Theoretically a belt drive makes for a great upgrade to a bicycle, as it replaces the heavier, noisy and relatively maintenance-heavy roller chain with a zero-maintenance, whisper-quiet and extremely reliable belt that’s rated at an amazing 20-30,000 km before needing a replacement. Of course, that’s the glossy marketing brochure version of reality, which differed significantly from what [Tristan Ridley] experienced whilst cycling around the globe.

Although initially he was rather happy with his bike, its sealed car-like Pinion gearbox and Gates carbon belt drive system, while out in the wilds of Utah he had a breakdown when the belt snapped. When the spare belt that he had carried with him for the past months also snapped minutes later after fitting it on, it made him decide to switch back to the traditional bush roller chain.

Despite this type of chain drive tracing its roots all the way back to Leonardo da Vinci, they actually offer many advantages over the fancy carbon-fiber-reinforced polyurethane belt. Although with the Pinion gearbox the inability to use a derailleur gearing system is no big deal, [Tristan] found that the ‘zero maintenance’ part of the belt was not true for less hospitable roads

A big issue was that of abrasive dust, which created a very noisy coating on the belt that’d have to be regularly cleaned off with precious water, or by having silicone lubricant sprayed on the belt. Even with all that care he found that the belt would snap after about 8,000 km, well below the rated endurance.

When it came to super-sticky mud, called peanut butter mud for good reasons, he found that chains also cope much better with this, as the mud will just squeeze out of the chain and be forced off the sprocket, whereas the belt will happily keep compacting the mud onto the contact surfaces, increasing belt tension and requiring constant cleaning to not become hopelessly stuck.

The Utah breakdown also showed why these belts are actually very fragile: the replacement belt had been packed away folded-up for a few months at that point in the luggage, and during storage the carbon fibers had become compromised to the point where the belt just snapped after a few minutes of use. A metal chain will happily be stored away for as long as you can keep it away from corrosion, and fold up very compactly.

Another awesome feature of roller chains is that they’re super-modular, allowing you to carry spare links and such with you for in-the-field repairs, while even the most remote bicycle store in any country can help you out with maintenance and repairs, unlike the special and highly custom belts that need to be shipped in by courier.

Of all the bicycle technologies that [Tristan] has used, it seems that only this drive belt has been an outright disappointment. The sealed gearbox would seem to be a massive improvement over finicky derailleurs, and hydraulic brakes are reliable and common enough that they haven’t been an issue so far.

His conclusion is that bicycle drive belts are fine if you do city driving, where they probably will last the rated kilometers, but they rapidly fall apart in even slightly adverse conditions.

A 180-gram “one step” vinyl reissue of a 1991 release from noted audiophile label Chesky Records featuring jazz legends McCoy Tyner, Joe Henderson, Ron Carter and Al Foster is a good reason to celebrate music and life. It is a reminder of why great recordings and great players still matter.

The performances within New York Reunion are lush, relaxed and overall exemplary, capturing iconic seasoned musicians in an intimate studio setting with then state of the art recording technology. On the album cover, it states that the album was “recorded using a specially modified microphone with all tube Manley Reference electronics by David Manley from Vacuum Tube Logic Of America”  It goes on to say that it was “recorded with minimalist techniques and without overdubbing or artificial enhancement to ensure the purest and most natural sound possible.”

Crafted using the increasingly popular “one step” process, which reduces the number of plating stages required to press a record and can improve overall fidelity, this reissue comes with a strong technical pedigree. The opaque pink vinyl pressing is generally quiet, well centered, and free of obvious surface issues.

This is a fine sounding all-digital recording of outstanding musicians playing together effortlessly. Perhaps too effortlessly at times. Feel wise, I’m reminded at points of those later period Oscar Peterson CDs on Telarc which at times sounded somehow too pristine and spotless for my tastes (and I say this as a pretty deep Peterson fan). Yet there are no doubt many lovely performances throughout New York Reunion such as Mr. Henderson’s extended solo sax intro (and outro) on Side 3’s “Ask Me Now” before Mr. Tyner comes in for an extended duet essentially.

Generally, I’ve enjoyed New York Reunion. My only question (not a complaint) is whether this pressing might have benefitted from some more empathetic mastering for vinyl? Don’t get me wrong, it sounds good: clean, crisp, and natural. I just wish it leaned a touch warmer. That said, considering the explicit commitment to avoiding “artificial enhancement” which would include equalization, this feels like one of those “it is what it is” scenarios.

Based on available online information, this new 2LP limited edition of 2,000 copies appears to mark the first time the complete New York Reunion album—all eight tracks originally issued on a single CD in 1992—has been released on vinyl. Earlier vinyl editions from 1992 and 2016 do exist, but those appear to have been single LP versions rather than the full 2LP presentation.

At the time of this review The McCoy Tyner Quartet’s New York Reunion can be found easily on Amazon. I have not seen any indication of whether a standard (and perhaps less pricey) black vinyl edition will be available in the future.

