ArduinoMania

Google says its Nearby Share app for Windows PCs is now officially available. A PC version of the app, which makes it a cinch to share files between devices like Android phones and Chromebooks, has been in beta for a few months, but it's now ready for prime time.

More than 1.7 million people installed the beta, Google says. They've used it to transfer more than 50 million files, primarily photos and videos. 

Google has added some new features to Nearby Share for Windows as it officially rolls out the app. You'll now see an estimated time for how long it will take to complete a file transfer. Device notifications will include an image preview to help you make sure you're sharing the correct file. Google plans to add more features and it's working with some PC manufacturers, including HP, to include the app on their systems.

To use Nearby Share for Windows, you'll need to enable your PC's WiFi and Bluetooth functions. Once you're set up, you just need to drag a file into the app or right-click it and select the Nearby Share option to send it to a nearby device. 

If you're logged into the same Google account on PC and your Android phone (or tablet or Chromebook), transfers will automatically be accepted on the receiving device. Either way, devices that you're transferring files between have to be within 16 feet of each other. There are device visibility settings to help prevent spam and unwanted file transfers.

Throughout the burgeoning “AI wars”, Apple has remained suspiciously silent, until now. The company is creating its very own chatbot, as originally reported by Bloomberg. Engineers have cheekily named the toolset “AppleGPT,” but it’s actually called Ajax, as the large language model (LLM) was built using Google’s JAX framework. Sources indicate that Apple has multiple teams working on the project, with one team devoted to addressing potential privacy concerns.

What will Apple actually do with the bot? That remains unclear as the company doesn’t seem to have any solid plans regarding use case scenarios, launch dates or platforms. An unnamed source told Bloomberg to expect an official announcement, along with more details, next year. Apple also holds its annual earnings call next month, which could shed some light on Ajax. 

This move comes after Apple CEO Tim Cook told Good Morning America that the generative AI is something the company is “looking at closely.” According to Bloomberg, John Giannandrea and Apple’s senior vice president of software engineering, Craig Federighi, are leading the initiative. Giannandrea was originally hired to oversee Siri and its machine learning capabilities, so maybe the beleaguered digital assistant is about to get a whole lot more useful.

The generative AI space has exploded in recent months, with just about every big tech company joining the hype train. Just yesterday, Meta and Microsoft released Llama 2, an AI chatbot intended for commercial use.

A three-judge panel with the 9th U.S. Circuit Court of Appeals has ruled in favor of Meta-owned Instagram after a pair of photographers accused the social media giant of copyright infringement, as reported by Gizmodo. The basic gist of the case was that Instagram violated copyrights by letting outside websites and publications embed images without the explicit consent of content creators.

The case dates back to 2016, when Time embedded an Instagram image of Hillary Clinton taken by photographer Matthew Brauer without asking for permission. In 2020, Buzzfeed did the same thing with a photo taken by Alexis Hunley of a Black Lives Matter protest. The pair of photogs sued Instagram, alleging that the social media company never asked third parties to obtain a license to embed copyrighted photos or videos, opening them up to a charge of secondary infringement.

The suit was originally initiated in California back in 2021, but a judge dismissed it on the grounds that the news outlets in question didn’t store the original image or even display a copy of it. Rather, it was just displaying what was already available via Instagram as an embed. The pair appealed this decision, which has now failed in federal court. The reasoning follows the same line as California’s decision, with judges agreeing that when a photo or video is embedded, no copy is made of the underlying content.

It’s worth noting, however, that the federal panel of judges did say that Hunley and Brauer raised “serious and well-argued” policy concerns regarding copyright holders’ ability to actually control and ultimately profit from their work. Instagram has also addressed the issue in convening years, adding an option in 2021 that allows users to make images unembeddable. This change came after the platform was lobbied by the American Society of Media Photographers (ASMP) and the National Press Photographers Association (NPPA).

This may not be the end of the case, as Reuters reports that the photographers can petition for a rehearing with a panel of 11 randomly-selected judges, though Brauer and Hunley haven’t addressed this course of action.

There’s also the underlying meaning of this court decision. All by itself, the ruling indicates that third parties, such as media publications, can embed photos and videos at will without ever asking the original content creator for permission. However, related cases have been popping up with differing outcomes, setting the stage for a higher-court showdown at some point.

For instance, a New York judge handed down a somewhat contradictory ruling back in 2018 when a photographer sued various publications after they embedded tweets with an original image of NFL legend Tom Brady. The judge sided with the photographer here, stating in her decision that “the fact that the image was hosted on a server owned and operated by an unrelated third party does not shield them from this result,” adding “nowhere does the Copyright Act suggest that possession of an image is necessary in order to display it. Indeed, the purpose and language of the Act support the opposite view.”

