Shure may not have changed much of the design of its Aonic 50 headphones for the second-generation version, but it did a lot of work on the inside to massively upgrade all-around performance. The company announced the new model today, a set of $349 premium noise-canceling wireless headphones that now offer spatial audio, improved active noise cancellation (ANC) and twice the battery life of the previous version. 

In terms of sound quality, Shure says the new Aonic 50 has its spatial audio tech onboard that leverages an "acoustical modeling and critical listening" algorithm to offer immersion without compromising the original audio. There are three modes here — Music, Cinema and Podcast — which the company explains are tailored to each use case. Music mode offers the experience of listening with "high-end speakers" while Cinema mode adds more low-end tone to give the effect of being in a theater, maintains clarity and offers "natural sounding" dialog. Podcast mode positions the host's voice closer to the user's ears. This is all powered by 50mm dynamic drivers and Snapdragon Sound with aptX Adaptive, allowing you to stream music in AAC, SBC and LDAC codecs. 

Rather than keep the ANC setup from the previous version, tech simply described as "adjustable," Shure opted for a new hybrid active noise cancellation system. Like hybrid ANC on other headphones, the company uses microphones on the inside and the outside of the ear cup to monitor environmental clamor. Shure also allows you to control the amount of noise blocking and ambient sound with four modes: Light, Moderate, Max and MaxAware. The last of which is a new option the company describes as "perfect balance between blocking unwanted noise and maintaining awareness of your surroundings." There's also an Enhanced Environment mode that allows you to adjust those levels with a slider rather than relying on presets.

Shure has more than doubled the battery life for the second-gen Aonic 50. It now offers up to 45 hours of listening time on a charge, up from the 20 hours on the previous version. There's also a quick-charge feature on the new model that gives you five hours of use in 15 minutes. The company is also touting "superior" call quality thanks to beamforming mics with automatic gain control. Shure says the six built-in microphones adjust automatically to combat ambient noise, which it claims provides "unmatched" clarity. Companies make lofty promises about voice performance all the time, and since mileage varies greatly on those, we'll have to reserve judgement here until we can complete our own testing. 

The Aonic 50 (2nd gen) will be available in September.

When Sennheiser debuted the original Ambeo Soundbar in 2019, it was the company's only living room speaker to carry its immersive audio tech. It was also very expensive at $2,500. That model, now dubbed the Ambeo Soundbar Max, is still $2,000 and its big sonic chops come in a massively large package. Last year, Sennheiser revealed the Ambeo Soundbar Plus: a $1,500 option that carried much of what makes Max such an acoustic marvel in a smaller design and a lower price (which is now $1,200). Today, the company announced the most affordable Ambeo model yet, the Ambeo Soundbar Mini, which packs that immersive audio tech in a much smaller speaker. It's a bid to take on the likes of Sonos Beam, but this Mini is still comparatively pricey at $800. 

Sennheiser says the Ambeo Soundbar Mini is less than half the size of the Ambeo Soundbar Plus. The smaller stature alleviates potential obstruction when you place it in front of your TV and the company says it's compact enough to put on your desk. Despite the reduced footprint, the Mini still packs 250 watts of amplification power behind four full-range drivers and two four-inch subwoofers. Sennheiser says these components combine for the "sharp fidelity, impactful bass and crystal-clear presence" exhibited by the larger two Ambeo soundbars.

The main attraction here remains the company's immersive Ambeo technology. Sennheiser's 3D audio system uses the Mini's four microphones to calibrate the soundbar to any space. This process takes into account room size, reflective surfaces and textures. The one-touch process adjusts the speaker's 7.1.4 surround sound virtualization for the best performance. The Mini supports Dolby Atmos, DTS:X MPEG-H and Sony's 360 Reality Audio while connecting to your TV or display through a single HDMI 2.1 (eARC) port. While Sennheiser says the soundbar is capable of "room-filling sound and impactful bass" down to 43 Hz, it gives you the option of connecting up to four Ambeo Subs ($600 each). 

The Ambeo Soundbar Mini is equipped with WiFi and Bluetooth, both of which can be used to stream music from the likes of Amazon Music, Apple Music, Spotify and Tidal. Sennheiser says the speaker's Ambeo OS allows quick access to audio via Chromecast, AirPlay 2, Spotify Connect and Tidal Connect. The Mini's microphones can also be used for voice commands via the built-in Alexa compatibility, but leveraging Google Assistant or Siri will require Chomecast or AirPlay, respectively. 

