a whopping $600 USD.

Touch and Feel

After a year of use, I’m pleased to say that the Sony WH-1000XM5 have stood up to daily use perfectly. There are no marks on the surface, they haven’t chipped, and the rubber on the top headband is completely intact.

Comparing the quality with the WH-1000XM4 and you can hardly tell the difference in weight (254g vs. 250g) but you can immediately tell the difference in materials. The WH-1000XM5 uses ABS plastics in its construction, and while I wouldn’t call them ‘cheaper’ feeling, the lack of a substantial hinged design and removal of the metal top band does accentuate the ‘plastic’ feel. This isn’t something I love on a circa.

Would I trade the materials used for the sleeker design? Yes, every day of the week. And if I had to take a minor stab at anything with the materials, they’re a little prone to fingerprints.

Comfort

Memory foam is abundant with both the faux-leather wrapped top band and earcups benefitting from the material. The headphones remained comfortable for extended use (I’ve tested them for 8-12 hours straight on numerous occasions) without any discomfort at all. There’s a fine balance between a top band that is strong enough to hold the headphones on your head versus one that gives your ears pain and the WH-1000XM5 strikes that balance perfectly as expected.

Adjustment is found in the ABS plastic slider that replaces the outgoing metal top band and it remains slippery yet reassuring. I had no issues with fitment on my above-average head size and the slider is still tight after a year of use.

Sony has taken the audio industry’s top crown for noise-cancelling technology in the last half-decade, and with the introduction of their V1 processor into the WF-1000XM4, and the subsequent inclusion in the WH-1000XM5 alongside the HD Noise Cancelling Processor QN1, they still hang onto the crown.

The previous generation had a strong focus on low-end frequency cancellation, however, the XM5 puts a much-needed focus on the high frequencies by utilising eight microphones strategically placed around the exterior. They’re still the best noise-cancelling headphones I’ve used to date.

Sound Quality

The sound quality in the WH-1000XM5 has been improved up and down the sound stage. Comparing them to other headphones on the market and these strike the neutral ground better than most – like before – however, find themselves far more comfortable at either extreme of the sound spectrum too. To test my theory I played a few tracks that would certainly find any issues.

Low End: This track has a great blend of female feature vocals in the upper range, countered by the low-slapping bass. Thankfully, the bass never becomes too overpowering for the vocals as they accurately cut through. Remove the bass line and the duet between Mai and Roddy Rich is perfectly balanced before reintroducing the bass line.

Mid Range: A classic hip-hop track (produced by The Alchemist) sits comfortably in the mid-range with the sample of Marlene’s ‘Inseparable’ holding Benny’s vocals accountable. The driving bassline hardly moves around, at least never into the lower frequency range, and the WH-1000XM5 keeps the vocals prominent while perfectly playing between the bassline, sample, and fleeting guitar. Balanced about as well as you could hope for in a pair of sub-$1000 Bluetooth headphones.

High Frequency: about as paired back as they come, not only does this track challenge the DSEE-HX Extreme machine’s ability to upscale lower quality audio – of which it does incredibly well here – but it challenges with jumps between high pitch vocals, a low bassline, and jabs of guitar, keys, and percussion instruments (triangle). I was so impressed by how the WH-1000XM5 performed on this track, full marks.

Call quality is far better than you’d be used to if you’re rocking any of the previous generation models, or anything outside of Apple’s Air Pods Max. Four beaming mics combine with AI-powered noise-reduction to reduce everything from wind noise to traffic to create a truly respectable calling experience.

Tascam Model 12 Analog Audio Mixer Board Review

The Tascam Model 12 is much more than just a mixer. Included is a combination of the traditional mixer, a USB interface (specifically 12 in/ 10 out), a DAW controller (with HUI/MCU protocol), as well as onboard FX and a multi-track recorder that supports 12 tracks (via SDHC, SD, or SDXC).

All this technology allows for a wide array of different features.

At its core the device is still an analogue mixer, but to access the range of other features, there’s an LCD screen with a detailed menu interface.

Via these menus you’ll find multi-track options, SD card options, metronome options, DAW preset options, as well as many different mixer settings like global solo mode and channel phase invert. 

Some of these features won’t jump out at you right away, so be sure to have a good look through the menu interface so you know you’re making the most of your device. 

This incredible board blew us away the moment we first tried it at rehearsal. Our initial needs were to find a mixer that allowed us to rehearse silently, without disturbing the neighborhood.

We are: 2-guitars, bass, drums (electric full-kit) and 4 vocals. We all go direct into the TASCAM. We got us a multi-channel headphone amp and we were quickly and silently rehearsing away with the full band volume in our ears that first day! As a weekend musician-warrior, I can tell you this board offers a quick, easy path to tracking and recording. The onboard reverb/delay feature is killer. The EQ on each channel is setup well to help dial in each band member's instrument and vocal. Including compression! The Bluetooth feature is really cool. We can connect any of our cellphones to the Model 12 and play music we have on our phones right into every headphone.

Tascam Model 12 is a compact all-in-one integrated mixing and recording suite designed for music and multimedia creators, songwriters and performers. It consists of a 10-input mixer, a 12-track version of the highly acclaimed Tascam multi-track audio recorder, USB audio interface, MIDI connectivity, DAW control functions, and unique podcasting capability including mix-minus and smartphone input.

