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

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

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

Photo by James Trew / Engadget

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

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

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

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

Photo by James Trew / Engadget

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

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

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

Photo by James Trew / Engadget

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

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

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

We only just reviewed the ROG Ally, and it’s already been dethroned as the “most powerful handheld gaming PC yet.” Or at least, it’s going to have to scoot over a little and let the Ayaneo 2S squeeze in. The two portable PCs have a lot in common: They both have 7-inch displays, they both run Windows 11, they both sport Zen 4-based AMD APUs and they both want to draw your attention away from the cheaper, older, bigger, but fan-favorite Steam Deck.

The Ayaneo 2S does best the ROG Ally in a few important areas though. The displays might be the same size, but the 2S has a 1200p resolution (ASUS’s is 1080p), the 2S has a larger battery (50Wh vs 40) and the Ally is only available with 16GB of RAM and 512GB of storage. The Ayaneo 2S is available in multiple configurations that start where the Ally does and go right up to 64GB RAM and a cavernous 4TB of storage. It’s important to note, though, that even the most affordable Zen 4-based Ayaneo starts at $999 (or $699 if you’re quick enough to bag an early bird) compared to the Ally’s relative affordability (starting at $699).

While Ayaneo competes with the likes of Valve and ASUS on a technical level, in most other ways, the company is more of an upstart in the world of gaming hardware. But one that has earned a dedicated army of fans thanks to its spec-heavy approach to product design.

The Ayaneo 2S isn’t just the Ayaneo 2 with a new 7840U processor, but that is by far the most important difference. Cosmetically the two are almost identical bar some larger vent holes on the 2S. There’s also a minor tweak to the triggers that stop them making a noise when fully depressed and an improved fingerprint reader. Most of the other upgrades are to do with cooling, including a graphene patch that has been added and the aforementioned airflow design.

Photo by James Trew / Engadget

Either way, the new, more powerful processor is really what makes the 2S interesting. ASUS entering the handheld space has added credibility to the portable PC gaming space, perhaps creating a stepping stone between the dependability and smoother UI of the Steam Deck and the tech-heavy, but less refined experience of Ayaneo products. So when ASUS announced the ROG Ally, Ayaneo probably didn’t like losing a superlative claim (of being more powerful than Valve’s competition).

A new processor is only as good as the performance boost it brings, and even that has to be weighed against any extra tax on the battery (which remains the same 50.25Wh capacity as the original Ayaneo 2). The short version is, there are good gains to be had, but if you were considering the 6800U-based Ayaneo, that’s still a capable performer — and now a more affordable one.

In general the gaming experience on the 2S is superior, as you would hope, to that of the original Ayaneo 2. Broadly speaking, both can handle most games, even demanding AAA titles at very playable frame rates. The difference is more in the power profile/TDP you need to get that enjoyable experience. For example, on the 2S, I was able to get The Witcher 3 to run at a steady 60 fps (“Steam Deck” settings at 800p) with an 11W TDP setting. I could even dial it down to 8W and it’d hover between 55 and 60 fps. For the Ayaneo 2, I had to dial it up to around 15W to achieve a steady 60, or 10W for “almost” 60. This represents a modest, but important upgrade in performance — but every game is different.

With games like Red Dead Redemption 2 or Cyberpunk 2077, the difference is more pronounced. The Ayaneo 2 was able to serve up around mid-20 fps for both of these games at 15W TDP at 1200p. The 2S was able to crank out closer to 40 peak fps with a minimum over 30 at the same power setting. Dial the 2S up to 22W TDP and you can expect over 60 fps no problem.

Photo by James Trew / Engadget

It’s hard to do several side by side comparisons for all games and different situations, but it’s easy to see that the 7840U presents a significant upgrade in performance at the higher end. Some benchmarks even suggest that the Ayaneo 2S consistently bests the performance of the ROG ALLY with like for like settings. This could simply be down to differences in drivers for the new chipsets, but as YouTuber The Phawx points out, modern games often require a lot of VRAM, and APUs like the 7840U lean on system RAM for that, making the higher spec of the Ayaneo a clear advantage.

If you’re less worried about playing heavyweight games, and prefer indie titles or older/lighter games then the 2S really shines, being able to run things like Hades, Trine, Return of the Obra Dinn, Hotline Miami and so on at full/high quality settings without even flinching. Importantly, you’ll be able to do so at a much lower TDP — even as low as 5W for many of the above titles.

It’s with these less-demanding titles where the new processor’s efficiency most noticeably translates into extra battery life. With the Ayaneo 2, at lower TDP settings battery life seems to hover a little over the four hour mark (depending on the game being played). With the 2S, it’s possible to break the five hour mark if you’re frugal — of course this also means disabling wireless, lowering the screen brightness and so on, but it’s a marked improvement.

