Whenever someone asks “what’s the best microphone” the response is usually “well it depends what you’re recording.” Rode’s new VideoMic Go II, as the name suggests, wouldn’t be suitable for podcasting. Would it?

Very clearly, the VideoMic Go II was designed to sit atop a camera. That’s just a fact, but with USB and 3.5mm outputs and compatibility with Rode Connect – the company’s USB-friendly podcasting app – it turns out this lightweight, $99 mic could be more versatile than it first seems.

If you are looking for a mic for your DSLR, know that the VideoMic Go II has a cold shoe mount, the aforementioned 3.5mm out (which can also be used for monitoring) and it comes bundled with a Rycote shock mount and a windscreen in the box. There’s no secondary/safety/stereo recording here or on-mic gain control, but that’s normal for something in this price range.

Performance-wise, the sound is surprisingly rich for a mic of this size without sounding too “dead.” There’s no notable difference between the audio you get out of the USB port compared to the 3.5mm port bar a little variation in gain. When comparing it against Rode’s VideoMic Me and VideoMic NTG, the VideoMic Go II might well be my favorite of the bunch. It’s natural, focused with just the right amount of ambiance/sense of space.

Where the VideoMic Go II gets more interesting is how it performs in other use cases. When plugged into a computer and placed on a desk the VideoMic Go II sounds just as robust as far more expensive dynamic microphones. So much so it threw me for a moment.

Perhaps the best illustration of this is when I tested it against the $400 Shure SM7B and Rode’s own $99 NT USB Mini. Given that both of the Rodes in this test are condenser microphones and cost about the same, you might think those two would be the nearer match, but it turns out that the VideoMic Go II sounded much closer to the SM7B. This isn’t to say it’s as good as the SM7B (there’s a little more depth in the Shure and a touch more dynamic range perhaps) but given the disparity in price, it definitely wasn’t expected.

This similarity is further compounded when you consider that the different type of capsule – Rode’s condenser versus Shure’s dynamic – alone would typically give them a very different sound. You can hear all three microphones in the sample below. It starts with the Shure, then the VideoMic Go II and then the NT Mini. The transition between the first two is subtle, yet the last one is obvious. Oh, and the VideoMic Go II was about two inches further away from my mouth than the SM7B was.

Of course, this is just one test, in one scenario in one specific room. But for a quick comparison of what a $400 mic can do off the cuff compared to a $99 one, it’s a good starting point. Despite the lack of on-device controls, there are some configurable options via Rode Central. When connected to the app (mobile or desktop) you’ll have the option to tweak the gain level, apply a high pass filter / high-frequency boost and adjust the monitoring volume. It’s less convenient than physical on-mic controls, but still allows you some control over how it sounds or responds to different inputs. (If you're wondering, the audio above starts with the SM7B and switches to the VideoMic Go II at "two condenser microphones").

Given that Rode added compatibility for Connect, and the USB option makes it phone and tablet-friendly, suddenly the VideoMic Go II could very well be a good all-rounder for the price. A mic that has video chops but can also do double duty as a podcast mic (and, therefore an all-purpose computer mic) there appears to be a lot of bang for the veritable buck.

Of course, if you really do need something that records a safety channel, has physical variable gain controls or if XLR connectivity is a must, this isn’t the one to go for. But for most general creator uses? It finally might not entirely “depend on what you’re recording.”

Another year of restrictions means the excuses for not starting that podcast are surely drying up. If your last one was “I can’t find a USB mic I like,” then 512 Audio might be about to ruin your (procrastinator’s) day. The company is unveiling two USB microphones at CES this year along with a podcast-friendly audio interface.

If you do (or plan on doing) a lot of vocal work, the $119 Script microphone might be the one to consider. The vintage styling is based on Warm Audio’s WA-14 studio condenser microphone (512 Audio is a subsidiary of Warm). The Script is dual-pattern (Cardioid/Omni) and the dual 14mm capsules are tuned to vocal work, so the company claims. Thanks to its USB connection, the Script offers zero-latency monitoring via a headphone jack and onboard gain/mute controls.

Should you want a microphone that’s a little more versatile, then the $160 Tempest might be a better fit. Like the Script, there are onboard monitoring and volume controls. The Tempest also offers a larger, 34mm capsule, for those that want a more responsive sound. This model, too, is based on one of Warm’s existing microphones – specifically the WA 47Jr. Though we don’t know if these microphones are just USB versions of the ones they mimic or are simply visually inspired by them (at the very least, the WA14 offers more polar patterns than its 512 counterpart).

512 Audio

With both of the new microphones offering USB connectivity, you won’t need an interface to connect them to your PC, but 512 Audio is unveiling one of their own for those that already have XLR microphones and want to plug them into something a little more podcast friendly than a generic interface.

While there’s no pricing information at this time, the audio interface has two combo ports for the aforementioned XLR mics and or ¼-inch instruments. There’s also a 3.5mm input for phones and other compatible devices. Perfect for introducing a “caller” onto your show or simply for feeding in other audio sources as you see fit. There are two headphone outputs on the front, which is a definite perk for podcasters and even a mute button for the mics which is less common than you might think, and handy in a podcast scenario for talking off-air or avoiding coughs and other unwanted sounds.

Of all the above, the Tempest will be launching first, slated for March this year. The Script will be available in “spring” and the audio interface will come later this year.

Follow all of the latest news from CES 2022 right here!

Eargo has been reliably announcing a new model of its smart, near-invisible hearing aids at CES for the last few years now and 2022 is no exception with the introduction of the Eargo 6. As usual, the small black buds take the same completely in canal (CIC) form factor which is what allows them to remain almost entirely out of sight. The "new" stuff is on the inside.

The flagship feature with the Eargo 6 is called "Sound Adjust." No prizes for guessing what this does, but the company claims its proprietary algorithm can automatically sense your surroundings and the hearing aids will automatically optimize themselves to give you the best settings for it. Profiles are a fairly standard feature on most hearing aids, but automatic switching is usually something reserved for the pricier models, and they all do it with different levels of success, in my experience at least.

The difference here is that the Eargo 6 is much smaller than most of the other products that offer similar technologies. Being tiny is great, and the main selling point here, but it also means there's much less real estate to fill with sensors and chips. Regardless, Eargo seems to be figuring out clever ways to bring their offerings up to feature parity with their (physically and metaphorically) larger competition.

Of course, it wouldn't be CES 2022 without a few COVID-related influences. For the last two years, those with hearing loss have faced a new challenge: Conversing with people who are wearing a mask. Not only does this remove any visual feedback, it also muffles sound — a double blow for those struggling to understand you. As such, the company has introduced a "mask mode" that aims to resolve some of the changes in sound that face coverings create.

Other tweaks this time around include revised noise reduction with the company claims further reduces background noise allowing the voice to punch through. The Eargo 6 is also rated IPX7 for water resistance. This means they can be submerged for 30 minutes at a depth of one meter without water damage. In practical terms, this means you can probably leave them in while you shower or go for a quick swim. Or, more logically, you can get them a bit when while cleaning them.

As we're not physically at CES this year, we haven't been able to test them like we normally do, but if previous years are anything to go by the plucky little hearing aid is only getting smarter and more useful. As usual, the Eargo 6 is being sold direct to consumers and will retail for $2,950. In hearing aid terms that's about the going rate for higher-end models, though the company does offer financing options too.

Follow all of the latest news from CES 2022 right here!

Roland has been making inroads into the Pro AV space for a while. The AeroCaster VRC-01 is its latest hardware offering in this space with a focus on streamers and creators. The mini video-switching console operates almost entirely wirelessly and allows a multi-source video setup using just phones and laptops over WiFi or cellular. 