Tascam Analog Board Model 12

Combining the feel of an analogue user interface with the efficient workflow and pristine quality associated with digital recording and production, the compact and affordable Model 12 supports your creative process from start to finish.

The Model 12 incorporates several features for podcasting and internet streaming like mix-minus, smartphone input, multiple mic-ready channels, Bluetooth pairing, dual headphone monitoring, and internal multi-track recording. Use the Model 12 as a versatile live production recorder, USB audio interface and live streaming tool.

Tascam 12 provides a flexible recording tool that allows you record up to 10 tracks simultaneously and then mix, master and export a final product. As the unit saves files to .WAV files it is easy to copy your raw files to other computer- based DAW platforms such as ProTools or Logic for editing. It is also easy to import loops, beats and other audio content for songwriting. The first 10 of the 12 available tracks are assignable to one of three modes––Live, PC or Multitrack Recording–– while tracks 11 And 12 are the Master outs.

Tascam Model 12 allows you to record onto SD and SDHC cards as well as SDXC cards up to 512 GB. Model 12 is a great tool for capturing band practices, performances, live recording and tracking sessions. You can use the Model 12 as a Playback engine or simply as a live mixer for mixing and capturing live performances. It also has a storage mode that makes it easy to transfer files to your computer desktop for file storage or importing into other software programs.

Tascam Analog Audio Mixer Model 12

Tascam can record at 44.1k / 48k Hz. The Model 12 features Tascam's Ultra HDDA Mic Preamps. The preamps have a maximum of +22DB of headroom. Its mixing surface features sweepable equalizer on all 12 channels. Each channel features Low Cut, Hi Shelving Mid Peaking and Low Shelving. The unit features a Master EQ section with High Shelving, Mid Peaking and Low Shelving controls. Each channel also has available Compression. The Aux sends can be used to route signal to the FX engine, or to the Aux 1 & 2 outputs on the Tascam Model 12. Next to the faders are buttons for routing signal to either Main or Sub outputs, or both simultaneously. There are Inserts on channels one and two.

Tascam board Model 12 features a built-in Metronome, two headphone outputs with individual volume controls. The TASCAM Model 12 has a dedicated TAP Tempo function allowing you to monitor and adjust the recording tempo in live and recording situations. It also has Bluetooth capability that provides for a variety of playback options. The TASCAM Model 12 connects to your computer via a USB Type C Connector. While the TASCAM Model 12 has the basic capability to control many basic recording functions (including fader, Pan, Solo, and Record), it does not have the more advanced MIDI Machine Control functionality required to control more advanced features on your DAW.

Tascam recently released a firmware update for the Model 12, which adds VAMP looping functions, auto-calculates tempo sets in and out points. This VAMP feature allows you to easily set a start and endpoint and loop playback selected audio content on the TASCAM Model 12.

Tascam Model 12 Recording Mixer: Rear

You can, for example, rehearse a selected track before you record the part. The Tascam Model 12 is compatible with the Tascam RF 1 Footswitch for controlling VAMP looping and punching in and out. Tascam has invested a significant amount of resources in the podcasting market. The Tascam Model 12 features mix-minus and smartphone inputs. The basic concept of a mix-minus is to input multiple sources of audio into an audio mixer (your microphone, phone messages, Skype, etc.) then send that audio back out to Skype, minus (without) the Skype caller's voice.

The Tascam Model 12 shines as a standalone recorder that brings a lot of the original Portastudio functionality dialed in for the 21st century. It is easy to use and is a fun, refreshing change from “all in the box” computer-based recording while retaining tight computer integration and the ability to control the basic functions of your DAW if you want it to. It’s a portable, flexible and cost-effective recording tool adaptable for a wide variety of home and professional recording environments.

Sony WH-1000XM4 Wireless Bluetooth Noise Cancelling Headphones Review

Sony WH-1000XM4

I have Sony WH-1000XM4 headphones for ~ 2.5 weeks now. Here is a list of my problems that I already had or still have with these headphones. For the price, I would advise anyone against buying the headphones. There are much cheaper alternatives that do what they should.

- The headphones cannot be charged during operation.

- LDAC cannot be used when two devices are connected in parallel.

- The voice feedback cannot be switched off completely. The headphones always provide information via a signal tone + voice feedback, e.g. when devices are connected or disconnected, the headphones are switched on and off.

- The beeps for any interaction with the headphones cannot be turned off. Every interaction results in unnecessary beeps.

- The headphones do not switch reliably when two devices are connected in parallel. Often (several times a day) you have to manually disconnect one device (A) in order to receive sound from the other device (B), although there is no sound output from device (A).

- Firmware updates are canceled or restarted without a warning in the event of certain interactions with the headphones or the app.

-There is an option to adjust the "Custom Button" in the app. However, you can only switch between "Amazon Alexa", "Google Assistant" and "Ambient Sound Control". So there is no way to control the microphone on the headphones in headset mode (on / off or mute / unmute).

- Sometimes the app gets stuck on "Connecting" even though the headphones are connected. In order to use the app, it must then be closed and opened again.

- There is a problem in use with Windows that often prevents the volume from being changed in headset mode. So if conversation partners are too loud or too quiet, nothing can be changed.

