Last spring, Teenage Engineering announced a curious, tiny mixer. At $1,200 the TX-6 appeared to pair a serious price tag with almost comically small controls. It divided music making forums with naysayers deeming it evidence that the company was squandering its reputation as a maker of spendy-but-delightful products. Importantly, the TX-6 was the first in a new line of “Field” products. It was soon joined by the OP-1 Field synthesizer, but until recently that was it, and a mixer with a synth didn’t feel like much of a “system”.

With the arrival of the TP-7 recorder and the CM-15 microphone, the Field family is complete — although the company hasn’t ruled out adding more products further down the line. And like some sort of heavily designed musical Infinity Stones, all four products feel far more exciting and powerful together than they do individually. Or, forced metaphors aside, it’s easier to see where the company was going with all this now that the family is complete.

That’s if the $5,900 entry fee for the full set doesn’t make you balk. But let’s ignore the economics for now, as that’s an accepted part of the Teenage Engineering experience at this point. What we have here is a compact, creativity-inducing system that’s like no other and this off-beat, playful approach to product design is something I wish we saw more of (and ideally in a more accessible way).

We’ve already covered the TX-6 mixer and the OP-1 Field synthesizer and how they interact with each other. But as the two new arrivals bring their own set of skills to the Field system, most of which is laid out below. I say most, as every time I tinker with them, it occurs to me to try something new. Similarly, revisiting the online guide seems to have an uncanny ability to throw up things you missed last time, further unlocking ideas or features.

CM-15

Teenage Engineering’s first studio microphone is nothing if not beautiful. The Field aesthetic of small, rectangular CNC aluminum makes the most sense here out of all the products. The CM15 could really just be another fancy microphone. The CM15 is also the one where the price is most inconspicuous, given high-end microphones tend to start around the $1,200 that you’ll need to spend to add this to your collection.

The CM15 is a large diaphragm condenser microphone which is the type preferred in studios and tends to be a lot more sensitive than something like the podcaster’s favorite Shure SM7b. This microphone doesn’t have elaborate features like internal storage or any type of sound modification tools, but it’s not without some interesting details. For one, the CM15 has three output options — mini XLR, USB and 3.5mm — which makes it compatible with a wide range of devices. Specifically, as the CM15 has its own battery, it plays nice with more USB devices than rival condensers that may require more juice than your phone can deliver.

A switch around the back offers three levels of gain adjustment (neutral and +/- 18dB) which is handy given the variety of things you can plug this into. The gain is analog and in testing sounds pretty clean, with only a marginal effect on the noise floor. I found being able to quickly adjust the gain directly on the mic for different situations made this mic feel like a really good all-rounder, both at home or on the go.

With regard to the Field range, and the intercompatibility thereof, there’s less here than other devices in the family. When you plug the CM15 into the TP-7 recorder over USB it recognizes it as the CM15 and presents you a cute mini icon of it. When the mic is detected you’ll also have the option to add an additional 12dB of digital gain — something that’s not an option when plugging in a phone, for example. The CM15 is also the only mic I tried that worked with the USB port of the TX-6 mixer. This allows you to add effects and, of course, mix it with other instruments, but also this frees up an analog input if needed (though the mic will share channel six with anything else on that input).

Teenage Engineering states the CM15 can also be used as an audio interface, but when tested this didn’t work for Windows, MacOS or iOS. Though it will work as a USB mic for all those operating systems.

As for sound, the CM15 is a very “close” sounding condenser microphone. By that, I mean it never seemed to pick up a lot of the room which can often be the case with condensers, especially those with larger diaphragms. This is due to the supercardioid polar pattern but the result is perfect for mobile applications where you may find yourself in different environments and the CM15 will deliver fairly consistent sound. For my voice, I might appreciate the option to bump the mid-high frequencies a touch, but for most everything else, including foley and instruments, the CM15 sounds bright and clear.

TP-7

I’ll say it straight up front, the $1,499 TP-7 is my favorite of the four Field devices. The OP-1 Field is the flagship, but for pure portability to functionality balance, the TP-7 wins. Described as a “Field recorder” the TP-7 takes the idea of a portable cassette recorder and brings it up to date for the 21st century. There’s a built-in microphone, 128GB of storage and three stereo inputs (that can also be outputs). It can record multitrack podcasts, has tactile scrubbing controls and a thumb rocker and can even become a tiny turntable complete with scratching and physical pitch control.