Sennheiser

If you wish to expand your Ambeo setup beyond the Mini, your only option is to add an Ambeo Sub. The soundbar doesn't support subwoofers from other companies and there's no compatibility with wireless rear satellite speakers. That's due to the lack of Ambeo integration on both (Sennheiser really needs to make a set of rear speakers ASAP). This, in addition to a lower price, is a key difference between the Mini and the Sonos Beam. Sonos' second-gen compact soundbar adds Dolby Atmos, but it doesn't have up-firing drivers so the overall effect is limited. Still, a bundle that includes the Beam, a Sub Mini and two Era 100 speakers is available for $1,356 — around $50 less than the Ambeo Soundbar Mini and its compatible sub.

The Ambeo Soundbar Mini will be available on September 1st.

Sonos may be synonymous with WiFi-equipped multi-room speakers, but plenty of companies have introduced their take on those products since the Play:1 arrived in 2013. Today, JBL announced its new Authentics series, a lineup of three connected speakers that offer a lot of what we've come to rely on from Sonos. All three support multi-room audio and automatic self-tuning alongside Bluetooth, WiFi and Ethernet connectivity. While only the most expensive has Dolby Atmos immersive sound, the entire trio can run Google Assistant and Alexa at the same time, a feat JBL says it's the first to achieve. 

For the design of the Authentics series, JBL took inspiration from its L100 speaker that debuted in the 70s. That bookshelf unit featured a grid-patterned Quadrex grille as a prominent aesthetic element, one that the company has carried through a few of its pricier products over the years. That square layout graces the speaker cover on the Authetics series too, while a leather-wrapped aluminum frame and black and gold color scheme complete the look. 

JBL is touting its new speaker line as the first units capable of running both Google Assistant and Alexa simultaneously on the same device. Plenty of speakers and headphones support multiple voice assistants, but you have to select one at a time. Here, you can set up these two in the JBL app and use either one (without diving into the settings menu) for hands-free control of connected devices, music and more. Simply say "Hey Google" or "Alexa" and the Authentics speakers summon the assistant you need. The company explains that it designed the integration in collaboration with Google and Amazon so that "customers have the choice and flexibility to communicate seamlessly with both voice assistants and take advantage of their different capabilities."

At the top of the lineup is the Authentics 500. This model packs in three one-inch tweeters, three 2.75-inch mid-range woofers and a single 6.5-inch downfiring subwoofer. The company explains that this driver arrangement cranks out "crystal clear sound" with "tight, accurate bass." The 500 is the only unit in the series that supports Dolby Atmos audio, delivering 270 watts of 3.1-channel sound for a virtualized 3D effect. As you might expect, this is the biggest and priciest option at $700. 

JBL

The Authentics 300 is the only portable speaker in JBL's new series. Priced at $430, this model is capable of 360-degree audio with a user-replaceable battery that offers eight hours of listening time. The 300 also has a built-in handle to increase portability, although the company is clear that the unit's audio performance, including "distinctive highs and deep bass," does well indoors too. 

The Authentics 200 houses two one-inch tweeters with a five-inch woofer and six-inch passive radiator. JBL claims that this more compact option can "fill any space — big or small — with stereo sound," including "deep bass" and "perfect balance" across all genres. It seems clear JBL is aiming to take on the Sonos One and Era 100 here, although the 200 is more expensive than those at $330.

All three of the Authentics speakers will be available in black on September 17th. The entire lineup is compatible with the JBL One app which allows you to sync music services, fully customize the EQ and adjust other settings as you see fit.

Some companies allow you to use the speakers in your TV to augment the drivers in a soundbar or other speakers in order to enhance overall audio quality. Samsung has Q-Symphony and Sony has Acoustic Center Sync, for example. Today, Dolby has announced a new Atmos feature that will function similarly, pairing TV speakers with any wireless speakers you have in the room. Officially dubbed Dolby Atmos FlexConnect, the tech will debut first on 2024 TCL TVs.