- The headphones have already crashed several times in headset mode when trying to change the volume using the touch gestures. The signal tone that sounds when the volume is changed then repeats itself several times per second until the headphones are switched off.

- It has also happened that the headphones did not respond to any touch input after being switched on. A restart was required.

- Occasionally, the headphones disconnect from the connected devices for no apparent reason.

- It has happened several times that the headphones simply switched off during operation (lying down, not standing). The firmware probably recognizes the headphones as "stored" in this.

- The headphones have already disconnected from the only connected device while the music is playing.

Further observations 1 month after purchase:

- It has already happened twice that the volume increased independently after briefly holding the gesture to increase the volume even though it was not touching the outside of the auricle. The process was resolved by restarting the headphones.

- Since the firmware update 2.07 it happened 2-4 times a day that the headphones automatically stop any playback and noise suppression, completely without any indication. The problem can apparently be resolved by any interaction with the device, e.g. by reconnecting another device or trying to adjust the volume via the touch surface. Update: this problem apparently had to do with the fact that the "Touch to Speak" option set itself and then activated it itself. After a few days of manually deactivating the option in the app, the problem no longer occurred.

- Unfortunately, it happens very often that the headphones crash during a call when you try to regulate the volume via the auricle.

- For a few days now, the headphones have been restarting on their own without warning ... even a reset to factory settings and new pairing with other devices did not solve the problem.

Update 6 months after purchase: The headphones can no longer be used with active noise cancellation. As soon as the noise suppression is activated, the left auricle rustles and makes different interfering noises at irregular intervals. Sometimes it cracks repeatedly, sometimes it whines uncomfortably loud, sometimes it just rustles louder. I had the problem a few months ago and was about to exchange the headphones but then postponed it and the next day the problem no longer occurred. After the problem reappeared, 24 hours have passed and the headphones still behave defective.

Audio Technica Corporation, is a Japanese-owned company that designs and manufactures a wide range of sound instruments such as professional microphones, turntables, headphones, phonographic magnetic cartridges, and other audio equipment.

Audio Technica was founded in 1962 in Japan by entrepreneur Hideo Matsushita as a phonograph cartridge manufacturer. Their first products were the AT-1 and the AT-3 MM stereo phono cartridges. As business rapidly developed, Audio Technica expanded into other fields, including entertainment. 

From the 90’s, Audio Technica has been a major supplier of microphones and headphones for US television shows such as the Deal or No Deal, Big Brother, and the Summer Olympic Games: Atlanta 1996, Sydney 2000, Athens 2004, Beijing 2008, London 2012, including the Rock and Roll Hall of Fame inductions and other international events.

Audio Technica AT2035 Condenser Microphone Review

Audio Technica AT2035

AT2035 is an inexpensive back electret condenser from Audio Technica that boasts pretty clear and balanced sound with low noise floor. This mic is a veeery good tradeoff between price and quality and hence, an ideal choice for home studios where budget is a factor. AT2035 has cardioid polar pattern and large diaphragm that actually works for both vocals and instruments. Having said that, the essential features of pad and low pass make it an even better all-rounder that should handle most recording scenarios. With this baby, you can really put down some quality tracks at home.

Because of its lower signal-to-noise ratio, some artists find it beneficial to pull the mic back a little bit to capture a bit more of the room sound. In the debate between AT2020 and AT2035, vocals have been heavily debated for years, and in my opinion, the AT2035 is a better choice.

The Audio Technica AT2035 is a cardioid condenser microphone. The budget-friendly AT2035 is a great multi-purpose cardioid condenser microphone, including detailed frequency response. 

Its cost-effective pricing makes it one of the top choices for home recording studios, hobbyists and professional recording studios. 

Sound quality

Despite relying on back electret polarization, AT2035 sounds more like a typical true condenser. Back in the days, electret microphones used to be less reliable but as the technology stepped forward, the question of which is better is now arguable. Today it all depends on a particular capsule – some are just bad but some are good. Back electret capsules are still more likely to be found on budget mics though, whereas true condensers are being sold as premium. Yes of course, an externally polarized capsule can be seen as a more flexible solution but the question is do you really need this for a home studio?

Audio Technica AT2035 can be compared to AKG C214, which is actually studio grade true condenser. Both have very similar SPL (158 vs 156 dB with pad), Signal-to-noise ratio (82 vs 81 dB), Sensitivity (22.4 vs 20 mV/Pa) and Equivalent noise level (12 vs 13 dB-A). Believe it or not, every stat slightly favors AT2035, including the noise! Frequency response, of which we will talk later, is analogous too. Both mics produce a very natural sound, crispy and detailed on the high-end, rich and juicy on the bottom-end. However, AKG has a larger diaphragm and may sound a tad smoother, and, more flattery.

It works as a microphone for vocals very well. Voice applications can be reproduced with great accuracy. It's also ideal to record acoustic instruments, like guitars and sitars, because of the attention it pays to acoustic detail. Nevertheless, it also works very well in the studio. 

