Ever found yourself with a killer podcast idea, only for it to fizzle out once you realize all the hoops you have to jump through just to make it? Learning an audio editing tool is a skill of its own and, while getting your audio masterpiece online has never been easier, today’s listeners are savvy and won’t tolerate subpar sound and editing for long. These are all problems that Adobe’s browser-based new Podcast tool aims to solve.

Adobe Podcast, formerly known as Project Shasta, is a cloud-based audio production tool. As the name suggests, it’s aimed primarily at podcast production, though it might interest anyone that works with narrative audio. The main thing to know is there’s no audio timeline here and no mixer view with channels. The first thing you’ll notice is how it doesn’t look like an audio editor at all. In fact, it almost never was.

“The goal was to come up with a broader voice strategy for Adobe,” Mark Webster, Director of Product told Engadget. “That could have been creating a creative cloud voice assistant or speaking to Photoshop. But we kind of took a step back [...] it was really about just building services and a platform to make it really easy to create spoken audio.’“

The result is Adobe Podcast which is still in beta. Anyone can apply for access, but currently you’ll need to be based in the US.

Unlike traditional audio editors, including Adobe’s own Audition, you won’t work left to right or even really work with audio files at all. Instead you’ll work on your podcasts like you would a text document. And not just because you work top down, but for the most part, you really are just editing a text document. Anything you record through Adobe Podcast will be automatically transcribed and you simply edit the text to make changes (which are then magically reflected in the audio). There are even some extra tools for creating artwork (as seen above).

“We don't think of Adobe Podcast as another audio tool. It really is a storytelling tool. When you think about it as a storytelling tool, suddenly all the things that are in traditional audio tools, like looking at the audio waveforms and decibel levels, they're actually not relevant.” Sam Anderson, Adobe Podcast’s Lead Designer told Engadget.

Apps like Descript have been doing it this way for a while. And it makes some sense. Podcasts are about what is being said, so it’s logical to work on the text first rather than the raw audio.

Not to mention, being able to see what’s being said without endlessly playing it back to find the right spot is also much easier on the ears, eyes and soul. But it’s not without some trade offs.

For one, there’s a certain amount of control you have to learn to relinquish. In an audio editor, you can choose exactly where you want to trim a segment of audio to. In Adobe Podcast, you can only highlight text and the finer details of the edit are taken care of by the backend. For the most part that’s fine, but if you wanted to add or trim some silence, for example, you can’t do that here, you’ll have to get creative.

Image by James Trew / Engadget

For example, removing a sentence is as easy as highlighting it in the transcription and smacking the delete key. Similarly, you can cut/paste to move things around as you see fit. But you might not quite get the smooth edit you would if you did this manually in an audio editing app. So, for now at least, you might still have to make some minor edits after you export from Podcast. In the future, the system might leverage AI to make these sorts of edits for you.

“I think we could use some really interesting technology to look at the space between words and when you make deletions and just find a way to just do it automatically.” Anderson said.

One of the major benefits for online tools like Podcast or similar services such as Riverside Fm and Zencastr is how easy it is to invite guests. In the past you might have had to have a pre-brief with a guest to figure out their audio setup, maybe guide them into recording it locally with Audacity and then deal with transferring large audio files around after the fact.

With Podcast, your guests simply accept an invite, much like they would for a Zoom meeting, and then you converse in real time while the local audio is uploaded in the background. The result is an incredibly frictionless way to get local audio, transcribed and ready to be edited in one fell swoop.

Perhaps Adobe’s secret weapon here is two-fold. First, unlike the rival products mentioned above, Podcast has a singular focus on audio, so there are no video editing, presentation or livestreaming tools you might not need. Second would be some proprietary tools - notably “Enhance Speech.” With one click, this magic button basically transforms garbage audio recorded in the worst of rooms into something that sounds more professional.

In testing this, I recorded a conversation between my colleague Mat Smith and myself. I was using a dedicated XLR podcasting mic (Focusrite’s DM14v) into an audio interface. Mat, on the other hand, was just speaking into his Macbook’s built-in microphone. Once we finished our recording, I tapped the “Enhance” toggle and suddenly it sounded like we were in the same room with the same equipment. You can hear the untreated and treated audio below.

Now audio purists might find the treated audio a little too dry or isolated (with no sense of space). Especially right now as there are no controls - the effect is either fully on or off. But Webster explained that in the future you’ll be able to adjust the amount of the effect if the default setting isn’t to your liking.

The effect was good enough though that I tried uploading the audio for a telephone interview I conducted for a story a few weeks ago. The result was good enough that I am considering cutting that down into an audio version of the article it was for.

Another feature in the works is the removal of filler words (uhms & ahhs etc). Again, this is something you can find on rival products, but right now there’s not even a way to edit them out as the transcription doesn’t show them so this is something you’d have to do in post.

Handily, Adobe Podcast includes lots of free music for you to use for intros/outros and transitions. Editing them to work with your speech isn’t as intuitive as it could be, but this is an example of why the service is still in beta. You can be creative. For example, if you want to talk over a bit of music and then have it fade up to full volume, you can splice it in two and set one to “background” and achieve the effect that way. Webster explained that they’re figuring out the best way for adding such tools that will guide novices without alienating more advanced users (and vice versa).

If you’re wondering if Adobe will add in an AI voice tool so you can not only the audio you have with text, but actually add words by typing them in (something you can do in Descript), don’t hold your breath. Webster pointed out that to make an effective voice model it needs to be trained on enough material so it only makes sense for your own voice. Given that AI voices can be clunky, they decided to just make it really really easy to re-record the line you wanted. After all, this isn't a video where patching over a misspeak is a lot more complicated.

Perhaps the best feature of all is the lack of friction between ideas and getting something down on the page. If you can use Google Docs, you can make something with Adobe Podcast. And with the bundled music and mic-enhancement tools there’s a solid chance it’ll sound pretty good, too.

For now, Podcast will remain in beta for the foreseeable future, and Webster confirmed that there will always be a free tier. And if you don’t even want to make a podcast, but you like the sound of the speech enhancing feature, you don’t even need to sign up for the beta, it’s available right here, right now.