You'll need to connect the AeroCaster to an iPad to run the main mixing software, but all the other video inputs are wireless via either Roland's own AeroCaster Camera mobile app or laptop users can remote screen share via Chrome. In short, if you ever wanted to make a multi-cam podcast or music video, but don't want the headache of several dedicated cameras, AeroCaster will let you do it with the phones you might already have.

Roland has some pretty strong credentials in this space thanks to its V-series of Pro AV video switchers and mixers. The VRC-01 appears to be a more consumer-friendly option with a focus on Twitchers and YouTubers (though you can also stream to Facebook Live or any RTMP channel too). From the console you can switch cameras and mix audio in real time. There are two combo XLR inputs for pro-grade microphones or TRS/phone input along with some simple audio effects such as reverb and lip sync delay.

A lot of the above functionality was already possible via some of Roland's higher-end gear and its AeroCaster Switcher app, but the VRC-01 and new companion iPad app seem more streamlined and accessible. In many ways, it feels like the video-friendly sibling to the GO:Mixer Pro X with both offering "prosumer" features in a smaller, more affordable package. 

The VRC-O1 will be available in March and cost $295.

A new entrant to the true wireless headphone space you say? Sure, that might be a fairly common occurrence these days, but this one – Grell Audio – comes with some pretty strong heritage. Its founder, Axel Grell, is well known in the headphone industry for his extensive work at Sennheiser on some of the company’s most prestigious products. The TWS/1 is his first solo product under the Grell brand. Accordingly, we’re interested to see what the $200 wireless buds can do.

The TWS/1 has a modern look. The mostly circular design is only interrupted by a small, AirPod-like protuberance on each bud. Originally the plan was to have the outer casing entirely metal but physics and radio waves meant that some concessions (plastic parts) were needed. Overall, they maintain a premium feel that stands above that often found at this pricepoint. They visually remind me slightly of the Jabra Elite 75t, but a little lower profile.

In terms of fit, that slightly more streamlined design means you don’t feel like something is balancing in your ear which can sometimes happen with more rotund models. As per usual they come with a charging case that promises four full charges of the TWS/1. The buds themselves offer around 6 hours per charge which holds true in my experience with ANC activated. Curiously, the buds are placed in the case with the right one to the left and vice versa. I’m not sure why this would be, but it does take some remembering (you’ll soon be reminded as the buds don’t fit the other way around).

In a world of me-too products, it’s hard to stand out. The easiest differentiator is price, then sound quality and or additional/premium features. It seems Grell Audio has tried to tackle all three of these, and with general success, I would say.

The price point puts the TWS/1 in an unusual category. Many premium brands are landing in the $250+ zone while more affordable options, like Google’s second-gen Pixel Buds or the aforementioned Jabra’s live in the $150 area. Budget options, south of $100, are also increasingly more common. This, then, pitches the TWS/1 at the overlap between high-mid and low-premium. I would wager this is entirely intentional as feature set and build quality skew higher end, but the barebones packaging and more accessible price indicate a more mainstream audience.

James Trew / Engadget

As for sound quality, this is where things are a little more clear. In my testing, I was generally pleased with the default sound. It was perhaps a little on the thinner side for my personal preference with a slight weight on the lower end for a typically commercial sound. But Grell has partnered with SoundID – a third-party app that tunes select brands of headphones to your personal preference/hearing.

We’ve seen things like this before, most notably with Nura which takes this to a whole new level. SoundID is a little more understated in its approach. It still uses some form of hearing test, but rather than asking if you can hear certain tones, it simply plays you some music and asks “which do you prefer, A or B.” Once I completed this short test, the difference was night and day. With my own personal profile activated (it uploads to the headphones so it applies no matter what you are listening on), my usual mix of mid ‘10s indie and rave nonsense came alive.

I have a slight preference for dynamic range and beefier low and mid-high frequencies. At least, I presume I do because that was the biggest change in sound after completing the test and I instantly found them much more enjoyable. In the SoundID app, you can toggle between the default sound and your own profile and it really does make a huge difference. You don’t need the app to get good sound, but I’m going to guess that you’ll be happier with what it gives you.

Coincidentally, SoundID is also where you’ll get software updates for the TWS/1. I had one during my testing and it improved a few things including the slightly unresponsive touch controls. They’re still not reading my taps 1:1 but its about on par with most other touch-control buds I have used. Before the update, it was much more frustrating (or, maybe I just learned the technique?).

Those controls aren’t user-configurable, so you’re stuck with what Grell gives you. But, fortunately, that’s pretty much everything you’d want and without too many complicated tap or gesture combinations. Swiping forward or back on the left ear skips tracks, up or down on the right for volume, and so on. It was the single taps that I was having issues with which control play/pause on the right and transparency mode on the left – both of which are more annoying if not activated immediately.

This brings us on to smart(er) features. As mentioned, the TWS/1 has Active Noise Cancellation and Transparency mode – both of which are becoming increasingly standard. But there’s also a Noise Annoyance Reduction (NAR) mode. Grell explained to me during their initial announcement briefing that ANC is great for lower-frequency sustained noises, but doesn’t work as well for higher-frequency annoyances (think, crying baby on a plane). NAR is Grell’s own attempt at offering some reduction of these types of sound.

James Trew / Engadget

In practice, I found it hard to pinpoint the difference that NAR makes. With ANC, it’s easy to hear the low rumble of the road outside my apartment decrease in volume. It’s maybe not the most powerful ANC I have heard but it does the job. With NAR, whatever the ear equivalent of squinting is, proved to be a little more indeterminate. It does seem to slightly improve the listening experience in combination with ANC, but it’s also hard to tell how much of that was me willing it to do so. It’s an interesting concept though and one that I hope Grell can continue to improve over time.

Other small perks include a “mono” mode (listening with just one bud). This isn’t as common as it should be in my opinion and it adds more flexibility for those that want to maintain some spatial awareness without having to wear both buds. It’s also, obviously, how some people prefer to handle their calls, too (reliving the Bluetooth headset days).

Another small added bonus is wireless charging “compatibility.” It’s not something I was able to test, but the more things that support it the better? Or, at the very least, it’s a nice perk for those already invested in the wireless charging world.

All in, Grell has given price, features and sound quality enough consideration that the result is a promising first product from an emerging brand. The price point, in particular, strikes a good balance between signaling premium ambitions without putting it too far out of reach for mainstream casuals. I’d love to see some further advances on the NAR technology and the controls could still be more responsive, but if you’re looking for a fresh set of true wireless headphones that are customizable to your taste, these are a great place to start.

Earlier this week we gave a preview of the Analogue Pocket handheld retro gaming system. The modern take on ‘90s portable gaming ($220) offers so much more than just the ability to play most vintage portable games. It has built-in music making software, TV/video out via an accessory and, well many other things we wanted to do a proper dive on. We’ve had so much fun with this thing it’s very easy to recommend right up top. If you simply wanted to know if it’s a good gaming device, I can safely say that it is and thanks for stopping by. If you want to know more (and you should) then get comfortable as we’re going for a ride.

First, a little history. Analogue is often described as a “boutique” console manufacturer. It specializes in a very specific type of retro remake. Instead of building a small PC that can run emulators, Analogue’s FPGA “cores” allow it to mimic vintage consoles at the hardware level. The idea being, all games play as nature intended with none of the emulator quirks to contend with. The company’s early creations were more in the “how to spend it” category. This walnut Neo Geo, for example, or how about this slightly too-fancy NES (and the all-metal reboot).

More recently, Analogue’s Mega SG (Genesis) and Super NT (SNES) took a slightly more accessible approach, cementing the company’s place as the retro console maker de jour. The Pocket aims to build on this legacy with a focus on, somewhat obviously, gaming on the go. It’s also the first Analogue console to play carts from different retro brands.

At launch, it natively plays cartridges from any of the Game Boy variants. It’ll also play Game Gear cartridges with an adapter. Neo Geo Pocket Color, TurboExpress and Atari Lynx adapters are on the way.

