If you’ve been following the handheld PC craze of late, you’ll know it’s a very kinetic category. And with ASUS throwing its hat in the ring, expect to see even more gaming handhelds trying to steal a bit of the Steam Deck’s lunch. Ayaneo, a relatively unknown player just a couple of years ago, has become one of the more prolific names in this space and its newest handheld - the Air Plus - is its latest effort to tempt folk over to the warm waters of portable PC gaming.

If the Air Plus looks familiar, that’s because it’s the third iteration of Ayaneo’s “Air” series and it comes with a choice of either AMD or Intel chipsets. The model we’re looking at here has the Ryzen 6800U processor meaning it’s technically very similar to the Ayaneo 2 we reviewed in Spring. Why make two handhelds with very similar specs? Because many people want the performance of the Ayaneo 2 in a more portable formfactor. While both are portable in the broadest sense of the word, the Air Plus is a shade smaller than a Nintendo Switch (albeit somewhat thicker), unlike the Ayaneo 2 which has a profile closer to the Steam Deck.

We should clarify right up top that this generation of Windows-based gaming handhelds don’t come cheap. While the base/64GB Steam Deck costs $400, the entry level Ayaneo Air Plus will set you back $790 for early birds before it retails for $979. That’s a lot more money - even if you chose the Steam Deck with the same internal storage (512GB), that would still only cost $649. That said, a lot of people really don’t like the size and weight of Valve’s handheld and appreciate the extra flexibility and power most of these alternatives offer. The success of Ayaneo’s last Indiegogo campaign tells us there’s an appetite for these devices regardless.

Photo by James Trew / Engadget

While size is a key selling point here (the Steam Deck is over 2 inches wider and an inch taller), perhaps more importantly, Valve's handheld is over 5oz (145g) heavier. That extra heft does allow for more controls — there are no touchpads or rear buttons here. That said, the Ayaneo sneaks in a few clever controls along the top and on the lower edge for tasks like bringing up the onscreen keyboard or jumping out of Ayaspace to the desktop. The Air Plus also sports two USB-C ports which opens up the possibility to use peripherals at the same time as charging it.

The Air Plus isn’t quite a straight processor upgrade from the Air Pro — there’s also a larger battery (46.2Wh up from the Pro’s 38Wh and the original Air’s 28Wh), along with a new 6-inch 1080p display. There are also some other minor cosmetic tweaks that put the power button and headphone jack on the left and right respectively - the inverse of the models before them. The Plus is also about half an inch (13mm) wider than the original Air and Air Pro, which means if you had a case for one of those, it won’t fit the new model, sorry.

The first time you turn on the Ayaneo Plus, you’ll go through a minor bit of Windows setup. After that you’ll be dumped into Ayaspace, the company’s launcher that is designed to make the experience feel a bit more like a console than a tiny PC. It’s worth pointing out that Ayaspace is functional but you’ll regularly find yourself dealing with Windows. Navigating it is easy enough, with the left analog stick controlling the mouse aided by a physical shortcut button up top that brings up the on-screen keyboard. But it’s also not the smoothest experience if you’re coming over from something like the Steam Deck.

Photo by Aaron Souppouris / Engadget

For the most part, compatibility with the Air Plus should be greater than that of Valve’s rival, just by virtue of it running vanilla Windows. And as true as that is, you can still find yourself hitting a few bugs and glitches. When I installed Red Dead Redemption 2 (RDR2) I had to google around to find out how to enter full screen mode (hint: change the graphics API in advanced settings to DirectX 12). When I tried to install Hotline Miami, I was prompted to install the .NET framework, which is about as fun as it sounds and then it loaded in a window far too big for the display (using Ayaspace’s resolution picker and then alt-tabbing out and back into the game fixed).

Quirks like this are definitely the exception not the rule, but common enough that if you’re looking for that dedicated gaming console experience, know that it’s not quite there yet. You can disable Ayaspace if you wish and use something like Steam’s Big Picture mode if that’s where your games are. You could also just launch things right from the desktop, too. But for all its shortcomings, Ayaspace does have some handy features and is a decent experience most of the time. Some industrious folks have even managed to get SteamOS running on Ayaneo devices, but the compromises still don’t make it an attractive alternative. After all, once you’re in a game you soon forget about the OS behind it.

However you get there, once launched, everything look great on the 6-inch IPS display. It’s a shame that it’s not an OLED panel like the one on the Air Pro, but the larger size more than makes up for it, and it’s nice and bright with a decent contrast ratio and color reproduction. Side by side with the equally-sized display on the Ayn Odin, the two are pretty close, but the Ayaneo is a little more vibrant.