When Rode released the original Wireless GO, it was an instant success. The ease of use, audio quality and reasonable price made wireless microphones much more accessible. In fact it was so successful that it spawned a number of copycat products from rivals. After releasing the Wireless GO II ($299) with dual mics, the company is back with a more affordable option - the $149 Wireless ME. There’s also a new video app called Rode Capture aimed at creators which offers tight integration with the Wireless ME and other products from the company.

If you’re thinking “more affordable” means fewer features, then you’d be right. But also you might be surprised. Even though there initially appears to be just one transmitter (mic) and one receiver, the latter also has a mic built-in so you can still record two speakers at the same time with their own separate audio files. That said, Rode is calling the second mic the “ME mic” and describes it as a “narrator” microphone because you can’t use it wirelessly (it’s the one that plugs into your recording device) so it can only really be used by someone off camera. That obviously is no problem if you’re not recording video, but worth knowing if you are.

There are, of course, other minor compromises. For one, the receiver doesn’t have any type of display, so visual feedback for connectivity is limited to a pair of LEDs. There doesn’t appear to be any feedback for gain levels at all. There’s also no onboard storage for recording away from a camera, computer or a phone. This also means there’s no option to record a safety track at a lower gain level which, given the lack of a way to see levels means you’ll have to really be sure you have everything set right up front. As a reminder, though, the ME is half the price of the GO II.

Photo by James Trew / Engadget

There are tools to help, though. The Wireless ME comes with a feature called GainAssist which internally monitors the signal and sets levels automatically depending on your environment and the volume of the subject. This definitely helps keep things from clipping, but you can still go into the red with it. It appears to be using either a limiter or compression (or both) but you can still make it go into the red. There’s a “dynamic” mode too for when recording things with a more consistent volume than speech.

In terms of range, you can expect about 100 meters / 328 feet (line of sight) but in practice this can vary a little in either direction depending on the conditions. This is a shorter range than the Wireless GO II (200 meters / 656 feet) and DJI’s Mic (250 meters / 820 feet) but likely ample for most scenarios. As for battery life, it’s a respectable seven hours but there’s no charging case as with DJI or Anker’s solutions.

With no way to change settings directly on the device, you’ll want to get familiar with the Rode Central app. It’s here where you’ll be able to turn the receiver’s microphone on or off if you want to use it, change whether it records to one or two separate files (if using both mics) and adjust the gain settings. There are versions for both desktop and mobile (Android/iOS) so you can change modes on the go, even if it’s a bit more involved than doing it on the receiver as with DJI and Anker’s products.

Given that the narrator-guest setup isn’t ideal for recording two speakers on camera at the same time it's a shame that the receiver doesn't have the option to plug an external 3.5mm lav mic into it. This would mean you could theoretically run one with a longer cable and have two on camera hosts. You can still use 3.5mm mics with the main transmitter though. Alternatively, if you have access to another transmitter, such as a Wireless GO II, you can pair it with the ME’s receiver and record up to three people at the same time – though two of them will have to share an audio channel in case having separate files for all speakers is important to you.

Rode

The interoperability between the Wireless GO II and the ME shows that Rode is thinking about how these products can work together, meaning creators can collaborate seamlessly with their own gear or continue using older products even as new ones come around. Expect to see more interoperability with other wireless devices in the future.

Along with the new microphone kit is the aforementioned Capture app. It’s a dedicated video app with a twist: direct access to the settings of compatible Rode microphones. Most video apps don’t even let you know what mic you’re using which can cause anxiety when you’re not sure it’s working with the one you plugged in. Having this assurance alone is useful and the direct access to microphone settings is always going to be a welcome bonus for creators. The app is entirely free and doesn’t require a Rode product to work but will need one of Rode's compatible products if you wish to access its settings.

The Wireless ME is available for $149 starting today.

We don't always think about it, but sound can be as important to identifying a brand as any graphical logo. Netflix's 'ta-dum' instantly brings the streaming service's logo to mind. Apple's startup chime feels like a warm greeting from your computer. Now, Wikipedia has an iconic audio mark of its own: a fluttering of book pages, keyboard clicks and synthesize tones it calls "The Sound of All Human Knowledge."

In true Wikipedia fashion, the four second audio clip was sourced from the community. The Wikimedia Foundation hosted a contest to find an audio logo for "projects when visual logos are not an option." Over 3,000 submissions later, they landed on a series of warm, happy notes preceded by book and keyboard noises, created by Thaddeus Osborne.

Osborne, a Nuclear Scientist by day, will be awarded $2,500 for creating the winning sound. Wikimedia will also be flying him to a professional recording studio to help produce a finalized version of the audio logo. The foundation says it hopes to have the final sound ready to use by June of this year.

When Rode released the original Wireless GO, it was an instant success. The ease of use, audio quality and reasonable price made wireless microphones much more accessible. In fact it was so successful that it spawned a number of copycat products from rivals. After releasing the Wireless GO II ($299) with dual mics, the company is back with a more affordable option - the $149 Wireless ME. There’s also a new video app called Rode Capture aimed at creators which offers tight integration with the Wireless ME and other products from the company.

If you’re thinking “more affordable” means fewer features, then you’d be right. But also you might be surprised. Even though there initially appears to be just one transmitter (mic) and one receiver, the latter also has a mic built-in so you can still record two speakers at the same time with their own separate audio files. That said, Rode is calling the second mic the “ME mic” and describes it as a “narrator” microphone because you can’t use it wirelessly (it’s the one that plugs into your recording device) so it can only really be used by someone off camera. That obviously is no problem if you’re not recording video, but worth knowing if you are.

There are, of course, other minor compromises. For one, the receiver doesn’t have any type of display, so visual feedback for connectivity is limited to a pair of LEDs. There doesn’t appear to be any feedback for gain levels at all. There’s also no onboard storage for recording away from a camera, computer or a phone. This also means there’s no option to record a safety track at a lower gain level which, given the lack of a way to see levels means you’ll have to really be sure you have everything set right up front. As a reminder, though, the ME is half the price of the GO II.