First and foremost though, the TP-7 is a capable recorder. Press and hold the side button, even when the device is off, and it’ll spring to life and start recording via the internal mic. This feature is more about recording short notes and ideas which you can then have transcribed via a companion app. The app connects over Bluetooth or USB, works offline and will even identify different speakers. It’s not as fully featured as a paid service like Trint or Otter but it’s really cool extra functionality. I even tried loading an old interview I had on my PC onto the TP-7 and the app happily transcribed that, too. The only restriction seemingly being that you have a TP-7 (you can’t load an audio up from your phone within the app, for example).

Beyond memo recording is more general recording of the TP-7’s various inputs. As with the TX-6 mixer, your main inputs are 3.5mm ports which isn’t ideal but most things with a line signal can be wrangled into 3.5mm easily enough. You can also record audio into and out of your phone via USB-C (including the iPhone 15) or directly from the CM15 digitally and over 3.5mm analog at the same time, if you wanted.

The three 3.5mm ports can be configured for line-level or headset/TRRS input or flipped into outputs. Line level will cover most instruments and active electronics with audio output, while headset mode is for anything with a lower output signal such as, well, headsets, but also some other unpowered microphones like lavaliers. I even had some success recording an SM7b via an XLR to TRRS adapter. You can add up to 45dB of gain to the 3.5mm inputs, and with about 35dB the output from Shure’s gain-hungry mic was quiet, but clean and usable. Other XLR dynamic mics were much louder and usable.

With three microphones connected this way, the TP-7 will spit out a multitrack WAV file with each one recorded on its own channel making this a capable podcast recording tool or mini studio recorder that you can mix properly after the fact.

Connect a phone to the TP-7 over USB-C and you can record any sound directly, so you could grab the audio from a video and transcribe it with the app, or load up a beat and then sing or rhyme over it for an on the go demo whenever inspiration strikes. When playing back on the TP-7 the main front disk rotates and you can speed it up, slow it down or even do some rudimentary scratching. This could be used for effect when feeding the output into the TX-6 mixer for recording onto another device.

Multitrack also works for playback. So if you have a WAV file that has drums, vocals, synth and bass as different tracks, you can play it on the TP-7 into the TX-6 over USB and you can mix and add effects to each part of the track separately. In this way, you can use the pair as an effective performance tool, creating an intro with just the beat, adding in the bassline and so on.

Taking this concept even further, with two TP-7s and the TX-6 mixer you effectively have a pair of tiny turntables, with actual turning platters, that can be pitched up or down in real time into the mixer. It’s a classic analog DJ setup but the size of a paperback. I tried it, and mixing this way is really hard as using the jog wheel to alter pitch is a bit heavy handed. You can adjust the pitch more gently by holding the side button and then using the jog wheel, but if, like me, you haven’t mixed this way in 20 years, it takes a little getting used to. It’s also a little OTT to be fair.

What’s much more reasonable, is using the TP-7 as a general audio player. You can load files onto it, and then play them back either on the internal speaker or (preferably) via headphones. You can use the side rocker or the main wheel to control the playback, too. Currently you can only play .wav and .flac file extensions, which is fine, but the lack of mp3 feels like an obvious omission (Teenage Engineering confirmed support is incoming).

The flexibility of the TP-7 doesn’t stop out in the field. Connect it to your PC and it’ll become an audio interface, too. Or at least, that’s the idea. Right now on Windows I only had it working briefly and not in full. On macOS it was marginally better, but not usable. Bear in mind the TX-6 also offers this functionality, and after months that still doesn’t work with Windows at all and is still not flawless on macOS. It’s a shame, as at this price point you’d hope it works at launch and across both systems.

There’s really a lot more you can do with the TP-7, especially in combination with the TX-6. There’s Bluetooth MIDI functionality, for one. The two really make a great team, but the above cover much of the main functionality. Everything else starts to get a little bit niche. Fun, but niche. I’m also certain that functionality will continue to grow as Teenage Engineering is generally pretty good about adding features, often based on user feedback.