Photo by James Trew / Engadget

I’ve been chipping away at Disco Elysium for too long now, but having the chance to bring it with me on my travels with the Air Plus has exponentially increased my play time. While it’s not the most processor-intensive game, its unique art style looks fantastic here, and it runs at a full 60 fps at720p using just 10W TDP (thermal design power) - broadly speaking the setting that determines the amount of power you’re willing to give to the CPU at the expense of battery life. With these settings I was typically getting about three hours of play time per charge.

With something more intensive, like RDR2, you’ll have to jack the TDP up as it won’t run smoothly at 10W. With medium settings and even just 12 TDP I was enjoying 40-50 fps and about 2.5 hours of battery life. If I wanted Arthur’s expeditions up into the snowy mountains to look extra slick, 15- or 20W TDP would make 1080p and 60 fps possible but with a severe hit on play time - dropping down to about 1.25 hours. This can reach back up to 2 hours if you sacrifice either fps or drop back down to 720p.

So yeah, that’s not a fantastic outlook for more demanding games on higher settings, but with a few minor concessions you can still have a great experience, one that will see you through a good chunk of a flight or kill a lazy afternoon without having to hangout near an outlet. If you’re into less demanding games like Persona 4 Golden or certainly things like Hotline Miami, Trine or Celeste you can likely get away with a lower TDP and flirt with around four hours of play time. There’s enough anecdotal evidence that the Steam Deck can often run games well at lower TDPs, giving it longer play times for certain titles, but either way these machines are all power hungry right now.

Photo by James Trew / Engadget

For the brave, the Plus will go up to a maximum of 28W TDP, which means it can run quite a lot of AAA titles at higher settings, but you’re going to want to do that while plugged in. And, arguably, that defeats half the purpose of a portable device. But if you want to bring your games with you when you travel, rather than rely on WiFi for streaming, or simply prefer to play on something like this even when at home on the couch (which is me, to be fair), this is obviously less of an issue. In fact, right now, one could argue that these handhelds are most attractive to those looking for a hybrid option that allows them to break free from the PC even if that is just to play in the lounge and take on the odd flight.

Regardless of your motives, if you’re excited by handheld gaming PCs, then the Air Plus is a competent, if decadent alternative to the Steam Deck that offers generally higher performance. If Ayaneo can refine the software experience and, (at least going forward), the price, then this whole category could get a lot more interesting.

Whether you make music, podcast, stream or simply enjoy listening to any of these things, a good audio interface is going to make all the difference. Your laptop or PC’s built-in sound will be just fine for most pedestrian tasks, but for creators it’s likely going to fall short of what you need.

The good news is there’s a wealth of options tailored to a variety of specific needs and use cases. The less-good news is that it can be a bit overwhelming trying to decide which one is the best for you. Which is why we’ve cooked up this guide, in which we highlight the best options whether you simply want to record a guitar, or go live to an audience of thousands (or to at least sound good while you work on that number).

And don’t worry about being overwhelmed with jargon, we’ll focus on the task in hand over the kHz and decibels so that you know which is best for the results you want without feeling like you’ve just come out of a math class.

Best for those on a budget

Audio interfaces aren’t just for creators. Maybe you work from home and want to be able to use a high-quality XLR microphone for work calls. Or perhaps you prefer to have physical controls for your headphones and mic? Or maybe you just appreciate the superior audio from a dedicated device to the one that came with your PC. If so, you likely don’t need to spend too much money - here are three options that won’t break the bank.

M-Audio M-Track Solo

It’s certainly not the prettiest device on this list, but what the M-Track Solo ($49) lacks in aesthetics, it more than makes up for in functionality for the price. If you’re just looking for something to plug a microphone or guitar into - or both at the same time - the M-Track Solo is hard to beat.

For would-be podcasters, there’s also the M-Track Duo ($70) which adds a second XLR microphone connection so you can invite guests over and record them on their own channel making editing a lot easier - and you won’t need to get intimate with them as you share a microphone. There’s not a lot in terms of frills here, like MIDI or effects, but for the price it’s a solid choice.

Presonos AudioBox iOne

Unlike other PC components, like graphics cards, digital sound has natural limits meaning that older devices can still be relevant today - and often at a better price. Presonos’ AudioBox iOne ($70) is one such example. It’s primarily intended for creators that work with music software, but it’s a great all-around audio interface with all the essential connectivity for a now-reduced price.