Photo by James Trew / Engadget

There are tools to help, though. The Wireless ME comes with a feature called GainAssist which internally monitors the signal and sets levels automatically depending on your environment and the volume of the subject. This definitely helps keep things from clipping, but you can still go into the red with it. It appears to be using either a limiter or compression (or both) but you can still make it go into the red. There’s a “dynamic” mode too for when recording things with a more consistent volume than speech.

In terms of range, you can expect about 100 meters / 328 feet (line of sight) but in practice this can vary a little in either direction depending on the conditions. This is a shorter range than the Wireless GO II (200 meters / 656 feet) and DJI’s Mic (250 meters / 820 feet) but likely ample for most scenarios. As for battery life, it’s a respectable seven hours but there’s no charging case as with DJI or Anker’s solutions.

With no way to change settings directly on the device, you’ll want to get familiar with the Rode Central app. It’s here where you’ll be able to turn the receiver’s microphone on or off if you want to use it, change whether it records to one or two separate files (if using both mics) and adjust the gain settings. There are versions for both desktop and mobile (Android/iOS) so you can change modes on the go, even if it’s a bit more involved than doing it on the receiver as with DJI and Anker’s products.

Given that the narrator-guest setup isn’t ideal for recording two speakers on camera at the same time it's a shame that the receiver doesn't have the option to plug an external 3.5mm lav mic into it. This would mean you could theoretically run one with a longer cable and have two on camera hosts. You can still use 3.5mm mics with the main transmitter though. Alternatively, if you have access to another transmitter, such as a Wireless GO II, you can pair it with the ME’s receiver and record up to three people at the same time – though two of them will have to share an audio channel in case having separate files for all speakers is important to you.

Rode

The interoperability between the Wireless GO II and the ME shows that Rode is thinking about how these products can work together, meaning creators can collaborate seamlessly with their own gear or continue using older products even as new ones come around. Expect to see more interoperability with other wireless devices in the future.

Along with the new microphone kit is the aforementioned Capture app. It’s a dedicated video app with a twist: direct access to the settings of compatible Rode microphones. Most video apps don’t even let you know what mic you’re using which can cause anxiety when you’re not sure it’s working with the one you plugged in. Having this assurance alone is useful and the direct access to microphone settings is always going to be a welcome bonus for creators. The app is entirely free and doesn’t require a Rode product to work but will need one of Rode's compatible products if you wish to access its settings.

The Wireless ME is available for $149 starting today.

If you pay attention to the music industry, you’ve probably heard about spatial audio. The promise is that music will envelop the user from all directions without needing a room full of speakers to achieve the effect. Apple has pushed it a lot in the last few years, in Apple Music, its line of AirPods headphones and the latest HomePod speaker. Amazon’s streaming service also offers spatial audio, and its Echo Studio speaker can play back compatible tracks.

Sonos has been paying attention, as well – its recent Arc and Beam soundbars support Dolby Atmos for movies, and now the company is releasing its first music speaker designed for spatial audio, the Era 300. This beast is large and has an unusual shape to accommodate all the drivers needed for achieving these room-filling effects. At $450, you’d expect this speaker to sound excellent, regardless of whether it’s playing back spatial audio or not, but support for this new format is what sets it apart from other speakers. As such, the big question on my mind is whether this feature is a game changer, a gimmick, or somewhere in between?

Photo by Nathan Ingraham / Engadget

Design

There’s nothing in the Sonos lineup to compare the Era 300 to. From a size and weight perspective, it’s a large speaker, similar to the Sonos Five, but its unusual shape immediately sets it apart. Seen from the front its oval reminds me of a race track, but any other angle reveals a distinctive footprint. If you look at it from the top, it’s thinner near the middle than it is on the ends; the best way I can describe it is a knocked-over hourglass.

This is to accommodate the complex driver array inside the Era 300. There’s one tweeter pushing out from dead center, and two more sending audio out the left and right sides. Finally, there’s a fourth tweeter inside a directional horn pointed upwards; Sonos says that it’s at a specific angle optimized for spatial audio. Two woofers, again on either side of the speaker, complete the array.

The Era 300 reminds me of most other recent Sonos products. It is well-built, exceedingly sturdy and generally feels like a product that justifies its high price tag. That said, its physical appearance is definitely more unusual than the company’s other speakers. I recognize that it’s functional, but the combo of its size and strange tapering make it stand out more than you might like.

Photo by Nathan Ingraham / Engadget

A lot of new features and changes in the Era 100 are also found in the Era 300. This includes a redesigned set of touch controls on the top panel, a USB-C port for line-in and ethernet (provided you shell out for the optional adapters), a Bluetooth toggle and a switch to physically disconnect the microphone on the back. For more on these features, I’ll point you to the relevant section of my Era 100 review. Most everything I said there applies. That said, for $450, it’s a little disappointing that Sonos requires an adapter for line in or Ethernet. The $550 Sonos Five has both of those built right in. I’m sure the company has the data showing that a small percentage of owners use those features, so I’m glad they haven’t been removed completely, but it would definitely be nice if they didn’t require an adapter.

Setup

Setting up the Era 300 is pretty simple, even if you don’t already have a Sonos system. You’ll need to download the Sonos app to your phone and set up an account; from there, the app will look and see if there are any speakers to add. You’ll also need to log in to your audio services of choice – if you want to try spatial audio, you’ll need either Apple Music or Amazon Music Unlimited. You can search for and play music through the Sonos app, but there are also a bunch of options if you’d rather stick with the music apps you’re used to. You can use AirPlay 2 to shoot audio from Apple Music and other services on the iPhone directly to the Era 300, or use Spotify Connect without needing to go through the Sonos app. That said, it’s worth noting that if you want to play back tracks in spatial audio, you’re required to use the Sonos app.

