Microsoft Zune 120 (third generation, black) Video
Microsoft Zune 120 (third generation, black) Video Transcript
[ Music ] ^M00:00:04
>> Hey, I'm Donald Bell, Senior Editor for Digital Audio and MP3 and today we're taking a first look at the new Zune 120. This is the third-generation of the Zune MP3 player, but looking at the hardware there's really only a few cosmetic differences that distinguish it from last year's model. The back has gone from silver to black and the face of the Zune 120 now uses a high-gloss plastic instead of the matte finished metal used on the Zune 80, otherwise you've still got the same 3.2 glass-covered screen, the Zune Pad navigation control, the proprietary dock connection, headphone output, hold switch, and a plastic window that covers up the Zune's WiFi antenna. But the real updates to the Zune 120 are all under the hood in the firmware. The Zune's main menu now has two new items for games and Marketplace. Two games are included with more in the works but this is mostly just Zune keeping up with the iPod. One of the more innovative new features is the Marketplace which lets you browse and preview new music from the Zune Marketplace store that you can download immediately or save for later in your cart. The feature is similar to the iTunes WiFi store which is available on the iPod Touch or iPhone only the Zune 120's combination of subscription music support and higher capacity means you can really go nuts with wireless downloads. Another new addition is a Buy From FM feature that lets you tag music you hear on the radio and add songs to your cart as you would a Marketplace song. Song tagging doesn't work with every station, but many of the big broadcasters worked with the feature immediately. Microsoft has improved the Zune's ability to hop onto WiFi hotspots including hotspots that use password protection. There's also small little changes such as a device lock code, a clock, and support for audio books from Audible and OverDrive. The fact that Microsoft really hasn't updated the Zune's hardware from last year's model also means that things like audio quality and battery life haven't budged either. You can still expect 4 hours of video playback and around 25 to 30 hours of audio, but the lack of any kind of [inaudible] control can be frustrating. Compared to the iPod classic the Zune 120 is slightly larger and can't come close to Apple's rated 36 hours of audio playback. You do get a larger screen however, which is much better for watching TV shows and video podcasts. I'm Donald Bell and that was your first look at the Zune 120. ^M00:02:08 [ Music ]
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Restless innovator, sampling wizard, classically trained pianist and superstar collaborator, MATTHEW HERBERT is one of electronic music's most versatile and prolific figureheads. Recording under his own name as well as Doctor Rockit, Wishmountain, Radio Boy and others, Herbert has also produced and remixed artists as diverse as Bjork, REM, John Cale, Roisin Murphy, Yoko Ono and Serge Gainsbourg. An alchemist of avant-garde sound in the tradition stretching from Stockhausen to the Aphex Twin, Herbert combines playful pop sensibility with a strictly imposed experimental agenda. In his increasingly conceptual and political albums he has emerged as a unique figure in modern music: a kind of one-man Radiohead, or a Brian Eno for the 21st century. It was in January 1995 that Herbert gave his first large public performance. His instruments: a sampler and a bag of crisps. But long before he discovered the revolutionary possibilities of sampling, he began playing violin and piano at the age of four. When he was seven he sang in the school choir and played with orchestras. At school, he had the good fortune to have a music teacher who considered Reich, Xenakis and Jazz standards to be the equal of Beethoven. During his time as a theatre student at Exeter University, Herbert, the son of a BBC sound technician, continued to invest in his own home studio. Herbert's studies helped to germinate his interest in "musique concrete". Rummaging around his bag of crisps was only the beginning. His 1998 masterwork 'Around the House' (re-released on !K7 in 2002) collected sounds from the house and home: washing machines, toasters and toothbrushes were sampled and processed into swinging grooves and absorbing sound scapes. All the project needed was the silken voice of Dani Siciliano, Herbert's long-term collaborator, to humanise the album into a left-field classic. In 2000, Herbert wrote a manifesto, the "Personal