Thirteen. That’s the number of different handheld gaming PCs that Ayaneo shows on its homepage as of this writing. Fourteen if you count the preview for one in the carousel. Each device comes in a choice of colors with different storage and RAM configurations. Ayaneo has a lot of SKUs. Only five months ago I reviewed the Air Plus and it’s already been discounted to make way for the next version. The current tippy-top of all these handhelds is the Ayaneo Kun and it is, currently, one of a kind.

The Kun is the highest-spec machine the company has ever made, and after using it for a couple of weeks I can say it’s both a fantastic gaming handheld and (if you want) a decent portable general-use PC. But despite being the latest and greatest, it didn’t take long for one thing to become abundantly clear: The Kun is just a placeholder for the Kun 2, or the Kun 1S, Kun Pro or… whatever they call the beefier, updated version that’s waiting for the next generation of processors. We’ll get to why in a bit, but for now, it’s the most impressive console the company has made.

Photo by James Trew / Engadget

With an 8.4-inch display, the latest AMD Ryzen 7 7840U processor, and up to 64GB of RAM and 4TB of storage the Kun kicks digital sand in the face of the anemic-by-comparison Steam Deck. Physically, it’s a shade taller and, at two pounds (900g), a (double) handful. But with Valve’s portable approaching its second birthday, it’s starting to make less sense to measure the current wave of gaming portables against it. That said, just one look at the Kun, with its familiar-looking trackpads and rear buttons, and it’s clear how it’s been influenced by the market-leading device .

Before we talk about how all that hardware performs, or the software experience, we should talk about price. The fully loaded Kun I’ve been testing costs an eye-watering $1,700. That’s enough money for a good desktop gaming PC, including the monitor. It’s also enough to buy two top of the line Steam Decks with change (or two high-end ROG Allys). A better comparison is the lowest-spec Kun, as that matches the RAM and storage (16GB / 512 GB) of the high-end Deck ($649), and that model costs a slightly more reasonable $999. You can add another $200 or so to those Kun prices if you purchase outside of the IGG campaign, but Ayaneo tends to leave them going long enough for anyone who wants one to get the better price.

While the Kun is new, there’s a lot we’ve seen before. The Ayaneo 2S shares the same 7840U processor and graphics chip. But in terms of performance, you might reasonably expect the Kun to be a shade worse, as that 8.4-inch display allows 1600p gaming which is more intensive than the 1200p max of the Ayaneo 2 or 2S. The reality, however, is that while you can play games at higher resolutions, it’s usually not worth it for the hit on performance. That’s where the other important hardware difference on the Kun comes in: the huge 75Wh battery.

Photo by James Trew / Engadget

When playing games at 1080p or 1200p everything still looks fantastic. That display is bright, has excellent dynamic range and just really brings games to life. The pairing of optimized graphics settings and the bigger battery translates to much longer play sessions. Exactly how long will depend on a few variables along with the maximum power drain/TDP that you specify in the Ayaspace software. But as a broad guide, for lighter games and things like retro emulation you should be able to crack five hours. For a lot of AAA games, you can expect over three hours of 1080p play (assuming a TDP of between 15 and 20). If you want to increase the resolution to either 1200 or 1600 and increase the TDP nearer 30 then you might eke out two hours if you’re lucky.

Those times are pretty good for this current generation of Windows handhelds, but there are other factors to consider. The Kun is a foot wide and a little hefty. Sure, you can take this thing places but you will not be sliding it out of a pocket while waiting at the DMV. The Kun lives to be played, unironically, at home — or someone else’s home, or maybe on a flight or long train ride. The size and weight aren’t problematic in these controlled, indoor environments, but you’ll want to be somewhere relatively comfortable or ergonomic. There’s a kickstand, which really helps with certain types of games, but it positions the Kun upright like a laptop screen. I do wish the stand were adjustable to allow for a variety of angles, but it’s better than nothing.

Photo by James Trew / Engadget

Personally, I found myself playing with it while on the couch, grabbing an hour or so of game time between work and dinner. For extended sessions, I would dock it and play through the TV. This hybrid use case seems to be where the Kun excels. You don’t need to occupy the living room’s main screen, but you can still be around friends or family. And then when you really want to get into a game, playing through the TV is where the Kun’s higher 54W max power drain / TDP can come in handy.

Here is a good time to circle back to something I alluded to right up top. That 54W max TDP is really, really high compared to the Steam Deck’s 15W highest power setting. It’s also a lot higher than even the Ayaneo 2S’ 30W limit. But right now that doesn’t translate into much extra game performance. The GPU on this device will be the bottleneck, usually reaching 100 percent long before you reach anything near 54W of power. Sadly, jacking the power up to 54W once the GPU is already running at maximum won’t change anything. But what it can help with is two fold.

Photo by James Trew / Engadget

Firstly, it allows for more CPU intensive tasks like general computing. Want to run music making software on this thing? You definitely could. Have the urge to edit video footage on the go? The Kun will eat this up. With a keyboard and a mouse, the Kun is, in a comical way, a good all-purpose computer. Heck, it even has a webcam with infrared for Windows Hello (and Zoom calls) which is something many laptops don’t even have. The Kun’s screen is more Netbook than Macbook in terms of size, but it’s big enough. You could always connect it to a monitor anyway. Don't buy it for this reason of course, it's just a testament to how big and powerful this thing is.

Secondly, and most importantly for gamers, is that this 54W TDP is a fairly clear indicator that the Kun form factor will go through the same continuous revisions as Ayaneo’s other models. The Kun is basically all set for a chipset that can make use of 54W TDP for gaming once AMD and others start making APUs with more powerful GPUs in them. We’re a ways out from any likely refresh from AMD, but you never know, as they’re not the only name in the game. Not even in the handheld gaming game.