Audio Technica AT2035

Frequency response

This mic features neutral, easy to work with frequency response, especially solid on the bottom end and mid-range. High end gets a very gentle boost that adds just a pinch of brightness. This starts after 2 kHz where it gains 1.5 dB of output and keeps steadily increasing all the way up until 13 kHz, peaking at 3.5 dB. For a budget mic with relatively large diaphragm, it’s quite nice to see such stable curve. And it’s not just a random pattern as some may presume. It is actually tailored that way as it adds some flavor of presence to your vocals as well as clarity for the instruments.

Noise levels

at2035-bannerAT2035 has an excellent self-noise of only 12 dB-A – such figures you will find on Neumann’s and other mics at least twice more expensive, whereas for most studio purposes 16 dB-A is considered more than enough and I’m talking about professional studios. In reality, even a very quiet environment will have ambient noise exceeding 12 dB threshold, so unless you are trying to record the ticking of a hand watch while being in a soundproof room, you will not be able to discern the self-noise produced by this mic. Keep in mind, preamps may add some noise too so get something decent to cross this off the list!

Setup

If you’ve done recording before and have the equipment handy you’ll already know what to do. Audio Technica AT2035 connects through XLR interface and requires phantom power. It’s pretty much standard and being back electret it is also forgiving about voltage (Rated 11-52V DC). If you don’t own one already we do recommend getting an audio interface so you can connect it with pc. There are many options… Steinberg UR22MKII is a very powerful but inexpensive tool. Focusrite Scarlett is ok too – though kind of sucky compared to the above, but never settle for cheaper imitations to avoid headache.

Features, Build & Accessories

AT2035 has a standard Audio Technica’s body, which is identical to any 20XX, 30XX and 40XX models. It is solid, heavy and durable and does not need much handling care, unless you want to maintain its brand new look. It has two switches at the back for -10 dB pad and 80 Hz low cut. With pad, it can handle the maximum SPL of 158 dB at 1% THD. Just so that you understand, such sound pressure could rapture your eardrums in an instant. In reality, it is unlikely to achieve even if put next to a very loud guitar amp but anyway it’s nice to have that extra margin.

The low cut is also a good bonus: it can help reducing popping when up close as well as low frequency ambience when recording in less than ideal sound environment. In any event, do not forget to get some nice pop filter when recording vocals – this is a must for any LDC. This mic uses standard 5/8″ – 27 mounting thread and comes with adapter nut for 3/8″ – 16. The package also includes AT8458 shock mount, which alone costs around $50-60. Although made of plastic, it’s quite efficient in what it does and appears to be durable too. Considering the mic price, it’s a real steal!

Pros

Affordable price / quality

Low self-noise (-12db)

Natural sound & balanced response

Crispy and detailed high end

Handles high sound pressure

Pad Switch (-10db)

Sony WH-1000XM3 Wireless Noise-cancelling Headphones Review

If there’s anything surprising about the new Sony WH-1000XM3 it’s that they’re so consistent with what Sony has released in the last two years in the form of the Sony WH-1000XM2 and Sony MDR-1000X. To wit, they’re a dominant noise-cancelling pair of headphones that can beat out anything Bose has with both arms behind its back.

That’s because, while Bose has done a tremendous job working out its noise-cancellation algorithm over the years, Sony has spent that time perfecting audio playback while simultaneously creating an adaptability algorithm that doesn’t just create a single sterile sound barrier, but multiple kinds that can adapt to whatever situation you’re in.

To wit, they’re a dominant noise-cancelling pair of headphones that can beat out anything Bose has with both arms behind its back.

That’s because, while Bose has done a tremendous job working out its noise-cancellation algorithm over the years, Sony has spent that time perfecting audio playback while simultaneously creating an adaptability algorithm that doesn’t just create a single sterile sound barrier, but multiple kinds that can adapt to whatever situation you’re in.
That excellent combination from last year, compounded with subtle tweaks like a more comfortable pad along the bridge of the headphone, lighter design and a comparable price, make these Sony headphones the new king of noise-cancellation ... even if they’re a bit too close to last year for comfort.

That excellent combination from last year, compounded with subtle tweaks like a more comfortable pad along the bridge of the headphone, lighter design and a comparable price, make these Sony headphones the new king of noise-cancellation ... even if they’re a bit too close to last year for comfort.

One of the best investments you can make if you enjoy both music and tranquility is a pair of seriously good noise-cancelling headphones and none are better than Sony WH1000XM3. As we try to resolve our software issues with the spanking new Bose NC700 – another excellent (when they're working) pair of ANC ('active' noise cancelling) headphones, it's well worth revisiting the current holder of the Best noise cancelling headphones crown. WH1000XM3 are the third version of Sony's over-ear, wireless, flagship noise cancellers, as are the Bose NC700, so it's a fair fight.

Available in black or a grey putty colour that reminds me of the Behringer, they’re perhaps not the prettiest headphones in the world, but the WH-1000XM3 look (and are) well made and serious, without being boring. The WH-1000XM3 is no style statement in the way that the Bowers & Wilkins PX or Beats Studio 3 or even the Bose 700 are, but they don’t look bad in any way, either. They also happen to keep a profile fairly close to the head, so if you don’t like things ostentatious, they’ll suit.

More importantly, though, they’re supremely comfortable. At 255g, they’re around 25% lighter than the B&W PX (my previous favourite), and you can feel it. It means less pressure on the super-soft headband and earcup padding, so they feel pleasant for a long time, though your ears will get warm, as with most over-ear gear.