Sadly, those gains don’t seem to scale up at the high end. Once above 15W I didn’t notice significant gains in battery life. That said, if you’re now able to play a game at 15W that needed 20W of power on an older model, there’s obviously an inherent power saving there, but at like-for-like wattages, these Windows handhelds are still incredibly power hungry.

Ayaneo has been broadly praised for its hardware and performance since it entered the scene, it’s the software side of things where people seem to have the most complaints. It doesn’t take long with the 2S before you’re reminded that you’re basically holding a desktop. Especially if there’s a launcher between you and the game — as EA/Rockstar/Ubisoft titles tend to have. On the Steam Deck, for example, these are handled slightly better, but on the Ayaneo platform it can be ugly with different windows popping up.

The Ayaspace launcher itself rarely gets much praise, but I’ve always found it functional and a nicer experience than just launching titles from the desktop. It doesn’t do an amazing job of hiding Windows from you — you’ll regularly find yourself navigating the desktop with the analog sticks or touchscreen. For the most part you can boot up and get into a game quickly, but the specter of Microsoft’s operating system is never far away.

Photo by James Trew / Engadget

The better news is that Ayaneo has just made version 2.0 of its launcher available for download and it looks promising. The general user interface seems much slicker and more lightweight which feels much more in tune with what you might expect from a console experience. I was only able to spend a short amount of time with it, but aesthetically it feels like an improvement with more controls and settings closer to hand.

Perhaps the bigger problem for the 2S, or Ayaneo owners in general, is that… even in the time between starting this review and finishing it the company’s lineup has changed. The Ayaneo Air 1S, a more compact 7840-based handheld, has been announced. That’s not to be confused with the Air Pro and the Air Plus. Then there’s the Ayaneo Kun, a new, new flagship that’s all new, including an 8-inch display and Steam Deck-like touchpads. Not to mention the dizzying amount of different configurations within each of those, meaning Ayaneo probably has more SKUs than all of its competitors put together.

Predictably, the Ayaneo 2S is a great gaming handheld that outperforms most of its rivals in several key areas. It’ll handle almost any game you throw at it, and likely do so surprisingly well. But there’s still the matter of price. $999+ for a gaming handheld is a huge spend for most people. One of the reasons the Steam Deck has remained so popular despite new, “superior” competition from Ayaneo and ASUS etc. is that it’s relatively affordable.

Ayaneo looks set to continue to cater for those who are willing to pay for the latest and greatest, but it’s also at risk of alienating those users by making their $1,200 handheld feel last-gen in just seven months. At the moment, the company’s fans appear to enjoy the rapid-fire approach to releases. Just as they’re about to stop salivating over the latest product, another one pops up on the horizon. There is, of course, a question mark over how long Ayaneo can keep this up without alienating its fans, or even over-stretching its own resources. At least, for now, the next APU refresh from AMD isn’t set for another year or so, so perhaps that’s a chance for Ayaneo to catch its breath. Or not.

Last spring, Amazon launched its long-rumored live audio-streaming platform, Amp. The pitch was to reinvent radio with “an infinite dial of shows.” Amp offers users access to a vast, built-in music library to create their own DJ sets with. No need to buy songs or flirt with the DMCA, just make a playlist, go live, talk in between tracks, follow the chat and even invite callers. When I wrote about it a year ago, it showed promise, but it was iOS only, light on users and had a limited feature set.

A little over a year later and Amp is reaching an important milestone: It’s finally available on Android. Amp is Amazon’s first home-grown streaming platform and the year-plus stint as an Apple exclusive meant it enjoyed a level of technical predictability and a self-imposed restriction on growth and user numbers. But as the doors open to the other half of the mobile universe, it’s about to be exposed to the full reality of competing in an already busy social-creator landscape.

Growing beyond iOS is an important move for Amp, even if the platform technically remains in beta (and US-only). But the wider reach of Google’s operating system — from TVs to Chromebooks and beyond — will be a decisive step in the process of Amazon proving it can build a viable streaming platform from the ground up (rather than acquire an already successful one).

You can, of course, find DJ sessions and internet radio in myriad places online. Whether it’s big platforms like YouTube and TikTok or more direct rivals like Stationhead or Tidal (via its Live Sessions feature) and even Amazon Music’s own DJ Mode, there are several destinations for live curated music streams. Of course, let’s not forget Amazon-owned Twitch, which is teeming with tune spinners. Oh, and there’s obviously FM radio, too. This obviously begs the question: What makes Amp unique?

Amazon

“It's very much like Sirius meets YouTube,” Zach Sang, one of Amp’s contracted creators, and former broadcast DJ told Engadget. “It's real life, legacy career broadcasters mixed with the future of those broadcasters. It's everybody coming together, it's radio democratized. It's a way that radio genuinely should be programmed: for people and not for profit,” he added. From a user’s point of view, Amp’s main differentiator appears to be its focus on radio and radio-style shows specifically. Plus that built-in music library (Stationhead, for example, requires you to have either Apple Music or Spotify at your own cost).