Dolby explains that FlexConnect "intelligently optimizes the sound" based on the layout of the room and location of any speakers. The company says the technology will free users from the sonic limitations of room size, furniture positioning or the location power outlets. FlexConnect will allow speakers to be placed anywhere in a room and calibrate each of them to the TV speakers. This creates a customized Dolby Atmos sound profile unique to each user's home. 

Dolby says setup is quick and easy as acoustic mapping is done using microphones inside the TV. Those components locate each speaker before performing the aforementioned audio calibration. The company explains that the result should be more consistent immersive sound no matter where you're sitting in the room. 

FlexConnect isn't just boosting the center channel either. Instead, the feature is adjusting the sound for each speaker, even the ones inside the TV. If the system notices that a pair of speakers are at the front of the room, for example, it can tweak the audio so that the TV handles the bulk of the dialog and the speakers take on the rest of the front soundstage. If there are two speakers near the back of the room, the TV then handles dialog and those sounds that need to come from the front of the room. 

One item that could play a key role with Dolby Atmos FlexConnect is interoperability. Samsung's Q-Symphony and Sony's Acoustic Center Sync both require you to have a compatible soundbar and TV made by those companies. LG's Wow Orchestra works the same way. If this new technology is open to manufacturers to integrate in their products like Dolby Atmos as a whole, it would great if users could pair a TCL TV with a Sennheiser soundbar — just as one example. As you might expect, TCL plans to debut wireless speakers to accompany its upcoming FlexConnect-compatible TVs.

Sony Interactive Entertainment (i.e. Sony's PlayStation division) is looking to make more waves in the audio space. It has struck a deal to buy premium headphone maker Audeze to help it "continue innovating when it comes to the audio experience of PlayStation games." Terms of the deal haven't been disclosed.

Audeze will continue to operate independently and develop products for multiple platforms while "benefiting from being a part of the PlayStation ecosystem," SIE said. “Audeze is a premier brand for headphones, and this acquisition highlights Sony Interactive’s focus on innovation and providing the best audio experience to PlayStation players,” Hideaki Nishino, SIE's senior vice president of platform experience, said in a statement. “We’re excited to bring Audeze’s expertise into the PlayStation ecosystem, building on the great strides we’ve made with PlayStation 5’s Tempest 3D AudioTech and the Pulse 3D wireless headset.”

Sony notes that Audeze's headphones use planar magnetic drivers to "deliver an outstanding sound experience" for consumers as well as audio professionals like sound engineers. This week, Sony revealed more details about new earbuds and a headset for the PlayStation 5 and the PlayStation Portal handheld. Both the Pulse Explore earbuds and Pulse Elite headset have custom planar magnetic drivers.

SIE also said that both upcoming audio devices employ new lossless low-latency tech called PlayStation Link, which is primarily designed for PS5 and PlayStation Portal. The tech will also work on PC and Mac with the use of a USB dongle. The Pulse Explore and Pulse Elite will arrive later this year for $200 and $150, respectively.

The humble microphone. For many, it’s little more than a tool for a Zoom call. For streamers and podcasters it’s a utilitarian bit of kit. But for some — singers, musicians and other recording artists — it’s an instrument as characteristic and expressive as any guitar or piano. The microphone is often the biggest investment these performers ever make. If you want a different “timbre” to your recordings, then, you could just buy a lot of microphones. Alternatively, you might consider a “modeling” mic - one specifically designed to imitate the character of famous (and usually expensive) models.

For those not wanting to spend “small condo” levels of money on a well-stocked mic locker, something like the $1,000 Sphere LX from Universal Audio offers a tantalizing prospect. It’s one of the aforementioned modeling mics, and it claims to mimic 20 of the most sought after microphones of all time.

The Sphere LX itself is a condenser microphone, but thanks to its dual-capsule setup (most mics only have one) it’s able to do some pretty funky stuff. Not only can it pretend to be a dynamic or ribbon mic - both of which use different technology to a condenser - it can imitate environmental factors such as distance from the mic and/or different recording spaces. You can even blend two different virtual microphones at the same time for added versatility. It all sounds very clever on paper, but does it actually sound, well… good?

Universal Audio

Before we get to that, it’s worth understanding the setup required. As the Sphere LX has two capsules (the “sensor” part) it outputs in stereo unlike most vocal microphones that record in mono. This means it ships with a specific XLR splitter cable that requires two ports on your audio interface. So, if your setup currently only has one, you’d need to find a new one with multiple inputs (Shameless plug: I wrote an audio interface buyer's guide that you can read right here).