Being a smartphone startup is hard, particularly when you’re up against tech giants like Apple, Google and Samsung. But after selling more than 500,000Phone 1s last year, Nothing has returned with a sequel: the Phone 2. And while it looks similar to the previous model, it feels like Nothing is finally figuring out its groove. Not only does it have a significantly faster CPU, its cameras have been improved, and we’re finally seeing Nothing’s vision of a more thoughtful and deliberate UI. Even the phone’s most distinctive feature – its Glyph interface – offers enhanced customization and added functionality. But perhaps most importantly, the Phone 2 will officially be available in the US. And while this added sophistication comes at an increased cost, it’s still very affordable at $600. In a sea of Android phones that often blend together, getting an eye-catching device for a reasonable price is definitely something notable.

Design

Compared to most phones that are clad in a blank sheet of glass, the Phone 2 (which is available in white or a new gray color) is a stunner. Its transparent Gorilla Glass back reveals a monotone assortment of components, allowing you to see things like its magnetic charging coil, power cables and more. It’s not messy, though. Everything is buttoned up just enough, and there are human touches like arranging some of the components to look like an elephant. I’ve been told there are other creatures hiding as well, but I haven’t spotted them yet. It’s like having a cyberpunk art installation in your pocket.

Of course, there’s also the Glyph interface which consists of a number of LED strips that pulse, strobe and glow. For this model, Nothing more than doubled the number of lights from five to 11, while also adding support for addressable zones, which allows for gradient effects. Unfortunately, there’s still only one color to choose from: white.

As for the rest of the device, it’s very similar to the Phone 1 including a metal frame with flat boxy sides and an iPhone-like button layout for power and volume. The one big change is that Nothing used 2.5D glass with rounded edges in back which sports curves that sit more naturally in your hand without digging in.

Photo by Sam Rutherford/Engadget

Meanwhile, its 6.7-inch OLED display delivers excellent brightness (with peaks of well over 1,000 nits in my testing), rich colors and a speedy 120Hz refresh rate. You also get an in-screen fingerprint reader for simple and secure biometrics which is both fast and accurate.

Performance

The Phone 2 packs a Qualcomm Snapdragon 8+ Gen 1 processor, 8GB or 12GB of RAM and up to 512GB of storage. Sure, its chip is a year old, but it handled games and editing photos without a hint of lag. When combined with speedy UI animations and a lightweight Android skin, the Phone 2 feels incredibly responsive and snappier than some flagship phones that cost a whole lot more. Additionally, while the phone is only available as an unlocked model, it has been certified to work on both T-Mobile and AT&T’s networks (sorry Verizon folk), so it’s pretty flexible when it comes to bringing it over to your carrier.

Cameras

Photo by Sam Rutherford/Engadget

Tuning a phone’s cameras and image processing can be extremely difficult when you don’t have the same level of resources as a trillion-dollar megacorp. And while the Phone 2’s 50MP main cam and 50MP ultra-wide cams are decent, they’re still a tier or two below what you get from a Pixel 7. During the day, the Phone 2 captures images with bright, rich colors and good sharpness. It’s only when you zoom to 100 percent that you notice things like color fringing and worse dynamic range. Nothing has a hard time keeping up with Google’s Night Sight mode in low light too, sometimes struggling when trying to nail white balance while also preserving detail. Still, coming from the Phone 1, it’s a big improvement and if you aren’t an avid photographer, the Phone 2 is still serviceable.

Software

Compared to the previous model, the Phone 2’s software may have the biggest number of improvements. This time instead of a barebones version of stock Android, Nothing has included its Monochrome UI which consists of new widgets, wallpapers, icon packs and more that create a distinctive experience that ties into the phone's exterior design. Not only does it look great, you can also make all the app icons grayscale and even remove the name of the app entirely. The idea is that, by making apps a touch harder to find, you’re forced to be more deliberate about how and when you use your phone. That’s a refreshing change from just reflexively doom scrolling through social media every time you have a spare minute.

Nothing also added a new tab in the settings menu for its Glyph interface so you can get more granular control over all those LEDs. Features range from simple things like using its rear lights to show battery status or volume to more sophisticated things like what Nothing calls “Essential notifications.” That allows you to set specific apps to activate LEDs on the back of the phone. This way, you can put the phone facedown on a table and really pay attention to the people you're with. This was convenient for me because since my wife and I seem to be the only people we know that use Google Chat, I set that as my essential notification so I never miss her messages.

And while it’s limited to a single app for now, Nothing is even integrating its Glyph interface with a third-party app in Uber, so you can see a real-time arrival estimate for a car just by looking at the back of the phone. It’s a neat trick that could have a ton of potential. Instead of using a special API, the LEDs are simply getting info from your notifications to update the lights. That makes it easier to develop more custom Glyph integrations without needing to partner with every single app developer. So while third-party app integration is still a work in development, it’s off to an interesting start.

Finally, while it’s not quite as long as what you get from Google or Samsung, Nothing is promising three years of OS updates along with four years of regular security patches.

