Nura might be a relatively new name in headphones, but the personalized-audio specialist is already revealing its third model: the Nuratrue. As the name suggests, the latest member of the family is a true wireless set (and the company’s first model without a wired option). As you might expect, Nura’s flagship automatic hearing test (for sound tailored to your hearing) is here, along with many other features the company has already made synonymous with its brand. But with a smaller form factor, are compromises inevitable?

The Nuratrue ($199/£199) is a simplified version of the Nuraphone over-ears and the Nuraloop wireless (but tethered) sports buds. As mentioned, the audio customization feature is present, as is the “ambient” mode — which Nura calls “social mode.” There’s even Active Noise Cancelling and “immersion” mode, which simulates the feeling of being at a live event. The last two are a little simplified compared to their bigger siblings, though.

The original Nuraphone’s immersion mode delivers tactile bass with transducers creating a sensation of volume and presence similar to being in front of a large speaker. On the Nuratrue, it feels more like a bass “boost” feature you might find on an equalizer. Active Noise Cancellation on the Nuratrue works pretty well, but is tied to the social mode feature which means they are activated as a pair. This makes no real functional difference, but something to bear in mind. Battery life is estimated at six hours here and seems accurate, which can be extended to around 24 hours via the charging case.

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If you were a fan of the Nuraloop, you might have expected the Nuratrue to be broadly the same, minus the connecting cable. But you’d be wrong. The new buds barely share any visual or physical DNA with their cabled sibling. Instead the Nuratrue has a much larger, circular body which sorta looks like you’re wearing “plugs,” but in the middle of your ear. This extra size might sound like a negative, but it makes them easier to touch (for controls) and likely helps keep them wirelessly connected to each other.

That “touchability” is important, as, like most TWS earphones, it’s how you’ll interact with them — in particular, for activating things like immersion or social mode. (ANC can only be toggled via the app it seems, and as mentioned disables social mode with it). In my testing with them the touch was more responsive than most other TWS headphones I’ve tried, especially the tricky double-tap which I find often requires a few attempts to register correctly. As with all Nura headphones you can easily assign different tasks to either side for both single and double taps, making it easy to have the controls you use the most at hand (or finger, technically).

Obviously, the main selling point here is Nura’s proprietary audio personalization. The ability to create personal hearing profiles is kinda Nura’s whole thing. It’s a feature you see on other brands, too, but Nura’s is the simplest and, in my experience, the most reliable. Mostly, because it doesn’t involve any subjectivity. Just pop the buds in your ears, walk through the profile creation process in the app and the headphones do everything else. Most other similar “tests” require you to tell the app how well/if you heard something. As someone who’s done more than their fair share of hearing tests, I always start imagining phantom sounds and worry that affects my results.

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Cool features are… cool and all, but you probably just want to know how they sound? I guess the smart answer is, that will depend on your ears. The slightly more helpful answer is that, for me, the personalized audio definitely puts the Nuratrue above most of the TWS headphones I have tried. It’s not that they have better bass or polished treble, although those would be fair statements, it’s more that they feel neutral and balanced.

Whereas “unpersonalized” buds may be technically balanced on a graph, I know that my hearing isn’t perfect and thus might be slightly worse at certain frequencies. With Nura’s personalized tuning, it’s hard to know what frequency curve I am getting, or even if that’s what my hearing really “needs” but what I do know is that I like it!

Now, I guess I should also say that I am never sure just how effective Nura’s hearing test really is. The company claims that it uses otoacoustic emissions to determine the characteristics of your hearing. The same test is sometimes used to determine cochlear hearing loss in newborns. That said, every time I’ve been to an audiologist (which is more times than I would like) I have asked them about using OAE tests for headphones, and all of them have been skeptical it can be done on hardware at this price. When I asked Nura about this, they gave the following reply:

“The OAE signal produced by a person's ears is indeed faint - much like the signals of GPS satellites are faint by the time they reach the Earth's surface. That's why GPS-enabled devices of 20-15 years ago were much larger, less accurate, and took longer to acquire a signal than today's smartphones or even smartwatches. Similar advances in signal processing have enabled the huge improvement in GPS device performance and the quick & reliable measurements of OAEs in devices as small as Nuratrue.”

In short, the company claims that advances in technology have allowed for the test to be practical in small, consumer devices.