There are some important steps to take before you can start experimenting with your new virtual microphones. First, if possible, you’ll want to “bind” the two input channels on your interface so that they operate as one. This locks their gain levels so you don’t need to worry about the physical volume controls being different (which could impact the effectiveness of the modeling).

It’s also important to remove any processing your interface might apply. For example, Universal Audio’s own Volt 276 interface has hardware compression and EQ which you don’t want applied here. Other interfaces also can apply light processing or compression by default, so you will definitely want to check your interface’s settings. Sometimes such processing requires turning off via software - so watch out for that, too.

With the hardware set, you’ll want to open the Sphere’s companion software. It’s a VST plugin and therefore runs within other software — Ableton Live, Logic Pro or even Garageband will do. Drop the plugin onto the same audio channel assigned to the Sphere LX’s output and you’re set to record. Actually, you can even record first and then add the software later, as the emulation can be applied to any recorded audio (but only recordings from the Sphere will “match” the emulated mic).

Universal Audio

In the most simple use case, you would record your vocal with the Sphere LX and then choose the microphone you want it to sound like in the software. Then all you need to do is export the audio and you’re done. You can even go back, change the emulation to another microphone and export it a second time, but why stop there?

One of the key benefits of the dual-capsule system in the Sphere LX over, say, something like Slate’s M1 VMS system, is that it allows for things like changing the direction you were addressing the “mic” after the fact. If you recorded into the Sphere head on, but wanted a slightly off-axis sound (useful for taming high frequencies from a guitar for example), you can do that in the software after the fact. You can even change the polar pattern - the shape/area around the capsule in which sound is received.

While this feels a bit like witchcraft — changing the physical qualities of a microphone after something has been recorded — it serves both practical and aesthetic purposes. On the practical side, you can theoretically record once and “try out” different microphones, mic placements and polar patterns. This not only saves time with the vocalist or musician, you won’t need to keep moving gear around, perfect if you have a smaller space.

In practice, unless you have all of these classic microphones for comparison, it’s obviously hard to know how close the Sphere LX comes to the originals. I happen to have three of the microphones that are modeled by the system - Sennheiser’s MD421, Neumann’s TLM103 and Shure’s SM7B - although I use them primarily for spoken word, podcasting and streaming.

On simple tests with voice recordings, the Sphere LX comes really close for all three. There are definitely differences, but given that two units of the same mic can develop variations from each other over time, the LX likely falls within those differential boundaries. This is further reinforced by listening back to the raw audio captured by the Sphere which is very, very far from what it sounds like with emulation applied.

I was particularly interested in how well the Sphere LX would emulate the SM7B and the Sennheiser MD421, as these are both dynamic microphones. Condenser microphones work very differently, so the idea that one could imitate the other was interesting. Condenser mics are generally favored in vocal studios as they capture more detail, but dynamic mics are better for those with less than ideal recording conditions. Being able to flip between the two with one mic would be both convenient and impressive.

The MD421 in particular has a unique character for a dynamic microphone with a surprisingly detailed, lively sound. With a straight voice test, the Sphere LX doesn’t quite capture those trademark “sparkle” frequencies, but it definitely does a good job on generally sounding like the Sennheiser — and it’s distinct from its imitation of the SM7B (also a dynamic mic), but with more emphasis on the lower frequencies.

While the comparison shows a decent facsimile of the Sennheiser’s sound, it’s worth noting that both the MD421 and the SM7B have a physical highpass filters built in that can be adjusted through different settings of bass roll off. This isn’t something that’s replicated in the Sphere’s companion app, so if you wanted any sound other than their default, you would need to apply some post processing.

There are some other challenges, too. In almost every other recording situation, once the track is laid down, the take is set in stone. You can manipulate it after the fact, of course, but the take itself is immovable. With the Sphere LX, and similar systems, you can reimagine the recording the moment the singer’s lips stop moving. Flicking through each virtual mic and the related setting until you find the one you like the most. This could obviously be a good thing, but option paralysis is the death of many a good audio project.