We tested them on someone who finds a lot of headphones too uncomfortable to wear for long periods, these they could actually live with. They also fold up very neatly (unlike the new Bose NC700) , and come with a smart fabric case for travelling.

Like the Bose 700, the WH1000XM3 uses touch panels on the earcups to control play, pause, skip and volume. Buttons and sliders would be an easier means of control, perhaps, but less elegant design-wise. Take a bit of time to get used to the touch controls and you'll probably end up liking them, despite the occasional missed or misinterpreted tap.

Your choice of voice assistant (Amazon Alexa, Apple Siri, Google) is activated with a long press on the earcup. Being able to place a hand over the earcup to let in outside sounds (for a quick conversation in a coffee shop, for example) is handy.

Better than the smart design, and more significant, is that the WH-1000XM3 both sound excellent, and kill noise brilliantly. The noise cancellation was best-in-class at launch, easily, and even the new Bose doesn't seem significantly better. Even with no music playing, the moment you put them on, it’s like entering another world.

We walked past a road cleaning crew with a loud pump, spray going, and traffic everywhere around – you couldn’t even have a conversation, but it totally cut it out. It was enchantment.

The WH1000XM3 also adapts noise cancellation automatically for your current activity, and this is genuinely useful – it lets in a little bit of nearby traffic noise when you’re walking in town, or chatter directed at you when in an office. You can tweak each one for preference, or turn it off.
Their audio skills are hugely impressive, too. These Sonys are wonderfully rich, thanks to bass performance that's full, but not overwhelming by any means, along with meticulous attention to sonic detail. There is an EQ available in Sony's app if you want to tweak things, but I am not sure it's needed.

By comparison, the B&W PX produce thinner bass, though they do offer a slightly punchier top-end while the Bose noise cancellers have a sound that's 'smoother' for want of a better word, and so perhaps more suitable for long-term listening, but less involving at key moments. Which you prefer will be more about preference than a difference in quality, to be honest. You could also throw Beats Studio 3 in to the mix if you don't mind their styling – they are an excellent and sadly underrated pair of ANC headphones.

For the third year in a row, the 1000X are Sony’s flagship headphone. They're feature-rich, as noted in the section above, and will sound like a premium pair of headphones should.
That’s not cheap by any means, but it is comparable to the Sony WH-1000XM2 that was released last year.

Why, exactly, are they so darn costly? A few things to point out.

Sony put a lot of hardware inside these headphones, not to mention the four microphones that are located inside the headphone and on the outer earcups. Noise cancellation of this caliber also requires a lot of software running, which means the WH-1000XM2 has a processing chip inside that's running calculations in real time called the NC1. Add to that a touch-capacitive earcup that reacts to your touch and the price begins make a bit of sense.

Arguably the biggest changes to the 1000X are found in the design of the headphones: they’re lighter than last year and more form-fitting as well.

Weight-wise, the headphones shed about 1 ounce (22 grams) off last year’s design. That might not seem like a big deal, but considering you’ll be wearing these for an extended period of time like, say, a transcontinental flight, every ounce matters.

The other design change is the new flush fit that changes out the old padding on the bridge for something a bit more cushiony. This makes the headphones more comfortable but also significantly less dorky when they’re on your head. Sony’s also deepened the earcup and changed out the silver accents on the side of the headphones for a copper tone to make it subtle.

Finally, the last change Sony made is swapping out the microUSB port on the right earcup for a USB Type-C that could either reduce or increase the amount of cables you need to carry around with you depending on which other gadgets you carry around in your sachet.

Outside of the minor tweaks, these are still relatively minimalist headphones – which really appeals to the business-class customer Sony is targeting.

Around the left earcup, you’ll find the only two buttons on the headset. There’s one for Power/Bluetooth and another to cycle the noise cancellation between its three settings: On, Ambient Mode and Off. Down below the buttons you’ll find an auxiliary jack, which is mirrored on the other earcup by a USB Type-C port that’s used to charge the headphones. (You’ll find a USB-to-USB Type-C cable inside the box, alongside a 3.5mm aux cable, two-pronged aux adapter and a hard carrying case.)

What’s missing here, obviously, is playback controls. Sony’s just hidden them on the right earcup in the form of a touch-capacitive covering. To skip forward, you’ll need to swipe right on the right earcup or swipe left to go back. Pausing is done by double-tapping, and resuming is then done the same way. Similarly, turning the volume down requires you to swipe down on the right earcup, and turning it up is done by swiping up.

To put the WH-1000XM3 to the test, I took it and my MDR-1000X on a 20-plus hour flight from Singapore to New York via Frankfurt - which gave me ample time to properly evaluate the WH-1000XM3. The difference was startling and it's amazing to hear how much better the WH-1000XM3 was at neutralizing the incessant rumble of the plane’s engines compared to the MDR-1000X. I should also mention at this point that battery life is really good. It easily lasted my trip from Singapore to my hotel in New York. However, it did take a long time to charge so make sure you remember to juice them up before a flight.

The WH-1000XM3 isn’t just good in the skies. It’s equally awesome in the office and out and about around town. Noise-canceling headphones are typically good only at canceling out low frequencies noises, but I found the WH-1000XM3 to be quite proficient at nullifying voices. With the WH-1000XM3, I could hear less of the office chatter around me.

