After a meteoric rise to popularity in 2018, Fortnite generated more than $5 billion in its first year for Epic Games, new financial documents reveal. The document, made public as part of Epic’s court battle with Apple over the latter’s App Store practices, shows that the game brought in more than $9 billion total for Epic in 2018 and 2019.
The document doesn’t break down how much Epic specifically profited from Fortnite, but the company reported more than $5.5 billion in profit from the two-year period. In the document, the company provided predictions for 2020, but since Epic doesn’t usually publicly provide financial statements, it’s hard to tell how accurate the predictions ended up being.
The revenue from Fortnite far outshone any other businesses that Epic ran at the time — “other games” (such as Rocket League, acquired by Epic in 2019) made $108 million in revenue in 2018 and 2019, and Epic’s engine brought in $221 million over the same span. Epic’s Game Store, launched at the end of 2018, brought in a total of $235 million between 2018 and 2019.
Epic Games didn’t sue Apple to get a big payout, but that’s because the lawsuit itself is an investment. And to rewrite Apple’s rules, Epic is spending a fortune.
The reason Epic’s Fortnite got thrown out of the Apple App Store was that Epic rogue-updated Fortnite to offer a payment mechanism that bypassed Apple’s 30 percent cut of all in-app transactions. Apple booted Fortnite for violating its rules. Epic threw an… epic… hissy fit about this, culminating in the trial starting this week. While Epic has cobbled together an alliance called the Coalition for App Fairness — along with Spotify, Match Group, Basecamp, and Tile — there’s one more tech behemoth in play. Epic Games Store runs on Amazon Web Services. So does Fortnite itself.
The fight with Apple echoes Epic’s tactics elsewhere. The Epic Game Store is a clear challenge to Valve, which has an iOS-like store called Steam that also takes a 30 percent cut of sales. In a basic act of moral consistency, the Epic Game Store contains — in addition to games by other developers — other game stores. It also takes only a 12 percent cut of sales. Just last week, Microsoft announced it would cut its take on PC games to 12 percent to match Epic, from 30 percent. (It also filed a letter of support for Epic in the current case.)
Epic CEO Tim Sweeney said in 2019 that the Epic Game Store’s hardball tactics against Valve will continue until either the store is profitable or Valve lowers its cut. Epic will torch an estimated $593 million by the end of 2021 on the Epic Games Store, according to court documents in the Apple case. At many companies, losing this much money would be a problem, but that figure is only slightly more than Epic’s Fortnite revenue from April 2020, which was $400 million that month.
Fortnite pretty much prints cash because the video game industry has hit on a business model that almost no other part of the entertainment industry can match: in-app payments. For Spotify, it’s not a fatal problem to dodge the App Store and its cut. I just go to a desktop computer, enter my credit card information, and — thanks to recurring billing — I’m done.
Fortnite is different, and it’s why a video game company is leading the effort to challenge the App Store payment rules. In Fortnite, if I want to buy a sweet dance move, I spend Epic’s V-Bucks to do it. The store refreshes every day, so if I want the new hotness, I need to act immediately. (There’s also a seasonal pass and a recently-introduced monthly subscription, but these do not seem to be as explicitly geared toward impulse buys.) Last year, in-app purchases were estimated to account for 40 percent of all gaming revenue.
Epic’s position gets weirder. Part of the story will involve people who imprinted on Neal Stephenson like ducklings, but before we get there, let’s run down what we know about the economics of Fortnite and the Epic Games Store to get a rough sense of how much money is in play.
It’s true that Fortnite is free to download, but in-app purchases more than make up for that. In 2019, Epic Games had revenue of $4.2 billion, with earnings of $730 million. (We know this because Epic, a private company, sold a stake, and those meddling kids at VentureBeat got a hold of numbers as a result.) Epic’s 2020 numbers are forecast at about $5 billion in revenue, with $1 billion in earnings, according to VentureBeat; in the court documents, Epic’s total 2020 revenue is projected at a mere $3.85 billion. In the two years Fortnite was available in the App Store, iOS customers alone accounted for $700 million in revenue for Epic, according to the court documents.
“Epic is in a fortunate position because Fortnite is the most popular game in the world,” says Christopher Krohn, an adjunct associate professor of marketing at the University of Chicago’s Booth School of Business.
Apple’s revenue split from digital purchases is a little complicated — it’s got special rates for small developers, for instance — but in Epic’s case, Apple gets 30 percent of all in-app purchases. That’s in line with Minitel, the French pre-internet, which also had a 30 / 70 split for third-party content, says Bill Maurer, a professor of anthropology at the University of California Irvine who specializes in payment processors. Frankly, it looks like a carrier fee.
“At some level, Apple’s being greedy, because it doesn’t depend on this revenue,” says Michael Cusumano, a distinguished professor of management at MIT’s Sloan Business School. “It’s rolling in money from the iPhone itself.” On March 28, Apple reported its quarterly earnings — almost $24 billion in net income, riding mostly on strong sales of the iPhone and Mac; the previous quarter was a blowout for the company, with revenue of more than $100 billion.
Greed isn’t illegal. It’s also probably what’s motivating Epic, despite its CEO’s bluster. Epic wants to build something called the “metaverse,” an online haven where superhero IP owned by different companies can finally kiss. (The idea is based on Snow Crash, a 1991 book by Neal Stephenson.) The revenue potential here is the kind of thing that sends VCs into thinkfluencing fever dreams.
Fortnite is already a hangout space, one where IP from Marvel and DC can legally interact. Add to that the Unreal engine, which fuels a number of games as well as shows such as Disney’s The Mandalorian, and its other developer tools, and you’re looking at what could potentially be a piece of a metaverse. Should Fortnite, the Epic Games Store, or another Epic offering underpin a major chunk of a metaverse, the amount of money Epic is torching on its store and these lawyers will look like a wise investment against the fuckload of money it stands to make.