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Back to the physical design briefly. It might not be for everyone, but it feels very much in keeping with Nura’s apparent mission to do things a little bit differently. I’ve never really found a TWS design that I think has fully cracked it (although Jabra’s Elite 75t comes close?), and that’s true here. But, as mentioned earlier, I do appreciate the large surface area for controlling playback or activating/deactivating the extra features. Extended wear remains comfortable, and the fit works well for my ears.

If I had one minor gripe, it’d be the maximum volume. It’s not low. In fact, for me, it’s more or less ideal for comfortable, extended use. It’s just that, “comfortable” is the maximum, so when a song comes on that I really love and I decide that, heck, I can crank this one up a bit before going back to normal levels… there’s nowhere to go. Again, this might not be an issue for you. I’ll be the first to admit I probably haven’t done my ears any favors over the years, but it was something I noticed fairly quickly in my time with the Nuratrue.

In an ocean of true wireless headphones, it’s hard to stand out. But Nura’s personalized audio is certainly enough to do just that. Of all the “customizable” headphones I’ve tried, Nura’s are still the ones to beat. And with the Nuratrue priced at least $80 cheaper than the flagship models from Sony, Sennheiser and Bose, that’s just another easy way for the company to garner attention.

The Nuratrue is available starting today.

Eargo recently announced its latest smart hearing aid — the Eargo 5. We don’t do a lot of hearing aid news here at Engadget, but the California-based company makes some of the most "gadgety" we’ve tried and the latest model certainly appears to continue that trend.

Like the Neo HiFi and the Neo before it, the Eargo 5 is a tiny, "invisible" (completely in the canal, or CIC) hearing aid that comes with a charging case. With older Eargos, that case doubled as a way to connect the “buds” to your phone. Unfortunately, that meant the buds had to be in it while they were updated. What’s new this time around is that you can perform profile changes and more while actually wearing the hearing aids. What's more, there are key new features that change how the hearing aids sound. It’s an exciting update for fans of the brand as it adds to Eargo’s already slick user experience, something sorely lacking in many of the mainstream brands you find at your local audiologists.

The most interesting new feature is “Sound Match." Hearing aids have long had different profiles, and will usually be tuned for your own needs by an audiologist, but Eargo’s direct-to-consumer (and the need for the buds to be in the case) approach has made this much-needed personalization difficult. Until now?

Sound Match is effectively a hearing test built-in to the Eargo app. Once you pair the case (via Bluetooth) you can remove the Eargo 5s and the app will walk you through the test. If you’ve ever completed a hearing test, you’ll be familiar with this one. The app plays a series of sounds and you tell it if you can hear it or not; at the end, you’ll be presented with the results for each ear.

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As simple as this is, my initial experiences with it weren’t entirely smooth. Not least because it took a few tries (and some back and forth with Eargo) to even get the case to pair with the app. After trying several restarts and installations, I was able to get connected and access the test — most likely due to me having early hardware.

From then on the test was mostly straightforward, until I spotted there was a “replay” button. I noticed that sometimes when I didn’t initially hear a sound, I definitely heard it after tapping replay. As in, it was audible enough that I wouldn’t have missed it the first time around. This meant I had to re-do the test to make sure I hadn’t incorrectly tapped “No” when really the sound just didn’t play at all.

Minor hiccups aside, once I was confident I had completed the test properly, I could further customize the experience by changing what profiles are available on the device. There are six situational ones (restaurant/meeting etc) and four presets. You can store a total of four on the hearing aids themselves.

Previous Eargo models would simply tell you the number of the audio profile that is active as you switch through the four on offer (via a double-tap on your tragus). With the Eargo 5 it now tells you the name of that profile if you chose one of the "situational" ones to eliminate any guesswork. You can also further tweak these profiles in the app, or simply change the volume and noise reduction (there’s now noise reduction here too I should mention) without having to permanently change the profile. This includes adjusting the volume and the treble/bass.

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Although you can now adjust the sound and profiles while actually wearing the Eargo (before, you had to take them out and plop them in the case, which is less than ideal), there’s no capability for music/audio streaming from your phone. Eargo uses ultrasonic commands to communicate between the case and the hearing aids. That’s a neat way to enable small updates, but not enough for anything more heavyweight. Remember, size is key here, and streaming on devices this small, that go fully in your ear, isn’t a simple thing to do.

This new customization functionality really does improve the Eargo experience. I have tried several different devices and the ones that best serve my hearing loss are, predictably, the ones that have been tuned by an audiologist. This meant that, while older Eargos were some of the most appealing in terms of user experience and fit, they weren’t quite suitable for my personal situation and only provided users with limited tools to adjust the sound to their needs.