The WH-1000XM3 features what Sony refers to as Adaptive Sound Control, which uses the Sense Engine to detect your activity and adjust the noise-canceling functions of the headphones. This feature can be accessed and activated using the Headphones Connect app (more on this later). There are four modes: Staying, Walking, Running, and Transport. In each mode, you can even adjust the aggressiveness of the QN1 chip to allow you to hear more or less of your surroundings. There are 20 levels to choose from and you can even choose to focus on voices so that you don’t miss hearing your name being called - particularly useful if you are waiting for your drink at Starbucks. Finally, there’s Quick Attention, which is activated by placing your hands over the right ear cup. This instantly dims the music and lets you hear what’s around you.

In practice, that claim definitely held true when confronted with both low-frequencies, like the kind you’d find while riding a train or flying in a plane and in workplace environments where there’s higher frequency noises like people talking or music playing. In nearly every scenario the WH-1000XM3 performed admirably, often reducing noise from a disturbingly loud hum to a more manageable buzz – and sometimes eliminating exterior noise entirely.

Like last year, the 1000XM3 are able to selectively allow some noises into the headphones as well. With Ambient Noise mode selected, announcements made over train station PA systems can be heard, while Quick Attention Mode allows you to quickly pipe in external audio without taking off the headphones by reducing the volume of the music and using the microphones located on the outside of each earcup. It’s a feature you won’t find on a Bose-branded pair of headphones and one that sets Sony apart from the crowd.

While noise-cancellation has enjoyed some solid improvements, audio quality remains similar to what we heard on the 1000XM2 … which might have been more of a disappointment if the XM2 weren’t such an impressive pair of headphones in their own right.

These headphones will sound a bit better while using an Android device that supports the aptX HD standard, but even on an iPhone they’re surprisingly great. Mids are straightforward, highs come through crystal clear and bass is weighty and can have some real slam to it. They really shine on a device that supports the LDAC codec – like, for instance, a Sony Walkman – but they’re by no means limited to those devices.

What is DAC and Why you may need it

What is a DAC?

Want better sound quality and more volume from your laptop/iPhone/MP3 player? Here's a refresher course in how you can achieve this with the simple addition of a USB DAC (or digital to analogue converter) to your set up.
There's an intimidating range of audio products available to us and whether its headphones, smartphones, speakers or even streaming services, they’re all promising you incredible sound.  But there’s an undisputed way you can make your existing setup simply - better. By adding a DAC.
For those of you new to this concept, you’ll want to understand exactly what’s behind this sharp sounding acronym before you take our word for it.

So what is a DAC?

Much like headphone amplifiers, standalone DACs came about as a response to poor audio quality at the consumer level. Back in the day, it was a lot tougher to find good hardware, and nerds like me had to deal with devices that couldn’t keep up with higher-end headphones and speakers. Sometimes the DAC assembly would be improperly shielded - introducing staticy noise - or it’d be a little too cheap, making the output kinda crappy. Lower sample rates, badly encoded MP3s… there were tons of things that children of the 80s and 90s had to deal with when it came to audio. Who wants to listen to low-quality tunes?

But digital music has come a long way since then. Better tech has made shortcomings of even the cheapest chips almost nonexistent, while digital music has exploded in quality past the point of diminishing returns. Where it used to be true that your Walkman’s or laptop’s internal DAC chip wouldn’t be suitable for high-bitrate listening, there are plenty of more compact units nowadays that can keep up.

You can buy a DAC and amp separately, or buy a combo unit that contains both. It’ll improve your sound in a couple ways:

A DAC eliminates interference that your onboard sound card may experience inside your computer and ensures you’re getting the best possible sound quality. (My headphones get a pretty noticeable buzzing noise when plugged into the computer, for example - a DAC eliminates this.)

An amplifier boosts the volume of the sound, which is particularly useful for higher impedance headphones (headphones above 32Ω) that will sound quiet through a regular headphone jack.
Amplifiers will often come with other features, like bass boost or other equalizer functions, that allow you to alter the sound.

Note that you can only get the full benefit of a DAC/amp combo with your desktop or laptop computer, via USB or SPDIF. While you can get DAC/amp combos for iPods and other mobile devices, the DAC half of the device won’t actually work. Only the amp half will. This is still great for giving your sound a boost in volume if it’s coming out too quiet, but just know that the DAC won’t work—so if you only plan on using it with an iPod, you don’t need a DAC or combo, just a mobile amp.

A DAC, or digital to analogue converter, is the device that translates digitally stored information from a laptop, iPod or other such device into the analogue sound that we can hear.

Types of Digital to Analog Converters

There are many different kinds of digital to analog converters. At Future Electronics we stock many of the most common types categorized by resolution, interface, supply voltage, number of channels, packaging type and power consumption. The parametric filters on our website can help refine your search results depending on the required specifications.

The most common number for channels is 1 channel and 2 channels. We also carry digital to analog converters with up to 12 channels. Supply voltage can have a range from 0 V to 32 V, with the most common voltage being between 2.7 V and 5.5V.