Battery Life

Photo by Sam Rutherford/Engadget

I wasn’t sure what kind of endurance I was going to get from the Phone 2 between its 4,700 mAh battery and slightly older, less power-efficient chip. But on our video rundown test, Nothing crushed it with a time of 24 hours and 25 minutes. That’s the second longest time we’ve seen in recent history, only behind the Samsung’s Galaxy S23+ (25:02). On top of that you get 15-watt wireless charging, 45-watt wired charging and 5-watt reverse wireless charging.

Wrap-up

In a time when new generations of phones never seem quite as exciting as the last, Nothing has still managed to make the Phone 2 stand out. Its eye-catching design captures some of the best qualities of clear plastic gadgets from the ‘90s, like Gameboys and Nintendo 64’s, but in a much more sophisticated way. Meanwhile, Nothing’s Monochrome UI asks users to be more thoughtful about how they use their device while giving them tools like the Glyph interface that can surface info and notifications in novel ways. And even though its specs don’t jump out at you, it never felt slow and it’s well-equipped with handy features like reverse wireless charging.

Photo by Sam Rutherford/Engadget

That said, for $600, the Pixel 7 is still the better value. It’s got a newer chip along with a much more sophisticated software package which includes features like Call Screener and robust language detection, and its cameras are in a class of their own. But its screen is smaller and its battery life isn’t quite as long. And you know what, that’s totally fine because the Phone 2 isn’t for everyone. It’s a phone that wants you to think differently about how you use your device while giving you the tools to do so. It’s the offbeat choice, and for people who want to be excited by their phone again, it’s definitely an interesting mainstream alternative.

Amid the pending takeover of Activision Blizzard by Microsoft, the former has laid off around 50 employees from its esports division. The company is also preparing for some potential huge changes to the Overwatch League (OWL), which may bring an end to its city-based franchise format.

Employees were informed of the layoffs on Tuesday, according to The Verge. One now-former member of the team told the publication that the layoffs came out of nowhere and suggested that a skeleton crew could close out the OWL and World Series of Warzone seasons. However, they added that "in my eyes, they are completely unequipped to internally support anything esports after that.” Activision Blizzard also laid off around 50 people from its esports teams in March 2021.

The company noted in an earnings report released today that it modified its agreements with Overwatch League team owners last quarter. "According to the amended terms, following the conclusion of the current Overwatch League season, the teams will vote on an updated operating agreement," the report reads. "If the teams do not vote to continue under an updated operating agreement, a termination fee of $6 million will be payable to each participating team entity." The company added that OWL's total revenue accounts for under one percent of its consolidated net revenues. 

Reports recently suggested that the Overwatch League waived its remaining franchise fees, with teams still owning between $6 million and $7.5 million after payments were deferred due to the COVID-19 pandemic. A spot in the league was originally said to cost $20 million, and that reportedly jumped to over $30 million for expansion teams that joined in the second season in 2019.

Hunter Martin via Getty Images

Although it got off to a strong start, OWL has been on shaky ground for some time. In its first two seasons, many matches aired on ESPN and other networks and the season-ending Grand Finals were shown on ABC. After two seasons of OWL hosting almost every match from a television studio, the third season was supposed to be when the ambitious grand vision of OWL came together, with players competing in each team's city every week.

However, that was in 2020 and the format only lasted a few weeks before the COVID-19 pandemic shut everything down. The forced change to an online-only format in 2020 closed off a key and long-promised revenue stream to OWL team owners, as they were unable to generate income from live events. Live events gradually started returning in 2021.

There have been many other hiccups. When OWL moved from Twitch to YouTube in 2020, viewership dropped substantially. While there have been some significant peaks in viewership over the last few years, the league still appears to be struggling to attract eyeballs. Sponsors such as Coca-Cola, T-Mobile and Kellogg's fled the ship in 2021 following a lawsuit that included allegations of widespread sexual harassment and discrimination at Activision Blizzard.

China has been one of the strongest markets for OWL viewership over the last few years. However, Overwatch 2 and most other Blizzard games are not currently available in the country after a partnership with NetEase, which published the games there, came to an end. That could have impacted interest in the Overwatch ecosystem in the country overall. (In its earnings statement, Activision Blizzard noted that "engagement and player investment in Overwatch 2 declined sequentially" in the second quarter of the year, but hopes a soft relaunch with a major update next month will bring players back.)

Blizzard tried to bolster excitement around OWL this year by opening a pathway for teams from the second-tier Contenders division to compete in the highest level of Overwatch esports for the first time. In June, after failing to field a team in the first half of the season, it emerged that the Chengdu Hunters became the first franchise to leave the Overwatch League for good.

OWL team owners have long claimed that they're not making enough money from the league. Earlier this year, esports journalist Jacob Wolf reported that OWL teams brought in a law firm to negotiate with Activision Blizzard for some kind of economic relief "after years of high operating costs and continually missed promises on revenue." Sports Business Journalnoted that teams receive around $1 million from OWL but it costs between $3 million and $5 million a year to run a competitive team, meaning that most are running at a loss.

