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

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

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

Photo by James Trew / Engadget

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

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

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

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

Rode

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

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

The Wireless ME is available for $149 starting today.

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

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

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

Photo by James Trew / Engadget

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

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

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

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

Rode

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

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

The Wireless ME is available for $149 starting today.

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

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

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

Why do I need new hardware to listen to music?

Apple

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

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

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

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

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

What is a “DAC,” though?

Billy Steele / Engadget

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

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

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

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

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

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

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

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

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

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

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

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

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

Best for power and portability: AudioQuest Dragonfly Cobalt

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

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

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

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

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

Best for super high resolution: Fiio Q3

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

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

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

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

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

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

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

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

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

Best for desktop warriors: Focusrite Scarlett 2i2

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

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

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

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

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

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

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

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

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

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

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

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

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

James Trew / Engadget

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

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

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

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

James Trew / Engadget

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

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

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

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

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

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

Rode

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

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

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

The NT1 goes up for pre-order today. 

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

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

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

Allison Babka for CityBeat

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

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

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

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

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

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

Allison Babka for CityBeat

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Ever found yourself turning down the radio so you can focus on finding a parking spot? Music didn’t stop you seeing, but it was taking up some tangible mental resources. But what if you had a way to immediately make the music more calming? Or to change that distracting string section? That, effectively, is the promise of Aimi’s interactive music player app. It won’t help you find a parking spot, though, you’re on your own with that.

If the name Aimi sounds familiar, that’s because its self-described “generative music platform” has been available online for a while. What’s new is the mobile app, launching in beta today with 5,000 slots open globally. The mobile experience takes the endless mood-based music feeds from the Aimi website and adds the option to tweak them to your heart’s content. It’s not a full-bore music making app, more of a tailored soundtrack for when you want a certain vibe, or as Aimi calls them: Experiences. The basic app will be free, but unlocking the majority of those controls will cost $10 a month.

The app offers experiences with names such as Serenity, Flow, Electronica and Push. Each gives a clear hint at what the vibe is and there are 10 of them at launch. The slowest, Serenity, starts at 64 BPM and they ratchet up to Push’s time-honored throb of 128 BPM.

As a listener, you could just open one of the experiences, tap play and go about your business. The idea being that if what the app serves you up isn’t quite what you wanted, you can mash the shuffle button and it’ll reconfigure the track with new sounds and energy. Or maybe you liked it, so there’s a thumbs-up option to tell it “more of this please.” That’s the most basic use case, which is also the extent of the free tier – but you can take it a few steps further with a subscription.

For premium users, once you have an experience playing, swiping left will give much more detailed control. The first screen shows a cluster of circles, each one labeled after a musical part (Beats, FX, Bass and so on). Hold down one of these circles and, as long as it’s active, it’ll solo just that part. If you tap a circle, you’ll enter a sub menu where you can adjust the volume of that part along with a shuffle option for just that element and more thumbs up/down.

If you swipe left one more time, you’ll find a selection of sliders which can vary from experience to experience, but tend to include “Intensity,” “Progression,” “Vocals” and “Texture.” It’s here that you can tell the app to do things like add a little intensity, mix things up more often or deliver more/less vocals. The changes are usually quite subtle - it’s more re-adjusting than remixing. These settings are remembered, too, so the next time you fire up that experience it’ll be to your taste. Or, at least the taste you had the last time you listened to it.

All the music on offer here is of the electronic variety. And despite the relatively wide range of BPMs, there’s definitely a thread that runs through them. That’s to say, this isn’t genre-hopping in the sense that you might want a Hip Hop vibe before moving over to some Indie and back to EDM. It’s more like being at a large House club with different areas with different BPMs along with a few well-stocked chill out rooms.