You can see why they might not want to cut Apple — or Valve, or Google, or anyone at all — in at 30 percent.
Look, I’m going to pop my popcorn and, as Sweeney put it, “enjoy the upcoming fireworks show” at the trial. I don’t think the outcome will matter much, since any verdict is going to get appealed immediately. But at the very bottom, it seems obvious that Epic’s position is the same as Apple’s: greed is good. Forget the fight to own the metaverse. The real world belongs to Big Tech, and we’re just NPCs who drop loot for the corporate players.
(Pocket-lint) – The Samsung HW-Q800A soundbar replaces the previous HW-Q800T, but offers an almost identical set of features. That includes a 3.1.2-channel speaker layout, a powerful subwoofer, Dolby Atmos and DTS:X object-based decoding, eARC, and built-in Amazon Alexa for voice control.
New this generation is the inclusion of Apple AirPlay 2, and optional wireless rear speakers with upward-firing drivers, allowing expansion to a 5.1.4-channel system. Owners of supporting Samsung TVs not only benefit from Q Symphony integration – which can use the TV’s speakers in addition to the soundbar for added immersion and height – but also SpaceFit Sound for optimised setup that automatically tunes sound profiles wherever your TV is setup in the room.
Are these small additional benefits reason enough to buy the HW-Q800A or would it make more sense to look at the HW-Q800T instead to save a few quid?
Controls: included remote; SmartThings app; four-button top-of-‘bar panel
Connectivity: Wi-Fi; Bluetooth; AirPlay 2; Alexa voice control integrated
Dimensions (soundbar): 980mm (W) x 60mm (H) x 115mm (D); 3.6kg
Dimensions (sub): 205mm (W) x 403mm (H) x 403mm (D); 9.8kg
The Samsung HW-Q800A uses exactly the same cabinet as the earlier Q800T, retaining a sleek form-factor designed to fit under your TV without blocking the screen. It’s a sensible width, but can still handle larger screen sizes up to 65 inches. The overall look is stylish, with solid construction and a matte black finish.
There’s a metal wrap-around grille, behind which you’ll find three speakers at the front, and the Acoustic Beam holes along the top front edge – these are used to output sound so it appears to come from where the action is happening on screen, made possible by clever processing.
There’s a display located at the front right, which provides basic information, and a choice of stand- or wall-mounting, with brackets provided for the latter included in the box.
The included wireless active subwoofer uses a rear-ported enclosure and a side-firing 8-inch driver that Samsung claims can go down to 35Hz. It’s well made, with similar styling and a matte black finish. The sub should pair automatically with the soundbar, but if not there are buttons on both units for manual setup.
Pocket-lint
The Samsung HW-Q800A sports an HDMI input and an HDMI output that supports eARC, allowing lossless audio to be sent back from a compatible TV. The HDMI connections also pass resolutions up to 4K/60p and every version of high dynamic range (HDR10, HLG, HDR10+, and Dolby Vision).
What is HDMI eARC? Why is it different to HDMI ARC?
The only other physical connection is an optical digital input, but there’s also Bluetooth, Wi-Fi, and the newly added AirPlay 2, allowing for agnostic music streaming from your network or third-party services. Bluetooth is paired using the dedicated button on the remote, while the Wi-Fi setup uses the Samsung SmartThings app via your phone/tablet.
There are basic controls centrally located on the top of the soundbar for on/off, source select, volume up/down, and far-field mic on/off. The included remote is the same zapper from previous years, but remains well-designed, comfortable to hold, and easy to use, with all the necessary buttons laid out in a sensible fashion.
Pocket-lint
The SmartThings app isn’t just for setup, but also offers a degree of control. The slick and intuitive interface allows for changing inputs, adjusting the volume, choosing between sound modes, optimising the equaliser (EQ) and woofer, and selecting the advanced settings (voice enhancement, bass enhancement, and night mode).
Setup is straightforward, but a degree of tweaking is required when it comes to getting the centre and front height channels adjusted so the overall soundstage is balanced. The HW-Q800A doesn’t generate its own test tones, meaning you’ll need to find those yourself, and the levels work on the left and right channels simultaneously, which can be an issue in asymmetric rooms.
It would be better if you could set the left and right front heights independently, along with the surrounds and rear heights if you add the wireless rear speakers, and it would also be useful if you could set them using the SmartThings app rather than the remote and front display.
Pocket-lint
The sub is a powerful beast so you’ll need to dial the woofer setting back to ensure it doesn’t swamp the mid-range. As the driver fires sideways, avoid putting it in the right-hand corner of a room, or it’ll get boomy. Positioning towards the front, halfway between the ‘bar and wall works best, with this boom box generating more than enough low-end juice to handle sizeable rooms.
A built-in automated setup feature would be welcome at this price point, but if you own a compatible Samsung TV you can at least benefit from SoundFit. This uses the TV’s microphone and processor to analyse the sound reverberations in the room and adjust them accordingly to optimise the overall sonic performance of the soundbar.
The inclusion of Amazon Alexa makes this soundbar a fully-functioning smart assistant, allowing users to ask questions, listen to music or podcasts, and enjoy hands-free voice control. There’s a far-field microphone built into the soundbar itself, which can be muted for privacy, and thankfully Alexa interacts at a sensible volume (unlike in the Polk React, for example, where she’s very shouty).