Another key difference to most retro machines is that Analogue products are designed to play physical media, not ROMs (although you can sometimes find ways around that as the internet is ever industrious). This really is about doing the old school thing in a modern way with minimal adulteration. That said, the Pocket is compatible with flash carts (that can play ROMs from an SD card), but that’s a quirk of its fidelity – if it works on a Game Boy, it likely works here etc..

By extension, you can also use any of the original Game Boy accessories such as the GB Camera, printer and any titles that had extras such as rumble packs or gyro sensors. You can even connect the Pocket to an authentic Game Boy for multiplayer player fun. In short, all of Analogue’s consoles are functionally 1:1 reproductions of the hardware they honor, just with the Pocket it’s multiple systems in one.

There are, of course, some modern advances that are deemed useful enough to not distract from the authentic experience. For one, the Pocket has a backlit display. Something that didn’t make its way into a Game Boy until the Advance SP (although there was the Game Boy Light in Japan). The Pocket’s 3.5-inch screen is also bigger than the largest on any Nintendo GB handheld (2.9-inches on the Advance SP) and covered in modern Gorilla Glass. Then, of course, there are some modern tweaks such as “save states” and a variety of display presets to match the original hardware (including modes for different iterations of Game Boy).

James Trew / Engadget

What you won’t see here are endless submenus with the hyper specific settings that you tend to find in emulators (or their frontends) like RetroArch. It’s clear the goal with the Pocket is to remove as much user configuration as possible so you can plug in your game and go. Likewise, the Pocket’s connectivity is limited to the Game Boy link port, a headphone jack and an IR port for Game Boy Color (GBC) games that support it (such as Donkey Kong Country or Pokémon Crystal). That’s to say, there’s no touchscreen, no WiFi or any other such redundant jazzy features.

Alas, there’s also no video out, but this can be added with the Dock accessory ($99) which allows for Bluetooth/USB controller connectivity along with an HDMI port for connecting to a TV. Battery-wise, thankfully, it’s not a trip to Target for a big stash of AAAs. The 4,300 mAh cell is good for around six hours of play time and it charges over USB-C.

It’s pretty clear that the Pocket’s design was heavily inspired by the original dot-matrix Game Boy (aka DMG – that’s the iconic one pictured here) and GBC with its portrait configuration. Although one obvious difference is you’ll find four main buttons, which is curious as every system the Pocket imitates only had two – although some, like the Atari Lynx, do have additional system buttons. There are also (slightly spongy) shoulder buttons around the back which were introduced on the Game Boy Advance (GBA), along with “start” and “select” buttons at the bottom, with one more inbetween them that brings up the Analogue menu whatever you’re playing/doing.

Those extra thumb buttons make more sense when you take into account that Analogue has not only partnered with GB Studio — a popular drag-and-drop Game Boy game making tool — but has also added a dedicated spare FPGA for developers to tinker with and use for their own homebrews. How that gets used we’ll have to wait and see, but if you make games in GB Studio you can run them right off the Pocket’s SD card using a proprietary .pocket format. In short, the handheld is aiming to be a viable platform for indie titles made within the constraints of ‘90s era hardware.

Did I mention that it has music production chops, too? The Pocket comes with a version of Nanoloop — a lightweight but comprehensive music-making app for Game Boy — baked right in. Analogue even made cables specifically so you can connect it to desktop and MIDI sequencers. More on this later.

James Trew / Engadget

The above is a long way of saying that it’s obvious Analogue has put a lot of thought and care into making something that isn’t just another way to play Super Mario Land. The addition of tools for developers and an easy pathway to play indie creations give the Pocket one foot in the present. The addition of Nanoloop, likewise, gives it a broader appeal without breaking away from its retro authenticity.

So, you get it, it’s a clever little thing, but what does it play like? I won’t lie, when I inserted Tetris and powered the Pocket up I was, well, I was taken to the Analogue OS home screen. Right now it’s very simple with five menu options, of which, only three are currently available: Play Cartridge, Tools and Settings. The other two are Library and Memories which are currently grayed out until the first firmware update — which Analogue says is coming in a few weeks from publish time. There’s a lot to be excited about in Analogue OS, but for now it’s pretty straightforward, and I’ll flag the more interesting parts as they come.

Back on the home screen, tapping “Play Cartridge” suddenly teleported me to my secondary school in 1990. The Game Boy had just been released and a few people in my year had one. I still remember being fascinated by the weird green and black display and crunchy sound. The Pocket in its original DMG screen mode replicates this look with amazing accuracy. I have other retro handhelds, and the “authentic” green-and-black modes combined with a mishmash of resolutions and displays never look quite right. Even the fact that the Pocket has a backlight, which of course the first ever Game Boy never had, somehow doesn’t break the spell.

For example, the Pocket even replicates the tiny gaps between pixels on the DMG’s display. This means that the fist-pumping plumber in the top left of Super Mario Land’s home screen looks almost indistinguishable from how he did in 1989 (bar that light). My other handheld that runs a fork of RetroPie doesn’t have this level of fidelity. You can do all sorts of custom configurations to possibly come close, but that’s long and life is short. Pocket does it out of the box, no tweaking needed.

James Trew / Engadget

If you prefer your nostalgia hit to feel like other versions of the Game Boy, there are modes for those, too. Specifically the Game Boy Light and the Game Boy Pocket. There’s also Analogue’s own custom mode. What’s interesting is that if you place a GBA game into the Pocket, the choice of display modes changes to match. That’s to say, you’ll get the screen variants of that platform (Original LCD, SP 101) along with another custom Analogue mode specific to that system. As for the Game Gear, you’ll get Analogue mode, GG LCD mode and “GG LCD+” which is like the former, with just a shade more pop in its colors.

Analogue’s own display modes tend to be more modern in style with higher color saturation and no pixel grid. Beyond the presets there are some controls for customization within the menus. These are done by system, and include desaturation controls, sharpness and a frame blending toggle (to mimic the original hardware’s slow responsiveness). Though they are nowhere near as extensive as on most software emulators, and I feel it’s all the better for it. I am not against deep levels of control, but navigating RetroArch’s deep menus has never been my kind of fun.

One slight quirk here is that when you change the volume during play, you’ll see a corresponding plus or minus sign float over the left side for a second or so. But if the Pocket is in certain display modes, like Analogue’s own custom preset, or any game with a white background, you can’t see it because it’s showing white on white. It doesn’t change anything, but it did catch me out for a moment wondering if the volume control wasn’t working.

Thanks to the square display, original Game Boy games perfectly fill the space available and, not coincidentally, the Pocket’s display is exactly 10x the resolution of the original on each axis. This means upscaling is really just a case of adding a zero onto the end of the number of pixels being displayed. Specifically it’s an 1600x1440, 615 ppi LCD.

This sort of detail is almost as important (maybe as important) as running emulation at the hardware level rather than software. Retro gaming has a storied history of using computational and display limitations for creative effect. If you’ve ever played old games on a modern emulator and display, you may have noticed something was a bit off; that retro “feel” wasn’t there. That’s why many emulators offer things like scanlines — because they soften square edges and make things look a bit more authentic.

James Trew / Engadget

The problem is, scanlines are a bit of a blunt tool. Analogue claims it went out of its way to mimic original displays, “quirks” and all. And from what I can tell, that includes things like response time and refresh rates.

An example of this is found among the GBA screens. Despite being a big step up in the number of colors it could display at one time (512 up from the GBC’s 56) the screen still didn’t have a light until later iterations. This gave the games on the early GBAs a distinct look and you can activate a mode that replicates that, if that’s your preference. Or go more modern if it’s not. The benefit to this will largely depend on the game you are playing, as some lean into the limitations of the hardware more than others, but it feels much more authentic than regular old scanlines to me in terms of juicing that vintage vibe.