Putting it all together

After spending days plugging different things into the TP-7 and the TX-6 and trying out various scenarios and ideas, it sometimes felt like that was often half the fun. Wondering what will happen if you do X and connect to Y. Like musical lego. Much of this will be true for many combinations of audio gear, but the Field line does lend itself particularly well to this playful experimentation.

That said, there are some bugs that you might not expect at this price point. The most obvious one I encountered was the audio interface functionality. At launch I would expect Windows and macOS support and for both to be fairly seamless. Other curiosities were less important but still confusing. Sometimes the CM15 wouldn’t be recognized over USB until a restart, or simply using the analog/3.5mm output would sporadically give crunchy audio when recording into one thing, but clear audio on the TP-7. This could well be down to cables, adapters and so on, but when the same scenario works just fine on a product a third of the price it’s harder to justify.

Take the Tula mic, for example. It’s actually a device that’s already quite popular with Teenage Engineering fans. It has a more classic design, but offers similar functionality to both the TP-7 and the CM15 combined. The mic on it maybe isn’t as good as Teenage Engineering’s, and the recorder functionality doesn’t have the fancy rocker and jog wheel controls, but it’s a good mic and a good recorder all in one and it only costs $259 — less than a tenth of the TP-7 and CM15 together.

But as I said up top, this is less about the price. Teenage Engineering fans are aware of the expense that comes with the products. Many consider it worth it just for that extra dash of playfulness that you don’t find elsewhere. (Other fans are, to be clear, still not really okay with the pricing.) That’s perhaps a conundrum that good old market forces can decide. If, after all these years, the company is still chugging along, it suggests there are plenty of people that consider it a premium worth paying.

What is less contested is that Teenage Engineering does something unique enough to earn it enough fans for there to even be an argument. Or an article like this one. The Field system, in my opinion, exemplifies what the company does best. Interesting tools that have a practical core and a less practical fun side. Individually all four field items will solve a basic problem, like most products do. Together they become a little bit more than the sum of their parts. If you believe creativity lives in that space between functionality and possibility then the Field range creates enough room here for the right kind of creator that the price

Following the recent launch of the new M3-equipped MacBook Pros, Apple will soon be releasing an update for its Final Cut Pro to make further use of its own silicon. According to the company, its updated video editing suite will leverage a new machine learning model for improved results with object and face tracking. Additionally, H.264 and HEVC encoding will apparently be faster, thanks to enhanced simultaneous processing by Apple silicon's media engines.

On the user experience side, the new Final Cut Pro comes with automatic timeline scrolling, as well as the option to simplify a selected group of overlapping connected clips into a single storyline, and the ability to combine connected clips with existing connected storylines. As for Final Cut Pro for iPad, users can take advantage of the new voiceover recording tool, added color-grading presets, new titles, general workflow improvements and stabilization tool in the pro camera mode. Both the Mac and iPad versions of Final Cut Pro will receive their updates later this month.

Apple

For those who need to focus on music creation, Apple has also updated Logic Pro with some handy new tools. For both the Mac and iPad versions, there's a new Mastering Assistant which claims to help polish your audio mix, by analyzing and tweaking "the dynamics, frequency balance, timbre, and loudness." You can use this tool to refine your mix at any point throughout the creation process. Another good news is that to avoid digital clipping and to boost low-level sensitivity, both flavors of Logic Pro now supports 32-bit float recording when used with compatible audio interfaces.

If you're a fan of "Sample Alchemy" — a sample-to-instrument tool — and "Beat Breaker" — an audio multi-effect plug-in — on Logic Pro for iPad, you'll be pleased to know that both features have been ported over to Logic Pro for Mac. Similarly, the Mac app has gained two free sound packs, "Hybrid Textures" and "Vox Melodics," which can be found in the Sound Library. Some may also find the new "Slip" and "Rotate" tools in the "Tool" menu handy.

Meanwhile, the updated Logic Pro for iPad offers a better multi-tasking experience. The app now supports iPadOS' "Split View" and "Stage Manager," thus letting you quickly drag and drop audio samples from another app — such as Voice Memos, Files or a browser — into Logic Pro. There's also a new "Quick Sampler" recorder plug-in for easily creating sampler instruments from any sound, via the iPad's built-in microphone or a connected audio input. This update, along with a handful of related in-app lessons, are available immediately.