With the Eargo 5, I find them much more assistive in my hearing, particularly on the side I have problems with. In fact, I personally prefer just wearing only one, as my hearing loss is unilateral and having a boost on the "good" side can feel a bit much. I also find wearing both a bit less comfortable. There’s no logical reason why wearing one for extended periods should be fine, but two isn’t, but I think the combination of too much "extra" hearing (on my good side) and the physical feeling of something in both ears is just a lot of sensory stimulation, for me at least. Obviously, if you have a bilateral hearing deficiency you’ll want all the assistance you can get.

If you own a pair of older Eargos and were wondering if the hearing test feature might come to your model via an update, sadly it's not possible. There's specific hardware here to enable the ultrasonic commands, that isn't present in previous models.

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Beyond Sound Match, Eargo claims the sound has been redesigned from the ground up for “optimal audio and speech performance.” The company doesn’t elaborate further but, with the new customization feature, it’s fair to say this is a very different experience than previous models already so any other improvements are hard to pick out, but good to know they are there.

Beyond the core updates, there are some welcome usability tweaks, too. The charging case now has lights around where the hearing aids should be placed to help you correctly seat them at night. Those lights also provide feedback by changing color when there’s a software update or the aids aren’t charging properly. You’ll also no longer need to make sure the contacts on the buds meet the ones in the case. A new magnetic inductive charging system means they will click themselves into the right position automatically.

While Eargo's app remains a slick experience, there are a few small opportunities to improve it further. The volume control is nice and simple, and you can choose to boost either side individually, or both as a pair. What’s lacking is visual feedback or even a tone in your ear, to let you know when you’ve reached the top or bottom of the range. There’s also no indication of whether any changes you make to a profile are permanently saved or an obvious way to reset them to default, but these are minor UI issues.

Battery life is claimed to be around 16 hours per charge. Add to that the battery in the case and this means you won’t need to plug them in for a couple of days, which is handy for weekends away where you don’t want to have to worry about finding an outlet. Should you need to, though, the charger is USB-C, so likely something you already have for your phone or laptop (a cable is, of course, included).

All in all, it's a substantial update for a direct-to-consumer product. Eargo has been getting a lot of things right in terms of making its products user-friendly and appealing to a mass audience. This matters when it's estimated that over 40 million Americans could benefit from an assistive hearing device. What was lacking, until now that is, was a way to tune them to your specific needs. Which in the world of hearing loss, can be the difference between understanding the television a bit better and being able to pick out quieter sounds in a noisy environment. The latter is something that makes daily life feel a lot more natural and makes social situations much more comfortable, so it's something really valuable to have on a device this small.

Remember, though, hearing aids are not a cheap product category. A good pair will often run you a couple of thousand dollars, more if you want something bespoke. The Eargo 5, then, at $2,950 might seem steep compared to a pair of wireless headphones but is relatively affordable among its hearing aid peers. If you’re already an Eargo user looking to upgrade, there’s a “repeat customer discount” that can shave off $500 from the MSRP.

Roland’s Go:Mixer series has found a fanbase with musicians looking for a pocket-friendly recording solution — and for good reason. The tiny mixers are lightweight, offer bags of connectivity and won’t break the bank. The latest model, the “Pro-X,” brings some modest but important upgrades from the original Go:Mixer Pro.

The main newness here is less about the audio and more about compatibility: Roland claims the Pro-X adds better support for Android phones and iOS devices. Don’t worry, there is some extra audio functionality. Namely, a new gain “pad” for guitars (to attenuate volume on active pickups) and the headphone/monitor port is now bi-directional (i.e. it’s also an input). Roland pitches the latter as a way to record the inline mic in your headphones, but you can also plug in a lavalier/3.5mm source too, if you can live without monitoring.

The rest of the Pro-X is the same as the Pro before it. There’s a single XLR combi port on the right hand side for microphones and 1/4-inch devices. Also on this side you’ll find the phantom power switch (for when using condenser microphones), a smartphone/line level 3.5mm input and a guitar/bass port. The front edge hosts two more 3.5mm line level inputs, that new pad switch, the updated dual-directional headphone port and the phone loopback switch. The left hand side has just a pair of 1/4-inch instrument inputs and the battery cover for four AAA cells needed for the phantom power.

In short, if it has, or can be converted to, a 3.5mm port, a quarter-inch jack or an XLR connector you can likely use it here.