I, personally, love the original screen modes. They feel like scanlines done right. The start screen for Sonic on the Game Gear, for example, somehow seems more detailed when viewed in the original GG LCD mode. Our hedgehog’s wagging finger seems just that little more detailed and the font more “3D” – for lack of a better word.

In terms of game compatibility, theoretically, there should be very few titles that worked on original hardware that don’t work here, if any. I only had 10 or so games to test with, but the only things that were problematic were a US version of Mario Kart Super Circuit and Mickey Mouse - Castle of Illusion on the Game Gear which loads fine but crops off some of the bottom of the game.

The European version of Mario Kart I had worked just fine, but the US one seemed to stall after loading. Analogue suggested I give that cart a good clean, which I did, several times, but I never got it to work despite it working instantly on my GBA. It’s clear that there’s no reason it shouldn’t work, and a company rep confirmed their copy works their end, but such are the quirks of very old cartridges, perhaps there’s just something off with the pins on that one copy that doesn’t sit right on the Pocket. As for Mickey? Analogue says that’s to do with how that particular game was programmed and there’s already a fix coming in new firmware.

The only other thing that didn’t work was a very unofficial “108 games in one” multicart. That also seemed to at least open but then just hung. This also worked in original hardware, but again… it’s hard to know if it’s just a physical quirk (pins aligning etc) or something else.

James Trew / Engadget

What did work was the Game Boy Camera. It’s always surprising to me that cartridges that relied on watch batteries for saves would still work today, but both the camera and every other game I had with a cell in it seemed to still be going strong with saves intact. Either way, the Game Boy camera is a delight on the Pocket, that backlight really helps. It remains pretty awful on vintage hardware. Analogue also tells me that in the forthcoming erosion v1.1 firmware update, you’ll be able to save your Game Boy Camera photos directly to the Pocket’s SD card. This is actually very cool indeed given that, right now, extracting images from it is kinda a pain in the butt and involves either getting hacky or spending out on something like a ROM dumping cart.

For anything other than the Game Boys, you’ll need a separate $30 adapter to play. Right now the only one available is the aforementioned Game Gear one. I won’t lie, with a game inside it does look a little inelegant, with the cart popping right over the top of the Pocket. I was only able to test the two games on it, and one is the weirdly-cropped Mickey Mouse, but it was still playable and just as much fun (and infuriating) as I remembered the first time around. The fact you can’t jump on top of and ride those tree stumps still doesn’t sit right with me all these years later.

Of course, three generations of Game Boy plus the Game Gear already opens up a pretty substantial library but once the adapters for the Atari Lynx, the Neo Geo Pocket and the PC Engine/TurboGrafx-16 arrive there’s a whole lot of fun to be had with this one tiny console. Notably, the last system in that list is technically a home console and not a handheld. So there’s more than just portable gaming here. The TurboExpress just happened to take the same game cards as the home-based PC Engine. Such is the curious world of retro gaming.

Analogue OS

I already mentioned the basics of the Pocket’s native operating system. Right now, it’s mostly limited to playing cartridges and some high-level system tweaks. You’ll find some video and audio options and a few system-specific settings (like playing GBC games in GBA mode). Right now, even save states are barely supported. The version of the OS I tested has a quick-and-dirty save/load state option and that’s it. Analogue claims, however, that version 1.1 “will allow you to do everything imaginable with save states.”

James Trew / Engadget

The more intriguing feature that’s currently unavailable is “Library.” On its website, the company describes Analogue OS as “purpose-built for exploring and celebrating all of video game history.” It claims to offer the option to install the artwork for every single game it could play, full save states, game “playlists” and more.

That “more” includes the ability to develop custom FPGA “cores” so you can, within limits, turn the Pocket into other retro systems, although there are plenty of caveats and also, a high level of skill in this area is involved. A skill I definitely do not have. Fortunately, there’s a strong community around Analogue and its open source rival MiSTer. Both pull from the same family of FPGA chips so the likelihood of cool stuff coming further down the line is very high.

Though it’s not clear how playlists or the game library will work, given that you have to have the cartridge inserted into the Pocket to play a game, any software shortcut for that seems a little redundant, at least for now – I’m interested to see how it’s actually implemented. Where this will really come into its own, I suspect, is in making the Pocket experience more holistic and complete. Having access to information and data about the entire world of retro gaming in your hands along with the ability to share playlists and game progress will definitely add a robust layer to the platform. Either way, for now there really does seem to be a lot of exciting new features coming, yet sadly we can’t test them until that next firmware update gets released.

The Dock and other accessories

While the Pocket is all about reviving the handheld magic and all its portability, Analogue made a dock that adds a few important features. Most obviously, it allows you to play your favorite retro games on the biggest screen in the house over HDMI. I won’t lie, it wasn’t quite the seamless experience I was expecting. First, I needed to update the firmware. That’s normal given this was an early test unit, but I still had a few occasions where I had to do things in a certain order for it to take.

Once I had it working though, it’s pretty straightforward. The first thing you’ll notice is how pixelated things are. No fault of the Pocket’s obviously. This is just what happens when you upscale a game made for a 2.5-inch display and run in on a 55-inch modern TV. It’s still perfectly playable though and adds a nice alternative playing option.

James Trew / Engadget

There are some other important benefits to the dock. Not only can you add USB controllers as mentioned, you can also connect Bluetooth and 2.4g controllers. This opens up the possibility of four players where GB Studio titles developed for third-party FPGA cores support it. Given there are only two USB ports on the dock, you’ll need two wireless controllers as well to achieve this. Though it appears you could use four Bluetooth ones at the same time (but support for 2.4g controllers tops out at two).

Right now, you’ll either need a USB controller with a long cable or one of the officially supported 8Bitdo wireless controllers (Pro 2, M30 and the Arcade Stick). PS4 and Switch Pro controllers will also work. More options will be supported in that all important 1.1 update (SN30 Pro, PCE and so on).

That said, I was able to pair an SN30 controller today and it worked just fine. I also had success with a very old, very generic Xbox controller, so it seems support is there, perhaps they are just ironing out some kinks.

One final thing I should note is that when playing via the Dock, most of the display modes become inactive and you’re shuttled onto what appears to be the Analogue preset by default. Analogue’s home consoles to date have come with extensive options for filtering, resizing, adding faux scanlines and the like when playing on a modern TV, so it would be good to see a similar suite of options come to the Dock.

Multiplayer

There’s an unsung benefit to imitating a system at the resistor level via FPGA – you can connect the Pocket to original Game Boys for multiplayer fun. This is no small thing. Modern software emulators allow for online multiplayer on many systems (usually with Netplay), but often this falls apart for handhelds. The need for a cable back in the day made it quite a lot harder to trick a game into thinking it’s connected to another “machine.” There are some workarounds, but they aren’t always so elegant or authentic (half the magic with handhelds is your own private screen).

With the Pocket, you can literally just plug it right into another Game Boy, if you have the right cable. The port on the Pocket matches that of the Game Boy Pocket (GBP) and onward. That’s to say, if you had a GBC and two copies of Tetris you can use the original Nintendo link cable and it should work. If you don’t happen to have the original cable you can buy Pocket’s own do-it-all link cable ($16). The only two models that aren’t instantly compatible are the DMG and the Micro.

I tested out the following scenarios using Analogue’s own cable: Pocket GBC and Pocket to GBA. All worked perfectly. Even GBA games that support Single Pak two player (only one copy of the game needed) work. Mario Kart Super Circuit is one such title and the experience is just like the old days – just a little bit of waiting for the game to setup and you’re off to the proverbial races. Two player Tetris was as fun as it ever was and I might just have to buy another one of these things as you can, of course, also just connect two Analogue Pockets together, too.