The result is, predictably, a device with a lot to offer but also some quite narrow appeal. In fact, there’s a good chance that if you were interested in one of these, you already placed an order for one. For those folks, the Kun delivers on its promises. For that small group that didn’t know they were looking for a $1,000-plus gaming handheld, the Kun currently has no real competition at this size and specification. For everyone else, it’s likely an exercise in excess, but at least it’s fun.

If you have a pair of in-ear headphones, there’s a good chance they are using a technology that’s several decades old. Despite attempts to introduce different, exotic-sounding systems like planar magnetic, electrostatic and even bone conduction, most IEMs or in-ear headphones still use either balanced armature or dynamic drivers. But there’s another contender, promising high fidelity, low power consumption and a tiny physical footprint. The twist is, it’s a technology that’s been in your pocket for the last ten years already.

We’re talking about micro-electromechanical systems (MEMS), and it’s a technology that’s been used in almost every microphone in every cell phone since the 2010s. When applied to headphone drivers (the inverse of a microphone) the benefits are many. But until recently, the technology wasn’t mature enough for mainstream headphones. California-based xMEMS is one company pushing the technology and consumer products featuring its solid-state MEMS drivers are finally coming to market. We tested the high-end Oni from Singularity, but Creative has also confirmed a set of TWS headphones with xMEMS drivers will be available in time for the holidays.

Where conventional speakers and drivers typically use magnets and coils, MEMS uses piezos and silicon. The result, if the hype is to be believed, is something that’s more responsive, more durable and with consistent fidelity. And unlike balanced-armature or dynamic, MEMS drivers can be built on a production line with minimal-to-no need for calibration or driver matching, streamlining their production. xMEMS, for example, has partnered with TSMC, one of the largest producers of microprocessors for its manufacturing process.

xMEMS

Of course, MEMS drivers lend themselves to any wearable that produces sound from AR glasses to VR goggles and hearing aids. For most of us, though, it's headphones where we’re going to see the biggest impact. Not least because the potential consistency and precision of MEMS should marry perfectly with related technologies such as spatial audio where fast response times and perfect phase matching (two headphones being perfectly calibrated to each other) is essential.

For now, MEMS is best suited to earbuds, IEMS and TWS-style headphones but xMEMS hopes to change that. “The North Star of the company was to reinvent loudspeakers,” Mike Householder, Marketing & Business Development at the company told Engadget. “But to generate that full bandwidth audio in free air is a little bit more of a development challenge that's going to take some more time. The easier lift for us was to get into personal audio and that's the product that we have today.”

To look at, the first IEM to feature xMEMS’ solid-state drivers, Singularity’s Oni, seem like regular, stylish high-end in-ear monitors. Once the music started to flow, though, there was a very clear difference. Electronic genres sounded crisp and impactful in a way that feld more . The MEMS drivers’ fast transient response evidenced in the sharp, punch percussion of RJD2’s “Ghostwriter” and the Chemical Brothers’ “Live Again.” The latter’s mid- and high-end sections in particular shone through with remarkable clarity. Bass response was good, especially in the lower-mids, but perhaps not the strong point of the experience.

Singularity

When I tried Metallica’s “For Whom the Bell Tolls,” I immediately noticed the hi-hats pushing through in a way I’d never heard before. The only way I can describe it is “splashy.” It didn’t sound weird, just noticeable. I asked Householder about this and he wasn’t as surprised. “Yeah, the hi-hats, cymbals and percussion, you're gonna hear it with a new level of detail that you're really not accustomed to.” He said, adding that some of this will be the tuning of the supplied headphone amplifier (made by iFi) so it’s partly the EQ of that, mixed with the improved clarity of high frequencies from the MEMS drivers.

There was another surprise with the supplied amp/DAC also — it had a specific “xMEMS” mode. I originally planned to use my own, but it turns out that I needed this specific DAC as the MEMS drivers require a 10-volt bias to work. I asked Householder if all headphones would require a DAC (effectively ending their chances of mainstream adoption), but apparently xMEMS has developed its own amp “chip” that can both drive the speakers and supply the 10-volt bias. The forthcoming True Wireless buds from Creative, for example, obviously won’t need any additional hardware.

This is where things get interesting. While we don't know the price for Creative’s TWS buds with xMEMS drivers, we can be sure that they will be a lot cheaper than Singularity’s IEMs which retail for $1,500. “You know, they're appealing to a certain consumer, but you could just very easily put that same speaker into a plastic shell, and retail it for 150 bucks,” Householder told Engadget. The idea that xMEMS can democratize personal audio at every price point is a bold one. Not least because most audiophiles aren’t used to seeing the exact same technology in their IEMs also in sub $200 wireless products. Until we have another set to test, though, we can’t comment on the individual character each manufacturer can imbue on them.

xMEMS

One possible differentiating factor for higher-end products (and competing MEMS-based products) is something xMEMS is calling “Skyline.” Householder described it as a dynamic “vent” that can be opened and closed depending on the listener’s needs. Similar to how open-back headphones are favored by some for their acoustic qualities, xMEMS-powered IEMs could include Skyline that would open and close to prevent occlusion, improve passive noise canceling and other acoustic qualities such as “transparency” mode where you want to temporarily let external, environmental noises come through.

For those who prefer on-ear or over-ear headphones, MEMS technology will likely be paired with legacy dynamic drivers, at least initially. “The first step that we're taking into headphone is actually a two way approach,” Householder said. The idea being that a smaller dynamic driver can handle the low frequencies, while MEMS drivers currently don’t scale up so well. “It's really the perfect pairing. The dynamic for the low end, let it do what it does best, and then we've got the far superior high frequency response [from MEMS],” he said. “But the long term vision is to eventually fully replace that dynamic driver.”

The ultimate goal would of course be a set of solid-state desktop speakers, but we’re a little way out on that it seems. For now though, there’s a tantalizing promise that MEMS-based in-ears could modernize and maybe even democratize consumer audio, at least around a certain price point. Not to mention that xMEMS isn’t the only company in the game. Austrian startup, Usound, already showed its own reference-design earphone last year and Sonic Edge has developed its own MEMS “speaker-in-chip” technology. With some competition in the market, there’s hope that the number of products featuring it will increase and improve steadily over the next year or so.