I asked user Christina “Criti” Gonzalez, who hosts her own daily show, how she’d describe Amp. “[It’s] a very unique, weird place where you're able to listen to all the music you've forgotten about, didn't know about and crave to hear, again with personalities and so many people of all different walks of life that have one common interest - music.”

Amp Co-Founder, Matt Sandler - who used to work at LA’s KROQ FM – explained that he felt all of the existing options weren’t quite giving listeners or creators what they wanted. “If you posted a job for KROQ and an on air position, you'd get hundreds and hundreds, if not thousands of submissions and people who wanted to curate music and talk to the community on air,” he told Engadget. “There have been lots of services built around live connection or music or community. One of the things that I think will drive the success of a business like this is really that balance between scale and connection.”

Amp signed deals with celebrities and established presenters such as Nicki Minaj, Joe Budden, Nick Cannon and the aforementioned Sang to give the platform some known-name appeal, and it’s done so without creating much of a barrier around them compared to regular creators. Your show can sit right next to Nicki Minaj’s in the listings. Although the roster covers large genres like hip-hop, sports, country and pop there’s not much in the way of alt/indie or electronic in that lineup right now.

Unlike Clubhouse, which enjoyed an early surge of popularity, Amp has largely gone under the radar since launch. “The thing we're maniacally focused on every day is making sure that the product is right before stepping out and bigger and bigger fashion,” Sandler said. But many people I’ve mentioned it to aren’t aware of it – and Amp’s not even included on the list of Amazon products/services Wikipedia page.

Amazon

The app is clearly a lot busier than when I wrote about it just after launch, but the average number of listeners for most shows remains frustratingly low for most shows (based on multiple user reports and other publicly visible data). But several users explained they weren’t discouraged. “The community that it has right now, it's a small enough space for people to feel like they're connected, even if they don't know each other.” Gonzalez said.

At the beginning, according to Sandler, even Amp's leadership was unsure in which direction the platform would unfold. There was the possibility that the big-name artists would dominate while regular users gravitated to being listeners. In reality, it’s the smaller, home-grown shows and the aforementioned community that has made Amp a nice place to hang out.

“The culture there is so inviting.” Gonzalez said. “I feel like other social media sites can turn negative quickly. I haven't had much experience with that on Amp and I appreciate that.” Adding, ”It's crazy what the experience on Amp has done, because I truly honestly say to anyone that's not an Amp to join it, because it really will change your perspective.”

One of the main complaints I had with Amp right after launch was that hosts needed at least one listener to be able to play a song and often that meant… waiting. There was also no way to communicate with any listeners you did have. Today the awkward waits are (mostly) gone and each stream has its own chat room which has switched it from a one-directional platform to the collection of friendly gatherings that it has become today.

Several creators and listeners have told me they’ve created genuine connections and friendships that have spilled over into real life. The chat rooms in shows are a rare mix of positivity, musical discourse and humor. Trolling and negativity is unusually rare and it’s obvious there’s a real sense of commitment to the app. But at some point it needs to expand to stop it becoming a circular economy where everyone is both a host and a listener.

Amp doesn’t share information about user numbers or demographics, but the typical host and listener right now, perhaps unsurprisingly, appears to mirror the generations that were brought up on mix tapes and burning albums to CD. Where sharing music was more tactile and a little bit slower. In the nicest possible way, the community energy often feels like the best bits of early internet chat rooms. Like many music-first spaces online, there’s little in the way of negativity, and while many creators may fall into a similar age group, a variety of backgrounds has been a defining factor since day one.

Amazon

The positive community is Amp’s to lose though. As it opens up to Android, the door to even more users opens, and with that the challenge of scaling up the platform while maintaining what keeps it special. And there’s also the matter of money. Right now, Amp pays out many of its hosts via an opaque creator fund. “One of the things that we're focused on is making sure that creators can earn through the service over time, not just through the fund, but through other mechanisms as well.” Sandler said. When I asked about subs, tipping and other Twitch-esque ways to earn money he added “Those are all things you could easily imagine in the service.”

For now, the creator fund is helping keep hosts motivated, but Amp will need to provide realistic alternative revenue streams to keep creators around (and, of course, lure in more). But perhaps the bigger investment Amp needs is in itself. It’s hard to find much in the way of outward promotion of the app and the best tool for promoting its best creators are its own social channels. If Amp can make itself more visible, it can grow the user base which in turn makes that creator economy, be it tipping, subs and beyond, more viable.

There are also occasional technical issues that remind you the app is still in beta, which an injection of new users, on a new operating system no less, might exacerbate. Mostly, it’s small annoyances like the chat swallowing your last message. Occasionally, it’s more dramatic like a stream crashing or a host being booted out of their own show.