Given the financial implications, it would not be surprising if OWL teams vote to end their agreement with the league. While that would certainly end the Overwatch League in its current format, Activision Blizzard is still planning to support Overwatch esports.

“I want to be clear on one thing in particular, that Overwatch remains committed to a competitive ecosystem in 2024 and beyond,” OWL commissioner Sean Miller told The Verge. “And we’re building toward a revitalized global scene that prioritizes players and fans.” Miller noted that Blizzard was looking at various options for the future of Overwatch esports and added he was very optimistic: "We are doing all we can to make the player experience and the fan experience one that people want to return to, want to be a part of and get excited about to turn on.”

All the same, the Overwatch esports ecosystem could look very different next year. This year's Grand Finals in Toronto could be the end of OWL as we know it.

After almost six years, Beats is back with new over-ear, noise-canceling headphones. A significant update from the Studio 3 Wireless, the new Studio Pro is a familiar formula that’s been reconfigured from the inside out. A second-generation version of Beats’ own audio chip powers this new model, delivering improvements to active noise cancellation (ANC), spatial audio with dynamic head tracking and wired audio modes via USB-C connection. Small design tweaks and slightly better battery life are also on the spec sheet, while the price remains $350 for Beats’ flagship headphones.

Design

To refresh the aesthetics, Beats enlisted the help of Samuel Ross, a fashion and product designer who has worked with Hublot, Nike, Oakley and others. The result is an updated look with new colors, materials, packaging and branding. While the tweaks are subtle and the folding design remains the same overall, there are a few notable changes to point out. First, Studio Pro is available in four new colors and even the black option now has a matte finish. Where the headband hinge used to have a contrasting color for most of the variants, that’s now a tone-on-tone finish and the model name has been removed. The iconic lowercase “b” logo remains on both sides, though.

Another key change is to the earpads. Beats and Ross opted for a seamless design here, with cushions made of a new UltraPlush memory foam, though they’re still wrapped in leather. Beats is clear the clamping force from previous Beats models remains the same, unfortunately and the weight hasn’t changed. Indeed, the new ear pads help to a degree, but after about an hour of use, I start to feel the pressure that’s been an issue with Beats headphones for years.

Since Beats headphones first debuted, the company’s models have become mainstays for gym goers and pro athletes. You won’t catch warm-ups for many professional sports events without at least one person wearing Beats headphones. Still, the company hasn’t issued a proper IP rating for sweat and water resistance. Beats says it’s confident the Studio Pro will be just fine for workouts, but it’s also clear that earpad replacements won’t be available through the company. You’ll need to find a third-party supplier should they get too grimey.

Physical on-board controls are back on the Studio Pro. On the outside of the left ear cup, a multi-function button in the center handles single, double and triple taps to control music and calls. A long press here will activate your voice assistant, even though the headphones support hands-free Siri on Apple devices. Above and below this center button are the volume controls, while the noise modes are toggled with a double press of the power button on the right ear cup. If you’re in USB-C audio mode, two taps of that button will cycle between three EQ presets specifically designed for wired use (Signature, Entertainment and Conversation). A line of five LEDs below the power control blinks when you’re in pairing mode and gives you a battery life estimate with a single press when the headphones are powered on.

Software and features

Photo by Billy Steele/Engadget

Beats continues its move away from Apple’s audio chips with the Studio Pro. These headphones contain the company’s own second-gen platform instead, but a lot of the features that Apple silicon offers are still here. Hands-free Siri, one-touch pairing, iCloud pairing, Apple Watch hand-off and Find My compatibility are all baked into iOS. Multipoint pairing and automatic switching between devices isn’t available on iOS, iPad and Mac right now, but Beats says it may arrive later. There’s no need to download a separate app on iOS to access the settings though, they’re also available in the Control Center. For Android users, the Beats app offers one-touch pairing via Google Fast Pair, automatic connection to Android or Chrome devices through your Google account, seamless device transitions, Find My Device, customization and widgets.

Beats has added Transparency Mode to the Studio Pro, giving its over-ear headphones a very useful tool that was missing from the Studio 3. The company’s audio chip also powers Spatial Audio with dynamic head tracking. While the previous model supported immersive sound, it didn’t offer head tracking or the ability to personalize audio, the latter of which Apple debuted last year.

For the first time, Beats has enabled USB-C wired audio on the Studio Pro. In addition to listening to high-resolution and lossless tunes, you can also take calls while the headphones are actively charging. The Studio Pro has a built-in digital-to-analog converter (DAC) that can accommodate sample rates up to 24-bit/48kHz. That’s enough to handle the high-res streaming from Apple Music, Amazon Music HD and Tidal. Beats has also included three USB-C sounds profiles for wired listening: Signature, Entertainment and Conversation. As the names suggest, each one is tailored to music, movies/TV shows and calls, adjusting the frequency curve for what the company thinks is the best in each scenario. And yes, there’s still 3.5mm playback, which can be used with ANC and Transparency Mode as needed.