As a bonus, the AudioBox iOne works well with iPads, too - not a guarantee at this price point. Though some might find the headphone amplification on the low side, in case that’s a feature important to you.

Focusrite Scarlett Solo

There’s a reason why Focusrite’s Scarlett series of interfaces appear on so many recommendation lists - including two spots on this one: They offer a great balance of performance, reliability and price. At around $130, the Solo is not the absolute cheapest you can find, but it will get you started in streaming, podcasting and beyond just fine. In fact, if you just want a port for an XLR mic, improved headphone amplification and easy connections for speakers, the Solo could be the only interface you ever need that won’t feel underpowered or even as your needs evolve.

Best for streamers

Photo by James Trew / Engadget

Perhaps not surprisingly, the streaming category is one of the busiest when it comes to audio interfaces. That’s partly because most Twitchers and YouTubers have several different audio feeds to manage. As such, products in this category come with a software component that lets you pipe your microphone, your group chat and your game audio to different places. Thankfully, this isn’t as confusing as it sounds - not with one of the following devices at least.

Roland Bridge Cast

Roland might be best known for its musical equipment, but the company does a sideline in streaming gear and the Bridge Cast ($299) is one of the strongest in this category. There are four hardware volume dials so you can adjust the mix of your mic, chat and game etc. in real time, and you can even control separate “submixes” for you and your audience in real time.

On top of the mix controls, there are some voice effects, microphone EQ and dedicated mute buttons for everything - these can also be used to trigger samples, too. With the option to pipe in phone audio via an aux port, Roland has made a strong case for the Bridge Cast as the streamer’s interface of choice.

TC Helicon GoXLR Mini

The original GoXLR was one of the first audio interfaces that really focused on what streamers wanted. The Mini was released a year later and was a hit in its own right, and remains popular today, long after its initial release. The physical faders give you tactile control over each part of your stream and the connectivity includes a 3.5mm microphone port next to the headphone port - perfect for gaming headsets that use a splitter.

Additional touches include a !@#$?* button to spare your audience when you get a bit spicy with your language and an optical port so your game console audio sounds pristine. Of course, there’s RGB lighting on the faders which is almost as important as the connectivity, right?

Elgato Wave XLR

If you don’t have the budget or, let’s face it, the desk space for a full-sized mixer to control your streams, Elgato’s Wave XLR is the minimalist’s choice. Not only is it discreet, it manages to eke out a lot of functionality from just one clickable knob and a capacitive mute button.

Despite the simplicity, the Wave XLR still delivers crisp, clear audio. Where it really comes into its own, though, is its modular integration with other Elgato products. When used in concert with the Stream Deck and the Wave Link app, for example, the experience opens up to include the ability to run audio plugins and create custom shortcuts to control the audio on your stream.

Beacn Mix Create

If you already have an audio interface you’re happy with but want the convenience of a mixer for your streams then the Mix Create by Beacn is exactly that. The lightweight USB mixer comes with a screen, but the brains of the operation is the software that creates separate audio feeds for your mic, game, browser and so on.

For streamers, it means hands on controls and the flexibility of a submix (i.e. the mix you hear and the mix listeners here can be different). Not only is this an elegant solution for those who already have a hardware interface, it means you can enjoy dedicated volume controls for things like YouTube and Spotify when you’re not going live.

Best for musicians

Whether you pluck strings or drop DJ-bombs, you’re going to want something that provides you all the right ports while delivering rich, bit-perfect sound. Unlike streamers that will want to be able to work with audio from a variety of digital sources, musicians also want to record (and listen to) physical instruments in real time - so all of our selections have a focus on clean sound with good connectivity.

Focusrite Scarlett 2i2

Focusrite’s second showing on this list is a little red box that, once you’re aware of it, you’ll start seeing everywhere from live streams to YouTube guitar tutorials. The popularity of the Scarlett 2i2 is for more than its dashing red looks. The preamps - the part that turns your voice or instruments into usable sound – are widely regarded as some of the cleanest at this price range.

With two combi-ports (there’s no MIDI here) the connectivity is fairly standard, but singers and voice actors in particular will appreciate the “Air” feature that gently adds a sense of space to vocals - a trademark of Focusrite products.

Universal Audio Volt 276

When Engadget’s Managing Editor, Terrence O’Brien, reviewed the Volt 2/76 from Universal Audio he described it as “bringing something special to the table.” It’s a reference to the built-in compressor that emulates the company’s classic 1176 Limiting Amplifier hardware. All you need to know is it’s another tool to make your instrument or vocals sit better in the mix.