“The glitchiness causes some frustration. And, sometimes that can change your experience doing the show and with others listening. So once those kinks get ironed out, I feel like the creators will feel more comfortable and less anxious while they're doing sets” Gonzalez said. Users have even coined the phrase “Amp be Ampin’” as a refrain to the inevitable quirkiness that happens every couple of weeks or after an update.

Where does the app go from here? “I think there's a big opportunity for amp specifically to move charts and culture around the world. And that means personalities, spinning music, having conversations and developing communities that exist in the app but that have social currency outside of the app as well.” Sandler said. Sang on the other hand thinks it’s a way to keep the spirit of radio going. “It's not like there's any major radio stars on the come up. So it's like, where are they going to come from? Let them come from Amp.”

Or, as Gonzalez was quick to point out, sometimes, it’s just about the music. “There are certain creators that talk through their experience or a memory or something like that. And it completely changes how I looked at the song to begin with” she said. “I love the community so much, but it's also just the variety, being exposed to certain genres. So I love that and ever since I've been really addicted.”

In the 1990 fantasy drama - Truly, Madly, Deeply, lead character Nina, (Juliet Stevenson), is grieving the recent death of her boyfriend Jamie (Alan Rickman). Sensing her profound sadness, Jamie returns as a ghost to help her process her loss. If you’ve seen the film, you’ll know that his reappearance forces her to question her memory of him and, in turn, accept that maybe he wasn’t as perfect as she’d remembered. Here in 2023, a new wave of AI-based “grief tech” offers us all the chance to spend time with loved ones after their death — in varying forms. But unlike Jamie (who benevolently misleads Nina), we’re being asked to let artificial intelligence serve up a version of those we survive. What could possibly go wrong?

While generative tools like ChatGPT and Midjourney are dominating the AI conversation, we’re broadly ignoring the larger ethical questions around topics like grief and mourning. The Pope in a puffa is cool, after all, but thinking about your loved ones after death? Not so much. If you believe generative AI avatars for the dead are still a way out, you’d be wrong. At least one company is offering digital immortality already - and it’s as costly as it is eerie.

Re;memory, for example, is a service offered by Deepbrain AI - a company whose main business includes those “virtual assistant” type interactive screens along with AI news anchors. The Korean firm took its experience with marrying chatbots and generative AI video to its ultimate, macabre conclusion. For just $10,000 dollars and a few hours in a studio, you can create an avatar of yourself that your family can visit (an additional cost) at an offsite facility. Deepbrain is based in Korea, and Korean mourning traditions include “Jesa”, an annual visit to the departed’s resting place.

Right now, even by the company’s own admission, the service doesn’t claim to replicate their personality with too much depth - the training set only really affords the avatar to have one “mood.” Michael Jung, Business Development and Strategy Lead at Deepbrain told Engadget, “If I want to be a very entertaining Michael, then I have to read very hyper voices or entertaining voices for 300 lines. Then every time when I input the text [to the avatar] I'm going to have a very exciting Michael”. Re;memory isn’t currently trying to create a true facsimile of the subject - it’s something you can visit occasionally and have basic interactions with - but one hopes there's a little more character to them than a virtual hotel receptionis.

While Re;memory has the added benefit of being a video avatar that can respond to your questions, audio-based HereAfter AI tries to capture a little more of your personality with a series of questions.The result is an audio chatbot that friends and family can interact with, receiving verbal answers and even stories and anecdotes from the past. By all accounts, the pre-trained chatbots provide convincing answers in their owners’ voices - until the illusion is unceremoniously broken when it robotically responds “Sorry, I didn’t understand that. You can try asking another way, or move onto another topic.” to any query it doesn't have an answer for. 

Whether these technologies create a realistic avatar or not isn’t the primary concern - AI is moving at such a clip that it’ll certainly improve. The trickier questions revolve around who owns this avatar once you’re gone? Or are your memories and data safe and secure? And what impact can all this have on those we leave behind anyway?

Joanna Bryson, Professor of Ethics and Technology at Hertie School of Governance likens the current wave of grief tech to when Facebook was more popular with young people. Back then, it was a common destination to memorialize friends that had passed and the emotional impact of this was striking. “It was such a new, immediate form of communication, that kids couldn't believe they were gone. And they seriously believe that they're dead friends were reading it. And they're like, ‘I know, you're seeing this.’”

OLIVIER DOULIERY via Getty Images

The inherent extra dimension that AI avatars bring only adds fuel to the concern about the impact these creations might have on our grieving brains. “What does it do to your life, that you're spending your time remembering … maybe it's good to have some time to process it for a while. But it can turn into an unhealthy obsession.”

Bryson also thinks this same technology could start being used in ways it wasn’t originally intended. “What if you’re a teenager or preteen and you spend all your time on the phone with your best friend. And then you figure out you prefer, like a [AI] synthesis of your best friend and Justin Bieber or something. And you stop talking to your actual best friend,” she said.