James Trew / Engadget

Nanoloop

It’s beyond the scope of this review to give a full breakdown of what Nanoloop is, but if you’ve ever seen (or heard) music made/performed on a Game Boy, this humble app is likely running the show (or LSDJ, but they are both conceptually similar).

A version of Nanoloop is built right into the Pocket’s OS and it’s not just a nice add-on feature. This is evidenced by Analogue selling no less than four different cables (420 each) that allow you to connect Nanoloop on the Pocket to external MIDI hardware, Desktop music MIDI software, other Pockets and hardware with audio sync (such as Korg’s line of Volcas or Teenage Engineering’s Pocket Operators).

I won’t lie, if you’re not familiar with music sequencing, the learning curve here is steep. Add into that the limited sonic capabilities of the Game Boy and it’s hard to eke something musical out of the app. At least at first. Persevere, though, and you might just find that Nanoloop is something of a stealth addiction – certainly it’s a great value add that I really hope draws in more people to the platform. Given that you can pipe out the audio to headphones or a dedicated speaker via the headphone port it’s not just a time sink, you can be annoying your friends and neighbors in no time.

Wrap up

James Trew / Engadget

If you’ve got this far, then there’s a good chance that, like me, you’re pretty excited about the Pocket. For casuals, $220 to play games you might already own (or worse, have to navigate the second hand market to buy) might not quite be the value proposition you were looking for. And that’s fine, Pocket isn’t aimed at casuals. Pocket is for those that love, live and breathe retro gaming and who want the absolute best experience possible.

For handheld gaming, right now, Pocket is that best experience. Absolutely hands down, no doubt about it. Everything from start to finish is as authentic as it can be without being needlessly pedantic (like not having a backlight for DMG/GBC games etc.). The experience is further elevated by select modern concessions. The aforementioned light, the curated display presets and the smart features in the operating system to mention a few.

The fact that Analogue added in some complementary additions, such as that spare FPGA core and the tight support for GB Studio only serves to reassure me that the Pocket will just get better with time. There are, of course, a few areas for improvement. The shoulder buttons aren’t the best. Some of the display modes obscure on-screen messages at times. The adapters look a little goofy with a game in them. But these are details. And detail is, apparently, what Analogue does best. And perhaps the bigger detail to be concerned about is getting yourself a spot in line. Orders just reopened, but already demand has been so high that you likely won’t get one until 2023.

Far too long ago (for our impatient souls), boutique console maker, Analogue, teased something exciting. A retro handheld that mimicked multiple classic systems, including: All the Game Boys, the Sega Game Gear, the Neo Geo Pocket and the Atari Lynx. Oh and more recently announced: the TurboExpress, too. In other good news, Analogue also just announced that orders for the Pocket will open again on December 14th (tomorrow). The slightly less good news is that at $220, it'll cost $20 more than originally planned, but you can blame the virus for that and its impact on supply chains.

Finally, it’s here and it’s… still just as exciting. So much so that the short time I've had with the Pocket isn't enough to give it the deep dive review it deserves. You have to remember, this thing not only plays old games from original cartridges. It does so using a party trick called field-programmable gate arrays (or FPGA). All you need to know is that FPGAs effectively mimic old consoles at the hardware level. When you plug in a game, it thinks it’s in an original Game Boy (or whichever system for the relevant adapter you might be using). Couple that with a display custom-designed to replicate vintage screens, quirks and all, and this has all the ingredients to be the most authentic retro handheld you can find. Our early testing with Game Boy (original) and Game Boy Advance games indicates this really is one of the most authentic experiences you can find.

Pretty much the moment you pick this thing up you know you’re in for a treat. If the original Game Boy had been released today with a Scandinavian design, this is what it would look like. The clean lines and monochrome aesthetic tell you this is all about the game; there are no garish colors of cliche nods to the '90s here. Just one dash of color on the left-hand side for the power button and that’s as flashy as things get.

The general layout broadly matches the first-gen and Game Boy color, with the screen up top and controls underneath. Though there are four thumb buttons instead of two as you’ll be able to create games for this yourself either with GB Studio or via the spare FPGA core Analogue added just for developers. There are shoulder buttons, too, as per the Game Boy advance.

Fortunately, the display is thoroughly modern and not like the squinty, if much loved, one from back in 1989. It’s also handily 10 times the resolution on both axes so it can serve up pixel-perfect renditions of your favorite original Game Boy titles. The way it reproduces original Game Boy games is quite remarkable.

Turn the Pocket on and the minimalist interface leads you straight to the good stuff: Playing games.

I won’t lie, firing up Tetris for the first time and changing the Pockets display mode to the original green-and-black game boy mode was quite the dash of nostalgia. I’ve played Game Boy games on several “modern” handhelds and none of them looked like this. Even the pixel grid of the original is here, the motion blur (if you want it), the sound. Everything felt just as it did all those years ago.

The same goes for Game Boy Advance games. If you ever owned the first model of GBA, you’ll (painfully) remember that it still didn’t have a lit screen. The Pocket does, but everything else matches, including a preset for that slight washed-out look that comes with just colors on a non-illuminated LCD. You can, of course, choose a more modern display mode if you like, but purists are going to love the attention to detail here.

The authenticity doesn’t stop at the fidelity of the games. The “link” port on the Pocket happens to be the same as the one found on the Game Boy Color and onwards. That means if you have the original hardware (or another Pocket) you can play with friends just like you would have back in the proverbial day. I do have the original hardware, and we’re testing those features right now which you’ll see in our full review.

In terms of compatibility, so far the only glitch we've had is with a very unofficial Game Boy Advance multicart, everything else has worked a charm — including fund stuff like the Game Boy Camera. The same goes for Game Gear titles, which is the only other platform we can try right now.

There’s so much more to cover here we kinda can’t wait to show you it all. There’s the dock accessory for playing on a TV with real controllers, there’s the aforementioned music-making app, there’s Analogue’s own operating system which hides more than a few perks and then there are the adapters for all the other consoles.

For now, we’re excited to say that the Pocket appears to deliver on its key promises. The hardware feels fantastic and we keep going back for more Tetris even when it's way past our bedtime. You’ll just have to wait a few more days for our comprehensive review.

The electrification of the bicycle has historically meant just that: A bike, but with an electric motor. You might find some other smart conveniences on higher-end models, but "less is more" has usually been the way. Urtopia, the latest e-bike brand from China, has other ideas. Its debut ride is, on paper, one of the most tech-heavy bikes we’ve seen. The spec sheet reads more like a phone’s than a next-gen fixie.

For example, beyond the 250W hub motor with three levels of riding assist (and an estimated 30-80 mile range), there’s an integrated dot-matrix display, a fingerprint reader, GPS, 4G (via eSIM), mmWave sensors for vehicle detection, an integrated alarm and, well… the list goes on.

The bike itself has a striking aesthetic that doesn’t bother to hide the fact that this is possibly the most technologically advanced model you’ll see this year. The frame was designed by Mathis Heller who has experience with BMW and IKEA among others, and it’s pure curves and racing lines. The stealth bomber look is further enhanced with all the cables hidden from view inside the frame. The Urtopia is pitched as a city bike and while the (removable) battery isn’t overly obvious, there’s no doubt to even the most casual of glances that you’re not wielding a regular analog pedaller.

When this thing arrived, I was dreading putting it together. Previous experience has taught me that while not complex, you’ll want to set aside some time (and space) to get things set up. Turns out, the prototype model I tested only really needed the front wheel inserted and the tires pumped and I was good to go.

James Trew / Engadget

The obvious draw here for gadget fans will be the “smartbar” — an onboard computer built right into the handlebars. The dot matrix display is the centerpiece of the bike and only dials up that “bike from the future” vibe. On the right-hand side where the bell would usually be is the fingerprint reader which interacts with the computer in a few ways (it’s also a digital bell). The left-hand side houses the four-way D-pad which is where you change modes and settings along with powering the bike on (but not off, more on that later).