In a world awash with generic audio interfaces, genuinely useful features like this are what makes the Volt series stand out. Alongside the compressor, the Volt 276 has a pair of 5-pin MIDI ports and a button for “vintage” mode. The latter emulates the company’s popular Audio 610 preamp which, according to Universal Audio, was used by Van Halen and Ray Charles. Not bad company to be keeping! At $299, it’s a little on the spendier side, but it's a comprehensive choice for anyone who works with instruments, vocals and outboard MIDI gear.

MOTU M6

If you need more connectivity than the standard 2 or 4 inputs, MOTU’s M6 has you covered. As the name suggests, there are inputs for up to six instruments - four of which can be microphones - and a pair of 5-pin MIDI ports for synthesizers. The M6 can even output CV signals to control even older music gear. The M6 also has dedicated buttons on each input channel for phantom power (for condenser microphones) and real-time headphone monitoring. If all that flexibility wasn’t enough, a small display for volume levels means you have a quick visual reference to make sure you keep your precious recordings out of the red.

Best for Podcasters

Whether you’re operating from a sound-treated studio or recording under a duvet in the back office, most podcasters have a few needs in common. First and foremost is the option to connect more than one high quality microphone. Second would be the ability to record remote guests easily whether they are using Zoom or calling in on a phone - which requires something called “mix minus” and isn’t a standard feature on most interfaces.

Lastly, many shows will want to be able to play music or audio from other sources in real time. All of the picks in this section exceed those basic requirements, which one is best for you will be determined by budget or specific needs.

Focusrite Vocaster Two

From the same company as the acclaimed Scarlett series, the Vocaster Two takes all the audio knowledge from its sister series and packages it into a more podcast-friendly format. Not only are there dual XLR mic inputs, there are two headphone ports, each with their own volume control so you and a live guest can podcast together in the same room.

Thanks to both a 3.5mm and Bluetooth inputs you have multiple options for including “call in guests”. There’s even a 3.5mm output for those who want to make a video-version of their podcast for YouTube - simply plug the Vocaster right into your camera for perfect audio as you record it. What’s more, the “auto gain” and “enhance” features will make sure you and your local guest will sound tippity top without having to apply any external effects.

Rodecaster Pro II

If you see yourself taking your podcasting to the next level, then the Rodecaster Pro II from Rode is hard to ignore. With four XLR combi ports, it’s perfect for multi-guest in-person shows, especially as it has physical faders for each channel along with easily accessible mute and solo buttons.

The Rodecasater Pro II also includes both a 3.5mm/aux port and Bluetooth for plugging in a phone plus dual USB ports that make it easy to feed in audio, like a Zoom call, from a PC or a tablet. Each microphone port has a wealth of effects available to enhance the audio, and the eight rubber pads let you fire off sound effects and intro/outro music at will. The pads can also trigger automated actions like musical fade-ins. In short, the Rodecaster II is quite a powerhouse, but obviously a fair amount more expensive than most interfaces on this list.

Best for music listening

What we call an audio interface today, we might well have once called a “sound card.” While today’s interfaces also serve up a host of connectivity options, the thing we need them for the most is often just good old fashioned listening to music. While everything on this list will reproduce music to a high standard, Hi-Fi heads might prefer something that will let them interface with more exotic audio formats, audio gear and high-end headphones.

Fiio K7

With phono, coaxial, optical and USB inputs, the K7 from Fiio is able to handle music and audio from almost any high fidelity source. Most traditional audio interfaces support playback of up to 48 kHz, the K7 can handle files all the way up to 384 kHz at 32-bit - perfect for the demanding audiophile.

On the front you’ll find both a 1/4" jack and a 4.4mm balanced headphone port along with a big ol’ volume dial.While its Hi-Fi aesthetic might not be the most razzle-dazzle, it does have an RGB LED around the dial to give it a pop of color (it also changes color depending on the “quality” of your audio source).

Fiio Q7

Don’t let the unusual design fool you, the Q7 from Fiio is an absolute audio powerhouse. It has the same digital inputs as the K7 but supports files with up to twice the maximum sampling rate (for those who absolutely must have 768kHz/32bit support).

More practically the Q7 can decode Tidal’s top-tier MQA files and there’s Bluetooth for connecting to your phone along with a built-in battery, too making this a portable high-end audio experience that won’t drain your laptop. Naturally, for the music listener that wants it all, there are jacks for every size of headphone, including 2.5mm and 4.4mm balanced sets.