There are a few optional but useful things you can do while you’re setting up the Era 300. The first is Trueplay, a feature that tunes your speaker’s output based upon where it’s placed in your room. Trueplay has been around since 2015, but in the past it required you to have an iPhone. You’d have to walk around your room slowly raising and lowering the phone while the speaker played a test tone. The Era 300, though, can use its built-in microphones to listen and optimize its output – that process is much simpler and faster than the old technique, and Android users aren’t left out either.

I’ve been extremely happy with Trueplay’s results in the past, so I’d recommend that everyone try this out. That said, I did find that the old, manual tuning process yielded slightly better results. So while I appreciate the ease of use in the new Trueplay system, I’ll probably still walk around my room waving my phone – but I won’t judge you if you take the easier route.

If you like using voice controls, you can also add a voice assistant to the Era 300. Amazon’s Alexa has been supported since the One launched back in 2017, and last year Sonos added its own music-focused assistant. Setting up the Sonos assistant is a little easier than Alexa, because you don’t need to go linking your Amazon account, but both are pretty straightforward at this point. One thing to note: past Sonos speakers with microphones also worked with Google Assistant, but that’s no longer the case. The Era 100 only works with Alexa and the Sonos assistant, likely due to the ongoing patent battles between Google and Sonos. I personally prefer Google Assistant over Alexa, so this is a bit of a bummer. But I also mostly just talk to my speaker to play music, so the Sonos option works well enough.

Audio quality and the spatial experience

Putting aside the potential of spatial audio for a moment, the Era 300 sounds excellent – as it should, given its price. It doesn’t quite match the stunning detail and bass presence of the Sonos Five, which remains the most impressive audio-focused speaker Sonos sells. But for $100 less, you’re getting a premium experience that far surpasses the Era 100 and other speakers like Apple’s HomePod. I was very impressed with the Era 100, but playing the speakers back side-by-side shows just how much better the Era 300 is at making each separate component of a song shine. Bass, vocals and instrumentation are all reproduced in excellent detail that smaller speakers simply can’t match.

But the real question with the Era 300 is the value of spatial audio – does it really provide a new and worthwhile listening experience? For me, the answer is a big “sometimes.” Right now, I think that the trick of spatial audio, to a large extent, remains just that: a trick. I spent a lot of time bouncing between Atmos versions of songs on Apple Music and Amazon, comparing them to the standard versions on Spotify. I could always tell there was a difference, but I also didn’t always feel that it was an improvement. Broadly speaking, spatial audio tracks did feel less like they were coming out of a single point in space. But a lot of times, the immediacy of the song’s original mix was lost and the vocals felt drenched in reverb rather than being right up close.

In some cases, especially when I listened to older albums that were remixed for spatial audio, the results were simply worse. The excellent guitarwork and vocals on the Alice in Chains classic “Down in a Hole” from 1992’s Dirt sounded a million miles away. I had high hopes for the multi-layered doom rock of “Rain When I Die,” but again the mix felt mushy and poorly defined. Alice in Chains’ 1990 debut Facelift was also released in Atmos recently, and it sounds far better than Dirt, so it’s clear that older albums and spatial audio aren’t inherently incompatible. Pearl Jam’s 1991 debut Ten didn’t sound bad, but there was still a lack of definition to too much of the mix. By contrast, the recently-released Atmos mix of 1998’s Yield was an enjoyable listen, but I’m not convinced it’s better than the original. For the record, this isn’t a fault of the speaker, but rather a fault of these mixes – I noticed the same issues when listening through Apple’s HomePod or AirPods Max.

Photo by Nathan Ingraham / Engadget

Newer songs and albums that are likely recorded, produced, and mastered with spatial audio, in mind sounded better. The acoustic guitar and hushed vocals of Billie Eiish’s “Billie Bossa Nova” felt wonderfully close, and the club beats of Dua Lipa’s Future Nostalgia were lively and impressive. In most cases, though, the mixes that sounded best to me were only slightly different than the originals, and I still often felt like the Atmos versions put too much reverb into the mix. This was particularly true on Carly Rae Jepsen’s latest album The Loneliest Time. Instrumentation sounded lush and vibrant, but the vocals lacked impact. In a best case scenario, with a single Era 300, the difference between the best spatial audio and standard mixes is often going to be fairly subtle.

I will admit that when I simply put on a playlist of new songs (many of which were in spatial audio) and stopped thinking about it, I enjoyed myself a lot more. It helps that newly-released songs generally sound much better in Atmos than the remixes of older albums I’ve come across. When I wasn’t obsessively comparing the new mixes to old versions of songs I knew inside and out, it was easier to appreciate the Era 300 for the great-sounding speaker it is. But that’s the case whether you’re listening to an Atmos version of a song or the standard mix, so spatial audio shouldn’t be the main reason to buy the Era 300.

Like basically all Sonos speakers, you can pair two Era 300s together for stereo playback, though I’m not sure “stereo” is the right word when we’re talking about spatial audio. The fact that you can’t adjust the left / right balance between them kinda proves that point. Regardless of what you call it, two Era 300s provide an absolutely massive experience that does a better job of delivering on the promise of spatial audio. With two speakers, there’s no real sweet spot; instead, music sounds consistently excellent regardless of where you are relative to the speakers. And if you want to get really wild, you can use a pair of Era 300s as rear speakers along with a Sonos Arc or second-gen Beam soundbar to get Dolby Atmos home theater playback. I don’t have the right living room or soundbar setup to make this work, but I can say it was impressive in a demo Sonos gave the press last month. Of course, considering how much an Arc and two Era 300s costs, it had better be.

Wrap-up

The Era 300 is in a slightly strange place in the Sonos portfolio. Its higher price means it’s not going to be as broadly appealing as the $250 Era 100. It’s closer to the $550 Sonos Five, which is probably a superior speaker despite lacking spatial audio capabilities. But, for $100 less, the Era 300 still provides a premium audio experience and has a handful of improvements over the Five, including built-in microphones and automatic Trueplay tuning. For $500, you could also buy a pair of Era 100 speakers and run them in stereo – those speakers sound great, and you’ll get excellent coverage with two of them working together.