Samsung-specific features: Q Symphony and Active Voice Amplifier
Expansion: Optional wireless rear speakers
Amplification: 330W of Class D
Hi-Res Audio: Up to 24-bit/192kHz
Decoding: Dolby Atmos and DTS:X
Sound Modes: Standard, Surround, Game Pro, Adaptive Sound, Night
The Samsung HW-Q800A decodes the Dolby Atmos and DTS:X object-based audio formats, and delivers both with an actual 3.1.2-channel speaker layout. This means it doesn’t need to rely on psychoacoustic trickery to create a sense of immersion, and if you take the time to setup the system properly, the results are often spectacular.
Samsung
The effectiveness of the Acoustic Beam tech, which literally fires sound waves upwards to create the illusion of overhead channels, will depend on your type of ceiling – but the more reflective it is, the better the effect. Watching a dynamic object-based mix like the 4K disc of Midway reveals an expansive front soundstage, with precise placement of effects and plenty up top.
The subwoofer handles the low frequency effects with great skill, producing a foundation of bass on which the rest of the system is built. If you like plenty of subsonic impact in your movies, you’ll enjoy this particular woofer, which enthusiastically digs deep. It’s also well integrated with the ‘bar, smoothly crossing over with the mid-range drivers, and creating a cohesive overall soundstage.
The performance is energetic, with clear dialogue and a pleasing width to the delivery. The only limitation is that the soundstage is very front-heavy, due to the lack of actual surround speakers. However this can be addressed by buying the optional SWA-9500S wireless rear speakers that now include upward-firing drivers, allowing expansion to a full 5.1.4-channel configuration.
Samsung’s Q Symphony feature integrates the soundbar with compatible Samsung TVs, synchronising sound from both devices and utilising the additional speakers in the TV to create a more expansive and immersive front soundstage.
There’s also the Active Voice Amplifier which detects ambient noise, analyses the audio signal, and adjusts and amplifies the dialogue with respect to the other channels to improve intelligibility. So if you’re trying to watch TV while someone else is hoovering, for example, this could come in handy.
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There are five dedicated sound modes, with the default Standard making no changes to the incoming signal. The Surround mode up-mixes the audio to take advantage of the additional channels, while the Game Pro enhances effects to create a more immersive gaming experience. For general TV viewing the Adaptive Sound is a great choice, analysing the incoming signal and automatically optimising it. Finally, Night mode compresses the dynamic range, so you won’t disturb the rest of the household during a late-night bingeing session.
Samsung
There’s a pleasing musicality to this system’s delivery, with the width producing some excellent stereo imaging, and the sub giving drums a driving beat. You can stream from a number of services too, including Amazon Music, Spotify, Deezer, TuneIn and Samsung Music, plus Apple Music via AirPlay.
Verdict
The Samsung HW-Q800A is well-specified ‘bar-and-sub combo that has all the object-based decoding bells and whistles. It renders Dolby Atmos and DTS:X using sound waves rather than psychoacoustic trickery, resulting in a genuinely immersive experience, while the powerful woofer produces plenty of low-end slam.
There’s a pleasing musicality to the delivery, dialogue remains clear, and effects are placed with precision, creating an enjoyable if front-heavy soundstage. Thankfully this can be addressed by picking up the optional wireless rear speakers, which turn the soundbar into a full 5.1.4-channel system.
There’s a host of other features – including HDMI eARC, AirPlay 2 and integrated Amazon Alexa – meaning, as a result, the Samsung HW-Q800A is a comprehensive and capable all-rounder that’s sure to please no matter what your viewing or listening habits.
Also consider
Samsung
Samsung HW-Q800T
It’s more or less the same soundbar, with the same sound quality. Buy if you want to save a few quid and don’t care about AirPlay 2. Don’t buy if you want future expandability – as it’s the Q800A’s optional speaker add-ons that help to set it apart from this older model.
Read our full review
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Sonos
Sonos Arc
This highly-accomplished soundbar is worth considering not only because it brings the Sonos ecosystem to the party, but because it has Dolby Atmos, eARC, and AirPlay 2 as well. Like the Samsung there’s integrated Alexa, plus Google Assistant for completists. It’s not cheap, doesn’t support DTS:X, and has no HDMI inputs or a separate subwoofer, but if you’re already invested in Sonos this compelling ‘bar can elevate your sonic experience.
Read our full review
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JBL
JBL BAR 9.1
This awesome 5.1.4-channel ‘bar-and-sub combo includes detachable and rechargeable rear speakers, resulting in a genuinely immersive Dolby Atmos and DTS:X experience with the minimum of fuss. There’s an automated audio calibration feature, eARC support, Chromecast, AirPlay 2 and Dolby Vision passthrough. There’s no dedicated remote app, nor can it pass HDR10+, but in most other respects this impressive soundbar system is hard to fault.
A production keyboard that feels like a custom build, the Ducky Mecha SF Radiant offers an excellent experience for both typing and gaming. It features sterling build quality and a gorgeous aesthetic you won’t find anywhere else, but the lack of software and hot-swappable switches are disappointing.
For
+ Unique aesthetic
+ Sturdy aluminum case
+ High-quality PBT keycaps
+ Compact design for portability and desk space
Against
– Lack of software can be limiting
– No hot-swappable key switches
With its beautifully iridescent aluminum case, custom-themed PBT keycaps and excellent typing experience, the Ducky Mecha SF Radiant combines the worlds of custom and production keyboards in a unique marriage of style and substance. At $159, it’s on the expensive side but is one of the top compact keyboards available today, competing nicely with the best gaming keyboards and offering a strong productivity experience. Assuming, that is, that you jive with the two available color ways and lack of software.
Ducky has been popular among enthusiasts for a number of years, but it wasn’t until the launch of the One 2 Mini back in 2018 that it really made it to the mainstream. Since then, it’s released a number of revisions and collaborations with major gaming brands like Razer and HyperX, but the 60% form factor can be difficult to adjust to with its lack of arrows, function keys and navigation buttons.