Sound quality

Photo by Billy Steele/Engadget

Inside, Beats swapped out the drivers for new 40mm units. A two-layer diaphragm combines with micro vents and fine acoustic mesh to streamline the airflow and minimize distortion. The company says the new drivers can provide “near-zero” distortion even at high volumes, which is an up to 80 percent improvement from the Studio 3. That claim holds true as the Studio Pro doesn’t distort when you crank it up to the eye-watering full volume. However, what the new components have done to improve clarity while providing a more balanced sound profile is more impressive.

In its early days, Beats had a reputation for being too heavy-handed with the bass. While that hasn’t been the case for a while, the company still has a propensity to highlight low-end. For the Studio Pro, there’s still ample bass when a track calls for it, but that boom doesn’t come at the sacrifice of mids and highs – or more importantly detail. Even the driving thump of the kick drum on TesseracT’s “War of Being” has noticeable texture throughout the song. It’s not just a repetitive boom.

Overall, the attention to clarity and the even-handed tuning across the EQ curve gives the Studio Pro quite immersive sound out of the box. Everything seems open and airy, with even the instruments in chaotic metal tracks remaining perfectly discernible. Turn on something softer like Charles Wesley Godwin’s Live From The Church or Nickel Creek’s Celebrants (country and bluegrass, respectively), and you immediately hear the layers of acoustic instruments and finer detail unique to each. Those records can sound like you’re in the room while they’re being recorded on the best-sounding headphones, and there’s a sense of that on the Studio Pro. As you might expect, this latest Beats model excels with hip-hop tracks. The droning bass lines on albums like Killer Mike’s MICHAEL lay a thick foundation for the rest of the song to be built.

While Spatial Audio returns, chances are it won’t sway your buying decision. The integration is similar to previous Beats and Apple earbuds and headphones, with Personalized Spatial Audio added in this time around. The technology still simulates the sound of 64 speakers, capable of moving with you if you have head tracking enabled. If you’ve experienced Spatial Audio before, you know exactly what to expect: slightly louder, more airy tunes where the technology’s immersive nature can vary from album to album and genre to genre. When it hits though, like on Pearl Jam’s “Even Flow,” older tracks have new life. With boygenius’ The Record though, I can’t tell the difference when Spatial Audio is on. I’m also less sold on the dynamic head tracking Beats added on the Studio Pro.

Photo by Billy Steele/Engadget

Then there are the new USB-C EQ profiles. When you’re connected to a computer or other compatible device, ANC and Transparency mode are disabled. Instead, the power button on the Studio Pro cycles through wired presets for music, entertainment and calls. That 5-LED array below the power control indicates which profile you’re on and will be essential until you memorize the audible tones for each one. Signature and Conversation work best for music and calls respectively, while I’m less impressed by the Entertainment setting. All three are fine, but those two are the ones I found myself coming back to in wired mode. Like Spatial Audio content in Dolby Atmos, mileage can vary listening to lossless tunes via Apple Music. Some albums are noticeably better with wired USB-C, while others sound nearly identical to streaming over Bluetooth.

Although Beats doesn’t quantify with a number, it says ANC performance is improved on the Studio Pro when compared to the Studio 3. Fully adaptive active noise cancellation uses outward facing mics to monitor your environment while inward pointing units catch any sounds that might sneak through due to fit. The company explains that the ANC boost is also partially due to updated microphones all around as they have higher sensitivity and a better signal-to-noise ratio. While the Studio Pro doesn’t beat the noise-blocking powers of Bose or Sony, the ANC on the Studio Pro is noticeably better than the Studio 3 – especially for things like television noise and human voices. And similar to the previous model, the latest Beats headphones analyze audio up to 48,000 times per second to maintain pristine clarity.

Lastly, let’s discuss Transparency Mode. While I welcome the inclusion here over not offering ambient sound at all, I did have higher hopes. It works fine, but lacks the natural clarity of Apple’s AirPods Max or AirPods Pro. I thought Beats might come close since it works closely with Apple on several aspects of its products, but that’s not the case. Apple remains truly unmatched when it comes to Transparency Mode. It often sounds like you’re not even wearing headphones at all, mostly due to how natural your own voice sounds fed back through those devices.

Call quality

Photo by Billy Steele/Engadget

Beats says you can expect up to 27 percent better voice clarity than the Studio 3 Wireless, thanks to voice-targeting microphones and a machine-learning algorithm. The company explains that it trained the system on over 7,000 hours of “real-world environments” in order to create a setup that can “precisely hone in” on your voice. Those are lofty claims for sure, and part of them hold true.

The Studio Pro is great at cutting out constant background noise, like a fan or A/C unit. Neither of those came through on calls when I was sitting right underneath one or the other. It’s better than the speakerphone-like quality most headphones and earbuds offer, but it isn’t pristine.