Of course, that scenario is beyond current capabilities. Not least because to create an AI version of our best, living friend we’d need so much data that we’d need their participation/consent in the process. But this might not be the case for much longer. The recent spate of fake AI songs in the style of famous artists is already possible, and it won’t be long before you won’t need to be a celebrity for there to be enough publicly available input to feed a generative AI. Microsoft’s VALL-E, for example, can already do a decent job of cloning a voice with just three seconds of source material.

If you have ever had the misfortune of sorting through the possessions of a dead relative, you often learn things about them you never knew. Maybe it was their fondness for a certain type of poetry via their underlinings in a book. Or maybe something more sinister, like bank statements that showed crippling debt. We all have details that make us complex, complete human beings. Details that, often intentionally, remain hidden from our public persona. This throws up another time-honored ethical conundrum.

The internet is awash with stories of parents and loved ones seeking access to their deceased’s email or messaging accounts to remember them by. For better or worse we may not feel comfortable telling our immediate family about our sexuality or our politics, or that our spouse was having an affair - all things that our private digital messages might reveal. And if we’re not careful, this could be data we inadvertently give over to AI for training, only for it to burp that secret out posthumously.

Even with the consent of the person being recreated in AI there are no assurances someone else can’t get their hands on the digital version of you and abuse it. And right now, that broadly falls into the same crime bucket as someone stealing your credit card details. Until they do something public with it, at which point other laws, such as right to publicity may apply - but usually, these protections are only for the living.

Bryson suggests that the logical answer for data protection might be something we’re already familiar with – like the locally stored biometric data we use to unlock our phones. “Apple has never trusted anyone. So they really are very privacy oriented. So I tend to think that, that's the kind of organization that will come up with stuff, because they want it themselves.” (The main issue this way, as Bryson points out, is that if your house burns down you risk losing “grandma” forever.)

AntonioGuillem via Getty Images

Data will always be at risk, no matter where or how it’s stored. It’s a peril of modern day living. And all those concerns about privacy might feel like a tomorrow problem (in the same way we tend to worry about online fraud only once it’s happened to us). The cost, accuracy and just general creepiness that AI and our future digital avatars create might be scary, but it’s also a crushing inevitability. But that doesn’t mean our future is doomed to be an ocean of Max Headroom’s spouting our innermost secrets to any hacker that will listen.

“It will be a problem in the immediate, there probably is a problem already,” Bryson said. “But I would hope that a good high quality version would have transparency, and you'd be able to check it. And I'm sure that Bing and Google are working on this now, for being able to verify where chat programmes get their ideas from.” Until that time though, we’re at risk of finding out the hard way.

Bryson is keen to point out that there are some positive takeaways, and they’re available to the living. “If you make it too much about death, you aren't thinking correctly about it,” she said. This technology forces us to confront our mortality in a new, albeit curious way and that can only help us think about the relationships we have right here in the world of the living. An AI version of someone will always be a poor facsimile, so, as Bryson suggests, why not get to know the real person better while you can. “I wish people would rehearse conversations with a chatbot and then talk to a real person and find out what the differences are.”

Nothing will make you feel old like the anniversary of a much loved gaming console. Perhaps none more so than the 40th birthday of the Nintendo Entertainment System (or the Famicom as it was known for its 1983 Japanese debut).

Having launched in the very same year that the games industry crashed, Nintendo faced an uphill battle to make what would become the NES a commercial success. But we all know what happens next. Nintendo, through some shrewd decisions, creative talent and maybe just a dash of luck would become a console gaming right up to this very day. But it all starts with an unassuming beige and red box that two years later would become the retro-futuristic gray box that we all know and love.

Here are seven gaming legacies that Nintendo’s first home console gave to the world.

Bringing the D-pad

Kris Naudus for Engadget

It’s hard to imagine now, but there was a time where game controllers were almost as unique as the console they were connected to. As wild as it might sound, the NES was the first home console that sported the humble D-pad. The cross-style design would become a standard on controllers to this day.

Like all good inventions, it was born out of necessity. Nintendo’s early Game & Watch handhelds needed a control system that was pocket-friendly. A tiny joystick was impractical, plus the company wanted something more reliable than the four directional buttons some systems experimented with. Cue a little bit of design magic and the iconic D-pad as we know it was born.

The design was so effective that it was included on the NES controller along with two input buttons, instantly becoming a winning formula. This format proved so popular that you’ll be hard-pressed to think of a modern console that doesn’t use some form of this layout.

Better third-party games

Today we expect console titles to be of a certain standard, even if that doesn’t always pan out. We can broadly thank Nintendo, and specifically the NES for this. In the early ‘80s, third-party game development was a wild west with few checks and balances — any company could develop and publish games for any system. When the NES came along, it introduced the concept of licensed third-party games thanks to the NES’s 10NES “lockout” chip that prevented just anyone publishing a game for the platform. In turn, this created some form of quality control which would go on to become an industry standard.