Amazon just bundled together the fourth-gen Echo and the fifth-gen Echo Dot in a sale that represents significant savings for both devices. You can snag both for $83, which is a discount of nearly $70 if you bought each separately. The bundle’s even available in multiple colors, including white, blue and black. You can’t mix and match hues, however, for the contrast hounds out there.

The bundle includes the fourth-gen Echo, originally released in 2020. In our review, we said that the speaker “punches above its weight” and praised the reasonable price. Well, if the price was reasonable at $100, it’s certainly reasonable now. The Echo is more or less the gold standard when it comes to basic smart home speakers and gives you access to Alexa, premium sound quality (for a small ball that sits on a counter) and an easy-to-use microphone array.

We also noted that this thing sounds even better when paired with another device for the purposes of stereo or multi-room sound. That’s where the Echo Dot comes in.

The bundle also includes the fifth-gen Echo Dot. This speaker may not be as powerful as its older sibling, but it still offers plenty of nifty features, including surprisingly robust sound, a temperature sensor and built-in Eero capabilities. There’s a reason why it made our list of the best smart speakers. You can pair the Dot with the regular Echo for stereo sound in one room or for delivering audio to multiple rooms at once. It’ll be like the music is traveling with you, resembling the line at a highly personalized Disney ride.

It’s worth noting that both of these devices are a generation behind, as there’s a newer Echo Dot with a built-in clock and a fifth-gen standard Echo. Still, the bundle’s a pretty good deal.

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A bunch of Sony headphones, earbuds and other audio devices are on sale at Amazon, including the Sony WH-CH720N headset, which is currently selling for the lowest price we've seen for it on the website. You can get the noise canceling wireless headphones for $98, down 35 percent from their original list price of $150. They have a lightweight, over-ear design with ample space around your ears so that they'd be comfortable to use. And while you can completely block out outside noise for full immersion, you can also switch on their Adjustable Ambient Sound mode that comes with 20 levels for when you want to be aware of your surroundings. 

You can pair the WH-CH720N with two Bluetooth devices at the same time, and you can easily switch between them at the touch of a button. Plus, the model supports both Alexa and Google's voice assistants, and Sony says it can last for up to 35 hours on a single charge. 

The most deeply discounted product among the ones currently on sale, however, are the Sony WH-XB910N wireless headphones. They have the power to enhance low-end frequencies for extra bass with their "dedicated bass duct on the headphone housing" and "increased airtightness between the driver units and eardrums." The headphones use dual noise cancelation technology to keep ambient sounds out, and like the WH-CH720N, you can quickly switch between two connected Bluetooth devices. You can get the Sony WH-XB910N headphones right now for $118, which isn't quite a record-low for the model but is still 53 percent lower than its original price. 

If you're looking for earbuds instead of headphones, you can also grab a pair of Sony LinkBuds S with noise canceling capabilities for $128 (36 percent off) from the sale. Want earbuds designed to let ambient sounds in? The Sony LinkBuds earbuds with an open-ring design now also cost $128, or 29 percent less than their original list price. Finally, you can find deals on subwoofers and sound bars from Amazon, as well, if those are what you've been eyeing for the upcoming holiday season. 

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One of JBL’s best-sounding portable speakers is on sale via Amazon, with the Charge 5 matching a record low price of $120 in an early Black Friday deal. This Bluetooth speaker usually costs $180, so this represents a discount of 33 percent. We’ve seen this speaker go on sale before, but the price hasn’t been this low since July.

This sale is not just for the plain-jane black speaker, as you have your pick of colors, from gray, red and turquoise to unique patterns like camouflage. All told, choose from six colorways for the speaker.

JBL’s Charge 5 made our list of the best portable bluetooth speakers, and with good reason. The sound quality is great and we praised its “bright output and capable low end.” The battery lasts up to 20 hours per charge, which is a decent metric, and the whole thing is actually waterproof, with an IP67 rating. This means that if it accidentally falls in the pool during a backyard soiree, you won’t have to head immediately to Best Buy for a replacement.

There’s also a built-in powerbank that lets you use the speaker to charge other devices, and this unit boasts access to JBL’s proprietary PartyBoost feature. This lets you combine multiple wireless speakers to instantly create a stereo setup. As a matter of fact, the only potential downside to this portable speaker is the original asking price, as $180 is pretty steep. For today, at least, that issue has been solved.