The One 2 SF, released in 2019, answered these challenges, adding back the arrow keys and a miniaturized nav-cluster, but was quickly overshadowed by the Mecha Mini, Ducky’s widely acclaimed aluminum-chassis take on the One 2 Mini. I was lucky enough to review each of those boards, but the Mecha Mini reigned supreme with its heavy aluminum build that made typing feel so much more satisfying.
The wait for an SF version is finally over with the Mecha SF Radiant. This new keyboard one-ups the Mini version with a brand new finish and themed keycap set for a package that is unlike anything else in the mainstream market today. It isn’t without its limitations compared to the competition, but may just be the best compact keyboard Ducky has produced yet. You’ll have to move fast if you want one for yourself, though, as only 2021 will be made of this limited edition item.
The Ducky Mecha SF Radiant is a compact keyboard that aims to achieve the size benefits of a 60% keyboard while adding functionality closer to a tenkeyless. In fact, the “SF” in the name stands for “sixty-five” alluding to its 65% layout. This is a bit of a misnomer in actual size but signifies the overall design.
The Mecha SF Radiant follows the Mini by doing away with the numpad and function row, but instead of removing the nav cluster entirely, it shrinks it to a column of three keys on the right side of the board. The buttons to the right of the spacebar and the right shift have also been shrunk to make room for dedicated arrow keys, which is a boon to gamers.
The result is a keyboard that is only slightly wider than a 60% but feels much more usable. It measures 12.8 x 4.1 x 1.6 inches and looks downright small on a full-size desk. The design is ergonomically sound and allows your hands to be spaced at a much natural distance versus spread out with a full-size keyboard. It’s also helpful in first-person shooters where big mouse movements can leave you craving more space. For my part, I most enjoy the clean, minimalist aesthetic of a compact keyboard on my desk.
(Image credit: Tom’s Hardware)
The layout here is slightly different than many 65% keyboards, however. Rather than featuring four buttons on the right side like the much more traditional Drop ALT, Ducky only includes three and replaces last with an embossed case badge below the bottom key. The amount of keys follows the Ducky One 2 SF, but the addition of a case badge is a direct nod to the custom keyboard community where they have become a staple. The included keys are Delete, Page Up, and Page Down. Like most other keys on the keyboard, Page Up and Page Down also carry secondary functions, in this case Home and End.
Through clever use of function commands, the Mecha SF Radiant manages to pack most of the functionality of a tenkeyless keyboard into its tiny frame. By holding the Fn button, you can access a second layer that provides access to most of the absent keys. With Fn held, the number row will send function commands. Likewise, Print Screen, Insert, and Scroll Lock all have their own dedicated combo buttons, in addition to volume control and even buttons to control the mouse pointer. Holding Fn+Alt opens up the third layer to choose lighting presets, set custom color schemes, and program macros. It’s an impressive array that adds more software-free customization than even programmable gaming keyboards from Razer and Logitech can provide, but since there are no side legends on the keycaps, it may take a while to memorize every keymap.
All of this was true of the original One 2 SF, so what really sets Mecha apart is its metal case and PBT keycaps. The case is solid aluminum and lends the keyboard weight and density which both enhance the typing experience. It’s not the heaviest keyboard I’ve used, even compared to some sixty-percents I’ve tried, but at 1.9 pounds, it’s heavier than it looks. The most striking aspect of it is the iridescent finish which shifts from teal to blue to purple depending on the angle. Ducky has dubbed this version “Ocean” but the Radiant is also available in a green “Emerald” colorway.
(Image credit: Tom’s Hardware)
The shifting, transforming quality of the keyboard is striking but a bit of a double-edged sword. The keycaps have been carefully curated with three shades of blue and white, but they don’t always match the case perfectly depending on the angle you’re viewing it from. From a normal seated or standing position, it looks great. Viewed from another angle where it appears purple, it can look mismatched against the blue.
The keycaps themselves are excellent. Ducky used its usual PBT plastic, which is more durable and resistant to shine than ABS plastic. The legends are double-shot, which means they’re made of a second piece of plastic that’s bonded to the outer shell, preventing fading or chipping over time.
The walls of the caps are also delightfully thick which lends typing a solidity that’s often lacking from the thin-walled keycaps we see on most gaming keyboards. The legends aren’t shine-through, so the RGB backlight is relegated to an underglow effect that’s more for style than helping you type in the dark. As usual, Ducky includes a selection of alternate keycaps, this time all white. I was surprised to find that the alternate arrow keys actually are backlit, if only slightly. The shape of the arrow has been carved out of the second shot of plastic, allowing them to glow a dull blue in the dark.
(Image credit: Tom’s Hardware)
Despite the occasional angle-based mismatch, the keycaps ultimately work to tie the look of the keyboard together. The mix of shades of blue definitely brings sea waves to mind. When installed, the injection of white along the right-hand side is reminiscent of a rolling wave. This focus on aesthetics is another quality borrowed from the enthusiast community where look and sound often rival the feel of typing itself.
Pulling back a touch, the Mecha SF Radiant features per-key RGB backlighting. As you might expect from an RGB-enabled board, it features the usual suspects in terms of lighting presets: rainbow wave mode, color cycling, breathing, reactive typing, and more totaling ten preset modes. Five can be color customized using a built-in RGB mixer on the Z, X and C keys or by activating a built-in color palette and tapping your color of choice. This is already fairly impressive, but you can also use the lighting to play a pair of games based on Minesweeper and roulette.