Where to buy: $69.98 at Amazon

Mark Smotroff is a deep music enthusiast / collector who has also worked in entertainment oriented marketing communications for decades supporting the likes of DTS, Sega and many others. He reviews vinyl for Analog Planet and has written for Audiophile Review, Sound+Vision, Mix, EQ, etc.  You can learn more about him at LinkedIn.)

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HiBy might not have household recognition in the U.S., but the company isn’t exactly new to this game. With 15 years of experience building digital audio players and portable electronics, and a HiByMusic app ecosystem that spans 100 countries with more than 3 million users on iOS and Android, the brand has quietly built serious infrastructure behind the scenes. Now it’s aiming a little more directly at the portable DAC and headphone amplifier crowd with the release of the HiBy W4.

The W4 is a Bluetooth enabled portable DAC and headphone amplifier designed to handle both wired and wireless hi resolution playback in one compact chassis. That matters because the appetite for Bluetooth capable DAC and headphone amps that can properly decode hi res formats and deliver enough output for modern IEMs and reasonably efficient headphones continues to grow. We saw that firsthand with the iFi GO Blu Air, which impressed us with its balance of sound quality, usable power, and everyday practicality.

HiBy’s pitch with the W4 is similar in concept: fashionable industrial design, dual mode operation, and enough decoding and amplification muscle to make streaming from a smartphone feel less like a compromise and more like a system choice. Whether it can stand out in an increasingly competitive under $250 portable hi-fi segment is the real question.

The HiBy W4 features a flexible physical design that supports both clip on use and magnetic attachment for on the go listening. Its integrated magnetic system allows it to attach directly to compatible smartphones or MagSafe style phone cases, functioning much like a MagSafe accessory for a cleaner, cable managed setup.

The W4’s Uncharge Mode shifts the power source to USB operation, isolating the unit from the connected smartphone so it does not draw from the phone’s battery. In addition to preserving battery life, this separation can also help reduce electrical interference from the handset.

The W4 includes a built in 1500 mAh battery to support extended playback sessions, and Uncharge Mode is engaged using a dedicated button located on the left side of the chassis.

On the inside, the HiBy W4 has dual Cirrus Logic CS43198  DAC chips, paired with dual headphone amplifiers. The DACs support PCM up to 768kHz/32-bit and native DSD512. 

The HiBy W4 employs dual low phase noise active crystal oscillators operating at 45.1584 MHz and 49.152 MHz to support more accurate clocking and stable audio playback across common sampling rates.

Connectivity includes both 3.5 mm single ended and 4.4 mm balanced stereo outputs. In balanced mode, the W4 delivers up to 475 mW of output power, driven by dual SGM8262 amplifier chips. That is a substantial figure for a device in this category and nearly double the balanced 4.4 mm output we measured from the iFi GO Blu Air. It provides enough headroom for a wide range of in ear monitors and many relatively efficient over ear headphones, giving the W4 more flexibility than ultra sensitive IEM duty alone.

For wireless performance, the HiBy W4 incorporates a Qualcomm QCC5181 chipset, supporting Bluetooth 5.4, with codec support for Snapdragon Sound, aptX Adaptive, aptX Lossless, aptX HD, LDAC, AAC, and SBC.

The HiBy W4 is positioned as a stylish everyday carry accessory, pairing a black front display with a contrasting, brightly colored rear module that makes it stand out at a glance.

A 2-inch touch screen provides full device control and can display album artwork when operating in Bluetooth mode. Users can manage pairing, playback, and system settings directly from the W4 itself, reducing the need to constantly reach for a smartphone and creating a more self contained, user friendly experience.

HiBy W4 Specifications

The Bottom Line 

There is no shortage of portable Bluetooth-enabled DAC/AMPs, and the category now stretches from basic sub-$100 dongles to feature-heavy models approaching $1,000. At $99, the HiBy W4 lands at the aggressive low end of that spectrum but brings a feature set that is not typical at this price.

Support for aptX Lossless and LDAC gives it legitimate hi-res wireless credibility, while dual oscillators, balanced 4.4mm output rated at up to 475mW, and a built-in 1500mAh battery push it beyond entry-level expectations. The integrated 2-inch touch screen also sets it apart from competitors like the iFi GO Blu Air, which relies entirely on a smartphone for visual feedback and navigation. Some listeners may prefer controlling everything from their phone anyway, especially when switching between streaming platforms, but the W4 at least gives users the option of direct, on-device control without guesswork.

Add in the magnetic MagSafe-style attachment, clip-on portability, and a Car-Optimized Mode accessible through the HiByBlue app, and the W4 starts to look less like a budget experiment and more like a calculated move into the mainstream portable hi-fi space.

Who is this for? Smartphone listeners who want true hi-res Bluetooth support, enough power for serious IEMs and efficient headphones, and a self-contained interface without spending several hundred dollars. At $99, it is positioned squarely for commuters, students, travelers, and anyone building a compact everyday-carry audio setup without sacrificing codec support or balanced output. That is a hard combination to ignore at this price.

Price & Availability

The HiBy W4 is available for $99 USD via HiBy’s official online store and Linsoul.

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