JBL also has a number of wireless earbuds and headphones on sale right now, to complete the personal audio package. You can snag the company’s new high-end Quantum 910 headphones for $230, a savings of $70, or the budget-friendly Tune 230NC earbuds for $50 instead of $100.

If you've been looking for a high-end smart speaker with a subwoofer, Amazon has an interesting deal in its Echo lineup right now. It's got a bundle deal with the high-end Echo Studio and the Echo sub, with both on sale for $248 instead of $330, saving you $82 (24 percent). Those are a killer combo for home theater and more, particularly if you get a second Echo Studio to make a stereo pair. 

The Echo Studio appears in our guide to the best smart speakers as an alternative to the Sonos Era 100 for those who already rely on Alexa. It's the largest smart speaker Amazon makes, and it put the space to good use. There's a 24-bit DAC (digital-to-analog converter) and an amplifier, along with five separate speakers, allowing for crisp sound throughout the frequency range. We gave it an 88 in our review, and noted the quality, hi-res sound that does justice to HD and lossless music — but also makes regular old Spotify tracks sound pretty good.

For those who need more bass, the Echo sub adds 100W of low-frequency power and a6-inch downward-firing woofer, enhancing the already solid bass on the Echo Studio. If you add a second Echo Studio, you'll get true stereo 2.1 sound. The latter isn't on sale alone right now but has been in the past. In any case, if you're an Alexa fan and want the ultimate sound without paying Sonos money, now is a great time to get this combo. 

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Universal Audio has gone all-in on the amp-in-a-pedal concept and just announced its latest entry, the UAFX Lion '68 Super Lead. This pedal digitally recreates a trio of classic 100-watt Marshall Plexi setups from the 1960s. You get the titular Super Lead based on the classic tube amp, the Super Bass inspired by the 1967 low-end icon and the Brown, which emulates the sound of a 100-watt Marshall Plexi heading into a Variac to recreate Eddie Van Halen’s infamous guitar tone.

This is a modern pedal with high-tech features, however, so it goes well beyond simple amp recreations. The onboard IR includes recreations of different classic microphones and speaker cabinets to adjust the sound. There’s also built-in reverb, volume boost, presence and a variety of assignable preset switches that are customized by using a smartphone app. There are also plenty of artist presets to select from if you’ve grown weary of fiddling with knobs.

All of the speaker models derive from the company’s OX Stomp pedal. There’s six in total at launch, with more to be added at a later date. Updating is easy, as there’s a USB-C port on the back, in addition to mono/stereo jack connectors.

You can even bypass the cabinet and mic emulations entirely if you would rather rely on your actual amp. UA says these features combine to create “the most authentic late ‘60s British 100-watt tube sound ever placed into a stompbox.” The UAFX Lion '68 Super Lead is available now for the usual high-end price tag of $400.

Accompanying today’s release is a new tremolo pedal, a chorus/vibrato pedal and a compressor pedal based on the classic Teletronix LA-2A. This is not the company’s first foray of amp recreations. Universal Audio cut its teeth making plugins, including many based on classic amps. More recently, it released a trio of amp emulation pedals based on the Fender Deluxe Reverb, the Fender Tweed Deluxe and the Vox AC30. We reviewed all three and said that they sounded amazing, despite the hefty $400 price tag.

Mic modeling has come a long way in just a few years, and modern software plugins, to these ears, get quite close to the real deal. Universal Audio has been at the forefront of this technology for a while and now the company’s released a new condenser microphone that integrates with its equally new Hemisphere mic modeling plugin.

The SC-1 is a large diaphragm condenser microphone, operating as part of the company’s Standard Series that also includes the pre-existing SD-1 and SP-1. The SC-1 launches alongside the Hemisphere plugin that gives users digital access to a full range of classic mics from big-time companies like Neumann, Telefunken, AKG, Sony and others. The plugin uses a similar technology to the company’s Sphere line of modeling microphones, but with a drastic reduction in cost, as the SC-1 costs $500 and Sphere microphones range from $800 to $1,400.

The Hemisphere plugin lets you instantly audition different microphones to suit the take, tweak proximity, adjust filters and more. All of these adjustments can be done before recording or afterward, just like with the Sphere line. One benefit the SC-1 boasts over the Sphere line is that it requires just a single XLR input, while Sphere microphones require two to properly capture that stereo field.