The appeal of these systems could also depend on your budget and whether you feel confident that they will remain supported by the manufacturer. This is particularly prudent for professionals. “I find with anything like that you're into ‘what's it going to be worth in the next, you know, five years?’ Or when they decide to make the mic redundant, which I’ve found on products that involve anything software.” Chris Denman, CEO of Skyrocket Audio and professional sound engineer told Engadget. The redundancy isn’t a huge risk, unlike many app-dependent gadgets, as VSTs can live outside of an app store, but something to consider.

IK Multimedia

If you’re curious about microphone modeling but don’t want to jump right into a hardware system, there are software products that claim to do a similar thing without the $1,000 outlay. Something like IK Multimedia’s “Mic Room” plugin, for example, offers a similar roster of mics for well under $100. To get the best results, your current mic will need to be one the app has a reference for, so there’s possibly an additional spend, and the results aren’t as accurate or as configurable as the Sphere LX, but it’s an easy way to experiment before committing to something like Universal Audio’s solution.

All in all, whether mic modeling is right for you will come down to personal preference, economics and the projects you need it for. For casual users looking for a do-it-all mic, it’s perhaps a little complex and costly. However, for singers looking for a streamlined, versatile setup, it almost feels like a no brainer. There will be plenty of use cases that fall between and either way, it’s a really interesting concept that will likely only continue to become more accessible.

A couple of years ago, you might have described Rode as a company that makes microphones. Today, it’s positioning itself more as a one-stop-shop for creator tools. The original Rodecaster Pro podcast mixer was the first big step in this evolution. That includes the new, gaming-focused “Rode X” sub-brand and products like the Streamer X capture card. The company, of course, still makes a microphone or two. But, with the new, smaller, more affordable and very capable Rodecaster Duo stream mixer, this move toward general creators is basically official.

The original Rodecaster Pro was the first mixing desk specifically designed for podcasters to really catch people’s attention. The build-quality, price, ease of use and simple workflow struck a chord with pros and amateurs alike. The Rodecaster Pro II ($699) went in a slightly different direction, introducing the ability to route different audio sources to different places, an essential tool for game streamers. The pads were upgraded from simple audio triggers to multi-purpose smart pads that can be used for MIDI, vocal effects and more. The second version also came in with a smaller footprint, removing two physical faders and making them “virtual.”

The Rodecaster Duo ($499) is arguably just the Rodcaster Pro II “mini.” The functionality is identical to its bigger sibling, but it comes with four physical faders (down from six); six pads (down from eight) and two XLR ports for microphones or instruments (down from four). You actually have control over seven mixing channels at any one time, but adjusting three of them is done via virtual faders. Importantly, you get to configure which inputs remain on physical faders and which are assigned to virtual controls in the companion software.

Photo by James Trew / Engadget

Two other small changes include the removal of the “record” button, which is now virtual/on the display, and there’s also a headphone port on the front edge. This last change solves one of my main nitpicks with Rodecaster Pro II, which only had headphone ports around the back. The port on the front is 3.5mm rather than 1/4 -inch and is compatible with headset/TRRS mics, adding another input effectively — one that’s particularly handy for game streamers.

One of the biggest upgrades from the original Rodecaster Pro is the addition of a second USB-C port around the back which can connect to a second PC. This is a massive boon for streamers who want to keep their gaming rig separate from their streaming one, and the new routing table allows you to send whatever inputs you like to either USB connection. This same port also can be used for connecting a phone, which is perfect for introducing callers or for streaming via mobile apps. You could always connect a phone via Bluetooth on the original model, which was handy but now you have multiple options (and via cable is much better quality).

The fact that there are only two XLR combo jacks speaks strongly to who this is for. While the Rodecaster Pro and its sequel were originally built for in-person, multi-guest, podcasts, it’s also a very capable tool for solo creators which has helped fuel its popularity. And with an increasing number of tools like Zencastr or Adobe Podcast, the need to host fellow flesh-sacks in the same room is no longer required for high-quality audio from all speakers. As such, the Rodecaster Duo makes a lot of sense for a broad stroke of creators from podcasters to streamers and even music producers and video editors (both the Duo and the II Pro are MIDI enabled).

Be under no illusions, the Duo — and its bigger sibling — are just as “pro” friendly as the first Rodecaster, but they both lean into the creator space a bit more than the original. This point is made most clearly by the very existence of the Duo. The smaller footprint is a clear admission that this was made to live on a desk full time alongside your other daily tools.