Battery life

When it comes to battery life, Beats says you can expect up to 40 hours with ANC off. That’s the same figure it promised on the Studio 3. However, with noise cancellation or Transparency Mode enabled, the company offers two hours more than the previous model at 24 hours. There’s still a quick-charge feature here, dubbed Fast Fuel, that gives you up to four hours of use in just 10 minutes.

During my tests with the Studio Pro, I still had 23 percent battery left after 25 hours of use with either ANC or ambient sound active. That’s also doing a mix of music, podcasts, streaming TV and taking calls. I powered the headphones completely off several times during that span as well and I plugged them in via USB-C for a few minutes to test those modes.

The competition

Photo by Billy Steele/Engadget

When it comes to flagship headphones at this price, Beats’ biggest competition remains Sony and Bose. Sony’s 1000X line has been our top pick for best wireless headphones for years, as the company’s mix of stellar sound, powerful noise cancellation and a literal truckload of handy features is unmatched. With the latest version, the $400 WH-1000XM5, the company simply packs so much into their headphones that many others can’t compete. The Bose 700 is that company’s best option, which is currently available for about $10 less than Sony’s 1000XM5. Bose doesn’t come close to Sony in terms of features, but it does do slightly better when it comes to ANC performance. If blocking out distractions is your primary goal, the 700 is worth a look.

Wrap-up

While Beats didn’t completely redesign its over-ear headphones for the Studio Pro, its latest model is a significant update. The company did well to incorporate features and technology other companies have introduced over the last five years, and its relationship with Apple continues to enhance its products. The improvements to ANC and sound quality alone are good, but the fact that the company was also able to add in a wired USB-C audio, upgrades to Spatial Audio and better voice performance while keeping the price the same is notable. There’s no doubt these are still premium headphones, but the Studio Pro positions Beats to better compete with the likes of Sony and Bose in a number of areas where it used to fall short.

Beats Studio Pro is available to order today in black, brown, navy and Sandstone color options for $350. The headphones will be available at Apple retail stores and other resellers starting tomorrow, July 20th.

Amazon's Prime Day sale on Lexar storage is still going on, with deals now available to non-Prime members as well. One of the best is on Lexar's Play 1TB microSD V30 card, ideal for gamers, smartphone users and others for just $63, or 52 percent off the regular price. There are other bargains as well, like a pair of 128GB V60 1667x SD cards ideal for mirrorless cameras priced at $58 (34 percent off) and a CFexpress Type B USB 3.2 Gen 2x2 reader for $35 (50 percent off). 

Those who want to top up their Nintendo Switch, smartphone or other device with extra space should check out the Lexar Play microSD cards on sale: you can get the 1TB card at an all-time low price of $63 (52 percent off) or grab the 512GB model for $45 or 256GB for $30. The V30 designation allows read speeds up to 150MB/s, with write speeds at around 80MB/s — a lot of throughput for the price.

Camera lovers may want to look at Lexar’s V60 UHS-II SD cards, which are recommended in our latest camera gift guide thanks to a good balance between speed and value. The 120MB/s write speeds are enough for most H.264/H.265 4K video modes, and you can then transfer files to your computer at up to 250MB/s. A pair of the 128GB cards are available for $58 (34 percent off), two 256GB models are priced at $108 (38 percent off) and two 64GB cards are just $40. Those are just some of the deals, as you'll also find discounts on CFexpress Type A cards, NVMe SSDs, JumpDrive memory sticks and more. 

Follow @EngadgetDeals on Twitter and subscribe to the Engadget Deals newsletter for the latest tech deals and buying advice.

Amazon's Prime Day sale on Lexar storage is still going on, with deals now available to non-Prime members as well. One of the best is on Lexar's Play 1TB microSD V30 card, ideal for gamers, smartphone users and others for just $63, or 52 percent off the regular price. There are other bargains as well, like a pair of 128GB V60 1667x SD cards ideal for mirrorless cameras priced at $58 (34 percent off) and a CFexpress Type B USB 3.2 Gen 2x2 reader for $35 (50 percent off). 

Those who want to top up their Nintendo Switch, smartphone or other device with extra space should check out the Lexar Play microSD cards on sale: you can get the 1TB card at an all-time low price of $63 (52 percent off) or grab the 512GB model for $45 or 256GB for $30. The V30 designation allows read speeds up to 150MB/s, with write speeds at around 80MB/s — a lot of throughput for the price.

Camera lovers may want to look at Lexar’s V60 UHS-II SD cards, which are recommended in our latest camera gift guide thanks to a good balance between speed and value. The 120MB/s write speeds are enough for most H.264/H.265 4K video modes, and you can then transfer files to your computer at up to 250MB/s. A pair of the 128GB cards are available for $58 (34 percent off), two 256GB models are priced at $108 (38 percent off) and two 64GB cards are just $40. Those are just some of the deals, as you'll also find discounts on CFexpress Type A cards, NVMe SSDs, JumpDrive memory sticks and more. 