Despite that long list of smart features, not all of them were available to test on the prototype I was sent. The hardware for the mmWave sensors is there, but there’s no way to activate it. The GPS and eSIM require the companion app to work and that’s not ready yet also. Sadly, those are some very interesting features we’ll have to wait and see on, but most everything else was present and correct.

Before the fun stuff, the basic e-bike functionality (power/speeds/range etc.) appears to be on par with other hub-motor bikes I’ve tried. For example, I recently tested the Tenways city bike, which has a 250W battery and motor compared to the Urtopia’s 360Wh cell. But both have 250W torque-based brushless hub motors and the same Gates carbon belt.

Things get more exciting once you turn the bike on. You’ll be greeted with a wooshing sound from the speaker in the smartbar and the company logo appearing on the display before defaulting back to the speedometer. I am informed that some of the sounds will be user-configurable and I hope that includes the option to turn them off. Before you ride, you’ll want to familiarize yourself with the controls. Up and down on the D-pad will cycle through the assistance levels: Pedal mode, Eco, Comfort and Sport (there’s also a “Turbo” mode which is akin to a “throttle” mode).

James Trew / Engadget

Tap left or right, and you’ll be presented with turn signals projected on the ground (these also remain on when the lights are on but flash when you initiate a turn). To switch the actual lights on, however, involves speaking to the bike — there’s no manual control, only voice.

This is where things get a little goofy. Urtopia warns in its press materials that the voice recognition system hasn’t been fully “trained.” Yet, for me, it worked perfectly. Perhaps they only trained it on dull-voiced Britons? Anyway, to turn the lights on you’ll need to place a digit on the fingerprint reader and wait for the face icon to appear on the screen letting you know you can issue your command like some sort of Belgian Michael Knight. It’s cool but I’d still like a physical switch so that I don’t have to talk to my bike in public, not least because when you’re riding, it’s harder for the smartbar to hear your voice thanks to the rustling wind, etc. The result is you either have to stop for a second or lean into the handlebars as you go, neither is very elegant.

The list of things you can currently control with your voice includes: Change speed mode, lock the bike, indicate a turn and change the smartbar’s volume. All of those, bar the volume (and lights) have physical controls too. It’s a cute idea and presents a hands-free option, but in practice, I do wonder how useful it is over a nice button you can mash.

Another feature that feels like technology doesn’t necessarily improve is the bell. On this bike it’s built into the fingerprint reader. A long press activates voice recognition, a short press will emit a digital “ring ring.” It works fine, but it’s not as responsive as a physical bell would be. I had times where I was approaching someone from behind and wanted to alert them to my presence, only for the bell to sound half a second after I passed them. Other times it took two or three tries for it to even trigger.

James Trew / Engadget

The experience with the alarm also needs a little smoothing out. I love the idea that I can leave the bike “locked” and if anyone moves it, it’ll issue an audible alarm. The problem is, the Urtopia will do this any time it’s locked. This might seem fine until you learn that “locked” is basically “standby” and the bike will be in this mode as soon as you connect the battery. So if you put the battery in and then start wheeling the bike out the front door, the alarm will sound.

There’s an easy fix for this, but also not entirely helpful. Simply turn the bike on and that will disable the alarm. In fairness, this is a quirk of it being a prototype. Production models will allow you to disable the alarm with the fingerprint sensor or the companion app, but this isn’t something I could test. It’s worth mentioning that, right now, there’s no actual way to turn the bike off other than by removing the battery, so fingers crossed these are some kinks that can be ironed out by launch. I asked a company representative if this was the plan and he confirmed that it was.

So, tech aside, what does this thing ride like? The sitting position puts you leaning forward in more of a racer pose than a typical town bike where you might be more upright. It’s comfortable though, even after mid to long rides (the longest I managed was 11 miles but I was up for more) although the Velo saddle could be a little easier on the butt — it’s fairly hard and doesn’t appear to be gel-lined.

In pedal mode, there’s no noticeable resistance from the motor as expected with a hub of this type. At 13Kg/30 pounds, it’s pretty light for an e-bike — mostly thanks to the carbon fiber body. This means if you don’t want to use the battery it’s still a functional regular bike. Tap up on the D-pad though and things get fun real quick. Like most e-bikes, the Urtopia is limited on its power assistance based on territories. The US version tops out at 20 MPH before you’re on your own and the EU version will cap out at 16 MPH of electric assistance.

James Trew / Engadget

The three power modes all feel pretty fast. That’s to say, even “eco” mode will help you along nicely. Step up to Comfort mode and you probably have nearly all the power you need to get where you’re going and have a good balance of exercise and assistance. In Sport mode, this thing feels really quite fast despite the standard limitations. I often found myself dropping back down to Comfort mode when other humans were near as it can feel quite lively — in a good way.

If you really are feeling like chilling out and letting the bike do all the work, there’s also that Turbo mode. Long press Up on the D-pad and even the lightest of pedaling will soon get you to 20mph. Given the racey aesthetic and the forward seating position, this is a lot of fun for not a lot of effort.

With that in mind, I should mention the range. Urtopia claims you should be good for anything between 30 and 80 assisted miles. This will obviously depend on the terrain and which power mode you’re in, and it’s quite a wide estimate. I haven’t run the battery down yet, but the indicator on the smartbar did seem to get quite low even on a 10-mile ride. It’s hard to know if this is a prototype quirk or just that the battery is draining fast (which, again, could be something that changes in final hardware with final firmware? Hard to know).

This is why I saved the section on GPS and the 4G connectivity until now. One of the more interesting selling points here for me is that you will be able to track and locate the bike on a map at almost any time. The company tells me it plans to offer data bundles for the 4G connectivity for about $30 a year — which seems pretty reasonable for the peace of mind of being able to locate your bike anywhere if it were to go missing. My question is… what impact might this have on the battery if it’s pinging GPS and running 4G while idle? Alas, a question I can’t answer until we get to try the final model.

The same question goes for the mmWave sensors. Another thing I am currently unable to test.

James Trew / Engadget

What I do know is that as the bike is right now, it’s incredibly fun to ride and thanks to the weight, fairly easy to handle (I live in a fifth-floor apartment, so wrangling it into the small elevator is thankfully more manageable). The techno styling might not be to everyone’s taste, but I’m quite fond of it. And most importantly, it’s nice to see something so tech-forward, even if some of the headline features weren’t ready. I am eager to try them once they are and after speaking with the company I got the sense there is more to come. I jokingly suggested they should allow music through the smartbar speaker (the bike has Bluetooth) and they suggested that was possible as are the required OTA updates to deliver such new features.

Right now, the Urtopia is available for pre-order via Indiegogo. As such, the standard caveats apply, but given how close to final the prototype I have is, it doesn’t seem like there’s any more development to be done, just some fine-tuning on those remaining features. If you do pre-order you’ll be able to pick one up for $2,000 which is a really competitive price even for the bike without those extra features enabled. According to the campaign, that price will almost double once it goes to retail, so if you’re taken by what you see, there’s a decent incentive to get on board sooner rather than later.

Between 2016 and 2019, retro gaming had a moment. I mean anothermoment. A very specific one where gaming’s greatest all released “mini” versions of their most iconic consoles. NES? Yep. SNES? Sure. Genesis? You bet and, of course, Sony, SNK, Konami and even Commodore (sorta) got in on the trend too.

Then there was Evercade in 2020 — a refreshingly different take on the new-but-old console idea. Instead of a “mini” version of vintage hardware, it was a new handheld that took cartridges. Each cartridge contained a collection of classic games from different developers. I enjoyed it when I reviewed it.