Photo by James Trew / Engadget

The Rodecaster II Pro was already a bit more manageable than the first model, but after a few weeks with the Duo, the difference is stark. It can remain nested under my monitor and easily moved into position when I go live. Before the Duo, I had the Pro II on my desk in a similar setup, but I was frequently moving it out of the way to make space for other things that it became a bit of a burden and I ended up unplugging it until show time. With the Duo it’s clear this can be a daily driver with little-to-no need to organize around it.

The number of tools for creators and streamers is expanding exponentially, and with that are more direct rivals to the Rodecaster series. In fact, just days after the Rodecaster Duo was announced, Boss unveiled its own take on the category with the Gigcaster 8 ($699) and Gigcaster 5 ($459). Both offer very similar features to Rode’s products in a generally smaller footprint. The Gigcaster 8 is a near 1:1 in terms of functionality to the Pro II, while the Gigcaster 5 sacrifices the physical trigger pads to make way for two more physical faders — six total — over the Duo’s four to create an even smaller footprint. Though it has a slight focus on musicians via some sound presets and effects, and doesn’t quite match the overall build quality and polish as the Rode.

Rode’s audio chops are also not to be underestimated. The pre-amps and headphone outputs on the Duo are capital-L loud and squeaky clean with a very low noise floor. When the products were announced, Rode went out of its way to show how well it could power the notoriously quiet (and insanely popular) SM7B microphone. When you’re giving a shout out to a rival company’s product to demonstrate a feature, you better be confident that the feature you’re touting does the goods. And surely it does. The amount of clean gain to drive microphones such as the aforementioned Shure classic is impressive and a step up from the already-decent Rodecaster Pro before it.

Photo by James Trew / Engadget

In short, the Rodecaster Duo feels like a product that Rode maybe didn’t initially think was the main event. It’s the smaller, more affordable version of its flagship mixer after all. It turns out that this is likely the one that most solo creators will actually want. Even pros might want to consider the Duo over the Pro II if they don’t absolutely need the capacity to run four microphones in tandem.

It’s worth mentioning that if you’re considering moving over to the Duo from something like the GoXLR or the Razer Audio Mixer know that Rode’s take on a routing table is a little different to what you might be used to. The Duo’s companion software is generally pretty good, but it doesn’t use the conventional “table” format many streamers will be used to. Instead it’s a little bit convoluted, but once you get the hang of it, it’s quite powerful. This is particularly handy if you’re in the business of recording audio from multiple sources. I often just use the routing options so I can record either one or both sides of a phone call or online meeting depending on my needs, but it’s also good for feeding PC audio — including Zoom calls or YouTube videos etc. — into, well, wherever you want it to go, including your phone.

If you do any kind of live audio production or recording, especially podcasts, the Rodecaster Duo is an easy sell. For streamers, it’s also a very capable device, one that’s also easy to recommend, but with a small asterisk. Streaming setups and their associated platforms are often a little more to their host’s tastes and preferences. As such, the Duo’s suitability will depend on what you’re used to and the specifics of what you want to do. But for most creators, the Duo is the better option over the Pro II at the very least.

Sony makes some of the best wireless headphones around, but perhaps you don't quite need a high-end set with all the bells and whistles. Maybe a mid-range set with active noise cancellation (ANC) that more than gets the job done is what you're looking for. In that case, it's definitely worth considering Sony's WH-CH720N headphones, which are once again on sale for $98. That's $51 off the regular price and it matches a record low we saw during Prime Day.

We gave the WH-CH720N a score of 79 in our review earlier this year. Along with great audio quality, the headphones offer a lightweight and comfortable fit. On the downside, the ANC struggled in some environments (particularly when it comes to blocking out human voices), the cans lack an automatic pausing feature and the over-reliance on plastic makes them look less elegant.

The headphones use the same chip as Sony's WH-1000XM5 (our pick for the best wireless headphones overall) to power the ANC and the sound in general. There's support for 360 Reality Audio and multipoint Bluetooth to connect to two devices at the same time. You should be able to use the headphones for up to 35 hours with ANC on before having to recharge them.