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.

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.

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.

Sennheiser needs little introduction, but there’s a chance you know the company best for its headphones and soundbars. Meanwhile, in the pro audio world, it’s perhaps most famous for its microphones - some of which have achieved legendary status (I’ll also personally recommend the MK4 for podcasting to anyone who asks). Enter the company’s newest offering - the $130 Profile USB microphone - that aims to bring some of that pro-audio magic to the podcasting or streaming worlds.

The company doesn’t make a lot of USB microphones, so it’s fair to say that the Profile is Sennheiser’s play for the creator market. The space that’s dominated right now by the Blue Yeti or Rode’s NT-USB among others. Not only is it priced similarly, it offers the same key features such as gain control, direct monitoring and a mute button (something not every USB mic has, but probably should).

One little touch that makes the Profile stand out is its built-in “tilt” mechanism. Where the Yeti and the NT-USB, for example, can be tilted via their stands, the Profile can be adjusted to your preferred angle without an additional mount. There’s a standard 5/8” thread underneath for fixing to boom arms and stands. You can also buy the Profile in a $199 bundle that comes with a dedicated boom, which has its own original design that’s a little less imposing than rivals like Rode’s PSA1+.

Thankfully, Sennheiser has bucked the general trend of making podcasting/streaming mics larger than they need to be. The Yeti ($100) is imposing (even the Nano is on the chonky side), the NT-USB ($170) isn't much smaller and other popular options like the HyperX Quadcast ($140) and even Elgato’s Wave 3 ($150) feel large by comparison. At $130, the Profile also sits on the more affordable end among its rivals.

Of course, no amount of features matter if it doesn’t sound any good. Of the three mics mentioned here – which is far from exhaustive but covers two popular alternatives – the Profile most closely resembles the Blue Yeti, which is no bad thing given its sustained popularity. There’s a pretty steep shelf off under 100Hz with some light enhancement around the 5- and 12kHz areas - the latter of which is common for adding some of that elusive vocal “sparkle.”

Overall, the sound profile is very much in line with what most streamers and podcasters will be looking for - fairly neutral with a slight enhancement in the frequencies that give most voices extra clarity. Combined with the competitive pricing and the full suite of gain/mix/mute settings the Profile makes a very compelling case for itself.

Eargo’s approach to hearing aids is more inline with tech brands like Apple and GoPro than its industry peers. While the hearing industry is busy trying to shake off its dowdy medical product image, Eargo’s out there releasing yearly models with ever new features rolling over stereotypes as it does so. This year’s model, the Eargo 7, doesn’t offer a huge leap over its predecessors, but like the latest aforementioned phone or rugged camera, it’s still the best model to date. But with continued improvements comes a narrower focus on the areas for improvement.

Most of these areas are minor software details. For example, the hearing test in the app initially left me unsure whether it had worked properly or not. On my first pass, not all the tones seemed to play (there’s a “replay” button, and pressing that sometimes the tone was unmissable). On a second pass, after speaking with an Eargo representative, I had a more reliable experience, but it was enough to give me some doubt about its efficacy until I was told my results were as expected on both tries.

After the first test, the app told me to place the hearing aids into their case to update them with the new settings – at which point it remained stuck on “connecting” until I restarted it.

To be clear, the above is the biggest wrinkle I’ve experienced with the Eargo 7, and if anything it’s a testament to the all round experience. One other minor annoyance is that the charging case seems to go into a deep sleep when it’s low on battery, which means it won’t wake the hearing aids when you remove them - even if they themselves have charge. A quick connection to a power cord is all you need to fix, but if you were out and about at the time, you might be out of luck.

James Trew / Engadget

The above aside, the experience from there on out has been smooth sailing. Eargo positions itself as a more affordable option for “invisible” hearing aids aimed at those with mild to moderate hearing loss. At $2,650, it might seem expensive compared to other OTC options, but most of the alternatives are not the tiny in-canal (CIC) type. Nor do they always offer other quality of life features like a slick charging case, personalized hearing profiles and other features you typically only find on conventional models your audiologist would supply.

The Eargo 7 adds a new enhanced version of the company’s “Sound Adjust” program that adapts the settings depending on your environment - this is what you need to take the hearing test for. This iteration includes a new “clarity” option which puts a focus on conversation. The new hearing aids are also IPX7 rated meaning you can wear them during a vigorous workout or even in the shower without worrying about damaging them. (They are not marketed as fully waterproof.)