The lighting looks great. The Mecha SF Radiant uses a floating key design that exposes the switch housings. This creates a common but still appealing aesthetic that highlights the illumination from the sides. The LEDs are bright and the switches are mounted on a white plate which allows the colors to blend together into a seamless pool of light. Given the highly-themed keycaps and case, matching lighting is inherently more limited but I found white, tinged blue thanks to the reflection from the keycaps, to look best.
Despite the keyboard clearly targeting the middle ground between custom and production keyboards, it doesn’t offer hot-swap support to quickly change switches. This isn’t unusual for Ducky (it just released its first hot-swappable keyboard last year) but is still disappointing. One of the most fun parts of the hobby is trying out new switches and being able to quickly change the whole feel of your keyboard but that won’t be possible here.
(Image credit: Tom’s Hardware)
Typing Experience on Ducky Mecha SF Radiant
The Ducky Mecha SF Radiant is available with a wide selection of Cherry MX RGB key switches. Clicky MX Blue, tactile MX Brown, and linear MX Red are all present and accounted for, but you’ll also have the choice of Cherry MX Black, MX Silver, or MX Silent Red. Each of these switches are the updated models from Cherry and are rated for 100 million actuations instead of the 50 million they were previously.
My unit was sent with Cherry MX Silent Red switches. Silent Reds are similar to standard MX Red switches in their linear travel but feature internal dampers to reduce typing noise and cushion bottom-outs. They also have a slightly reduced actuation distance of 1.9 mm and a total travel of 3.7 mm but this isn’t really perceptible in normal use. The actuation force is the same at 45 grams. Silent Reds are not my first choice of switch for this reason but are audibly quieter and a much better fit for typing or gaming at work or with a roommate nearby.
Typing on the Mecha SF Radiant is satisfying on multiple levels. The keycaps are lightly textured and felt nice against my fingers and their thick walls lent the experience a more solid, substantial feel. The pillowy bottom-outs were also very nice and allowed me to use the keyboard at work without disturbing my co-workers.
(Image credit: Tom’s Hardware)
The aluminum case itself plays an important role in the typing experience. Typing on it feels solid and dense, without much empty space inside the shell. Spring ping, which can sometimes be an issue in reverberant alloy cases, was barely audible and disappeared entirely after I lubed the switches (see our article on how to lube switches, but note that I could not remove these so only lubed them through the top). The density of the case enhanced the switch’s silencing effects.
I only wish I could have tried other kinds of switches, but if experience is any indicator, the case should lend typing a higher pitch with other switch types, though I wasn’t able to test this due to the lack of hot-swap support.
(Image credit: Tom’s Hardware)
Another high-point was the stabilizers. Like most production keyboards, Ducky used plate-mount stabilizers but they came factory lubed out with absolutely minimal rattle. Gaming companies are catching up in this regard (Corsair and Razer now factory lube their stabs), so it’s good to see Ducky keeping its game strong. Stabilizers can make or break the sound of a mechanical keyboard and the Mecha SF Radiant was very good without the need for additional mods.
Transitioning to the Radiant was easy, and I didn’t lose typing speed making the jump. I went through several rounds of tests at 10fastfingers and averaged 103 words per minute. With my Drop Carina keyboard outfitted with tactile Holy Panda switches, ostensibly better for typing due to their pronounced tactile feedback, I averaged 104 words per minute.
Gaming Experience on Ducky Mecha SF Radiant
While the Ducky Mecha SF Radiant isn’t marketed as a gaming keyboard, it offered a solid gaming experience nonetheless. The form factor seems best suited to high-sensitivity shooters like CS:GO but even playing more relaxed games like Valheim, it was just as responsive and reliable as the Corsair K100 RGB Optical Gaming Keyboard I had on hand to test against.
If you prefer to have the entire keyset available to press at once, the keyboard supports n-key rollover or can be limited to only six simultaneous inputs using a DIP switch on the back. You can also permanently disable the Windows key using a second DIP switch or just while in-game using an Fn+Alt combination. The keyboard also supports customizable debounce delay from 5 – 25 ms to balance key chattering with responsiveness.
My go-to genre is first-person shooters where responsiveness reigns supreme. Even though the Mecha SF Radiant doesn’t boast an 4,000 Hz response rate like the Corsair K100, — it’s a more standard 1,000 Hz — I was hard-pressed to feel any difference in responsiveness when comparing the two keyboards0. Playing Doom Eternal, I was able to double-dash through the air, glory kill, and generally rip and tear just as if I were using a keyboard marketed explicitly for gaming.
(Image credit: Tom’s Hardware)
Competitive gamers may really appreciate the condensed nature of theMecha SF Radiant. I’m used to gaming on a compact keyboard, so I spent some time “resetting” with the Corsair K100 before this review. Swapping back to the Mecha SF Radiant made playing Battlefield 5 more comfortable. Having my arms closer together felt immediately more natural. The smaller size also made it easier to manage repositioning the keyboard at a comfortable angle. The Mecha SF Radiant is small enough to move with one hand and doing the same with the K100 was cumbersome at best.
The biggest limitation I found came with World of Warcraft. MMO players and macro fans may find the compact size doesn’t lend itself well to storing lots of macros. The lack of dedicated macro keys is expected on a keyboard designed to save space, but their absence is mitigated by the column of additional keys along the right side. For gaming, these can easily be set to macro commands and thanks to built-in memory support for up to six profiles, it’s possible to maintain different key sets for different games and productivity tasks.
Programming Ducky Mecha SF Radiant
One of the greatest strengths of the Ducky Mecha SF Radiant is also its greatest Achilles heel: the lack of dedicated software. It’s an asset to the keyboard because it can be programmed on any machine, regardless of security limitations, and function the same between devices. That means you won’t be missing features because you can’t install the software. At the same time, it means programming requires multiple steps, more time, and is more limited than competing keyboards with full software suites.