The life of a retro gamer is one fraught with delight and frustration. Chasing the unique feeling of waiting years while someone develops a new game for your vintage console of choice in their spare time. But the delight, when it lands, makes it all worth it. Conversely, watching someone snipe your eBay bid for a super rare game you’ve been seeking for years, that’s frustrating. No one appears to understand this yo-yo of emotions better than the team at Analogue — makers of some of the most desirable modern retro consoles around.

When I say Analogue understands this, I mean it’s perfected the art of inducing both ends of that emotional spectrum. The very existence of the company shows it understands the passion retro lovers feel about gaming history. But almost two years after the release of the (delightful) Pocket handheld, we’re still (frustrated) waiting for key accessories and consoles to reliably be in stock. Meanwhile, the company just unveiled some seriously delightful limited editions. (Good luck actually buying one — frustrating.) They really have this retro gaming thing down to a tee, and fans have noticed.

Analogue

When the Pocket was announced, that sent a wave of delight around the retro gaming community. That was in October 2019 with an estimated release date of “2020.” Eagle-eyed readers will have already noticed that the company missed that broad target by almost a year. That’s a minor frustration, but one that only served to fuel the desire for what is, arguably, Analogue’s most complicated and refined product. Almost immediately, the company reopened orders along with a mild bump in price and — depending on how quick you were — a potential two-year window for it to ship.

As of this month, most of those orders have finally been fulfilled — but not without sprawling Reddit mega-threads of people comparing shipping statuses, order numbers and total days since ordering (props to the 600+ crew). The recent glow in the dark (GITD) limited edition itself caused a bit of a stir (or, in some cases, contempt) as the lucky few who were able to secure one saw it ship out immediately with no wait at all —- including the one Analogue supplied for the images in this story.

Things got a bit meta when Analogue quickly unveiled another series of limited editions, this time, the saliva-inducing transparent colors that every gaming handheld deserves. People who had jumped on the GITD Pocket found themselves with buyer’s remorse, had they known the other editions were coming, they would have rather tried for one of those. Some folks are just buying the limited editions because they simply want a Pocket, leaving fewer for those that actively wanted them. A delightfully frustrating situation for all involved.

Reddit / MrFixter

The Glow in the Dark Analogue Pocket looks fantastic though (we’re sure the transparent ones will also). And it’s another sign of Analogue’s hard-line approach to retro purism. The Pocket, a clear reference to the Game Boy Pocket, which had one little-known, hyper rare limited edition given out at a gaming competition. You guessed it, it was glow in the dark — the only official Nintendo console ever to come in the luminous material. Cruelly, the Game Boy Pocket didn’t have a backlight, so the effect was hard to enjoy during play time.

Analogue’s version, of course, can totally be played in the dark, and is positively encouraged. “Glow in the dark is amazing — when was the last time you've seen a proper consumer electronic fully glow in the dark?” Christopher Taber, founder and CEO of the company told Engadget. And according to Taber, the design involved creating an entirely new material. “We spent a few months getting the color and unique starry, chalky texture. Multiple different plastics to allow that to only be shown when it's glowing — when not glowing it has the perfect green, pure.” Taber’s enthusiasm appears to be matched by Pocket fans as all the units sold out in under two minutes. (Though Taber didn’t specify how many were available when asked.)

Unsurprisingly, and to the chagrin of, well, everyone, plenty of GITD editions have found their way into the hands of resellers.

Now that the shipping of actual Pockets seems to be mostly caught up, I asked whether there’d be stock for the holidays, to which Taber confirmed there would be. Which just leaves those cartridge adapters, and that’s a whole other situation, one that’s changed a fair bit since launch.

Photo by James Trew / Engadget

The whole selling point of the Pocket was that it could natively play original Game Boy cartridges (including Color and Advanced titles), plus Atari Lynx and Game Gear carts via an adapter. Later, TurboGrafx-16/PC Engine and NeoGeo Pocket adapters were also confirmed to be in development. At launch, the Game Gear accessory was ready to go, but there’s been a long wait for the others.

Analogue initially communicated they should be available in Q3 this year, but Taber said they were “still on track to be shipped out by the end of the year.” (FWIW, an archived version of this page showed Q3 up until at least the day before we asked for confirmation, Google has since cached a newer version.) But the real change is that the Pocket can play games from far more systems than it could at launch, including some of the ones for which there are adapters.

The Pocket doesn’t emulate games so much as it reprograms itself to “become” the system you want to play. It does this via something called Field Programmable Gate Arrays (FPGA) and more specifically “cores” that, in lay terms, mimic each system — it’s what sets the Pocket apart from most other retro handhelds that emulate in software.

Since launch cores have been made available for a number of consoles, including the NES, SNES, Genesis/Megadrive, Neo Geo and TurboGrafx-16. To play games from these systems, no adapter is required, but it does mean dabbling in the murky world of ROMs. To what extent this diminishes the appetite for the adapters is unclear (the Atari Lynx and Neo Geo Pocket remain the systems with adapters that don’t have community-created cores available).

Analogue's Transparent Limited Edition Pockets go on sale today at 11AM Eastern. 

Even if you’ve never heard of Shure’s SM7B, you’ve almost certainly heard the SM7B. From live radio to podcasting and streaming, the sleek, black microphone can be found hanging in front of mouths, delivering its trademark broadcast sound. Today, Shure is unveiling the latest edition — the SM7dB — to celebrate the microphone’s 50th anniversary. It also happens to solve one of the mic’s biggest pain points (the clue is in its name). The $499 Shure SM7dB comes with a built-in preamp that adds either 18- or 28dB of much-needed gain. 