Eargo’s other selling point is its ongoing customer support. The company urges new users to schedule a “welcome” call with one of its personal hearing professionals (PHP). There are a total of four ways to speak with a PHP depending on your needs (email, phone, chat, or video call). Scheduling a call is a trivial task in the app and there’s no cost at all. It’s this combination of modern technology and enhanced user experience that puts Eargo in a fairly unique spot in the growing pile of assistive hearing devices.

Of course, a well thought out app experience, sleek technology and good customer service are really important parts of the experience, but none of that matters if the hearing assistance isn’t up to scratch. For me, my unilateral hearing loss is certainly helped by the Eargo and there’s very little feedback unless you cover your ear canal completely. If you have mild to moderate hearing loss these are effective, but as always, you should probably consult your audiologist if you’re not sure what you need.

James Trew / Engadget

What I do appreciate is the way the assistive sound doesn’t emphasize sharp noises like jangling keys or enthusiastic typing and the general lack of feedback, which is a common issue for devices of this size. They definitely amplify sound adequately if I wear both, but with that comes a slight discomfort from having augmented hearing even in my “good” ear, which is a unique problem for unilateral hearing loss that obviously doesn’t apply to those with problems on both sides.

As before, battery life is plenty enough for all day use and the charging case offers two full re-charges. All day use is pretty comfortable, but for me, the first hour or two I am definitely aware I have something inside my ears before I gradually adapt. In general the built-in rechargeable battery adds to the convenience, though it also means a risk of degrading over time compared to using disposables.

In short, with the Eargo 7, the company once again makes a good case for how OTC hearing aids don’t have to mean scrimping on features and performance. But with the company’s tech-forward “start-up” approach do come some small challenges, such as the quirks in the app I mentioned right at the open. Fortunately, these are far easier to address and iron out than poor hardware of inadequate performance, which isn’t an issue here.

When a microphone has been around for 30 years, it must be doing something right. The Rode NT1 is arguably the company's flagship studio mic and origin story for the brand's name. The mic was originally called the Rodent1, shortened to Rode NT1 and the rest is history. Today, the company is unveiling the fifth iteration and it comes with two key updates that should interest podcasters and vocalists alike. Those would be 32-bit float recording and the addition of USB connectivity.

The inclusion of USB might feel like something that should have been there all along, but typically "pro" studio microphones are XLR only, with USB being the reserve of desktop microphones. Times are changing though and more folks are seeking a classic microphone but without the need to use an audio interface. Now, with the NT1 you have both. The USB connection is tucked away right at the base of the existing XLR port. It's a clever solution, but you will need a USB cable with fairly slim connections else it won't fit.

With the new USB connectivity comes the option for tailoring the sound of the mic. Usually that part is offloaded to an interface or mixer, but now there's an onboard DSP that allows you do apply things like a noise gate or compressor to the mic directly (via Rode's Central or Connect apps). Not to mention this makes the microphone much more portable as you won't need to bring a separate, often clunky interface along with you.

Rode

Easily the biggest benefit of the MK5 (and that built-in DSP) is the introduction of 32-bit float recording. In a nutshell, 32-bit allows for an exponentially larger dynamic range than 16- and 24-bit (which is what most systems use). This means you can forget about clipping (when audio is too loud and distorts) as there's enough headroom for almost any sound that would be possible. Or, put another way, you can effectively forget about setting levels safe in the knowledge you can adjust them in post without any audio loss.

What this means for podcasters and vocalists is less time worrying about levels at the point of recording, knowing you can set things as you want in post. Of course, good levels at the point of recording is always adviseable if possible, but it at least means any sudden sounds won't ruin your take. It's also currently very rare to find 32-bit float on a microphone like this - typically you'd have to buy a pro-level audio recorder if you wanted this feature.

At $259 the NT1 sits in an interesting spot. Shure's MV7 also offers XLR and USB connectivity and retails for $250 without 32-bit float (it's also a dynamic mic which will be either a benefit or a disadvantage depending on your needs). Sennheiser's fantastic MK 4 condensor typically runs for around $300 and doesn't offer USB connectivity. Similarly, if you're using something like a Blue Yeti and looking for an upgrade, the NT1 makes a compelling option.

The NT1 goes up for pre-order today. 

In 1992, Matt Moneymaker had an experience that would change his life. Some local farmers had told him about a number of mysterious sightings deep in the forests of Ohio. Without the internet or social media, Moneymaker did what you did back then: He placed classified ads in the hope that these witnesses might come forward and share their story and, crucially, the location where it had happened.