(Image credit: Tom’s Hardware)
With a few different key combinations, you’re able to record macros and remap keys and even set custom lighting schemes. The keyboard supports five programmable profiles in addition to another that’s locked to default settings, so there’s plenty of latitude to create unique layouts and color schemes to match your different use cases.
In the case of macros, holding Fn+Alt+Tab for three seconds puts the keyboard into recording mode. You press the key you want to remap, enter your string, and press Fn+Alt+Tab a second time to end recording. This can also be used to change the position of different keys, though the keyboard also supports swapping the location of popular remaps like Fn, Ctrl, and Alt using another Fn+Alt+K combination.
For lighting, presets can be selected using Fn+Alt+T. The first five are color locked but the second half all allow you to customize the hue using the built-in palette or RGB mixer. The mixer allows for greater control by tapping Red, Green, and Blue values up to 10 times but takes much longer to dial in. Alternatively, Fn+Alt+Spacebar illuminates all of the keys in a rainbow and you can simply tap the color you want. Creating a custom color scheme is also possible following this same process after holding Fn+Alt+Caps Lock and tapping each key you want to illuminate a given color.
(Image credit: Tom’s Hardware)
If that sounds like a lot, it is. In comparison to opening a simple app and hitting a “record” for macros or “painting” the keys your color of choice, it’s just not as simple or intuitive. I love that it’s possible to completely customize the board without installing anything, but it demands a level of memorization that is initially frustrating.
(Image credit: Tom’s Hardware)
Bottom Line
The Ducky Mecha SF Radiant isn’t the perfect compact keyboard but it is a very good one. The combination of unique looks, excellent build quality, and sterling typing experience make this an excellent choice for users not ready to take the plunge into custom mechanical keyboards. At the same time, the lack of hot-swap support or optional software really are disappointing for flexibility and ease of use. Still, the pros far outweigh the cons here and this is an incredibly solid buy if you enjoy the look.
At $159, the Radiant doesn’t come cheap. If you’re looking for an aluminum keyboard and don’t mind it coming in a larger size, the HyperX Alloy FPS Origins might be a good fit. Alternatively, if you want something compact but that still has all the bells and whistles of a high-end gaming keyboard, the Corsair K70 RGB TKL is definitely worth a look.
If you want the best of both worlds and don’t mind sticking with the switches you start with, the Ducky Mecha SF Radiant is definitely worth considering.
Facebook is continuing its campaign against Apple’s iOS 14 privacy updates, adding a notice within its iOS app telling users the information it collects from other apps and websites can “help keep Facebook free of charge.” A similar message was seen on Instagram’s iOS app (Facebook is Instagram’s parent company). Technology researcher Ashkan Soltani first noted the new pop-up notices on Saturday. They appear as part of an explanation of the updates to iOS 14 rules.
“This version of iOS requires us to ask for permission to track some data from this devices to improve your ads. Learn how we limit the use of this information if you don’t turn on this device setting,” the pop-up screen reads. “We use information about your activity received form other apps and websites to: show you ads that are more personalized, help keep Facebook free of charge [and] support businesses that rely on ads to reach their customers.” (I wasn’t able to get this nag screen to show up on my iPhone which is running iOS 14.5).
The new opt-in requirements in the latest versions of iOS 14, including iOS 14.5, require developers to get express consent from device owners to allow their Identifier for Advertisers (IDFA) to be shared and collected across apps. Under Apple’s new policy, app developers are still able to use other information a user provides for targeted advertising, even if the user opts out of letting the app track them, but that information can’t be shared with another company for ad tracking.
If developers try to get around the opt-in requirement, or try to replace the IDFA with another piece of identifying information such as an email address, that app will be considered in violation of the opt-in requirement. The rules also apply to Apple’s own apps.
Facebook has been a vocal critic of Apple’s iOS 14 privacy updates, arguing that the privacy changes could hurt small businesses which may rely on Facebook’s ad network to reach customers. In statements to the press and in newspaper ads, Facebook has said Apple is encouraging new business models for apps so they rely less on advertising and more on subscriptions, which would potentially give Apple a cut.
But the “keep Facebook/Instagram free” tactic seems to run counter to Facebook’s long-standing tagline which indicated the company was “free and always will be.” Of course, Facebook quietly removed that slogan from its homepage in 2019, and CEO Mark Zuckerberg didn’t rule out a paid version of Facebook when he testified before Congress in 2018. “There will always be a version of Facebook that is free,” he said.
Facebook didn’t reply to a request for comment Sunday. But Zuckerberg called Apple out during Facebook’s January earnings call, referring to Apple as one of his company’s biggest competitors. “Apple has every incentive to use their dominant platform position to interfere with how our apps and other apps work, which they regularly do to preference their own,” Zuckerberg said. “This impacts the growth of millions of businesses around the world, including with the upcoming iOS 14 changes.”
Apple didn’t immediately reply to a request for comment Sunday.
I have some old telephones lying around – few of them fully functional anymore. I was going to throw out one of them when I realized I could replace the inner wiring with a Raspberry Pi, and have the Google Assistant running on it.
While it’s certainly easier to call “hey google” across the room, there’s something fun about picking up the phone, asking it a question, and having it immediately respond. This is how to install the Google Assistant on an old rotary telephone with a Raspberry Pi Zero.