If your budget can't quite stretch far enough for the WH-CH720N, take a gander at Sony's WH-CH520 headphones, which have dropped by $22 to $38. These headphones are also compatible with 360 Reality Audio and Sony says they'll run for up to 50 hours on a single charge. A three-minute charge will add 1.5 hours of listening time. There's no ANC here, though these headphones are otherwise a solid, budget-friendly pick.

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Bose is reportedly preparing to launch some new headphones and earbuds, a refresh in the QuietComfort line, as leaked by MySmartPrice. The Bose QuietComfort Ultra earbuds will be a successor to the well-reviewed QuietComfort Earbuds II and the QuietComfort Ultra headphones look to be a more premium-take on the company’s QuietComfort 45 headphones.

One of the highlights of any Bose product, and particularly the QuietComfort II earbuds, is active noise cancellation. The company’s ANC technology is unparalleled and these new products offer it in spades. Both new products offer fully-integrated ANC technology so you can safely ignore the person next to you on your next flight.

Beyond ANC, the QuietComfort Ultra earbuds ship with a variety of soft ear tips, with a similar exterior design to its predecessor. They are available in black or white and should include a built-in microphone, touch controls, Bluetooth v5.3 support, IPX4 water-resistance and more. Bose hasn’t officially announced these yet, so some specs remain under wraps.

MySmartPrice

The Bose QuietComfort Ultra headphones will also be available in black or white, with physical buttons to adjust volume and control music similar to other products in the QuietComfort line. There’s also a USB-C port for both charging and for making wired connections, and a sleek design reminiscent of the beloved Bose 700 line of headphones.

Remember, these are leaks from a reputable third-party, so Bose hasn’t announced pricing or availability. A recent report from Dealabs, however, suggests that the QuietComfort Ultra earbuds will cost around $380, and the QuietComfort Ultra headphones will cost $550. As for availability, Bose tends to release new product lines in September, so look for a launch around then.

"A $3,000 podcasting kit, in this economy?" That was my first thought when I learned about Nomono's portable recording setup last year. Since then, the price has dropped slightly to $2,490. But my main concern remains: Who needs this thing when you can get a small audio recorder and lavalier mics for far less? Still, I was intrigued.

Nomono's kit includes four wireless lav mics, as well as a space recorder for room tone and spatial data, all of which charge in a portable carrying case. Your recordings are automatically uploaded to Nomono's cloud service, where you can optimize their audio quality (and eventually edit them in your browser). As someone who's been podcasting regularly since 2008, the notion of an all-in-one kit that can easily tackle local recordings sounds like an absolute dream. Nomono's kit has the potential to be something the podcasting industry has needed for years, but can the company justify its incredibly high price?

Clearly, this isn't a product aimed at everyone — it's certainly not for beginners, and I'd argue it's far beyond the scope of what most podcasters actually need. But after testing Nomono's kit for a few weeks, I can see how it could be helpful for recording studios and companies that need flexible podcasting solutions. It doesn't require much training to use, it delivers high quality recordings, and it can be deployed just about anywhere. For those folks, spending $2,490 on Nomono's kit may make more sense than having an engineer dedicate time to every single recording. Add in a cloud subscription, which can cost as much as $29 a month, and it definitely doesn't seem like something for mere podcasting mortals.

You can tell Nomono is striving for Apple-level design simply by looking at its hardware. Even though everything is made of plastic, nothing feels cheap. The egg-like charging case has a cloth handle at the top as well as a USB-C port. Its two halves snap together with secure clasps — flip those open, take off the top and you're presented with four lavalier microphones around the space recorder. It's like an adorable podcasting bird nest.

Photo by Devindra Hardawar/Engadget

The space recorder serves as the hub for the entire Nomono experience: It's a rectangular device featuring omnidirectional microphones for capturing room tone with spatial information (it can tell where everyone is located during a conversation). There's a small screen at the top displaying the battery levels of all the connected lavs, as well as prominent recording and directional buttons. On the side, it features a USB-C port and a 3.5 millimeter headphone jack. As you're capturing audio, the space recorder takes in data from the lav mics and uploads it to Nomono's cloud once your session is done.

The lavaliers aren't nearly as unique: They're small, indiscrete square pucks featuring four LED colors (helpful for distinguishing each track). They grip onto your clothes with small magnets — making them easy to put on, but potentially just as easy to slip off. The lavs never fell off during my testing, but I constantly worried about knocking one off and losing the tiny magnet. (Nomono includes some additional magnets in its bundled accessory kit, which also has windscreen sleeves for the lavs and space recorder.)