The Hemisphere modeling plugin also extends to those other Standard Series mics, like the SP-1 pencil microphone and the SD-1 dynamic microphone. As for the SC-1 itself, it’s a standard no-frills large-diaphragm condenser with an extended dynamic range and a frequency response from 20 Hz to 20 kHz. There’s also an emphasis on low self-noise output, which makes it easier to transform via the numerous modeling options.

Universal Audio’s SC-1 is available for preorder right now and ships later in the fall. The microphone includes the Hemisphere modeling plugin, so your wallet won’t have to double dip. Additionally, the plugin is a free upgrade for existing SD-1 and SP-1 owners.

There are a few things you can bank on when it comes to Bose headphones. The first is powerful and effective active noise cancellation (ANC) that’s been the best in the industry for years. You can also reliably expect that the company’s new set of cans will be comfortable over the course of a long flight or extended work session. Bose continues to check both boxes with the QuietComfort Ultra Headphones ($429), but the marquee feature here is the company’s unique take on spatial audio. However, more immersive sound and a refreshed design, along with everything else the company is known for, comes at a higher price.

Design

After debuting a refreshed design on the Bose 700 headphones in 2019, the company returned to its old aesthetic on subsequent models. With the QuietComfort Ultra Headphones, Bose did a mix of the two, but it mostly stuck to the traditional look of the QC line. The outside of the ear cups are where the blend of the 700 and previous QuietComfort models is most apparent. They have a similar shape to those on the 2021 QC 45s, but the physical buttons are almost entirely gone, more like the 700s.

Bose removed the three-button setup for playback and volume, instead assigning play/pause, skipping tracks and changing audio modes to a single multi-function control. Just below it on the right ear cup, the Bluetooth pairing button also handles power. The company moved the on-board volume adjustment to a touch-sensitive strip that you can glide your finger across to raise or lower the level. Bose also allows you to assign a shortcut to the volume slider that’s activated by long pressing on it. Even though it’s touch-based, the slider reliably recognized my thumb swipes.

Another notable design change is the headband and hinge. Bose gave these a refined look by using metal instead of relying entirely on plastic. The hinge is better integrated in the headband so there are no visible screws until you fold the ear cups in. Those ear cups can also rotate flat, consistent with previous models over the years. Even with all the changes, Bose managed to keep things extremely comfortable during long listening sessions. Both the earpads and the inside of the headband are soft and cushiony, and I didn’t notice the extra weight.

Software and features

Photo by Billy Steele/Engadget

All the settings are found inside the Bose Music app. Once connected, the software serves up battery life and a volume slider right up top, with quick access to audio modes, Bluetooth connections, EQ, Immersive Audio, shortcut customization and tips underneath. The app also has a media player that mirrors whatever you’re playing elsewhere, so you don’t have to leave to control tunes when you’re tweaking headphone settings.

For audio modes, Bose gives you three by default: Quiet, Aware and Immersion. The first is just active noise cancellation, while the second is full transparency. Immersion is both  maximum ANC and Immersive Audio. Bose also offers the ability to create your own modes with an adjustable noise canceling, the option of wind block and Immersive Audio. Once you create a new mode, favoriting it will make it accessible via the QuietComfort Ultra Headphones’ on-board controls.

For Immersive Audio, there are three options to choose from. You can disable it entirely for the stock Bose tuning, and to save battery life, or you can opt for Still or Motion settings. The former keeps the audio at a fixed point and it is best for when you’re sitting. The latter allows the audio to follow you as you move around, using head tracking to keep the sound in front of you at all times.

In order to use that long press on the volume slider shortcut, you first have to enable it in the Bose app. From there, you can assign a handful of actions to the gesture. These include hearing the battery level, cycling through the Immersive Audio presets, accessing a voice assistant or playing content from Spotify. If none of those seem particularly helpful, you can always leave it turned off.

Sound quality and Immersive Audio

Photo by Billy Steele/Engadget

While the headline feature is Immersive Audio, Bose has also improved its stock tuning on the QuietComfort Ultra Headphones. Before I even activated spatial audio, I could tell the sound was considerably warmer and clearer, with more bass right out of the box. Overall sound quality is one area Bose lagged slightly behind the likes of Sony and Sennheiser, but the company is certainly catching up.