What You’ll Need to make an old phone into a Google Assistant
A Raspberry Pi Zero with soldered GPIO pins, a memory card (with Raspberry Pi OS on it), and power adapter
An old telephone with a functional receiver (speaker and microphone), and a functioning hook switch that you don’t mind destroying
A few female jumper cables, wire strippers, and electrical tape or solder
A few types of screwdrivers depending on your phone
1 USB audio adapter compatible with linux
1 male-male 3.5mm audio cable
1 Raspberry Pi Zero micro USB to USB A female adapter
How to Install the Google Assistant on an Old Phone
This Raspberry Pi project is quite extensive and can take a bit of time, so I’ve split it up into four distinct parts:
Registering with Google
Authenticating with Google
Wiring your telephone
Setting up the assistant
Registering With Google
Before we use a Raspberry Pi as a Google Assistant, we must register the device with Google. This process can be a bit confusing if you’ve never used Google Cloud Platform before, but the steps should be easy enough to follow.
1. Clone this repository to your raspberry pi.
cd ~/
git clone https://github.com/rydercalmdown/google_assistant_telephone
2. Navigate to https://console.actions.google.com in your browser. This site allows us to manage Google Assistant Actions, as well as register custom Google Assistant devices.
3. Click “New Project” and fill in the required information. The name doesn’t matter – just pick something you can remember.
(Image credit: Tom’s Hardware)
4. In a new tab, visit this link to Google Cloud Platform, and confirm that the name of the project you just created appears in the top bar – if not, select it. Then, click the “Enable” button to turn on the API.
(Image credit: Tom’s Hardware)
5. In your original tab, scroll to the bottom of the page and click “Are you looking for device registration? Click here”
(Image credit: Tom’s Hardware)
6. On the next page, click “Register Model”.
7. Fill in the required information and copy down the Model ID to file – you will need it later.
(Image credit: Tom’s Hardware)
8. Click Download OAuth 2.0 credentials to download the credentials file your Raspberry Pi will use to make requests.
(Image credit: Tom’s Hardware)
9. Rename the downloaded file tooauth_config_credentials.json and transfer it to your pi. Place it into the repository folder you cloned in step 1.
# Rename your downloaded file
cd ~/Downloads
mv your_unique_secret_file_name.json oauth_config_credentials.json
# Move the file into your repository
scp oauth_config_credentials.json pi@your_pis_ip_address:/home/pi/google_assistant_telephone
10. Back in the browser, after downloading and renaming the credentials, click the “Next” button.
11. On the “Specify traits” tab, click “Save Traits” without adjusting any settings to complete the setup.
(Image credit: Tom’s Hardware)
Authenticating With Google
We’ve now registered a device with Google. Next, it’s time to authenticate this device so it has access to our Google account and personalized assistant.
1. Navigate to https://console.cloud.google.com/apis/credentials/consent ensuring that the project matches the name you decided in Step 3 of “Registering With Google”.
2. Select “External” and click the “Create” button.
(Image credit: Tom’s Hardware)
3. Fill in an App name. Once again, this doesn’t really matter – but to keep it simple I went with the same name as before.
4. Select your email from the dropdown in User support email. This is in case any users of your app need to contact you, but since we won’t be making the app public, there’s no need to worry.
5. Add that same email under “Developer contact information” and click “Save and Continue”.
(Image credit: Tom’s Hardware)
6. On the next page, click Add or Remove Scopes to bring up the scopes sidebar.
7. Search for “Google Assistant API” in the search bar, and check the /auth/assistant-sdk-prototype scope. Then click update, followed by “Save and Continue” at the bottom of the page.
(Image credit: Tom’s Hardware)
8. On the next page, click “Save and Continue” to skip Optional Info.
9. With the setup complete, click “OAuth Consent Screen” in the sidebar to refresh the page – then “Add User” under Test Users.
10. Add your Google account’s email, and click save.
(Image credit: Tom’s Hardware)
11. Next, on your pi navigate to the downloaded repository and run the following command:
cd ~/google_assistant_telephone
make authenticate
12. Follow the link it gives you and complete the Authentication process in your browser. Once the process is complete, copy the code and paste it back in your terminal.
13. If successful, you’ll see a message indicating “credentials saved:” followed by a path to the credentials. Use this path to move the credentials into the current directory. Transfer these credentials to your repository’s root directory
Depending on your rotary phone, this process will vary widely. These are the steps that I used, but likely this will require a fair bit of trial and error on your part. Make sure you use a phone you don’t care about, as it won’t be able to work normally after this.
1. Take the cover off the telephone. You may need to loosen a screw on the bottom.
(Image credit: Tom’s Hardware)
2. Find and strip the wires connected to the hook switch. We’ll connect these wires to the pi’s GPIO pins to determine if the receiver has been picked up or set down.
(Image credit: Tom’s Hardware)
3. Connect the hook switch wires to GPIO Board pin 18 and ground. You may need to solder the wires from the hook switch to jumper wires to connect them easier, or just attach them together with a bit of electrical tape.
(Image credit: Tom’s Hardware)
4. Connect your USB audio adapter to the raspberry pi zero. You will need a USB-micro to female USB-A adapter to do this.
5. Solder the microphone and speaker in the handset to two separate 3.5mm cables. These will carry the signal from the pi to the speaker, and from the microphone to the pi. You should be able to connect these within the phone case and use the original handset cord. This will take a bit of trial and error to determine which wires belong to the speaker, and which to the microphone.
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(Image credit: Tom’s Hardware)
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(Image credit: Tom’s Hardware)
6. Connect the 3.5mm cables to the USB audio adapter being mindful to connect them in the proper order.
(Image credit: Tom’s Hardware)
7. Tuck the pi into the phone, and close up the cover – or keep it open while you debug setting up the assistant. Run the power adapter connected to the pi out the back of the case where the original telephone wire would go.