Photo by Devindra Hardawar/Engadget

Setting up Nomono's hardware was relatively straightforward: After charging the case, I downloaded the Nomono Companion app, created an account, and paired the kit to my phone. The app shows battery levels for the lav mics and space recorder. To capture audio, you just need to remove the space recorder and at least one lav, then hit record. That process was surprisingly fast and reliable — I was typically able to get recordings started in under 30 seconds.

Wrapping up a session is mostly dependent on your internet connection. It took under 60 seconds for a 90-minute recording to get uploaded, and then I had to wait a few more minutes for Nomono's cloud to process the upload. It was far faster for short recording tests, just be prepared to wait a bit if you're planning to push lots of audio. Nomono’s hardware delivers 16-bit 48kHz WAV files for each lavalier, as well as an ambisonic WAV file (with up to four tracks) from the space recorder.

The quality of those recordings are crisp and detailed even in slightly noisy outdoor spaces. The lavs don't sound nearly as rich or nuanced as a premium dynamic or condenser microphone, but I didn't really expect them to. I'd consider them on-par with other wireless lavaliers I've used during video production (our podcast editor, Ben Ellman, described the sound as being ideal for video shoots). A conversation with my wife also sounded surprisingly clear, with none of the crosstalk issues or echoes I've encountered with cheaper multi-mic solutions.

Nomono

To give your recordings a bit more polish, Nomono also offers three levels of enhancement through its cloud platform: on the light end, it features a high-pass filter, cross-talk reduction, notch EQ filter, de-noising and de-essing (for removing harsh "S" sounds and other sibilants). Medium enhancement adds loudness normalization, a tone-shaping EQ and adaptive level, while full enhancement goes even heavier on the latter two features. While you can still download pure, unfiltered tracks, these enhancements are useful for the less audio savvy.

Eventually, you can choose to spatialize your recording through Nomono’s online platform, which makes each audio track sound like they’re coming from different directions (depending on where the space recorder was placed during the session). That feature wasn't available while I was testing the kit, and to be honest, it's also not something I'd ever consider using in a podcast. 

Nomono's full audio enhancement did a decent job of cutting down highway sounds and other street noise while I was recording in front of my local Starbucks (see above), but it also made my voice sound a bit tinny and compressed. Basically, don't expect any miracles. While It's useful to have simple ways to cut down background noise, you'll still need to find a relatively quiet recording space to capture the best audio. (Otherwise, why even buy such an expensive podcasting kit?!)

The company plans to launch its online editor by the end of 2023, which could also potentially include the ability to edit spatial recordings. Since this isn’t exactly a consumer solution, I’d bet that most people buying Nomono’s hardware already have more sophisticated ways to edit audio.

Here's a comparison of Nomono's lavalier versus the Rode Procaster XLR microphone: 

While Nomono’s hardware mostly impressed me, its online platform made it tough to deal with larger files. It took over five minutes for it to prepare a 90 minute track for download (including its bundled spatial audio file). And that didn’t include the time it took to actually grab the file, which would be dependent on your internet connection. I understand the appeal of a seamless online audio solution, but it’s annoying when I know it would be faster to just grab a file from a device sitting right on my desk. 

The space recorder didn’t show up on my Mac or PC when I connected to it, unfortunately. Nomono representatives say the company is planning to make offline features available next year, but for now, it's focused on a cloud-based workflow because they believe it's the "most convenient and time-efficient" solution for users. That also means livestreaming is out of the question with this kit, though it may show up in a future Nomono product, the company tells me.

I’d have a much easier time justifying Nomono’s high price if I knew I could use its hardware without relying on a website. This isn’t my first time at the gadget startup rodeo: What good is this $2,490 recording kit if the company goes out of business in a year or two?

Photo by Devindra Hardawar/Engadget

It’s clear that Nomono has developed something special, but it’s hard to imagine this recording kit being the only solution for an audio-savvy company. You’ll still need to have a dedicated podcasting space with hard-wired microphones. What Nomono offers is flexibility: What if you need to record in another room, in someone else’s office, or at a hotel? In those situations, a self-contained $2,490 podcasting kit might not seem so wild.