According to the company, the musical loops in Aimi are created by a pool of over 150 artists including some big names like Carl Cox. Once the loops are fed into the platform, AI takes over to match the pitch, BPM and general vibe. Theoretically, you have an endless radio station of music you can interact with, and the library is set to keep growing over time. Let’s hope that includes some other genres. Hip Hop and anything with a breakbeat would instantly provide a shot of different energy here, for example. Likewise, something on the more acoustic side of things would at least provide an option for those less into electronic music.

Generative music has seen an increase of interest in recent years as technology has developed enough to make it more fluid than just burping up clips that are in time and key. Mostly this has been focused on the headspace area, meditative apps, concentration soundtracks and so on. Aimi’s main rivals here would include Endel ($15 a month) and Brain.fm ($7 a month).

While Aimi does occupy this space too, its emphasis on interactivity with its mood-based streams sets it apart. In fact, Aimi CEO, Edward Balassanian, sees it as a gateway for the musically curious. “One of the strengths of generative music is that we can use it to attract casual listeners with continuous music experiences and then introduce them to interactive music by letting them take ownership of their music experience.” he told Engadget.

Aimi

This hints at a broader plan. Right now there’s the linear player on Aimi.fm and the new interactive app launching today. In the future, there will also be Aimi Studio, which Balassanian says will be released this summer. “Once we get you hooked on interacting with music through our player, we want you to feel inspired to try making music using Aimi studio. Aimi studio will be offered in both basic and pro editions for everyone from aspiring amateurs to professionals.” he added.

I’m uncertain if this will appeal to users that use something like Note by Ableton or Maschine by Native Instruments. The actual amount of impact you can have on the music in Aimi is very limited as your effectively just giving nudges to the AI rather than being directly hands on. Likewise, the section of the app where you can solo parts isn’t immediate, this means if you were hoping to remix on the fly DJ-style by cutting the bass and beats before dropping them back in on the next phrase, it’s not really designed for that.

Likewise, sometimes you can find yourself distracted by the thing that’s meant to help you focus. When I tried the “Flow” stream, the first “idea” it presented was actually a bit irritating to me, so it served the opposite purpose. Of course, I could shuffle it to something more agreeable, but the irony of being taken out of the moment, even if just temporarily, was not wasted on me.

To that end, it’s hard to see where the interactive arm of Aimi excels, at least at launch. The genres, while varied, do overlap quite a bit. The control you have over the music is quite gentle in the scheme of things and feels more like fine-tuning than an actual creator tool. The core experience of listening to chill vibes is a great alternative to your tired Spotify playlist, but that part is free and has been available in some form for a while.

Balassanian says that even more experiences from more artists will be coming after launch and once the Studio app is released anyone will be able to make loops and upload them to the platform for users to enjoy. In the meantime, you can sign up for early beta access here and start configuring your own soundtrack today.

Keychon has been an ascending name in the mechanical keyboard world for a while now. The company strikes a good balance between features and price and it’s also not shy about releasing new models meaning whatever you’re after it likely has a solution. Unless you wanted a premium aluminum deck with a wireless option that is. Finally, that gap has been filled by the Q1 Pro - a flagship, fully customizable 75% keyboard complete with Bluetooth connectivity.

Surprising as it may seem, higher end, customizable keyboards often don’t offer wireless thanks to their tendency for metal housings. Keychron’s Q1 Pro, then, will be of great interest to those who want to fully configure their own keyboard but also want the convenience of Bluetooth.

As the name suggests, the Q1 Pro is heavily based on the original Q1 model which Keychron launched in late 2021. Like its predecessor, the Pro model features a gasket design (a double gasket in fact), hot-swappable switches and QMK/VIA compatibility (open source software for easy remapping of any key). There’s also the option of an aluminum rotary knob for things like volume control (or zoom, or brightness or whatever else you might want it for) and the obligatory RGB. As with all Keychron models, it’s also compatible with Mac, Windows and Android - or all three at the same time thanks to the option to connect to multiple Bluetooth devices.