The idea of potentially unlimited games through actual cartridges was both clever and brave (retro gamers aren’t so known for paying for titles, especially the lesser-known “gems” that Evercade was able to license). Either way, the idea must have caught on as the company soon revealed plans for a more traditional home console version. It’s finally here and it brings a few interesting perks over its handheld sibling.

The Evercade VS (as the $99 system is called) shares the same cartridge format as the handheld, so you won’t need to re-buy anything. In fact, you can play on one, save your game and pick it up on the other (just like you’d hope, to be fair). It’s worth mentioning that two titles (both Namco collections) are only compatible with the handheld due to licensing issues.

James Trew / Engadget

There are other perks to the home-based console, too. Most notably support for multiplayer (up to four players where games support it), WiFi for over-the-air updates and a jazzy new interface. Oh, and the VS can hold two cartridges at a time, meaning you can be working on one game and leave it there while you play another, or simply just have more games to choose from on your home screen at any one time — handy given that every single cartridge Evercade offers is a multicart. The carts are even hot-swappable so you don’t need to restart the system, just slot a new one right in and away you go.

As is tradition with this new wave of retro home consoles, the VS is small and light. So light, you’ll definitely want to make sure your HDMI cable has some slack in it, else it’ll lift the VS off the ground or pull it back behind your TV. The good news is that almost any USB port will power it. My not-very-good seven year-old LG TV can easily power the VS through its USB ports meaning I don’t have to occupy another outlet.

The VS looks like a direct relative of the original Evercade with the same vintage white and red decals with a dash of gray here and there for buttons. One nice little touch is the NES-style “flap” that covers the cartridge slots. This does mean you don’t get the old-school vibes of having a cartridge poking out the top, but at least your games are safely hidden from the elements. But homages to old consoles like that seem to matter to fans of the classics. It weirdly matters a lot. Even if that’s the laborious ritual of having to get off the couch to change the games or power it down. Nostalgia isn’t always about the good things.

Fire the VS up and you’ll be presented with a Netflix-like menu of all the titles on whatever cartridges are inserted. The handheld, with its limited screen size, had you flip through each title one by one. Here, they’re laid out in rows with full cover art. Click through and you’ll be presented a little more info about the game and its controls along with the option to play it (naturally) or pick up where you left off with your most recent save.

Blaze

Evercade has tried to strike a balance between modern features and retro authenticity. Save states are one modern concession but most other things — such as cheat codes or in-game recording — are absent. The same goes for the visual look and feel. Under the settings menu, you have three display options: Original Ratio, Pixel Perfect and Full Screen. It’s always nice to have options as modern TVs are very different to what you might have plugged the original hardware into.

You can, of course, add scanlines (if you must). There are also some options for different themes and backgrounds etc. But all-told the menu is simple and clear and all the better for it.

When the handheld launched, the library of cartridges and games was decent but modest. There were collections from mainstays like Atari, Namco and Interplay. These held some classics like Pac-Man, Earthworm Jim and Crystal Castles. Then there were bundles from newer developers that have scooped up various IPs over the years. These tend to hold more “hidden gems” like Piko’s Dragon View (a solid RPG first published by Kemco). In fact the VS comes bundled with two of these collections to get you going (one from Data East and one from Technos).

Along with these well-known and lesser-known golden oldies are some collections of new 8- and 16-bit games. The net result is that the Evercade had the foundations to become something of an all-inclusive retro experience with new and old titles side-by-side. Now, with the Evercade VS, the company has added a new line of arcade-first collections denoted by their purple (rather than red) packaging. Here you’ll find button-mashers like Double Dragon 2 and Bad Dudes vs DragonNinja to further round out the library.

James Trew / Engadget

One intriguing option in the menu is “Secret.” Here you’ll be asked to enter a code. What the code/s is/are is, well, a secret, but one can presume it unlocks some extra games or content. Along the same theme, there are hidden games on the console itself a-la Snail Maze on the Sega Master System.

And… there are more things to unlock, too. Evercade has hinted that certain cartridge combinations, when inserted together, will unlock hidden titles. I was able to find two such secret games with the cartridges I have here, and there are definitely more. I won’t spoil things by saying exactly how you find them, but the UI will let you know. It’s subtle though.

Each cartridge says how many games are in the collection on the front, so if both have 10, the UI might say 21. Then you might have to check the back of the box to find which game that’s now in your list isn’t officially mentioned on either cartridge’s box. Thanks to the VS’s WiFi connection, this is theoretically something that can be expanded over time, too. A nice, fun touch nonetheless — especially for collectors.

James Trew / Engadget

One minor nitpick might be the controller: Your mileage may vary due to different physiology, but it isn’t my favorite. The general design is fine and comfortable, but it doesn’t feel quite as ergonomic as the handheld or other controllers to me. Also the in-game menu button doubles as the pause button, which can be a little confusing if, like me, you find yourself reaching for Start.

On the plus side, there are now four shoulder buttons instead of the handheld’s two and the cables are plenty long enough to reach across most living rooms. You can, of course, use the handheld as an extra controller, but it needs a specific cable — I tried the USB cable that came in the box and, no dice. That cable is about $10, while an additional controller is about $20, so it’s worth weighing up the benefit before deciding which way to go. The VS also supports basically any standard USB controller, so if you have one laying around that you like, you can use that at the expense of retro authenticity.

All in all, the Evercade VS is a pleasant surprise. The cartridge-based model will always be appealing to some and a deterrent to others. But for those that love rarities and a good dollop of nostalgia, the Evercade ecosystem is shaping up to be more than just a gimmick. With the recent wave of new indie games also making it to the platform it could find itself being a vibrant platform for new games, too. One where indie developers can not only enjoy seeing their games have a physical release, but find new audiences, and that’s never a bad thing.

What if I told you that a graphics card could be the quickest way to improve your livestream or podcast audio? It sounds counterintuitive, but think about it: A GPU often has an extreme amount of processing power sitting idle, so why not use that redundant hardware for other things?

Fortunately, NVIDIA is way ahead of us, and has already harnessed the potential of its own GPUs to do things beyond, well, graphics. For example, you might remember RTX Voice, which as the name implies, is a tool for upping your microphone game. Then, it quietly released Broadcast — a more comprehensive tool aimed squarely at streamers and content creators. Both offer great audio enhancement features, but we’ll focus on Broadcast here as that has effectively (though not entirely) replaced RTX Voice.

Right up the top, I should set some expectations. While Broadcast offers some helpful tools for all streamers, the real benefit is for those with more entry-level gear. For example, if you have something like a Blue Yeti and an older webcam you’re going to get more out of this tool than someone with a Shure SM7B and a Sony A7.

Broadcast specifically “uses Tensor Cores on NVIDIA RTX GPUs to accelerate AI calculations so you can game, livestream and run AI networks at the same time.” It’s compatible with any RTX GPU — “GeForce RTX 2060, Quadro RTX 3000, or higher” — according to a company spokesperson.

If you don’t already own a compatible GPU, now isn’t exactly the best time to be looking for one, thanks to the ongoing chip shortage, but things do seem to be slowly easing up. If you do have a supported card then you can simply download the Broadcast app and get cracking. The better news is, if you have a Logitech headset or Blue mic, as of today, Broadcast is natively supported so you won’t even need to dive into the app.

Supported models at launch are Logitech's G733, Pro X and Pro X Wireless headsets, and Blue's Yeti X, Yeti Classic and Yeti Nano microphones. While that’s only a fraction of the companies’ offerings, it still represents a lot of headsets and microphones that today have new, untapped potential.

NVIDIA / James Trew

The Logitech partnership, to date, only works with some products and only with some of the features on offer in NVIDIA Broadcast. Those looking for the full audio-visual featureset will still need to download the standalone app. Once you’re in Broadcast you’ll see three main tabs: Microphone, Speaker and Camera. We’ll focus mainly on the microphone section, but the other two are just as useful and it all combines into one hub for tweaking your stream, be it video, audio or both.