On the top face of the Pro-X is where you’ll find all the gain rotaries for each input. A few things to note though: the “smartphone” 3.5mm input doesn’t have a gain control, you’ll need to adjust that on the phone itself. Although, you can also plug a phone into one of the quarter-inch ports with an adapter, in which case you will have volume control with one of the ports if that’s important. It’s also worth mentioning that the master volume is also the monitor gain which is a little inconvenient if you want high monitoring levels but low gain on your recording or vice versa.

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Given that the Pro-X has been designed to work with your phone, there’s a handy ridge along the battery compartment that doubles as a slot for your handset. Obviously this means you don’t need to have your phone lying around like a tethered paperweight, but it also provides a good position for the camera should you wish to livestream a performance. My iPhone 12 with a case doesn’t quite fit in the groove perfectly, but enough that the phone is steady when using it.

If there’s one immediate thing I would change, it’s the “peak” indicator. Unlike a DJ mixer where you would have a full strip of LEDs indicating the volume of each channel and a separate one for the master volume, the Pro-X has a single LED that will flash red when any input goes over the maximum threshold (i.e. clipping). It’s quite possible to set your levels so that there’s no red light showing during your checks, and then just one plosive can send it over. If there was a way to constantly see how close you are to 0dB that would be much more helpful.

Worse than that, though, I found that some of my recordings that didn’t trigger the red light could be a little distorted on playback. While speaking into the microphone, everything looked fine, but the recording was often “crunchy” in louder sections. Thankfully, you can actually hear this in your headphones while it’s happening, so you can adjust the levels before hitting record, but ultimately what’s the clipping light for if it’s not reliably preventing you from overdriving things? It made me pretty nervous about each recording until I had experimented with various levels and put more confidence in the monitoring.

After some testing with different mics, it became clear that dynamic mics are fine, but any condenser I tried needed much more headroom to avoid sounding harsh. It’s not clear whether this is a pre-amp or phantom power issue, or just the extra sensitive nature of condensers. When I tested with a Shure SM59 (dynamic/no phantom power), for example, I was able to — in fact almost had to — set the gain to full, and even if the master volume was at 75 percent there was still plenty of headroom.

And that brings us back to the fact that the monitor level control is the same as the master gain. You probably want your levels quite modest to make sure you don’t clip, but in doing so, your monitoring levels are also low, making it harder to hear your mix is how you want it, you know, kinda important things.

I largely avoided this issue by making sure that I was recording into something that showed more detailed levels. Rode’s Reporter app, for example, has a nice, broad meter showing you how hot your signal is and it was much easier to use that as a gauge of the aggregate output.

Teething problems aside, once you’re all set, it’s all very straightforward. Like I mentioned above, I preferred plugging in a phone (or any other 3.5mm source to be fair) via the Guitar port. Having the rotary dial for volume allows you to adjust the volume on the fly much more fluidly, which is handy if you want to use music beds or other such sources where you might want to dynamically alter the volume.

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Likewise, if you want to use two XLR microphones — say for a podcast or a vocal and a mic’d instrument) — you can co-opt one of the 3.5mm ports with something like an iRig Pre 2. This means spending out on another bit of gear, but if you record often, having an XLR-to-3.5mm adapter/interface is pretty handy to have around.

As for that new ability to record with the inline mic on your headphones, all I can say is… it works? Those inline mics are never any good, but it’s never a bad thing to have more inputs, and might work well for more conversational podcasts or just recording phone interviews. As already mentioned, you can actually feed in other inputs here if you don’t need to monitor, say if you’re recording a voice over or something for a multitrack piece you want to edit later.

Perhaps the most interesting thing, for me, is what else can I use this for? Its credentials as a portable mixer for musicians are obvious. But I also feel like it’s just something handy to have around if you work with audio in any way. I’ve become something of an audio-adapter collector. I have all sorts of cables, interfaces and various types of microphones. Something like the Pro-X appeals to me as a simple way to put lots of those together into a portable setup.

The wealth of inputs means it’s pretty flexible, too. That’s a pretty compelling combo right there. The levels issue I mentioned earlier is more about learning how to set things up. Once I figured it out it was rarely a problem after that.

I do wish that the monitor volume was separate from the master volume for those occasions where you really do want to record low but still hear how the mix sounds together. Maybe that’s something we can hope for in a future model.

Whether you’re a garage band, an artist on the move or a podcaster that likes to get out in the big wide world there’s a lot to like here. At $150, it’s also a relatively modest investment for something you can easily fit in your back pocket.