Bose’s take on spatial audio doesn’t rely on specialized content like Dolby Atmos in Apple Music or Sony 360 Reality Audio. Those formats have been engineered to specifically make the instruments sound like they’re playing around you. Bose uses a combination of headphone components and its newly developed signal processing for Immersive Audio. Thanks to virtualization, it works with any content and that makes it more convenient.

Like the dedicated spatial audio formats, the first thing you’ll notice is the sound is louder. Immersive Audio lends more overall presence to music, but there’s also heightened clarity and detail. Rather than surround you with sound, Bose claims to put you in the acoustic sweet spot, as if you were sitting in the perfect position in front of a set of high-end speakers. Indeed, the company achieves this as albums like TesseracT’s prog-metal War of Being have an atmospheric depth while preserving finer details – from the texture of the singer’s growl to subtle nuances in the drums.

At times, Bose’s spatial audio can make songs sound worse. On Tyler Childers’ “In Your Love,” the vocals are sharp and tinny, and the reverb is accentuated to the point it becomes a distraction from the rest of the music. And the vocals are now several notches louder than the instruments. When it hits, this audio tech is a joy to listen to, but because Bose is relying on signal processing rather than carefully engineered content, the results can vary greatly.

Another area Bose continues to improve is transparency mode. On the QuietComfort Ultra Headphones, the company offers noticeably clearer audio when piping in your surroundings and allowing you to hear your voice. It’s still not as good as what Apple manages on the AirPods Max (no one comes close really), but Bose is making strides. That certainly helps when you’re taking a call or need to be tuned into your environment.

Stellar noise canceling performance is nothing new on a set of Bose headphones. The company is consistently the best in terms of allowing you to block out the world and the same holds true with the QC Ultra Headphones. Constant rumbling from an air conditioner or white noise machine is reduced to barely a whisper. The headphones do a great job with TV sound and human voices too – even the lethal combination of a nine-year-old playing Fall Guys.

Call quality

Photo by Billy Steele/Engadget

Bose promises “amazingly clear calls” on the QC Ultra Headphones, a claim that’s on par with nearly every headphone company these days. While I wouldn’t describe the audio quality for calls that way, it’s suitable for everyday voice and video calls when you just need to hear and be heard. It doesn’t sound like you’re on speakerphone, but it’s not pristine either. That’s better than what a lot of the competition offers and near the best you’ll get on wireless headphones.

Battery life

Bose says you can expect up to 24 hours of use with ANC turned on. If you opt for both noise cancellation and Immersive Audio, that figure drops to 18 hours. However, during my tests using the latter option, both the Bose app and macOS were showing 30 percent remaining after 20 hours. So while it’s true that the company’s new spatial audio impacts battery life, the QC Ultra Headphones still surpass the stated numbers.

To help you conserve battery, the QC Ultra Headphones will automatically turn off when they aren’t being worn and no audio is playing for 10 minutes. There’s also a quick-charge feature that gives you two and a half hours of use in 15 minutes. That’s with ANC on and Immersive Audio off though. If you need spatial audio during this time, Bose says you can expect 30 minutes less battery life after the fast top off.

The competition

While Bose has done a lot to catch up, it still doesn’t offer the suite of features that Sony does on the WH-1000XM5. No company does and that’s why the M5 is consistently at the top of our best wireless headphones list. The QuietComfort Ultra Headphones do offer more effective noise cancellation, but there’s nothing akin to Sony’s Speak-to-Chat automatic pausing or the ability to change audio modes based on your activity or location. The M5 also supports Sony’s DSEE Extreme that uses AI to upscale compressed audio and increase depth and clarity. The results are far more consistent than Bose’s Immersive Audio.

Wrap-up

With the QuietComfort Ultra Headphones, Bose remains near the top of the headphone heap. While Immersive Audio is great at times, the results are inconsistent and can be downright bad with some albums and songs. Still, the default tuning is improved and puts these headphones closer to the level of Sony and Sennheiser sonically, mostly due to added bass, increased clarity and enhanced warmth. Bose needed to nail its new trademark feature to help justify the higher price, but it failed to do so. The QuietComfort Ultra Headphones showcase a number of improvements over previous Bose models, but they’re not good enough to dethrone the king.