The SM7B famously needs a lot of amplification which can lead to quiet audio or an undesirable “hiss” on inferior preamps. To solve this, people often purchase an in-line preamp such as a FetHead or a CloudLifter — which is an additional $100 or so on top of the $399 SM7B.

The SM7dB eliminates the need for additional hardware and also promises a “clean” boost in volume. What’s more, it does this without adding any significant size or a change in form factor. To be clear, the new microphone is a shade longer than its un-amplified counterpart. And there’s a minor cosmetic change from the sleek, stealthy matte black to a slightly shinier paintjob. There’s also a glossy “Shure” logo now on the microphone body which makes the whole thing look a bit less cool if you ask me but you might not be so sensitive to such things.

The addition of a preamp brings with it some other practical changes. The classic SM7B has two switches on its rear: a high pass filter and a mid-frequency boost. The SM7dB still has those, but there are two more switches — one for bypassing the preamp and the other for toggling between the amount of gain (the aforementioned 18- and 28-dB boosts).

Photo by James Trew / Engadget

When “bypass” is activated, the SM7dB acts as a regular dynamic microphone and won’t need phantom power. Once you activate that preamp though, you’ll need to supply 48v to drive the preamp. The vast majority of audio interfaces with an XLR input will also supply phantom power, so there’s no issue here but if you're used to working with dynamic microphones and the mild convenience of not having to think about phantom power, just know there's a slight workflow change here.

One of the main benefits of a dynamic microphone is its noise rejection —- they're much more forgiving on background noise or the sound of passing traffic, for example. Thankfully, the built-in preamp here doesn't change that as the microphone still works as a dynamic should (unlike condensor microphones that need phantom power to work and are much more sensitive). 

With the full 28dB of gain applied, I initially thought there was some audible noise when recording silence, but it quickly became clear that with all that extra gain and my audio interface set to record at full volume it was simply just too loud and was picking up more ambient noise — it would have been far too loud if I had started speaking into it. Once the levels were adjusted accordingly, the noise floor disappeared. 

Perhaps unsurprisingly, without any preamp turned on, the new SM7dB sounds near identical to its legacy sibling. I tested both via a Rodecaster Duo which has ample gain to drive these microphones on its own. However, when I tested both of the SM7dB’s preamp settings (while lowering the gain on the Rodecaster accordingly) the output remained just as clear and noise free with no obvious change in character — which is exactly what Shure was going for.

Shure

The obvious downside is that, the SM7dB costs about $100 more than the regular SM7B. That’s a decent amount more, especially if you don’t really need the preamp but are maybe hoping to future-proof your setup, or just upgrade to the newest model. On the other hand, if you were going to buy an SM7B knowing you’d also need a separate preamp then the new model costs about the same as buying both separately. 

Given the sheer popularity of the SM7B, the new edition should be well received. Not least because of the obvious advantage of it being louder, but for a more practical, if slightly superficial reason, too. That being that the design of the SM7B puts the XLR port facing either directly up or down on most boom arms or mic stands (rather than perpendicular) which certain inline preamps can look a little, well, ridiculous sticking out of the top of bottom. With the SM7dB, then, you can possibly eliminate one more visual distraction from your streams. Whatever your motivation for considering the new microphone, it's available starting today.

At some point over the years there’s been a shift in what PC speakers look like. Many of you may remember plugging in a pair of small, often beige, units into the back of your PC (where the PCI sound card was) and pretending to enjoy the results. Over the years, built-in audio interfaces improved and external ones found their way to a more convenient location on our desks. This, in turn, led to a trend of bigger, creator-friendly, shelf-style speakers. But the rise of the home office has led to a renewed focus on streamlined workspaces, making compact speakers more appealing again.

Enter Drop, a company best known for mechanical keyboards and audiophile gear. With the announcement of its BMR1 desktop speakers, the company is hoping to re-invigorate the dedicated PC speakers category. At first glance, the BMR1 looks like it has more in common with the Logitech or Creative speakers of yore (they still make them, I know), but with the promise of the audio oomph usually reserved for larger “monitor” style speakers.

Given Drop’s credentials as a destination for audio enthusiasts, the company was unlikely to put together something you might find in the PC accessories section at Best Buy. Unsurprisingly, the BMR1 isn’t as cheap as those big box store options, either. At $129 they’re at the upper end of what more mainstream alternatives tend to cost.

Photo by James Trew / Engadget

That $129 gets you a pair of 15W Balanced Mode Radiation (BMR) speakers with either 3.5mm or Bluetooth input. That’s a respectable amount of audio power for this size. There’s no USB here though, as there’s no built-in interface — you’ll either use your PC’s headphone port or the outputs on a dedicated audio interface. As is the norm with this type of speaker, one is the “active” unit with the in/outputs and you simply connect the other with a (proprietary) cable for the left channel audio. Though I will say the included cable is a little on the short side and currently there’s no alternative.

Physically, the BMR1 is a minimalist affair. There are no dials for power, volume or EQ and the inputs and outputs are all hidden around the back. This will be an annoyance for those who prefer physical controls, especially if you have no alternative (such as a keyboard with a rotary or a programmable mouse). The housing is made of plastic and doesn't give the BMR1 a premium feel, which is in contrast to the company’s keyboards. The stands are also plastic which makes the speakers feel light and prone to moving about if a cable tugs on them, for example.

On front of the speakers are two drivers — one full-range BMR driver along with a passive radiator. One nice touch is that the BMR1s can be mounted either horizontally or vertically which makes them suitable for a variety of different setups, be that for your own aesthetic preference or out of necessity. The right side speaker has the BMR1’s lone button along the bottom edge for switching between 3.5mm, bluetooth and headphone modes.

Headphone mode might sound counterintuitive to have on a set of… speakers, but it’s a practical tool that passes through the audio from your PC to headphones without having to unplug the BMR1, which, depending on your setup, could be occupying the only output port on your PC. It’ll even work with microphones on compatible (TRRS/4-pole) headsets so you can take work calls without having to remove the speakers to free up that headset jack.