And, of course, there’s the messy potential for spatial audio. After spending a lot of time listening to the Era 300, I don’t think it’s a game-changer yet. In the best cases, it provides a different listening experience, but it’s not always better – in fact, I’ve been surprised at how often it has been worse. While lots of new music is being released in spatial audio, most older music is only available in good old stereo, so the catalog of songs available in the new format is comparatively small.

Fortunately, the Era 300 is a great speaker, whether or not it is playing songs in Dolby Atmos. It’s crisp, loud, detailed and has lively bass – and when I’ve stopped thinking about spatial audio, it has been a joy to listen to. Spatial audio is a potentially interesting feature, especially if more and more musicians and producers embrace it, but I’d recommend that you not buy the Era 300 with only that in mind. Buy it if you’re really interested in a premium speaker that does a great job filling a room with sound, whether it’s an Atmos mix or not.

Of the two speakers Sonos announced earlier this month, the Era 100 is much easier to sum up: it’s a replacement for the Sonos One, which was first introduced in 2017. Unlike the Era 300, there’s no need to ponder the value of spatial audio; the Era 100 is a relatively straightforward mono speaker, just like the One and the Play:1 before it. Don’t let that simple description deceive you, though – the $250 Era 100 is a complete redesign, inside and out, and the end result is a worthy upgrade and a very versatile speaker.

Design

At first glance, the Era 100 looks quite similar to the One, but upon further examination you’ll notice a number of small but meaningful changes. That starts with the vertically-oriented Sonos logo that you’ll find on most of their other speakers like the Roam and, naturally, the Era 300. The Era 100 is slightly taller and deeper than the One; it’s also slightly deeper than it is wide. But it should fit basically anywhere the older speaker did.

The most significant external change is on top of the speaker. There, you’ll find a redesigned set of touch controls, including dedicated track forward and back buttons for the first time. Those surround the play / pause button instead of the volume controls that you’ll find on the One. Volume has been moved to a touch slider in the center of the touch panel. Tapping either side of it raises or lowers the volume, or you can slide your finger left and right. Using the slider takes a little practice, and it’s far too easy to go from silent to deafening, but there’s no doubt it’s better for rapid adjustments than tapping a button repeatedly. There’s also a spot to mute the mic, just like on the One.

There are also some major changes on the Era 100’s back. There’s no more ethernet jack or setup button. Instead, there’s a USB-C port you can use to plug in the $20 line-in adapter or the $40 combo line-in / ethernet adapter. On the one hand, it’s annoying to have to shell out extra cash for these adapters – but this is the first time Sonos has offered line-in at all on a speaker in this price range, so it’s not a total bummer.

Aside from the USB-C port, you’ll find another switch for muting the mic. Unlike the top button, which just mutes it with software, this physically disconnects the mic for additional privacy. Finally, there’s a Bluetooth button that puts the speaker in pairing mode.

As with most Sonos products, the company has done a good job here marrying clean, attractive design without compromising on functionality. Yes, the loss of the Ethernet jack will rankle a small number of users, but for the most part these changes are improvements. I wish that they just put a line-in right on the speaker instead of requiring a dongle, but I’m more glad that the feature is here at all than I am annoyed at needing to buy an extra piece of plastic.

Photo by Nathan Ingraham / Engadget

Setup

Getting the Era 100 up and running is pretty simple, even if you don’t already have a Sonos system. You’ll need to download the Sonos app to your phone and set up an account; from there, the app will look and see if there are any speakers plugged in it can add. You’ll also need to log in to your audio services of choice, but after that you should be good to go. Obviously you can search for and play music through the Sonos app, but there are also options if you’d rather stick with the music apps you’re used to, like AirPlay 2 and Spotify Connect.

There are a few optional but useful things you can do while you’re setting up the Era 100, though. The first is Trueplay, a feature that tunes your speaker’s audio output based upon where it’s placed in your room. Trueplay has been around since 2015, but in the past it required you to have an iPhone. You’d have to walk around your room slowly raising and lowering the phone while the speaker played a test tone.

The Era 100, though, can use its built-in microphones to listen and optimize its output – that process is much simpler and faster than the old technique, and Android users aren’t left out either. I’ve been extremely happy with Trueplay’s results in the past, so I’d recommend that everyone try this out. That said, I did find that the old, manual tuning process yielded slightly better results.

You can also add a voice assistant to the Era 100. Amazon’s Alexa has been supported since the One launched back in 2017, and last year Sonos added its own music-focused assistant. Setting up the Sonos assistant is a little easier than Alexa, because you don’t need to link your Amazon account, but both are pretty straightforward at this point. Sadly, where past Sonos speakers supported Google Assistant the Era 100 does not. This is likely due to the ongoing patent battles between Google and Sonos. I personally prefer Google Assistant to Alexa, so this is a bit of a bummer.

Photo by Nathan Ingraham / Engadget

Audio quality

While new features like easier Trueplay and new controls are important, what I really wanted to find out was how the Era 100 compares to the One it replaces. (I’ve also been comparing it to Apple’s latest HomePod as well as the Era 300.) So far, I’ve been extremely impressed. It’s immediately obvious that the Era 100 is a notable upgrade over the One.

First off, the Era 100 is loud. Surprisingly so – it’s significantly louder than the One and the HomePod, and the Era 300 isn’t that much louder. Even a single Era 100 should provide enough volume for just about any room in your house. If you have a large open floor plan, you’ll probably want a couple speakers to cover the space rather than cranking a single, relatively small speaker to its limit. But in the vast majority of use cases one Era 100 should be sufficient.

Obviously, there’s a lot more to good sound than just volume. The Era 100 has significantly improved bass performance when compared to the One, again exceeding what I’d expect from a compact speaker. Bass-heavy tracks like Dua Lipa’s “Levitating” and Dragonette’s “T-shirt” had a solid thump without being overwhelming, especially at higher volumes. It doesn’t match the Era 300 or HomePod, both of which have more dynamic bass performance, but Sonos is getting a lot out of the Era 100.