Follow @EngadgetDeals on Twitter and subscribe to the Engadget Deals newsletter for the latest tech deals and buying advice.

In the 1990 fantasy drama - Truly, Madly, Deeply, lead character Nina, (Juliet Stevenson), is grieving the recent death of her boyfriend Jamie (Alan Rickman). Sensing her profound sadness, Jamie returns as a ghost to help her process her loss. If you’ve seen the film, you’ll know that his reappearance forces her to question her memory of him and, in turn, accept that maybe he wasn’t as perfect as she’d remembered. Here in 2023, a new wave of AI-based “grief tech” offers us all the chance to spend time with loved ones after their death — in varying forms. But unlike Jamie (who benevolently misleads Nina), we’re being asked to let artificial intelligence serve up a version of those we survive. What could possibly go wrong?

While generative tools like ChatGPT and Midjourney are dominating the AI conversation, we’re broadly ignoring the larger ethical questions around topics like grief and mourning. The Pope in a puffa is cool, after all, but thinking about your loved ones after death? Not so much. If you believe generative AI avatars for the dead are still a way out, you’d be wrong. At least one company is offering digital immortality already - and it’s as costly as it is eerie.

Re;memory, for example, is a service offered by Deepbrain AI - a company whose main business includes those “virtual assistant” type interactive screens along with AI news anchors. The Korean firm took its experience with marrying chatbots and generative AI video to its ultimate, macabre conclusion. For just $10,000 dollars and a few hours in a studio, you can create an avatar of yourself that your family can visit (an additional cost) at an offsite facility. Deepbrain is based in Korea, and Korean mourning traditions include “Jesa”, an annual visit to the departed’s resting place.

Right now, even by the company’s own admission, the service doesn’t claim to replicate their personality with too much depth - the training set only really affords the avatar to have one “mood.” Michael Jung, Business Development and Strategy Lead at Deepbrain told Engadget, “If I want to be a very entertaining Michael, then I have to read very hyper voices or entertaining voices for 300 lines. Then every time when I input the text [to the avatar] I'm going to have a very exciting Michael”. Re;memory isn’t currently trying to create a true facsimile of the subject - it’s something you can visit occasionally and have basic interactions with - but one hopes there's a little more character to them than a virtual hotel receptionis.

While Re;memory has the added benefit of being a video avatar that can respond to your questions, audio-based HereAfter AI tries to capture a little more of your personality with a series of questions.The result is an audio chatbot that friends and family can interact with, receiving verbal answers and even stories and anecdotes from the past. By all accounts, the pre-trained chatbots provide convincing answers in their owners’ voices - until the illusion is unceremoniously broken when it robotically responds “Sorry, I didn’t understand that. You can try asking another way, or move onto another topic.” to any query it doesn't have an answer for. 

Whether these technologies create a realistic avatar or not isn’t the primary concern - AI is moving at such a clip that it’ll certainly improve. The trickier questions revolve around who owns this avatar once you’re gone? Or are your memories and data safe and secure? And what impact can all this have on those we leave behind anyway?

Joanna Bryson, Professor of Ethics and Technology at Hertie School of Governance likens the current wave of grief tech to when Facebook was more popular with young people. Back then, it was a common destination to memorialize friends that had passed and the emotional impact of this was striking. “It was such a new, immediate form of communication, that kids couldn't believe they were gone. And they seriously believe that they're dead friends were reading it. And they're like, ‘I know, you're seeing this.’”

OLIVIER DOULIERY via Getty Images

The inherent extra dimension that AI avatars bring only adds fuel to the concern about the impact these creations might have on our grieving brains. “What does it do to your life, that you're spending your time remembering … maybe it's good to have some time to process it for a while. But it can turn into an unhealthy obsession.”

Bryson also thinks this same technology could start being used in ways it wasn’t originally intended. “What if you’re a teenager or preteen and you spend all your time on the phone with your best friend. And then you figure out you prefer, like a [AI] synthesis of your best friend and Justin Bieber or something. And you stop talking to your actual best friend,” she said.

Of course, that scenario is beyond current capabilities. Not least because to create an AI version of our best, living friend we’d need so much data that we’d need their participation/consent in the process. But this might not be the case for much longer. The recent spate of fake AI songs in the style of famous artists is already possible, and it won’t be long before you won’t need to be a celebrity for there to be enough publicly available input to feed a generative AI. Microsoft’s VALL-E, for example, can already do a decent job of cloning a voice with just three seconds of source material.

If you have ever had the misfortune of sorting through the possessions of a dead relative, you often learn things about them you never knew. Maybe it was their fondness for a certain type of poetry via their underlinings in a book. Or maybe something more sinister, like bank statements that showed crippling debt. We all have details that make us complex, complete human beings. Details that, often intentionally, remain hidden from our public persona. This throws up another time-honored ethical conundrum.