Contract for the Composition Of Music (PCCOM) (Incorporating the Manifesto of Mistakes)", rules which have defined the compositional methods ever since. The manifesto, not unlike Dogme 95's filmic principles, prohibits the use of any pre-recorded musical sources, as well as any synthetic sounds that imitate acoustic instruments. Furthermore, accidental sounds or errors should influence the process of his production. Herbert considers mistakes in programming or recording as the welcome intervention of random humanity in a sterile world. This is a man, after all, who runs a record label called Accidental. Deriving much of its musical content from human skin, hair, bones and the random contents of Dani Siciliano's handbag, Herbert's 2001 album 'Bodily Functions' was the audible result of putting this theory to practice. But far from being limited by these self-imposed rules, the record unlocked rich new vaults of unique sound and fascinating rhythm from the most unlikely everyday objects. In 2003 Herbert redefined his musical agenda yet again with his big-band album 'Goodbye Swingtime', which was recorded at Abbey Road studios with 16 jazz and session musicians. Despite its self-consciously traditional elements, the album was composed under strict PCCOM rules, and again featured Siciliano on vocals. The subsequent live shows, including Sonar in Barcelona, the Montreux jazz festival, and Roskilde festival in Denmark, were rapturously received by large crowds. From bedroom samplers to concert halls, Herbert continues to expand the horizons of electro-organic music. The political content of Herbert's music has become increasingly overt in recent years. His 2004 album 'Plat Du Jour' was his most rigorously experimental to date, featuring sounds entirely derived from food and its packaging. Unified in concept and content, it used witty culinary metaphors to attack not just giant food companies but also the death penalty, body fascism and war in Iraq. In Britain, 'The Guardian' called the consequent live shows, complete with a chef making live smells "a wild stimulation of senses, feet and intellect". In 2005, Herbert produced 'Ruby Blue', the debut solo album by Moloko singer Roisin Murphy. A fertile garden of flamboyant dance-pop and artfully textured jazz-funk. Herbert's latest album, 'Scale', is probably his most pleasingly pop-friendly mellifluous so far. But beneath its deceptively glossy surface sheen of jazz, disco and sensual house rhythms lie quietly anguished meditations on mortality, global suffering and the end of the oil age. Among the 723 objects sampled on these lush tracks are coffins, petrol pumps, meteorites, an RAF Tornado bomber, and somebody being sick outside a banquet for a notorious London arms fair. More than any previous Herbert album, 'Scale' combines immaculately groomed dance music with subversive subject matter. Herbert is as solid as a rock in these times of "borderless digital arbitrariness," as the German newspaper 'Die Zeit' once described his work. Between programming mistakes and the conceptual stringency of his PCCOM manifest, between divine accident and strict intent, whether he scores films or theatre shows or paints the musical backdrop for fashion shows - Herbert's endless innovation and transgression of genres is never just art for its own sake. His music is always engaged in lively dialogue with the wider world, with the past and future of experimental music, with its own political and economic origins.
Microsoft Zune 120GB (third generation, glossy black) Review
The good: The 120GB Microsoft Zune MP3 player has expanded the usefulness of its Wi-Fi and social music-discovery features, added support for games and audiobooks, and maintained enviable features, such as a 3.2-inch glass LCD, friendly interface, exceptional navigation control, audio- and video-podcast support, superlative FM radio, wireless syncing, good audio quality, and a built-in composite-video output.
The bad: Battery life isn't great; high-quality earbuds are no longer included; the glossy plastic front is more prone to scratches and smudges; and using many of the new features without a Zune Pass music subscription can be disappointing.
The bottom line: The Zune 120, with a unique focus on music discovery, is a fierce competitor to the iPod Classic. The Zune's substantial storage capacity combined with its Zune Pass music subscription makes it an ideal solution for restless music fans with large appetites.
Microsoft Zune 120GB (third generation, glossy black) Specs
Part number: H3A-00001
- Product Basic Spec