Why does a signal need to be converted at all?

ll audio, whether it’s stored on vinyl or in an MP3 is a compression wave when it’s played back. When computers record an analog signal, typically it will be displayed in what’s called a waveform, or a representation of the wave where the Y axis is amplitude (how powerful the wave is), and the X axis is time. Each wave will have a crest and valley - called a period - and how many periods there are in a second is called frequency (displayed as Hz). If you’ve heard that word before, you know that what frequency a sound is also corresponds to what note it is. The higher the frequency, the higher the note.

The job of the DAC is to take a digitally stored recording and turn it back into an analog signal. To do that, it needs to translate the bits of data from digital files into an analog electrical signal at thousands of set times per second, otherwise known as samples. The unit then outputs a wave that intersects all those points. Now, because DACs aren’t perfect, sometimes this leads to problems. These problems are jitter, narrow dynamic range, and limited bitrate.

Before launching into the nuts and bolts of how everything works, you need to know three terms: bitrate, bit depth, and sample rate. Bitrate simply refers to how much data is expressed per second. Sample rate refers to how many samples of data are taken in a second, and bit depth refers to how much data is recorded per sample.

The original analogue sound made by our favourite bands and artists are recreated in a digital format for our storing convenience – i.e. MP3, FLAC or Apple Lossless.  While computers can understand these digital signals, we as humans (assuming our readership is of this world) cannot, nor can your speakers or headphones. So before we can listen to it, the digital signal needs to be returned once more to analogue.  This is the function kindly undertaken by the DAC which will be built into your laptop or music player. The better the DAC, the higher quality the conversion and therefore the better sound you’ll hear from your speakers/headphones.

You may not have realised it, but you’ve used a DAC every time you have played music through your laptop or smartphone. These products have their own built-in but usually very poor quality DAC because it’s been designed to do one small part of a devices total functions on a budget. So if you’ve been investing in some nice speakers or headphones, you’re not going to be making the most of them unless you use a separate DAC which has been designed and optimised entirely for making hi-fi sound quality.

How does a DAC fit into my current setup?

DACs are available in all sorts of sizes and price points, so if it’s going to be staying put you can invest in a more premium, larger unit which might fit into your Hi-Fi stack, or a mid size one to sit alongside your PC/Laptop.

But if you’re looking for something small and portable you need look no further than a USB headphone DAC like our DacMagic XS. Not only is it an excellent little DAC to perform a higher quality conversion on your audio, it’s also got a headphone amp built in.  This amp is 10 x more powerful than the headphone output on your laptop. It hooks straight up to your laptop via USB and has a headphone jack so you can plug your headphones straight in and bypass that inferior built in DAC in the laptop for superior sound on the go. Thanks to the extra power from the amp, you’ll get a load more volume, detail and bass for your buck, finally making the most of your headphones.

What is bit depth and dynamic range?

If you’ve listened to really old MP3 files or crappy MIDI music from your old consoles, you’ll probably notice that they can’t really ramp up volume in a given music track all that well, or that competing instruments are really really difficult to pick out if they’re all going at once. This is what bad dynamic range sounds like. Dynamic range in this instance simply refers to the difference between all possible volumes of sounds in a given file.

What governs the theoretical limits of the dynamic range of an audio file is the bit depth. Basically, every single sample (discussed above) contains information, and the more information each sample holds, the more potential output values it has. In layman’s terms, the greater the bit depth, the wider the range of possible loudness of notes there are. A low bit depth either at the recording stage, or in the file itself will necessarily result in low dynamic range, making many sounds incorrectly emphasized (or muted altogether). Because there’s only so many possible loudness values that a sound could have inside a digital file, the lower the bit depth, the crappier the file should sound however you listen to it.

he most common bit depth is 16, meaning: for every sample, there’s a possible 16 bits of information, or 65,536 integer values. In terms of audio, that’s a dynamic range of 96.33dB. In theory, that means that no sound under 96ish dB should be deleted or incorrectly assigned a loudness value.

While that may not sound terribly impressive, you really need to think hard about how you listen to music. If you’re like me: that comes from headphones 99+% of the time, and you’re going to be listening to your music at a volume much lower than that. For example, I try to limit my sessions to about 75dB so I don’t cook my ears prematurely. At that level, added dynamic range isn’t going to be perceptible, and anyone telling you otherwise is simply wrong. Additionally, your hearing isn’t equally-sensitive across all frequencies either, so your ears are the bottleneck here.

While bit depth is important, what most people are familiar with in terms of bad-sounding audio is limited bitrate. Ever listen to music on YouTube, then immediately notice the difference when switching to an iTunes track or high-quality streaming service? You’re hearing a difference in bitrate.
If you’ve made it this far, you’re probably aware that the greater the bit depth is, the more information the DAC has to convert and output at once. This is why bitrate - the speed at which your music data is decoded - is important. If the bitrate is low, not enough data will be converted to create the analog wave, meaning less information is converted, meaning you hear crappier audio. It’s really as simple as that.

So how much is enough? I usually tell people the 320kbps rate is perfectly fine for most applications (assuming you’re listening to 16-bit files). Hell, it’s what Amazon uses for its store, and truth be told most people can’t tell the difference. Some of you out there like FLAC files—and that’s fine for archival purposes - but for mobile listening? Just use a 320kbps MP3 or Ogg Vorbis file. The amount of space “lossless” files like FLAC takes up is enormous, and for little to no perceptible benefit when you’re on the go.