Photo by James Trew / Engadget

That’s a neat quality-of-life feature, but the main focus here is obviously those BMR drivers. In terms of volume, the 15W speakers are likely capable for most small to medium sized offices. My home office is somewhere north of 150 square feet and the BMR1 amply fills the space. They’re described as “near field” monitors, i.e. specifically designed for close proximity, but they are able to fill this room with sound without much struggle.

As for the quality of that sound, that’s a little more complicated. The BMR1s appear to perform best when their volume is set somewhere between 40 - 70 percent of the maximum. Above that, things start to sound a little strained, which isn’t unusual — especially for speakers this size. At the lower end, from mute to around 30 percent, the speakers are great with spoken word — ideal for podcasts, video viewing and voice calls. But at these lower volumes, music feels a little too muddled to my ears. It’s fine for having something on in the background, but it’s a slightly dense listening experience.

Nudge the volume up a bit, and things improve. Just north of the middle section of the volume curve is where the BMR1s do their best work. There’s still a slight lack on the low frequencies, meaning bass forward music can sometimes feel dried out. If you’re listening to rock, country, classical or any other genre where the action is more in the mid-frequencies, you can have a good time with the BMR1s, but if Hip-Hop or Drum & Bass are more your thing, then you might find yourself wanting at any volume.

The listening experience improves if you can have the speakers nearer to you. There’s definitely a sweet spot at around maybe 18 inches away. When they were about two feet away from me on my desk, Metallica’s Enter Sandman sounded fine, but a little thin on the low end, thus leaving the song’s splashy hi-hats and James Hetfield’s voice feeling a little over represented. If I leaned in a little, the rhythmic bassline and kick drums were notably more apparent.

Even with great placement, the sound from the BMR1 never quite felt as robust as I wanted it to be. I know these are PC speakers, but Drop’s pitch is that these are “ideal for movies and music” — specifically for the desktop. And while they do an acceptable job most of the time, there are definitely occasions where I notice they’re lacking, and more so than I was expecting.

Photo by James Trew / Engadget

It was a little surprising to see that the BMR1 only supports SBC and AAC Bluetooth codecs. Obviously, with a focus on PCs, the inclusion of AptX or LDAC might feel a little superfluous, but the Bluetooth functionality, to me, is more about making them compatible with your phone, too (rather than another input mode from a PC). As such, support for higher-quality codecs, even just regular ol’ AptX, feels like a bit of a miss here.

The BMR1 ships as a 2.0 (stereo) system, but it can also be used as a 2.1 with an external subwoofer. There’s a switch around the back that will shelf off the bass on the main speaker to balance things out, and this would certainly resolve the issue with weaker low frequencies. Alas, I don’t have a compatible sub, but some reports online indicate that the whole sound does present much more robustly in this configuration. The bigger issue there being, that this requires another separate spend, probably another thing to plug in and takes away from one of the BMR1’s primary appeals: a simple, compact setup.

This is something of a theme with the BMR1s: they slightly miss on some key areas. In certain, optimal, conditions, they’re really quite enjoyable. But that sweet spot is limited and not what you expect either from the brand or for the price. Some of the practical complaints like material choices, the proprietary cable and lack of physical controls feel like obvious misses. The sound profile is enjoyable but the bass is sometimes a bit lacking for certain styles of music. The price point isn’t egregious, but a shade over where it should be. And so on.

Making the BMR2 feels like a task Drop won’t need much assistance with. Most of the pre-order reviews on its own website list off similar minor annoyances. There was a lot to look forward to here, and the final product doesn’t land too far from its promises, but it does fall short enough that more demanding users — which are kinda Drop’s whole thing — could feel slightly underwhelmed.

So there’s a new GoPro in town. Maybe you saw a bunch of new features and wondered if the new camera is worth the upgrade from an older model? Maybe you want to know if it’s a better fit than a rival camera like DJI’s Action 4? Here we’ll go through everything that’s new with the Hero 12 and hopefully, by the end of it, you’ll feel ready to make an informed decision. There are some useful new tools, some neat hardware tweaks and of course, an important aesthetic update this time around. All of which we’ll get to below.

Battery life

Okay, deep breath for this one as there’s a bit to unpack. Battery life has always been a bit of a pain point for action cameras. Their smaller form-factor, exposure to different and high performance needs (shooting 4K slow-mo, and so on) means they are constantly battling basic physics. GoPro’s claim then, that the Hero 12 offers “2x runtime” will have seen even the most ragged of outdoor filmers crack a smile. But remember, runtime isn’t the same as “record” time.

What we’re seeing here is an extension of the amount of time the camera can run at high power drain modes before it reaches its thermal limit and has to stop. So the claim is really that you should get about twice the recording time at the most demanding settings. If you’re shooting at good ol’ 1080p/30, for example, battery performance is only extended by a few minutes.

Photo by James Trew / Engadget

To test this, I pitted the Hero 12 against the Hero 11 in two scenarios, each at the opposite ends of the “intensity” spectrum. On the high end, we set the cameras to record at 4K/120 while walking with the camera on a standard grip. On the other end of the scale we recorded a basic 1080/30 video for as long as the camera could. Both were performed outside to allow for airflow, which is what the camera was optimized for.

In the 4K tests, I was surprised to see there was no noticeable difference between the Hero 12 and the Hero 11 with the same settings. I repeated the test a couple of times and the 12 was only able to best the 11 by about five minutes. On one occasion, the Hero 11 actually outlasted the Hero 12. The average duration for one continuous video was 35 minutes. Other outlets and reviews have had more success here, so I'm currently speaking with GoPro to see what might be causing this disparity in results. The 1080p tests were also comparable, with both cameras lasting around an hour and a half which is expected, as GoPro doesn’t claim large advances in battery life at these settings.