Austrian Audio is not exactly a household name. It was formed in 2017 following the closure of AKG's offices in Vienna. And it's mostly stuck to higher-end microphones and headphones. Now the company is dipping its toes into more consumer-friendly territory with the $199 MiCreator Studio, a combination condenser microphone and USB-C audio interface in an incredibly portable package. 

At 155 x 60 x 37 mm the MiCreator Studio is quite small, but I'd say a touch shy of pocketable. It's also surprisingly dense. 13 ounces isn't exactly heavy, but it's more than I expected the MiCreator to weigh just by looking at it. The heft makes it feel like a durable and well-made device. The only exception to this is the swappable faceplates. My review sample came with black and red plates, they look nice but feel a little flimsy. And the magnets that attach them to the sides are a little weak and I could see them easily coming off if tossed in bag. At least it comes with a soft pouch you can put it in so everything will stay in one place even if it does get jostled around. 

Terrence O'Brien / Engadget

There are a pair of rubber feet on the bottom that allow the MiCreator to sit comfortably on almost any surface with little concern it'll get jostled around. And the mic capsule is suspended by rubber shock absorbers, so vibration shouldn't prove too much of a concern. If the tiltable head doesn't give you enough flexibility, there is screw mount underneath for attaching to a mic stand.

Controls on the unit itself are relatively spartan. On the front is a switch that changes the mic from high gain, to low gain or mutes it. And there's a knob for controlling monitoring levels or the balance between two sources when you have something plugged into the 3.5mm in/out jack on the back. Below that dual-purpose jack is a dedicated 3.5mm headphone output, and above it is a switch that allows you to set the input level of the additional input.

The switches for changing the input level are probably my biggest gripe with the MiCreator. The difference between the high and low settings are pretty massive. Yes, obviously you can tweak the levels in your DAW and most people will have no issue doing that. But personally I like getting my levels as close to right as possible without touching the gain in my DAW for maximum flexibility. 

Terrence O'Brien / Engadget

I also found that the high gain setting still required me to get pretty close to the mic while speaking which resulted in a lot of breath and mouth noises. Probably exactly what you want when recording some ASMR videos, but it wasn't ideal for podcasting. Again, a lot of this is easily rectified with a decent pop filter. But that's one more thing to carry and slightly undercuts the portability factor.

Those minor nitpicks aside, the mic sounds great. They're highly directional so, despite the fact that they're fairly sensitive condenser mics, background noise is rarely a problem. And they capture a healthy amount of midrange and low end. That's essential for micing up, say, a guitar amp, and it tends to treat my lower vocal register well. But many will want to toss a low cut on their voice in post production.

That lack of tweakability on the gain is an issue again when you plug an instrument directly into the second input. Something like a synth with a master volume that doesn't alter tone is fine. But going direct in with my guitar was a little hit or miss. The most reliable way was to go through my pedal board and one of UA's amp sim pedals to give me better control over volume and tone, rather than relying on amp plugins in a DAW. Austrian Audio gets a ton of credit though for including an instrument cable in the box though that's standard 1/4-inch TS on one side and 3.5mm TRRS on the other side for plugging into the MiCreator. It might seem like a small thing, but it saves you from having to track down and order a rather unusual cable on your own.

Terrence O'Brien / Engadget

The company also sent over one of its MiCreator Satellites. This is a second mic, without an interface, designed to pair with the MiCreator. It costs $99 but adds a lot of flexibility. For one, it's the exact same mic as the MiCreator, so you can use them as a stereo pair or for two people in a simplified podcast setup. But the included cable is also long enough for you to put one mic right up against an amp while capturing some room tone with the other. Or, you could mic an acoustic guitar with one and sing into the other. And the Satellite is truly tiny. This is one of, if not the, smallest full-fledged podcast studio you can can get. 

If there's one feature I would have loved to see, it's a standalone operating mode. If the MiCreator had a small battery and a microSD card slot so it could double as a field recorder, or capture an interview when hooking up your laptop or iPad is not really feasible, I could see it carving out a permanent spot in my day bag.

Still, for $199, or $299 when bundled with a Satellite, the MiCreator offers a surprising amount of value. Frankly it's better than it has any right being at that price. It's an excellent condenser USB microphone and a solid (if simple) audio interface in a small, rugged package. It can be a high-quality go-anywhere podcast studio. Or be the primary way a band records new material while they're out on tour.