Photo by Nathan Ingraham / Engadget

While I’m glad the bass has improved, I’m more impressed with the speaker’s overall clarity. The two tweeters definitely help make higher frequencies more defined. The sound profile is crisper and more dynamic than that of the One. The nuance and sheen of “California” by Chvrches and Metric’s “Formentera” came through wonderfully, while standard four-piece rock or metal like Metallica’s self-titled classic and Tool’s AEnima sounded lively and powerful. I also checked out my go-to film and game scores from Lord of the Rings and The Last of Us, and the intricate compositions were full and well-balanced. The One now sounds somewhat muddy by comparison, with both the highs and lows less distinct. The Era 300 sounds clearer still, thanks to the many drivers it has on board, but the 100 again is doing a lot with its comparatively limited speaker array.

If you have a larger space or just want increased volume and detail, I recommend getting two Era 100s and pairing them in stereo. While the Era 100 technically has left and right tweeters, the small size means there’s no real stereo separation to speak of. Putting two of them together naturally yields a much wider soundstage and brings out lots of details that get erased when you squish a stereo mix down to one channel.

A pair of Era 100s can also be used as rear surround speakers in a setup with one of Sonos’ soundbars. I didn’t test this, as I don’t have a great living room setup and I was more interested in the music performance, but it’s worth mentioning this feature. Sonos has long offered the option to use basically any of its music speakers as rear surrounds, and I’m glad they’ve continued with that here.

The Era 100 (and 300) are the first non-portable speakers that include Bluetooth connectivity. It’s exceedingly simple: just hold the Bluetooth button on the back of the speaker to put it in pairing mode and it should show up for your phone or other device to connect to it. I had no reason to use Bluetooth, but the fast setup and pairing process could be useful if you have a friend who quickly wants to play a tune over your speaker, for example. It’s not essential, but having more options never hurts.

Wrap-up

Sonos made a lot of smart decisions with the Era 100. The improvements it offers over the One are immediately obvious, both in sound quality and new features like line-in, Bluetooth and easier Trueplay setup. I don’t think Sonos One owners should necessarily run out and replace their speakers, but Sonos is now offering a better product at a $30 price increase, one that I think is justified for what you get.

Of course, Sonos makes things a little complicated because there are two generations of the One; they’re identical in terms of audio components, but the gen 2 model has more memory and a faster processor. If you have the One from 2017 or 2018, replacing it with an Era 100 will provide better sound and more future-proof internals.

The Era 100 isn’t the most exciting speaker I’ve listened to – I still have fond memories of being blown away by the Sonos Play:5 (now just called the Five) in 2015, and the Era 300 is also a delight. But when you take into consideration what most people will need from a speaker, the Era 100 provides impressive performance at a reasonable price.

Audible has teamed with Dolby Laboratories to introduce spatial sound in its library. Called Dolby Atmos on Audible, it's debuting on more than 40 titles including The Little Mermaid, The Sandman Act III and the music-oriented podcast, Maejor Frequency. The move represents another push into narrative audio content for Dolby, as Wondery (also owned by Amazon) started doing Atmos podcasts last year.

The new collection covers multiple genres, including feature-length multi-cast productions, soundscapes, live performances and podcasts. "The Dolby Atmos collection celebrates and expands the possibilities of audio storytelling by highlighting the extraordinary talents of a variety of actors, writers, directors, sound designers and other creators," the companies said in a press release.

Dolby Atmos might seem like overkill for audiobooks, but much as Dolby did for movies, it has the potential to make narrative stories more immersive on good headphones or sound systems. "Through the ability to create more layers of sound and control over the directionality of different audio elements, creators can draw listeners into a deeper, richer, and more lifelike spatial sound experience that fully engrosses them in each story," they wrote. The examples of originals the companies highlight in the announcement are more dramatic productions than straight readings, so you're likely not going to get spatial audio for every Malcolm Gladwell novel. 

For instance, The Little Mermaid will feature a "magical underwater soundscape and original music," presumably enhanced by spatial sound. "Sound placement can now be used as a new element to draw audiences even closer to their favorite podcasts, audio narratives, and stories with Dolby Atmos," said Dolby vice president John Couling. 

The Dolby Atmos titles are available to Audible members via the Audible app on compatible iOS and Android Dolby Atmos-enabled mobile devices. To see all the available titles, type “Dolby Atmos” into the search bar on the Audible website, or look for the Dolby Atmos logo in the Audible app.

Positive Grid has a new ultra-portable version of its high-tech Spark guitar amplifier. Designed for musicians seeking a versatile and powerful practice amp, the 3.5-inch-tall Spark Go works with a companion app loaded with virtual amps, pedals and other effects — and it can even flesh out your sound with AI-powered drums and other backing instruments.

Like its predecessors, the Spark Go pairs with an iOS / Android app to go far beyond amplifying your strumming and picking; it enhances it digitally. It includes 50,000 tones (ranging from boutique to modern), 33 amps and 43 effects and pedals, giving you plenty of novel ways to shape your sound. The app can even “jam along with you” by listening to and learning from your playing, generating an appropriate backing track. And if you want to learn new tunes, the app can sync with Spotify or Apple Music to display AI-generated chords for the song you’re hearing.

Engadget’s 2021 review of the Spark Pearl (a larger model in the same line) found the app to have some rough edges — including a less-than-convincing AI drummer. However, the company has had plenty of time to smooth it out, so we’ll reserve judgment on the current iteration until we test it again. After all, you may have heard generative AI has made some impressive leaps since then.

The amp has a rugged construction and “extra hardshell grille” to (at least in theory) live up to its on-the-go branding; Positive Grid says it even fits on a pedal board. The company suggests laying it flat for omnidirectional sound or standing it on its edge for “in-your-face sound.” In addition, it uses computational audio that delivers “surprisingly big, full sound” from its tiny package. (And you can plug in headphones to practice in private.) The amp’s battery allegedly lasts up to eight hours and recharges with USB-C. Finally, it supports four presets for when you find a mix you want to keep handy.

Positive Grid is accepting early signups to be notified when Spark Go pre-orders go live. Whenever they open (the company hasn’t yet announced a date), the company will offer the amp for an aggressively priced $109 — although it will eventually increase to a suggested $149.