It wasn’t all entirely positive (if you weren’t Nintendo that is). The 10NES was the first mass-market use of what we'd now generically call DRM, and it allowed Nintendo to initiate the industry-standard 30 percent licensing fee which, in its evolution, is still a source of contention with developers (and customers). The NES also introduced the idea of “exclusives” which is something else we still see for modern releases (often to the chagrin of gamers).

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That said, Nintendo’s “seal of approval” did a lot to revive the gaming industry after its infamous crash in 1983, and for that we’re eternally thankful. Not to mention, we can’t be sure any amount of Mario would have made the platform what it was without titles like Contra, Mega Man 2 and Dragon Warrior, all made by third-party developers.

Bonus: Nintendo’s “10NES” lock-out chip authentication chip is also the reason why you sometimes had to “blow” into a cartridge, as if the contact between the chip and the console wasn’t perfect it would stop the game from booting. That’s, perhaps, another long-lasting legacy we’re glad to see the back of.

Console game saves

The Legend of Zelda’s legacy speaks for itself, but its debut on the NES came with a feature that changed everything: game saves. This had never been seen on a console in the US before and it changed what was possible for console games across the board, paving the way for bigger, more complex titles. A lot of the NES’ best loved franchises like Dragon Quest and Final Fantasy simply wouldn’t have been possible without battery saves, giving the technology an outsized legacy.

While games on disk-based computers had been deploying saves for a couple of years, consoles didn’t have internal storage, so players were stuck with workarounds like codes or passwords. Unlike a proper save, which would include things like current weapons and power-ups, a password would usually (though not always) just start you off at the beginning of the last level you were on. This was practical for things like racing games or platformers, but problematic for things like RPGs and sims.

The technology wasn’t perfect of course. If the battery died or somehow lost contact, you would lose all your saves. But it was a good enough system to last into the 2000’s with some form of on-cartridge saves being used right up until the 3DS. There was, of course, a free, time-honored alternative way to “save” games, usually when you had to go down for dinner: pause and switch off the TV (and maybe hide the controller from any siblings).

The video game mascot

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It’s hard to talk about anything Nintendo without a nod to the world’s most famous plumber. The NES isn’t where Mario had his first outing of course, not by a long shot. It’s not even the first console to have a Mario Bros. game (that was the Atari 2600). But the NES is arguably where the most important gaming franchise for Nintendo - Super Mario - began.

Super Mario Bros. isn’t just important for Nintendo, the side-scrolling platformer would go on to have an outsized influence that would reach far beyond the walls of Kyoto. The unique gameplay with power ups, secret rooms and a colorful world with a full cast of characters came together to create a formula that would set it on a path to become the best-selling game of all time (a title it no longer holds, alas).

There would of course be two sequels on the NES. Super Mario Bros. 2 (the US version at least) was brighter, bigger and added the ability to throw enemies and objects. Super Mario Bros. 3 ramped things up further with even more hidden bonuses and abilities. All three titles received positive reviews and critical acclaim. Most importantly, Super Mario Bros. would solidify the platformer as a key element of console gaming, directly inspiring Nintendo’s main rival, Sega, to create its own iconic mascot franchise.

The concept of mascot platformers has died away to an extent, but Crash Bandicoot helped sell the PlayStation, and we saw fresh attempts at mascots in the form of Ratchet & Clank, Spyro and Banjo Kazooie through the late '90s and '00s. Today, Master Chief is essentially the face of Xbox, and Sony uses the likes of Nathan Drake, Aloy and Joel in much the same way Nintendo used Mario: To sell consoles and merch.

The video game movie adaptation

Walt Disney Studios

There had been games based on popular films since the 1970’s, but we had to wait two decades before we’d see that concept reversed. In 1993, Super Mario Bros. became the first video game movie adaptation and boy did things get off to a bad start.

Starring Bob Hoskins (The Long Good Friday, Who Framed Roger Rabbit) as Mario and John Leguizamo (Moulin Rouge, Spawn) as Luigi, the movie received tepid reviews at best. The movie follows our plumbing heroes as they travel to another dimension (from Brooklyn!) to rescue, well, you know who. Looking back now, the costumes are a little camp, the effects comedic and the plot about as thin as the film it was shot on - but it was an exciting event for Kooper-stomping kids around the globe to have a movie of their own.

To put it in perspective, Hoskins said it was the worst thing he had ever worked on, and he did a run of commercials for British Telecom. A year later we’d be graced with adaptations of Double Dragon and Street Fighter which both have Rotten Tomatoes scores of less than half of Super Mario Bros. (which is already only 29%). Sadly, things don’t get much better from there on out with it taking until 2019 until a game-based movie would earn a “Certified Fresh” score Tomatometer (and that was… Detective Pikachu with 68%).