Under the Microphone tab you’ll find a drop down on the left to select your input source and a space below for adding effects. The area on the right is given over to a tool for testing these effects before you commit to them.

Right now, there are only two effects to choose from. But both are useful and there’s no novelty chaffe (get your robot voices elsewhere!). Broadcast is focused on shaping up your stream, not bending it into something else. And importantly, all in realtime, unlike something like iZotope RX which is incredibly good at repairing sound, but aimed at post production.

Audio tools

The first effect is Room echo removal. For anyone who has a space with less than favorable acoustics, this is going to help you dial down that dreaded “cave” sound you have probably been battling with. Reverb reduction is actually quite a science, given that you’re trying to remove elements of a sound that are… well, very very similar to the source. So you can’t just hack out the errant frequencies and be done with it, you need to leave the original signal intact.

NVIDIA kept things nice and simple. Other pro tools (like iZotope’s RX) give you an bevvy of settings and controls. Broadcast? Just two: on/off and “strength” (amount of reverb to be removed). To test this, I used a condenser microphone as those are most prone to picking up reverb. In the recording below, I start with no effect applied before dialling in about 50 percent and then finally with strength set to maximum.

As you can hear, the effect is, well, effective. The acoustics in the room I recorded the samples in aren’t terrible, but they’re definitely not optimal. But the difference between the raw recording and then with the reverb removed is stark. The effect is most obvious in the first recording with the condenser mic. The raw signal is… fine, but things are much improved with the echo removal tool set to around half way. The recording feels much more present and there’s no distracting room echo. More, isn’t always better though. Once I dial the effect up to 100 percent, reverb might be eliminated, but at the expense of the original signal. In short, play around with the settings to find the best balance for your tastes and recording space.

You’ll notice in the second recording that there’s not really all that much reverb to remove. This is thanks to the dynamic microphone which does a pretty good job of that itself. You can hear a difference once I start adding the effect, but it might not be worth the risk of degrading your source audio for such a minor benefit.

Perhaps more impressive than the echo removal is the second effect on offer: Noise reduction. While reverb tends to be a constant, outside noises are unpredictable. Things might be quiet when you sit down to record, only for a loud motorbike or barking dog to invade your stream moments later. Not with noise removal applied though.

This effect is impressively adept at removing anything but your voice from your stream. Be that a jackhammer, a crying baby next door or even a song played loudly on a speaker right by your microphone. Honestly, listen to the below.

Notice how you can’t hear the song when the effect is applied? That’s coming from a speaker barely a foot behind the microphone. When I recorded it, it’s fully audible to my ears, but almost entirely inaudible on the recording. I say almost as those with sharp ears might notice the odd fragment popping through, but you really have to listen closely. I actually asked NVIDIA about this and was given this response:

“The AI networks are trained to recognize some patterns, and as such there will be gray areas where the AI can have doubts. [...] As such we wanted to give our users flexibility to run the effects in a comfortable range, or dial things up in case they needed help in extreme situations. For example, for audio effects we recommend running them at 75-90 percent, depending on how much background noise or room echo there is.”

As mentioned, Broadcast largely replaced RTX Voice, but NVIDIA decided to patch it with support for NVIDIA GeForce GTX GPUs meaning you can still get the noise reduction tools even if your GPU doesn’t support Broadcast. Though, the company says, experiences will vary on older cards.

As with the reverb removal, the strength setting will ultimately impact the quality of the output so trial and error is needed to find the sweet spot. You might also want to consider time of day. If, for example, you live near a noisy road, you could dial in a second pair of settings for when you have to record around rush hour.

The noise removal filter is impressive, but it’s not without limitations. For one, the “strength” slider doesn’t seem to fade out sounds like music, instead it falls off only once you apply the maximum amount. At least in my testing. I doubt you’re intentionally streaming with music only you want to hear, so that’s a minor thing to be aware of, but if you do need to keep the strength at maximum, be aware of that degradation in signal which will get worse the more noise Broadcast is eliminating.

As a companion to the vocal effects, the middle tab in Broadcast is “Speakers.” We can sum this section in one shot: It’s the same as Microphone, just for incoming audio. That’s to say, you can go ahead and remove room echo or background noise from people you are speaking with. If you’ve ever been on a Zoom call during these pandemic times and someone’s baby starts crying or has a really loud road nearby, then you can selfishly spare your ears here.

Camera tools

Conceptually, the effects for your camera work in a similar way to the ones for your microphone. NVIDIA’s AI cores are “looking” out for noise or, depending, your entire background. Yup, with Broadcast you can achieve a green screen effect without the actual screen. You might be thinking “well, Zoom/Meet/TikTok does that” and you’d be right, but those don't do it nearly as well. Below is an example of what background removal/replacement looks like in Broadcast

James Trew / Engadget

You can definitely see where the effect isn’t perfect around my hair, but in general it works really well. I did notice that it struggled with the headrest on my chair, with the image flickering around that area as I moved around, but again, it’s leagues above what you might hope for from a free chat app.

In total, there are five effects for cameras. Three for your background: Blur, removal and replace (images or videos work!). Then there is Auto Frame, which crops in and then keeps your face in the center. Last, but not least, is Video noise removal — this is apt for recording in low light and your camera starts to go all grainy. You can see some examples in the picture below. Two were taken using a GoPro and the other pair are from an old DSLR repurposed as a webcam.

If you have good lighting, you probably won’t need the noise removal tool. But if your camera struggles with anything other than an abundance of photons, this filter can help. Again, as with the audio tools, be aware that more is not always better. I found with the effect applied at 100 percent you get the tell-tale “smoothing” that will tell your viewers that you’re papering over the cracks.

James Trew / Engadget

The background tools, on the other hand, are a little more forgiving. The blur tool does a good job at obscuring the items behind you, but there’s a very unnatural contrast between you, in focus, and literally anything else in shot. This is similar to how iPhone “portrait” mode photos often appear. The background is blurred, but the subject looks unnatural as there’s almost no transition between foreground and background.

This is, of course, a benefit when you want to remove the background completely. With this filter, NVIDIA does a surprisingly good job of isolating you and deleting everything else. If you want to stream via OBS (or similar) with a game or video on screen while you play in the corner, this is the effect you want and no green screen required.

James Trew / Engadget

As seen above, NVIDIA does a much better job of removing the background than, say, Zoom or Google Meet does. There’s almost no bleed around hair or hands meaning your background rarely pokes through and spoils the green-screen illusion. Background replacement is essentially an extension of this effect with the option of choosing your own image or video to replace whatever happens to be behind you.

The last of the video effects is Auto-Frame which, as the name suggests, keeps you locked into the center of your shot. To do this, the video crops in a little bit and it uses the extra space to gently shift the video from left to right or vice versa as you move around. The movement isn’t jarring, it looks pretty smooth, and is a good way to make sure you don’t accidentally drift off to the side if you are a fidgeter (like me) and don’t keep still.

You can also combine these effects if you want. Auto-Frame can be stacked with either noise removal or one of the background effects for example, or you could use remove background with noise removal applied. Right now you can only stack two though, but that’s probably a good thing as all three at the same time might be a bit much.

The camera suite of effects is currently in beta, and NVIDIA has been adding new features and improving performance at a rapid pace. Version 1.2 in May integrated Broadcast into popular streaming apps like OBS, while the latest 1.3 version released in September added support for many virtual camera apps and made combining video effects much more viable by reducing their VRAM usage by 40 percent.

While performance and memory usage is never going to be an issue for those using Broadcast for their chats, one-PC streamers who are using the app while gaming will be grateful for the additional frames. Perhaps, one day, we can dare to dream about many other features such as multi-mic support (with different effects) live transcribing for closed captions and even smart detection of licensed music so your streams don’t flag a DMCA violation.