“I went to the area where they had seen one, and I found tracks. And we heard their sounds, and I was at that point very, very, very committed to getting some video footage of these things” he told Engadget. Those things? Bigfoots. “From those classified ads, I got a bunch of calls and was able to plot them on a map. And then I actually talked to some of the witnesses who introduced me to other people in the area.”

In the thirty years since that lo-fi expedition, Bigfoot research has advanced significantly. Today your typical “squatcher” (as they informally call themselves) is more likely to carry a GPS and night vision goggles than a compass and binoculars. Because in a world of satellite broadband, 100-megapixel cameras and full-color night vision, blurry photos are starting to look a little quaint. Squatchers need to up their game, and they know this.

Allison Babka for CityBeat

Moneymaker is no stranger to the hunt. He is the President of the Bigfoot Field Researchers Organization (BFRO), but is perhaps best known as one of the main investigators on Animal Planet’s Finding Bigfoot. The show attracted millions of viewers and made its protagonists celebrities in the squatching world. But Moneymaker now hopes technology, not cable TV exposure, will be the tool that bags him the proof needed to silence the skeptics once and for all.

“Scientists will say that all these sightings of Bigfoot are just actually… they’re bear sightings, and people are mistaking them for bigfoots, and it's just, that never happens.”

This was one of the first things Moneymaker explained to me during our interview and it turned out to be eerily prescient. Just days later, a new study did the rounds claiming that most Bigfoot sightings were likely just bears. The related paper was technically published just before we spoke, but most media didn’t pick up the story until after.

As Moneymaker tells it, the reverse is true. “The very first thing their mind wants to compute is ‘it's a bear’” he said, adding “rather than, ‘this just couldn’t be a bear, this is walking on two legs and has long arms like a man and doesn't have pointy ears and a snout.’” Needless to say, for squatchers, they didn’t need a scientific paper to tell them that skeptics will assume most sightings were actually something ursine.

So how does a serious squatcher like Moneymaker think we’ll eventually put the matter to rest? The answer isn’t on the forest floor, it’s in the skies.

Last September, Moneymaker was invited to take part in the Bigfoot Basecamp Weekend in Ohio. It was here that he demonstrated his latest tech concept for finding these elusive creatures. At its core is a Mavic 2 Enterprise Advanced drone by DJI combined with Dronesense’s search and rescue software with a little dash of people power. Effectively, the same setup one might use to find a lost hiker, just with claws instead of Cliff bars.

Allison Babka for CityBeat

It’s important to note here that the Mavic 2 EA isn’t quite the Mavic 2 you see being flown by enthusiasts, wedding photographers and real estate professionals. The EA version is the same platform, but with more sensors and about three times the cost. Or half the cost of the equivalent Matrice series. The important feature on the Mavic 2 EA (and also the newer Mavic 3T) is the high-resolution thermal camera.

The revolution here isn’t so much the technology, as drones and thermal cameras are not new, it’s the price. “Thermal on a drone for $6,500? That's revolutionary. You know, that's a huge difference in terms of it being accessible and available to common non-governmental entities” Moneymaker said.

The live audience was originally there to be entertained. But according to Moneymaker, it turned out to be another part of the equation.

“We had an open speakerphone with the pilot, who was a few miles away. The audience was able to watch all this on a very big screen. [...] And on a very big screen, you can see more heat targets. So the audience was able to help direct him toward heat blips, and he was able to move his drone closer.”

As the event was a successful proof of concept, I asked Moneymaker why they don’t do them more often. “Using one at the Basecamp event was probably the first time that a thermal drone had been used systematically at a Bigfoot area. And so we're gonna go back and do it again in October” he said, before reminding me that squatchers rarely get funding and rely on sponsors. “I guess the point is, we'd love to go out and do that right now. We're trying to line up a benefactor to help us do that.”

Unfortunately, no Bigfoots were found on this occasion, but representatives from the local government seemed impressed enough that they pitched Moneymaker an idea. “[They] were really interested in tourism development around paranormal things. They had success developing things for Ghost Hunter tourism, that it brought people to little places, forgotten places that nobody ever had a reason to visit.”

The inspiration for using a drone with a thermal camera came from the Netflix show Night on Earth. Specifically the behind the scenes episode Shot in the dark. Much of the footage in that series wasn’t thermal, instead likely shot with something like Canon’s ME20F-SH which runs well into double-digit thousands for the body alone. But it was enough to spark the idea.