We saw both of LG's new soundbars in action at CES earlier this year — and while the company was happy to show off the speakers' wireless connectivity and other features, it wasn't ready to share pricing or availability. Turns out, both the premium-focused LG Sound Bar C (SC9) and the more compact SE6 are available starting today, March 22nd. Which unit is right for you depends not only on what kind of soundscape you're hoping to build, but also on if you already have an compatible LG TV.

The higher-end Sound Bar C sells for $999, and comes with an included subwoofer as well as the LG Synergy Bracket — a soundbar mount designed specifically for LG OLED C Series TVs that bolts the audio directly to the screen, rather than the wall or your TV stand. LG's Wow Interface is exclusive to the SC9, which lets you control the soundbar's settings from a compatible LG TV itself.

At $450, the LG SE6 is less expensive and lacks a dedicated subwoofer, but it still packs Dolby Atmos and many of the higher-end soundbar's key features. Wow Orchestra can sync the sound bar's audio to the TV's internal speakers for a larger soundscape, and LG's Wowcast feature allows both units to wirelessly connect to a TV to avoid visible cable clutter.

Both the SC9 and SE6 are available from LG.com and select retailers starting on March 22nd, 2023.

The “Apple effect” can be as helpful as it is infuriating. A good technology can exist for years, and many won’t care until it gets the Cupertino seal of approval. To that end, a lot of people are about to start caring about “high resolution” audio as the company launched its upgraded music service to the masses.

But as many were quick to point out, some of Apple’s own products don’t necessarily support the higher sample rate and bit-depths on offer. No worries, there’s a dongle for that. (And there are options for Android and the desktop, too.) 

As hinted, it's not just Apple in on the hi-resolution game: Qobuz, Tidal and Deezer have been doing it for a while, and Spotify is planning on introducing its own version soon. The products in this guide will play nice with any of these services, aside from Tidal's MQA, which is a little more specific (and we have options for that as well).

Why do I need new hardware to listen to music?

Apple

The short answer is, you don’t. You can play “hi-res” audio files on most phones and PCs, you just might not be getting the full experience. If your device’s audio interface tops out at 44.1 or 48kHz (which is fairly common and covers the vast majority of music online) then that’s the experience you’ll get. If you want to enjoy music at a higher sample rate and bit-depth (aka resolution), you’ll need an interface that supports it and wired headphones.

It’s worth pointing out that “lossless” and “hi-res” are related terms, but not the same thing and will vary from service to service. Apple uses ALAC encoding which is compressed, but without “loss” to the quality (unlike the ubiquitous .aac or .mp3 file formats). CDs were generally mastered to at least 16-bit / 44.1kHz which is the benchmark that Apple is using for its definition of lossless. In audio circles, a general consensus is that hi-res is anything with a sample rate above 44.1kHz. Increasingly, though, the term is being used for anything 96kHz and above.

This, of course, isn’t only about Apple’s new streaming formats. External DACs and audio interfaces are a great way to upgrade your listening experience generally. Especially if you want to get into the world of more exotic (read: pricey) headphones, as they often even require a DAC to provide enough clean signal to drive them. For audiophile headphones, a phone or laptop’s built-in sound chip often doesn’t have the oomph needed.

Okay, but can’t I just use the headphone adapter for my phone?

No. Well, yes, but see above. A Lightning or USB-C to 3.5mm headphone adapter often is an audio interface and most of the ones you’re buying for $7 (or that come free in the box) do not support hi-res audio beyond 48kHz / 24-bit. Android is a little more complicated, as some adapters are “passive” and really just connect you to the phone’s internal DAC like old school headphones. Others (active ones) have a DAC built-in and good luck finding out what your specific phone and the in-box adapter delivers. (Hint: connect it to a PC and see if it comes up as an audio interface. You might find some details there if it does).

What is a “DAC,” though?

Billy Steele / Engadget

A DAC takes the digital (D) music from your phone or computer and converts (C) it into analog (A) sound you can hear. All phones and PCs have them, but since handsets moved to USB-C, Lightning or Bluetooth for music, the task of converting that signal was generally outsourced to either your adapter or your wireless headphones.

DACs can be used with phones, laptops and desktops but tend to be much simpler than a regular external audio interface. One basic distinction is that DACs are usually for listening only whereas an audio interface might have ports to plug in microphones and instruments (but an external audio interface is also technically a DAC).

The benefit of DACs is that they tend to be lightweight, making them more suitable for mobile use, although it still gets a little tricky with the iPhone as you still might need to add another dongle to make it play nice with Lightning. Also, not all DACs support all the higher audio resolutions. Most require external power or an onboard battery, though some can use the power from whatever you plug them into — in which case expect a hit to your battery life. Below are some of our picks for a variety of scenarios.

Best for Android users looking for a simple, affordable option: Ugreen USB-C to 3.5mm headphone adapter

Okay, you were expecting serious outboard gear and we start by showing you a basic adapter? Yes, because this one supports 96kHz audio (24-bit) and is about as straightforward as you can get. Simply plug into your USB-C device (or USB-A with an… adapter), connect your headphones and away you go. There are no buttons, no controls, nothing to charge.

While this dongle doesn’t support 192kHz, the move up to 96kHz is still firmly in the “hi-res” audio category, and its super low profile and ease of use make it a great option for those that want an audio quality bump without going full-bore external DAC.

Of course, this dongle is best suited to devices with a USB-C port such as the iPad Pro, MacBook or most Android phones. As noted earlier, it’s possible your Android already supports hi-res audio and a simple passive dongle is all you need, but given the price and quality of this one, at least you know what you’re getting, as the specific details of audio support for every Android phone out there are often hard to find.

The downside is that this adapter won’t do much to help drive higher impedance headphones, so it’s less suited to audiophiles who really need more power to drive their favorite cans. I used this on both an Android phone and an iMac and it worked just fine, although with Apple computers you need to head to the Audio/MIDI settings first to make sure you’re getting the highest quality available.