We were big fans of the original Q1 which offered a relatively affordable entry point into the fully customizable keyboard world. And it’s a bit of a weird world at that, with configurations, price and availability varying wildly. Perhaps two of the higher profile competitors for the Q1 are the GMMK Pro (starting at $170 barebones, or $350 pre-built) and the recently released Sense75 from Drop (starting at $249 barebones, or $350 pre-built).

James Trew / Engadget

In a slight break from tradition, the Q1 Pro is being launched via Kickstarter. The benefit here being the chance to grab one at an early bird price. The barebones model is available for $174 if you already have your own switches and keycaps. Or, for $194 you can get the pre-assembled kit. Given that a set of keycaps or switches often cost more than $20 on their own, the complete kit does represent a pretty decent value.

Once you have everything setup, or out of the box if you go fully-assembled, Bluetooth pairing is merely a key-combo away. As noted earlier, you can connect the Q1 Pro to up to three devices of any type thanks to the switch around the back for Windows/Android and MacOS. There are even spare key caps in the box for the differing keys on Microsoft vs Apple layouts. Of course, if you want to connect over USB-C instead, that’s still an option.

Battery life will largely depend on how ham you go with the RGB. With no backlighting at all, Keychron claims you can expect about 300 hours of use on a full charge. If you’re demure with it, that number drops to 90. Keychron doesn’t give an estimate for hardcore full-power RGB but expect it to be less.

With the model Keychron sent for testing, the gasket design appears to have a bit more flex in it than the original Q1, but that doesn’t translate to a softer typing experience thankfully. The supplied red switches are comparable to Cherry reds in resistance, but of course you can choose whatever you want, in fact it’s encouraged. It’s hard to make a like-for-like comparison without having a rival product with the same switches and keycaps, but, overall, the Drop Sense75 and GMMK Pro feel a little stiffer on the gasket side of things resulting in a snappier type. As always, your mileage and preferences will vary.

Regardless, if you wanted a premium aluminum, customizable keyboard with Bluetooth connectivity, the Keychron Q1 Pro is likely your best (if not only) choice right now.

Humans, we’re a sociable bunch. To that end, we’re pre-programmed to develop technology that helps us stay connected with others. Sometimes, though, the connection can be with the technology itself. Enter Loona, the adorable pet robot that will either melt your heart or, at the very least, serve as a loyal smart home companion (or hopefully both).

Loona appears to be the exact halfway point between the adorableness of Anki’s Cozmo and Amazon’s high-end Astro homebot. There’s definitely a focus on younger users here, but kids of “all ages” might find themselves sucked in by her charms. Loona has apparently also been designed to interact well with any analog pets you may already have.

Armed with a 3D camera and edge sensors for navigating your home, Loona also has a regular camera for face detection and object recognition. There are four microphones that provide Loona the ability to locate you as you beckon her and touch sensors so she’ll lean into your head-strokes with eerily biological authenticity. At launch it’ll respond to a slew of verbal commands and gestures, and the company claims new ones will continuously be added. There will also be a graphical programming tool so you can create your own interactions and a community to share them with.

KEYi Robotics

One of the more endearing features is Loona’s expressive personality. Loona’s digital eyes are surprisingly articulate and feel like they are right out of a Disney movie. The company indicated that there could also be the option to add custom expressions and emotions further down the line.

Beyond being a digital pet, Loona can also double as a home security and monitoring system. The benefit being you can direct her around your abode and find where your IRL cat is hiding unlike static pet-cams where you (and I say this from experience) might ruin a weekend away driving back because you haven’t seen your cat appear for two whole days and you’re worried but it turns out she was just sleeping in one spot the entire time. With Loona, not a problem.

Loona was originally launched on Kickstarter securing over three million dollars in backing which, if nothing else, shows that there’s a lot of interest in this category. The robots are now shipping to backers with general availability on track for the end of this month at the company’s website where it will retail for $449. If you’re extra keen you can pick one up now via the Kickstarter page for $359.