Bluetooth audio

I don’t think anyone was expecting this one, but it’s a pleasant surprise nonetheless. Using a microphone with a GoPro typically involves using the Media Mod, which is usually an $80 additional purchase. Even with that, going wireless requires having a compatible microphone. With the new Bluetooth capability, you can use the AirPods (or other Bluetooth headset) that you may already own.

I wouldn’t recommend using a microphone over Bluetooth if you can avoid it, as they’re typically designed for calls rather than delivering a standup to camera. That said, the quality is good enough for impromptu vlogs and or live commentary as you take part in your activity of choice. Either way, it’s a neat new feature that’s really easy to set up. I was worried about latency — a common problem with Bluetooth audio generally — but any there might be is barely perceptible.

This functionality also allows you to control your GoPro from afar using voice commands. I might wager that this is equally, if not more useful to a lot of people. GoPro’s voice commands are fairly reliable, so it’s nice to be able to ask the camera to take a photo from a distance so you don’t need to set a timer. Likewise, you can end a video without having to record those final seconds of you walking back to the camera to press the button. All these little time saves add up!

8:7 everywhere

Photo by James Trew / Engadget

The big news with the Hero 11 Black was a larger sensor that meant you could do cool things like punch out different aspect ratio videos in 4K from the same source material. That source video was also usable on its own, if square-ish 8:7 video was something you needed. With the Hero 12, 8:7 mode is now available everywhere, including TimeWarp, TimeLapse and Night Effects modes.

An 8:7 TimeWarp is a fun addition, but the real gain here is the option to shoot in that mode, capture every pixel available to you, and then have the flexibility to do more with it later. For Night Effects, for example, you could output a vertical version for social media, and a 16:9 one for YouTube and both of them would be in full resolution. This is the only new direct video feature this time around, which will disappoint some potential upgraders, but for fans of those specific modes it’s good news.

Vertical capture

Photo by James Trew / Engadget

Now that 8:7, full-sensor recording is available across the board, GoPro is seeking to make some of its use cases even easier. One such example is vertical capture mode. In short, since the Hero 11 there’s no technical reason why you need to rotate or mount the camera vertically as you can achieve full resolution 9:16 videos even with the camera positioned horizontally.

Essentially, this feature provides a way to record a video for social media without having to either remount it or to punch it out in 9:16 via the app. Thus, vertical capture greatly smooths the process from shooting on the camera to sharing with your followers. There’s not much more to say here other than it works as advertised and should save a fair amount of time for those who use that aspect ratio frequently.

HDR video in ultra-high resolutions

Dynamic range may sound like a technical setting for pro photographers, but it’s important even for casual users. As a camera tries to capture a shot, it will assess the lighting and adjust its exposure to maintain the best balance (unless you’re using all manual settings). When there are bright and dark areas in the same shot, the camera has to make a best guess. To improve on that, modern cameras have HDR modes specifically for times when there’s a “High Dynamic Range (HDR).” In short, the Hero 12 Black claims to be better than its predecessors in these situations.

Technically, the Hero 11 is capable of outputting HDR video (the Hero 12 and Hero 11 share the same internal hardware), but you usually had to do some legwork in post to get there. The Hero 12 has “HDR” as one of the shooting modes right in the menus making it a simple button push to get those more natural tones.

Photo by James Trew / Engadget

In side by side testing, there’s a marked difference between the Hero 12 and last year’s camera. In the same, sunny conditions during the day I found the sky was sometimes blown out on the Hero 11 when there were also a lot of shaded areas in shot as the camera tries to expose for both. The Hero 12 was able to handle the same lighting conditions without blowing out bright areas or under exposing the shade giving a more balanced image overall.

(Speaking of HDR, the GoPro 12’s implementation isn’t true HDR in the sense that it captures using the BT.2020 HDR color space — i.e., if you plug it into your Samsung HDR TV you won’t see it in HDR, but just regular TV mode. Rather, it takes two images of each frame in quick succession — like bracketing on a photo camera — one exposed for shadows and one for highlights, and combines them into a single image. The end result is more detailed skies, shadowy areas, etc.)

Better selfies

Back in the olden days, there was a light “hack” for getting the best selfie out of a GoPro: put the camera into Time lapse Photo mode and grab multiple shots just to be sure. In newer GoPros you have to grab a frame from a time lapse via the app as the camera automatically outputs a ready-to-share video. Interval Photo, then, revives some of that old functionality in a new, improved way. The basic gist is that you don't need to use a timer, instead you can capture multiple photos and pick the one you like best, such as the one below where I had all the time in the world to perfectly place my hand on top of the towers.

Photo by James Trew / Engadget

To prevent confusion, Interval Photo is a setting under the Photos menu and not the Time Lapse menu. From there you can set a wide range of intervals — from half a second up to two minutes — and use this with all photo types, including HDR and SuperPhoto (GoPro’s “auto” mode). This differs from a time lapse where the images are processed in a way that prevents sudden changes in exposure between photos for a smooth video. That’s to say, images are optimized for the resulting video. With Interval Photo, they’re standard photos for use as photos with no further processing.

Night Effects come to photos (kinda)

Another feature that builds on something that was introduced in the Hero 11 is the extension of the Night Effects (Star Trails, Vehicle Lights and Light Painting) to create a photo. These three effects use long exposures and witchcraft (maybe) to create videos with these dramatic light-based effects. With the Hero 12, you will now be presented with a photo alongside the video. There’s no extra action required to get this, it’ll just show up in your gallery automatically.

What you won’t see are any controls or any way to choose at which point of the video the image will be extracted from, the image appears to be based on the final frame of the video, which makes sense. That said, in our testing it generally produces good results (assuming your video was good in the first place!). Again, you’ve pretty much always had the option to extract frames from videos and with the Quik app that’s easier than ever before, but having one ready for you, is another welcome convenience.

Log

Steve Dent contributed the following section.