The light gun

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You might be surprised to learn that the technology behind the light gun has been around since the 1930s. Nintendo had developed its own version as far back as 1970 for its Laser Clay Shooting System. Old rival Sega had actually beaten Nintendo to the punch with its Periscope game in 1966. But of course, the one that would find its way into juvenile American hands en mass would be the NES Zapper in 1984.

You can’t talk about the Zapper without thinking about Duck Hunt, one of the most iconic titles on the system even if, let’s be real, it wasn’t all that good. But something about that unshootable dog (and the fact it was a pack-in game) has earned it legendary status.

Sega would introduce its own light gun, the much cooler-named Light Phaser, for the Master System two years later. And who could forget the iconic if a little… aggressively designed Super Scope accessory for the SNES? The light gun would live on for a few more generations, notably through Sega’s official accessories for the Saturn and Dreamcast and Namco’s GunCon series for the Playstation and PlayStation 2.

As gamers upgraded their TVs to the fancy new flat kinds we have today, the old-fashioned light guns of the '80s, '90s and '00s stopped working. The Wii and PS3 both used LED sensors to achieve the effect, and there was an official Aim Controller for PSVR, but no one has really figured out a standard way for us to shoot things from the comfort of our couches. (OK, Sinden has figured it out, but until a console supports its camera-based Light Gun system, it's only going to be for real enthusiasts.)

The mega franchise

Nintendo

Did we mention the NES also played games? More than possibly all of the above, the impact of the NES is lived out through the franchises that we still enjoy today. Of course, there’s Mario at the top with over 200 titles featuring the iconic mascot in some form or another. Within that are flagship titles for every console Nintendo has ever made - usually multiple for each.

The NES was the platform that introduced the US to the Zelda, Mega Man, Metroid, Final Fantasy, Castlevania, Dragon Quest, Ninja Gaiden and Kirby series. It was also the first console for many existing arcade franchises like Bionic Commando.

Not all of those series continue to this day, but the ones that do are some of the best known (and loved) franchises out there. In May, The Legend of Zelda: Tears of the Kingdom began emptying pockets and puzzling the minds of kids and adults alike. And just last month, Final Fantasy XVI found its way into the collection of over 3 million people in under a week.

Of course, despite the age of the original games, there are still modern ways to play them. Nintendo's most current console has over 60 NES games available via Switch Online, and the selection includes most of the titles you'd hope for (including the Super Mario Bros trilogy, Legend of Zelda, Punch Out and many, many more).

Urtopia may be a relatively new name in the e-bike world, but it makes a strong first impression. With its 4G, GPS, mmWave sensors and even light projection turn indicators, the Carbon 1 felt like the Inspector Gadget of two-wheeled travel, but its exotic design and road-bike leanings meant it wasn’t for everyone. The company’s second bike, the Chord ($1,799), has a much less divisive aesthetic and – unlike its sibling – practicalities like gears and a more upright (and city-friendly) ride. Importantly, the Chord contains all the wireless connectivity of the Carbon 1 at a cheaper price, possibly making it a more compelling package overall.

The Chord feels like Urtopia’s attempt at a stylish city bike in the vague style of Cowboy or VanMoof. The Chord is apparently inspired by pianos, with its black and white colorway and the melodic notes that play when you cycle through the power modes. At 46 pounds (21 kilograms), it’s noticeably heavier than the Carbon 1 (33 pounds/15 kg), but it’s on par with other models in the same category.

The motor is a pretty straightforward 350W hub powered by a removable 360Wh battery. Top assisted speed is 20MPH over four modes: Eco, Comfort, Sport and Turbo. The maximum range is an estimated 75 miles, but that will obviously depend on how much assistance you use. As a Class 1 ebike, there’s no throttle mode here; instead, there’s a Turbo mode with barely any need to pedal to get you up to that maximum speed. As mentioned, the Chord comes with an 8-speed Shimano gear system which, combined with the assistance modes, make for a flexible ride in terms of speed and effort.

Photo by James Trew / Engadget

The more interesting features with Urtopia bikes come from its connectivity: WiFi, Bluetooth, GPS and 4G. Combined with an accelerometer and a gyroscope the Chord has a surprising amount of situational awareness, which I’ll get to later. Oh, you can also speak to the bike to change settings and use it as a Bluetooth speaker as you ride while receiving visual directions on the dot-matrix screen contained in the “smart box” bike computer. Did I mention there’s a comprehensive app with ride tracking, navigation and deeper settings, too?

Taking the Chord out for the first time, it was hard to ignore the extra weight compared to the aforementioned Carbon 1, but also the similarly pitched Tenways. It’s not chonky in the same way something like the 63-pound (28-kilogram) Velotric Discover 1 is but those extra pounds were noticeable the first time I tried hustling it (upright) into the elevator in my apartment block. Thankfully, it’s not something you’ll notice so much while pedaling.