The internet is awash with stories of parents and loved ones seeking access to their deceased’s email or messaging accounts to remember them by. For better or worse we may not feel comfortable telling our immediate family about our sexuality or our politics, or that our spouse was having an affair - all things that our private digital messages might reveal. And if we’re not careful, this could be data we inadvertently give over to AI for training, only for it to burp that secret out posthumously.

Even with the consent of the person being recreated in AI there are no assurances someone else can’t get their hands on the digital version of you and abuse it. And right now, that broadly falls into the same crime bucket as someone stealing your credit card details. Until they do something public with it, at which point other laws, such as right to publicity may apply - but usually, these protections are only for the living.

Bryson suggests that the logical answer for data protection might be something we’re already familiar with – like the locally stored biometric data we use to unlock our phones. “Apple has never trusted anyone. So they really are very privacy oriented. So I tend to think that, that's the kind of organization that will come up with stuff, because they want it themselves.” (The main issue this way, as Bryson points out, is that if your house burns down you risk losing “grandma” forever.)

AntonioGuillem via Getty Images

Data will always be at risk, no matter where or how it’s stored. It’s a peril of modern day living. And all those concerns about privacy might feel like a tomorrow problem (in the same way we tend to worry about online fraud only once it’s happened to us). The cost, accuracy and just general creepiness that AI and our future digital avatars create might be scary, but it’s also a crushing inevitability. But that doesn’t mean our future is doomed to be an ocean of Max Headroom’s spouting our innermost secrets to any hacker that will listen.

“It will be a problem in the immediate, there probably is a problem already,” Bryson said. “But I would hope that a good high quality version would have transparency, and you'd be able to check it. And I'm sure that Bing and Google are working on this now, for being able to verify where chat programmes get their ideas from.” Until that time though, we’re at risk of finding out the hard way.

Bryson is keen to point out that there are some positive takeaways, and they’re available to the living. “If you make it too much about death, you aren't thinking correctly about it,” she said. This technology forces us to confront our mortality in a new, albeit curious way and that can only help us think about the relationships we have right here in the world of the living. An AI version of someone will always be a poor facsimile, so, as Bryson suggests, why not get to know the real person better while you can. “I wish people would rehearse conversations with a chatbot and then talk to a real person and find out what the differences are.”

After 18 months of battling their way through regulatory red tape, Microsoft and Activision Blizzard are closer than ever to making their merger happen. However, with some issues still to smooth out in the UK, the companies weren't able to neatly tie things up in time for their initial July 18th deadline. As such, they've agreed to extend their merger agreement by three months to get the $68.7 billion acquisition over the line.

"Microsoft and Activision Blizzard have jointly agreed to extend the merger agreement deadline from July 18th, 2023 to October 18th, 2023, to allow for additional time to resolve remaining regulatory concerns," Microsoft said in a statement. 

If they hadn't agreed on new terms and either side walked away (which they could have done as of today), Microsoft would have been on the hook for a $3 billion breakup fee. That termination fee will increase to $3.5 billion if the merger hasn't closed by August 29th and $4.5 billion if it's not a done deal by September 15th. The fee will only be paid if the acquisition doesn't close. In addition, they agreed that Activision can give its shareholders a dividend of $0.99 per share.

"Microsoft and Activision Blizzard remain optimistic that we will get our acquisition over the finish line, so we have jointly agreed to extend the merger agreement to October 18th, 2023," Microsoft Gaming CEO Phil Spencer wrote in a note to employees. "While we can technically close in the United States due to recent legal developments, this extension gives us additional time to resolve the remaining regulatory concerns in the UK."

The Competition and Markets Authority, the UK's antitrust regulator, initially blocked the deal in April based on concerns over its impact on the cloud gaming market (deals Microsoft signed with third-party cloud gaming platforms were enough of a remedy for the European Union to approve the merger). Microsoft appealed the CMA's decision but with just days to go before the deadline, the CMA said it would be willing to review a modified merger proposal.

The CMA, Microsoft and Activision submitted a joint proposal to an appeals tribunal to delay their litigation by two months in an attempt to resolve the regulator's concerns amicably. The appeals tribunal granted that request on Monday. The CMA has also given itself an extra six weeks, until the end of August, to review Microsoft's new proposal. However, it hopes to do so as quickly as possible.

It's not quite clear when this might all be wrapped up one way or the other, but the CMA and both companies are aiming to do so very soon and certainly well before October 18th. One key date to look out for is August 2nd. That's when an evidentiary hearing in the Federal Trade Commission's administrative proceeding in an attempt to block the deal is scheduled to start. The FTC was unsuccessful in its efforts to obtain an injunction to stop the merger from happening in the meantime. However, if the deal hasn't closed by August 2nd and the FTC's administrative trial begins, things could get more complicated for Microsoft and Activision.