GP-Log is designed to give creators more control over images by increasing dynamic range, specifically by allowing more detail in shadows and highlights. That can be combined with 10-bit encoding which boosts the total number of colors to billions, meaning subtle gradients (mainly in skies) will show less banding.

Photo by James Trew / Engadget

As ever with log, it can be a challenge to get a nice image out of it. The LUTs supplied by GoPro do an OK job, but significant tweaking is still required by the editor to gain any major benefits. Plus, it’s not a very aggressive log setting, so the boost in dynamic range is small, akin to DJI’s D-Log M setting. It does give editors who know what they’re doing more options, but if you’re unfamiliar with log, HDR is a much easier way to improve dynamic range – with no adjustments required.

New mounting option

Photo by James Trew / Engadget

If you’ve been using GoPros for any amount of time, you’ll be familiar with the “finger” mount system. It’s… fine. It’s certainly sturdy, which is what you want in an action camera, but it’s also fiddly and those thumb screws can get real tight, so tight that sometimes it feels personal. Sometimes you wish you could just use the tripod or selfie pole you already have without having to dip into your bag of adapters. Well, now you can.

Flip the GoPro Hero 12 Black over and lo and behold, you’ll be presented with a 1/4 inch thread (along with the sound of angels harmonizing, possibly). I have a bunch of the aforementioned GoPro-to-tripod mount adapters, but I can never seem to find them when I need them. I also have a bunch of small tripods that will get a lot more usage now that they are directly compatible with the GoPro. Not to mention, if you use your GoPro as a webcam, it’s not a lot easier to use with other streaming mounts and boom arms. I’m not sure what it says about the Hero 12 when this is my personal favorite new feature, but here we are!

In a world of generic electric bikes, the JackRabbit is hard to ignore. The micro, pedal-free ride blends the convenience of a scooter with the sitdown comfort of a bicycle. We loved the original, but there was plenty of room for improvement. That room has been dramatically reduced with the unveiling of the JackRabbit XG — a newer, more powerful and slightly (just slightly) bigger version available starting today.

The XG initially looks very similar to the “OG” (as it has since been dubbed) that came before it. What you will notice is that it sports a more conventional diamond-style frame. There are also two batteries this time around for up to 20 miles of range (double the original). As mentioned earlier, the wheelbase is a shade longer, but only by an inch or two. The result is a more refined bike with not only more range but, thanks to a new 500W motor, more power for going up hills with the same 20 mph max speed.

The quality-of-life enhancements also extend beyond extra power and range. The JackRabbit XG comes with an actual bike computer so you can see real time speed, trip length and a more refined battery life gauge. Before, the only feedback you had for anything were three LEDs to indicate remaining power. Additionally, there are new all-metal footpegs, which is great as the original used rubber “shoes” on its pegs and they easily fell off — I lost both within two short rides.

The addition of the extra battery, combined with that new motor are what really makes the JackRabbit XG feel like an improvement on the original. I stated in my review that the battery life was perhaps on the shorter side and if you ever ran out of juice, like I once did, it wasn’t a very fun time getting back home on, effectively, an adult balance bike. Thankfully, with double the amount of cells, the XG now reaches up to, and maybe even beyond 20 miles of normal usage putting it well on par with what you’d expect from a scooter. (There are no pedals here, so that range is motor-only.)

Photo by James Trew / Engadget

One of the first things you noticed when you rode the original was the higher center of gravity which gave the JackRabbit a “lively” riding experience. Thankfully, the XG feels a lot more stable and doesn’t seem to feature any of the twitchy physics at higher speeds. And thanks to the three power modes, you have more control over the maximum speed (and thus range and ride feel) of the bike.

Naturally, that extra battery and longer frame add a bit of heft. The OG model weighed in at 24 pounds, while the XG adds another eight to that. You can still easily lift the bike with one hand though, and a dash up the subway stairs with it is still perfectly manageable. By keeping with the same battery as the OG, upgraders might even have some spares ready, but also the double battery bay means you can ride on just one cell if needed, or if you just fancy a lighter ride with less range. Thankfully, the batteries no longer require a key to unlock them for swapping out, with new permanent clips on the underside of the XG instead, which is much easier and saves having to carry another, easily losable, key.

Some smaller details show how the JackRabbit is maturing. For example, while the bike doesn’t come with a powered light (there are reflectors), the XG has an extra power port should you wish to add one. There’s also a front brake now to augment the rear one so you won’t have to pull a rad slide in certain strong braking situations. That said, there are a couple of other listed features that are perhaps more creative on the marketing side than practical for the user. For one there’s a “walk mode” — which typically has the bike roll itself along slowly as you stroll. But here that mode is achieved not by holding down a button to engage the throttle slightly, instead you loosen the handlebars, rotate them 90 degrees (so that the bike is “thin”) and Jackrabbit’s “walk mode” is “activated.” That said, the same process does easily allow for tidy storage of the bike.

Photo by James Trew / Engadget

It’s in the riding that the XG comes to life. The OG model would pull away when you pressed the accelerator, but the new model requires you to push off first, much like on a scooter. It’s a minor change, but one that does stop the bike pulling away from you if you accidentally activate the throttle. In “high” mode, you don’t need to push off to start moving, so if that’s what you prefer you can keep it in that setting. Having the three power modes is a welcome way of moderating battery usage without having to be as judicious with the accelerator. I won’t lie though, “high” is the most fun and that’s where I find myself keeping it now that it sports the extra range.

The OG model had a few rough edges, but was a fun alternative to scooters or small e-bikes. The XG feels much more refined and practical with all the major pain points addressed with very little tradeoff — though it’s a shade larger and heavier making it just that much less convenient than a foldable scooter. With all these changes though comes a much higher price tag. The original was $1,200 when we wrote about it but has since dropped back to $1,000. The XG will cost $1,750 at launch.