The riding position is naturally more upright and it makes for a comfortable cruise around town. It’s not designed for off-road, but if you find yourself on uneven pavement or even a short stint on a dirt trail it does a decent job considering. The motor uses a torque sensor to decide when to kick in; it’s a very common system right now and does a good job of delivering power just as you need it.

Now, about that power. In the scheme of things, a 350W motor is a pretty standard entry-level option; it’s not about to pull your wrists out of their sockets when it kicks in, but it’s gets you to that 20MPH max speed in good time, as long as you’re willing to do the your part on the pedals. The three power modes are spaced adequately for whether you just want a little help or just wanna surprise that weekend warrior as you pass them barely pedaling. Turbo mode will reach max power without you really trying too hard – it’s a good option for if you’re feeling really pooped, and it doesn’t feel like the bike is pulling away from you, which can sometimes be the case with similar modes on higher-powered bikes.

Photo by James Trew / Engadget

Utopia’s heavy-tech approach made the Carbon 1 stand out, but it also felt a little unpolished, at least in the first iteration of the app. The built-in GPS and 4G are meant to automatically record your rides and serve them up in the app with a map and statistics. Initially this felt a bit hit-and-miss. The fingerprint reader in the Carbon 1 was a nice touch, too, and it even doubled as an electric bell, but unfortunately it would often sound about half a second after I needed it. With the newer Chord, the software feels more finished from the get-go.

For starters, the bell is still digital (you can even change the sound), but it’s triggered by a much clickier button that’s much more responsive. More importantly, the app feels more refined now and I haven’t seen any rides go missing during my time with it. In fact, they appear almost instantly once I finish.

Of course, automatically mapping rides is cool, but it’s not the primary purpose of the 4G/GPS. That would be the ability to track your bike if someone steals it. As long as the Chord’s within cell coverage, you’ll be able to see its last known location via the app. You can also set it so you receive notification the moment the bike moves – potentially giving you a heads up before a thief can ride off with it. Of course, if the battery runs out or the GPS can’t see the sky it won’t update the app, but the cell lasts for a good amount of time in standby and it only fully turns off if you remove the battery, which requires a key (or bike-breaking brute force).

A quick note on the battery: Its placement under the top tube is a cunning way to semi-hide it, but also provides a little more protection from the elements. On the flip side, there’s no way to fully turn the bike off, so the 4G connection will gently drain the power between rides unless you remove it. In my testing, I also found that the estimated max range of 75 miles feels a little optimistic. It might be possible under optimal conditions, but even on shorter rides of 11 miles, with mixed use of modes and terrain, I had used up a claimed 25 percent of the cell. So if very long rides are your thing, take note.

If, upon hearing about all this 4G data you’ll be using, your first question was how much that’ll cost, the answer is nothing for the first year and then $29 annually after that. While it feels like everything has a subscription attached to it these days, this feels reasonable for the functionality you get out of it – especially if your bike does go missing and this helps you find it.

Beyond knowing where the bike is, the Chord can also guide you to your destination via built-in navigation. To be clear, it’s handled by the app, but when your phone is connected to the bike, the directions will appear on the dot-matrix style display. This also means you can keep your handset safely in your pocket or bag – unlike some bikes that make your phone the bike’s computer, forcing it to remain exposed to the elements.

Photo by James Trew / Engadget

With the Carbon 1, I thought the option to play music through the built-in speaker was a novelty at best. The Chord hasn’t changed my mind either. Your music is going to sound pretty bad, but it’s a fun party trick nonetheless. Perhaps it’s more useful for podcasts and audiobooks? Just know that it’s something you can do (but not necessarily something you should). The voice control is a little more practical, but I rarely find a moment where I’d rather lean into the bike and talk to it instead of using the app’s controls.

Another interesting change from the Carbon 1 is that the smart box (formerly, smartbar) is no longer built into the bike. On the Chord it’s a separate unit that you attach manually, opening the door for some level of modularity. Urtopia hints at this in its press materials, suggesting that in the future you could upgrade to a different smart box with a better display, or new features which is an interesting concept if nothing else.

With just its second bike, Urtopia is showing a promising mix of consistency and growth (where needed). The Chord is a pretty enough bike that, if it’s to your taste, would serve as a good general purpose city e-bike. It’s not the most powerful, nor the most longevous in terms of range at this price point. But it’s possibly one of the most tech-laden and featureful if that’s what you’re looking for. Sometime's it feels like there's a little too much focus on the tech features and less on the ride itself. The fact that the door for feature upgrades further down the line, via the modular smart box, though, shows some welcome initiative on the company’s part. For the price, though, it's an easy recommendation if you love a quantified ride and rarely go off-road.

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.