If you’re thinking about dabbling in a bit of squatching and have a modest budget, Moneymaker recommends investing in a good handheldthermal imager. The BFRO has even tried developing its own. The next thing he recommended was the best drone you can afford. At least with these two items you have aerial visibility during the day and the handheld for night. Make sure the thermal imager can record, as military style scopes don’t always offer that and visual evidence is obviously key here.

If you were thinking about night vision goggles, Moneymaker recommends getting an IR illuminator. “Even third-generation military night vision, if you have an in very dark conditions and you don't also have an infrared illuminator then you're not going to see very far.”

Between budget-stricken squatchers and other enthusiasts there isn’t a huge number of folk out there actively looking for Bigfoot, which is why most sightings are accidental. Logic would follow, then, that as phone cameras have proliferated the opportunity to catch a Bigfoot on camera has grown along with it. Not so, says Moneymaker.

“That's totally naive and ignorant. Because most sightings happen when these things are running across the road in the middle of the night in front of a car. That's your common Class A sighting. So unless you have a dashcam running, which most Americans do not, then you're not going to get it.”

Data for US dashcam use isn’t helpful, given the amount of population living in non-Bigfoot areas, but in Canada, it’s estimated that one in ten vehicles have at least one camera.

Moneymaker’s more enthusiastic about potential sightings from an unlikely source: Law enforcement. “I think there’s more potential that footage is going to come in, in the course of a law enforcement call and investigation than from us, because there's just more of them.”

And he’d be right. According to the drone center at Bard University, over 1,500 state and local agencies across the country are regularly using drones. That said, of that number only around 500 are using a model that supports a thermal camera. Even then, there’s no guarantee that they have one installed. This is at the state level, but we can be fairly confident that federal agencies are not using any DJI products at all, making sightings by the FBI, for example, extremely unlikely.

Perhaps a more accessible technological tool is social media. The BFRO has a strong presence on Facebook which allows it to receive potential sightings from anywhere. Before, cases were logged on the BFRO website, but the advent of Facebook started putting these posts in front of people that might otherwise not have been looking for Bigfoot news. Now, sightings can be shared around a local area swiftly and other witnesses come forward that might otherwise have kept it to themselves.

But there’s a negative aspect, too: Social media is famously an incubator for hoaxes, misinformation and outright lies and when your subject matter is already considered by many to be on the fringes, trust can be squandered just as quickly as it’s built. Or at the very least it makes it hard to know what’s sincere and what’s just for clout. Moneymaker says it’s not uncommon to see compilations of mostly fake videos with the occasional real sighting mixed in.

And there’s perhaps an even more formidable foe lurking in the shadows: AI image creation. All those Dall-E pictures you’ve seen recently may seem like fun, but in the right hands, the same tools can create some remarkably realistic pictures. For example, the one below, created by Instagram user Bitsquatch who is very upfront that these are not intended to be interpreted as real in any way, he only does it for fun.

“What I'm trying to do is just sort of visualize some of these classic Bigfoot type stories and some of the legends and the kind of the, the greatest hits so to speak” Bitsquatch said in an interview on an episode of the Bigfoot Society podcast.

“When I first started doing this, I was gonna send some messages to the various Bigfoot podcasts to say, ‘hey, be on it, be on the lookout, because it'd be pretty easy to fake an image’” he added. “Trail cam images, for instance, are very easy to create. I've never posted one. But the few I did, were like, wow, that that could definitely pass as the real thing.”

For the squatching community, that means they’ll have to work even harder to have any evidence taken seriously. That, compounded by the lack of funding is forcing people like Moneymaker to get more creative.

“One of the ways we're hoping to be able to support this is with a monetized live feed of the searches, like you would have a monetized feed to a concert. That's a lot of times now what the younger generation does, they'll have a Twitch feed. So we could potentially apply that to what we're doing.”

If all this seems like a lot of dedication for something that the mainstream has very little time for, that’s because it is. But then, tell that to the team of scientists that recently captured footage of a black-naped pheasant pigeon. First documented in 1882, the bird had long since been assumed extinct.

A team of researchers from the Cornell Lab of Ornithology and the American Bird Conservancy spent weeks on a rugged, remote island off the coast of Papua New Guinea, enduring extreme conditions. The hunt was proving fruitless, despite private funding and a high level of local knowledge. But, two days before the end of the expedition, the elusive bird was caught on a camera trap. It was a chance encounter that would change all of their lives, putting to bed 140 years of belief that the creature was nothing more than a myth.

Image Credits: Pictures from the Basecamp weekend in Ohio provided by Allison Babka for CityBeat.