Best for streamlined desktop use with high-end headphones: Apogee Groove

Apogee gear is usually found in the studio. The Groove takes the company’s decades of audio experience and squeezes it into a highly portable DAC that’s perfect for those who want a lightweight option for their desktop or laptop. We’re stepping up the sound quality here with support for 192 kHz (24-bit), which will cover everything from Apple’s new lossless service.

Connecting your iPhone to the Groove is a little more complicated. It works just fine, but you’ll need something like the Apple Camera kit, as it needs external power. In short, it gets a bit “dongly” but it works if you want something for your desktop first, that can do double duty on iPhone. Android support is a little hit and miss, though you would still need a way to feed it power while in use.

Once you’re set up, just plug in your headphones and you’re away. The rubberized base of the Groove stops it from shifting around on your desk, and the large buttons make controlling volume a breeze, with LED feedback to show you volume levels.

Audio sounds dynamic, with a generous bump in gain over whatever you’re plugging it into likely offers. The frequency response is flat meaning you get out exactly what you put in audio-wise, making this a great choice if the connectivity (and price) matches your specific use case.

Best for power and portability: AudioQuest Dragonfly Cobalt

Bar the Ugreen dongle, the Dragonfly is easily the smallest, most portable device on this list. And better yet, it almost certainly works with your phone, PC or laptop and won’t require a dedicated power supply (despite the lack of a built-in battery). You’ll still need an adapter for phones (USB-A to Lightning or USB-A to USB-C for Android) but otherwise, it’s plug and play. There’s no volume control, just one 3.5mm headphone jack and a color-changing LED (to tell you what sample rate the track you’re listening to is using).

At $300, it’s a pricey proposition, but the cable spaghetti of some devices or the sheer heft of others, means the Dragonfly’s small footprint and rugged simplicity make it refreshingly discreet and simple. AudioQuest also offers two cheaper models, starting at $100 that are likely more than good enough for most people.

Don’t let the Dragonfly’s size and lack of controls fool you, the Cobalt throws out some serious, high quality sound. According to AudioQuest, the maximum resolution has been intentionally limited to 96kHz for the “optimal” experience, and that’s plenty enough to cover what you’ll get from most music services.

The output from the in-built headphone amp will make your phone’s audio feel positively wimpy by comparison, and the powerful internal sound processing chip delivers great quality audio with a wide soundstage across a range of genres and formats.

One extra trick up the Dragonfly’s sleeve is native support for Master Quality Authenticated (MQA) files. This is the preferred format of Tidal, so if that’s your service of choice, the Dragonfly is ideal.

Best for super high resolution: Fiio Q3

Fiio has been a popular name in the portable DAC scene for a while now, and for good reason. The products deliver solid audio quality, support all manner of resolutions and are compatible with a wide range of devices. The Q3 is bigger than the previous options on this list (it’s about 1cm shorter than an iPhone 4), but remains fully portable. There are even some goofy silicone bands so you can strap it to your phone, rather than have a flappy, heavy appendage.

For users on the go, the Q3’s built-in battery (good for about eight hours) means you won’t need to drain the power on whatever you’re plugging it into. It also means mobile users won’t need a dreaded second cable. Throw in support for three different size headphone jacks (sadly, ¼-inch isn’t one of them) and you have a DAC that will serve you souped-up sounds wherever you are and whatever you’re listening to.

There isn’t a display, which you might expect for something this size, but there is an LED that changes color when you’re listening to something higher than 48kHz, so you can tell which tracks in your streaming service’s library really are higher-res. The dedicated volume control doubles as a power knob and there’s also a “bass boost” switch just like the good old days. On top of the USB-C input, there’s also the option for analog audio sources via the 3.5mm port.

Even if you’re not listening to high sample rate music, the Q3 sounds fantastic. The difference in volume, punch and dynamic range that comes through in songs that sounded flat and dense when listening directly through a phone or laptop was remarkable. Throw in support for all the hertz and bit-depths that you’ll likely ever need and what’s not to like? Especially as the Q3 comes in cheaper than some of the less capable options in this guide (the slight extra heft will be a key factor here).

Best for high resolution / fans of Tidal: iFi Hip Dac

If this were a spec race, it’d be a photo finish between Fiio’s Q3 and iFi’s Hip Dac. Like the Q3, the Hip Dac blows right past support for 192kHz right up to 384kHz. It also offers balanced output via 4.4mm headphones which is rare to find on consumer headphones, but some higher-end cans offer it for those who want to eliminate any potential interference. There’s also an internal battery, bass boost and a very similar form-factor to the Q3.

For anyone interested in either of these two it might come down to a single feature. Be that the highest sample rate it can support (Q3 wins) or its ability to decode Tidal’s MQA files (in which case, you want the Hip Dac).

The sound out of this thing takes on the Q3 blow for blow and even the same knurled volume control is here. But let’s be honest, the fact it looks like (and was named after) a hip flask is clearly also a major selling point. Though it's worth mentioning the Hip Dac takes a female USB cable, supplied in the box. But this does mean you'll need to use the Camera Kit to get into the iPhone, whereas the Q3 works with one single provided cable.

Regardless, it’s another robust option that will more than cover most bases for most people. As with the Q3, the internal battery means you won’t need to feed it power while in use (estimated eight hours) and connecting it to your phone or computer is the same; as long as you can pipe a USB cable into it, you’re good to go.

Best for desktop warriors: Focusrite Scarlett 2i2

Only looking for a desktop option? Then a good old fashioned audio interface might be the best choice for you. Focusrite’s Scarlett series has near-legendary status at this point and an eye-wateringly high review ratio on Amazon for a good reason: It does what it does very very well.

Most current laptops and desktops can probably handle at least 96kHz audio, but with the Scarlett you can be sure you are getting the full 192kHz when available and the dedicated audio processors and headphone amps will do a much better job of it.

The main benefit here is the general upgrade you will be giving to your PC. Not only will your listening experience be enhanced, but you’ll be able to plug in microphones and instruments if streaming or recording are your thing, all in one device and all for about the same price as some of the more mobile-oriented devices on this list.