That’s a decent step up, but it bests its younger sibling in every conceivable way. That also puts it up in the same price range as many regular e-bikes. If you’re considering the XG purely as an alternative to a scooter then it’s clearly a pricier option. If, however, you want the flexibility of a bike that can perk up your daily commute and go on adventures that scooters can’t, the JackRabbit XG suddenly seems much more attractive.

Today, GoPro unveils its latest camera: The Hero 12 Black. This time around, the updates are mostly on the user experience, with a slight focus on pro users and creators. Perhaps the most exciting new “feature” for regular GoPro users will be the claimed extended battery life. The company says “Up to two times” the runtime of previous cameras. Battery life has long been a pain point, so we’ll be keen to see what that looks like in real terms.

There are some new shooting modes, with 8:7 (full sensor) recording now available across the board, including TimeWarp and the Night Effect modes for the first time. Recording in 8:7 allows you to “punch out” different aspect ratio content from the same source material while maintaining a high resolution. The camera’s HDR mode has also been tuned for even better handling of mixed lighting conditions. Hypersmooth, GoPro’s in-camera stabilization is now on its sixth iteration —- but it’s been solid right from the start, so we’re interested to see what difference this makes in practice.

For the pros (or the aspiring ones) two new additions will be of particular interest. First there’s “GP-Log” which is GoPro’s take on logarithmic shooting mode — which makes color grading in post much more flexible. Secondly, there’s the addition of Timecode Sync, so if you’re recording with multiple GoPro Hero 12’s, they can easily be synchronized for airtight edits in post.

As for creators, again there’s a brace of updates that will be of interest. Interestingly, the Hero 12 Black now works with Bluetooth headsets for both playback and recording — including AirPods. Now, videos can use Bluetooth headphone microphones which can be blended with the in-camera mic recordings as you wish. You can even use your headset to use GoPro’s voice activation, opening the door for more creative shots taken without having to be near the camera or use the app/remote accessory.

Photo by James Trew / Engadget

The second creator-friendly feature is vertical capture. You’ve always been able to hold a GoPro at 90 degrees, and on later models the menus would also rotate for ease of use. This time around, you can simply activate vertical mode even while the camera is mounted horizontally. It takes advantage of the new sensor introduced with the Hero 11 that’s big enough to punch out a full 9:16 vertical video at 4K/30FPS without having to re-mount or re-orient the camera.

If it’s important to you for other people to know you have the newest camera, this year that’ll be a little easier as the Hero 12 Black has a speckled faceplate in a break from the usual monochrome design. But there’s one other physical change that will elicit a small peep of joy from long-time users: The camera now has a regular tripod mount (1/4 inch 20 thread ) built-in on the bottom, nestled right between the fold out mounting fingers. No more adapters needed for all those other camera accessories you might have lying around.

One last change this time around is that GoPro seems to have dropped the need to sign up for its cloud subscription service to get a better price on the camera — the Hero 12 Black will simply cost $400 for everyone. Pre-orders open today and the camera lands in retail September 13.

It might not be an overstatement to say Rode's original Wireless GO microphone system changed how a lot of YouTubers work. It wasn't the first wireless mic system, not by a long long shot, but its focus on creators made it incredibly popular. That success would inspire a lot of competing products — such as DJI's — which have since won over fans in a category that Rode arguably defined. Today, Rode fights back with the Wireless Pro — its new flagship wireless microphone system for creators.

The headline feature is the inclusion of onboard 32-bit float recording which means you should no longer have to worry about setting mic gain levels (though it's probably best that you do). This feature means the onboard recording will be almost impossible to "clip" or distort through being too loud. Effectively you should always have a useable recording if things went a bit too loud on the audio in your camera, which will be a great anxiety reducer to anyone who's ever had a production ruined thanks to bad audio.

The Wireless Pro could arguably help bring 32-bit float into the mainstream. There are specialist audio recorders out there that already offer this feature. And Rode already included it on its NT1 hybrid studio microphone, but given that you can plug a lot of different microphones into the Wireless Pro transmitters, this opens the door for recording a wide variety of audio content in 32-bit float — as long as you can feed it into a 3.5mm jack.

In a further attempt at streamlining the creatory process, the Wireless Pro also has advanced timecode capability so you won't need an external device for this. Though you will need to set this up via Rode Central, the companion app for the mic (there's no option on-device for this setting).

Photo by James Trew / Engadget

The Wireless Pro borrows a few features from alternatives or aftermarket accessories by including a charging case as standard (Rode currently offers one as a standalone purchase). That case is good for two total charges of the entire system according to the company and comes as standard with the new model. The stated battery life for the transmitters and receiver is around severn hours, meaning the Wireless Pro should be good for at least 20 hours total recording onto the 32gb storage (good for 40 hours of material apparently).

Another key upgrade is the improved range. The Wireless GO II, for example, has an approximate range of 656 feet (200 meters). The new Pro models expands that to 850 feet (260 meters) which is, coincidentally, a shade more than DJI's stated 820 feet (250 meters).

When Rode unveiled its more affordale Wireless ME kit, it introduced the idea of the receiver doubling as a "narrator" mic via a TRRS headset in the headphones/monitoring port. That's a feature that carries over to the Pro meaning you can record up to three different speakers albeit one of them will be wired, rather than cable free.

There are a couple of minor, but welcome quality of life updates, too, such as locking 3.5mm jacks so you won't rip your lav mic out and plugin power detection so the system can detect when the camera its plugged into is active, using that info to optimize power usage.

At time of publication, DJI's dual-mic product retails for $330. The Rode Wireless Pro will cost $399. That's obviously a slice more, but the company decided to include two Lavalier II mics as part of the bundle. The Lavalier II costs $99 on its own, so from that perspective the entire bundle represents a decent value if you're looking for complete solution. 

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

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

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

Universal Audio

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

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

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

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

Universal Audio

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

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

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

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

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

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

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

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

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

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

IK Multimedia

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

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