If you’ve got space to spare, maybe you don’t care as much how big our files are - but smartphones generally don’t all come with 256GB standard… as of now. But if you can’t tell the difference between a 320kbps MP3 and a 1000+kbps FLAC, why would you burn 50MB of space when you could get away with say 10?

HD Radio

HD Radio technology is not a subscription service, like satellite radio. It is the same free, over-the-air broadcast radio that we've always known. Only better. It is not something that consumers have to buy into. Everyone can choose to continue listening to their current radios, but eventually all AM/FM radios will incorporate digital technology. It is a natural evolution of the medium. Soon, if you turn on a radio, you'll be listening to an HD Radio tuner.

What is HD Radio?

In its current hybrid implementation, HD Radio adds digital sidebands to an analog FM signal. The sidebands consist of hundreds of digital subcarriers that occupy spectrum 129 to 198 kHz from the channel center frequency. Total power for both sidebands originally was 20 dB below the analog carrier level, or −20 dBc. FCC rules now permit levels up to −14 dBc for most stations without special approval, and up to −10 dBc in certain circumstances. Some transmission modes use additional subcarriers that extend the sidebands as close as 102 kHz from channel center. These extended hybrid signals are becoming more common.
An HD Radio station's digital sidebands may interfere with reception of its own analog signal in two ways. First, FM detection of the sidebands may generate intermodulation products that overlap the analog signal. Interference also may occur when the stereo decoder demodulates the digital sidebands along with the stereo subchannel signal. Because the digital subcarriers are numerous and their data randomized, analog detection yields noise.

HD Radio technology allows broadcasters to transmit a high-quality digital signal. For listeners who have an HD Radio receiver, the benefits are:
• FM radio that sounds almost as good as a CD
• AM radio that sounds as good as traditional FM
• No more static, pops, crackles or fades...and no subscription fees
• Displayed information, including station ID info, song and artist titles, weather, traffic, and emergency alerts
• Increased listening options with station multicasting

FM radio with near CD-quality sound

Digital technology allows a radio station to transmit more information in the same radio wave. Primarily, this means higher quality sound. So much more so that FM transmissions can sound nearly as good as CDs, and definitely much better than the hollow sounds of old analog FM. How much better the music sounds will depend on your local stations and your radio gear.

AM radio uses smaller sections of bandwidth than FM. There is not enough bandwidth for HD Radio to give AM stations the same CD-quality signal as FM stations. But there is enough room to give AM stations clarity equivalent to current analog FM stereo radio. This boost in sound quality makes AM radio a viable alternative to FM, which means more options for listeners.

No more static, pops, crackles, fades...

The digital signal is less vulnerable to reception problems. The radio tuner's digital processors eliminate the static, pops, hisses, and fades caused by interference. You hear only clear, clean, and rich sound. Should you lose the digital signal for some reason (obstructing terrain, nearing the edge of the broadcast area, etc.), HD Radio technology defaults back to analog mode, similar to the way non HD Radio receivers switch from stereo to mono mode when receiving a weak signal. And like analog radio, HD Radio is subscription-free.

Transmission of extra bits of information

Another benefit of digital radio is the radio station's ability to transmit additional information along with the music signal. This can take the form of scrolling text on your receiver's display, such as a song's artist and title and station call letters. HD Radio also supports Artist Experience — with compatible receivers you can view album art, logos, and more, when provided by the station. Stations can also include local and regional information, such as weather updates, emergency alerts, or even traffic jams and road construction. Traffic data is delivered up to 10 times faster than other broadcast methods.

Multicasting

In addition to duplicating their analog programming with an HD Radio broadcast, stations can subdivide the digital portion of their signal. This allows a station to "multicast" — that is, broadcast two or more programs simultaneously. Listeners might have a choice of, say, a sports game or music. These additional channels can only be received on an HD Radio tuner. But just as cable TV allowed specialized networks to flourish, multicasting provides the potential for stations to offer more niche programming - ultimately giving the listener a greater variety of formats to choose from.
How does it work?
HD Radio technology works pretty much just like traditional analog radio transmission:
1. The radio station sends out the analog and digital radio signals, along with a third signal for text data.
2. The digital signal is compressed before being transmitted.
3. The three-layered signal is transmitted from the radio station's upgraded digital transmitter.
4. Multipath interference, caused by the signal reflecting off of buildings, is ignored by the digital radio, which is able to discern the true signal and ignore interference.
5. Your radio receives the signal and, depending on your equipment, you hear either the digital or analog feed.

HD Radio technology is not a subscription service, like satellite radio. It is the same free, over-the-air broadcast radio that we've always known. Only better. You just need gear that includes a built-in HD Radio tuner to enjoy it. Everyone can choose to continue listening to their current radios, but eventually all AM/FM radios will incorporate digital technology. It is a natural evolution of the medium.

HD Radio is not the same as satellite radio. Rather, it's an improvement to terrestrial AM and FM radio. Satellite radio, on the other hand, is an alternative to broadcast radio, in the same way that cable or satellite TV are alternatives to broadcast television. Even if you do have satellite radio, there are often times when you want to listen to your local station - and that's where HD Radio comes in.