(Image credit: Tom’s Hardware)
Setting Up The Assistant
1. Run the installation script. It’ll take care of base and python requirements. If you have a Raspberry Pi Zero, the compilation process can take hours and will appear stuck on a step installing grpc (it just moves very slowly). I’d recommend leaving it running over night.
cd google_assistant_telephone
make install
2. Configure your USB audio by running the following command. It will take care of editing your alsamixer config, setting your USB card as your default audio output, and setting volumes for the speaker and microphone.
make configure-audio
3. Test and adjust your volumes by running the following command, speaking, and listening through your phone’s handset. If your volume is not high enough on your microphone or speaker, set it with the alsamixer command.
# Run, speak something into the microphone, and listen
make test
# Set volumes
alsamixer
4. Export your project ID to an environment variable. You can retrieve your project ID by visiting this URL, selecting your project, clicking the three dots next to your profile photo in the top right, and clicking “Project Settings”
export PROJECT_ID=your-project-id
5. Export your model ID from the Registering With Google steps to an environment variable.
6. Run the make run command. It will take care of registering this device, and saving the configuration to disk so you won’t need the environment variables in the future.
make run
7. Test your assistant by picking up the phone, and asking it a simple question, like “What is the capital of Canada?” If all goes well, you’ll see some logs in the terminal, and the assistant will respond. To ask another question, hang up the receiver and pick it up again.
8. Finally, run the following command to configure the assistant to run on boot.
Just two days before Apple gets dragged into a California court to justify its 30 percent App Store fee — and two days after Microsoft axed its 30 percent cut on PC — we’re learning that gaming giant Valve is now facing down lawsuits against its own 30 percent cut and alleged anticompetitive practices with its PC gaming platform Steam.
“Valve abuses its market power to ensure game publishers have no choice but to sell most of their games through the Steam Store, where they are subject to Valve’s 30% toll,” argues indie game developer and Humble Bundle creator Wolfire Games, in a lawsuit filed Tuesday (via Ars Technica).
Much like Epic v. Apple, the new suit argues that a platform owner is using an effective monopoly over the place where people run their software (there, iOS; here, Steam) to dominate and tax an entire separate industry (alternative app / game stores), an industry that could theoretically flourish and produce lower prices for consumers if not for (Apple’s / Valve’s) iron grip.
Wolfire claims that Valve now controls “approximately 75 percent” of the entire PC gaming market, reaping an estimated $6 billion in annual revenue as a result from that 30 percent fee alone — over $15 million per year per Valve employee, assuming the company still has somewhere in the vicinity of the 360 employees it confirmed having five years ago.
As to how Valve might be abusing its power, there’s a laundry list of complaints that you might want to read in full (which is why I’ve embedded the complaint below), but the arguments seem to boil down to:
Every other company’s attempt to compete with Steam has failed to make a dent, even though many of them offered developers a bigger cut of the profits, such as the Epic Game Store’s 88-percent revenue share
Steam doesn’t allow publishers to sell PC games and game keys for less money elsewhere
That in turn means rival game platforms can’t compete on price, which keeps them from getting a foothold
Most of those rival game stores have largely given up, like how EA and Microsoft have each brought their games back to Steam
That ensures Steam stays the dominant platform, because companies that could have become competitors are reduced to simply feeding the Steam engine with their games or selling Steam keys
Wolfire says that the Humble Bundle in particular has been a victim of Valve’s practices — the lawsuit claims that “publishers became more and more reluctant to participate in Humble Bundle events, decreasing the quantity and quality of products available to Humble Bundle customers,” because they feared retaliation if Humble Bundle buyers resold their Steam keys on the grey market for cheap — and though Valve once worked with Humble Bundle on a keyless direct integration, the lawsuit claims that Valve abruptly pulled the plug on that partnership with no explanation.
As you’d expect, the lawsuit doesn’t waste much ink considering why gamers might prefer Steam to the likes of EA’s Origin or Microsoft’s Windows Store beyond the simple matter of price; I’d argue most Steam competitors have been somewhat deficient when it comes to addressing PC gamers’ many wants and needs. But that doesn’t excuse Valve’s anticompetitive practices, assuming these claims are true.
Valve didn’t respond to a request for comment.
This isn’t the first lawsuit brought against Valve; a group of individual game buyers filed a fairly similar complaint in January, and I’ve embedded the new amended version of that complaint below as well. But that earlier complaint also accused game companies alongside Valve — this new one lawsuit is by a game company itself.
Each suit is hoping to win class-action status.
Whether these plaintiffs succeed against Valve or no, the pressure is clearly mounting to reduce these app store fees across the industry, and Valve may have a harder time justifying them than most — it’s seemingly more dominant in the PC gaming space than either Apple or Google are in the smartphone one, even if there are far fewer PC gamers than phone users.
Valve also hasn’t necessarily made a huge concession to game developers so far. In 2018, Valve did adjust its revenue split to give bigger companies more money, reducing its 30 percent cut to 25 percent after a developer racks up $10 million in sales, and down to 20 percent after they hit $50 million. (Apple and Google drop their cuts to 15 percent for developers with under $1 million in sales, theoretically helping smaller developers instead of bigger ones.) But the Epic Games Store only takes 12 percent, and Microsoft’s Windows Store just copied that lead by dropping its 30 percent cut to 12 percent as well.
The EU may also add additional pressure in the future; yesterday, European Commission executive vice president Margrethe Vestager revealed it would also “take an interest in the gaming app market” following its conclusion that Apple has broken EU antitrust laws around music streaming apps. The European Commission already has Valve on its radar, too; it fined the company earlier this year for geo-blocking game sales.
An expert witness for Epic Games testified that Apple’s App Store had operating margins above 70 percent in fiscal years 2018 and 2019, new court documents show. Eric Barnes testified that information from Apple’s Corporate Financial Planning and Analysis group show the App Store had a 77.8 percent operating margin in 2019, and 74.9 percent in 2018.
The figures are close to Barnes’ calculations of the App Store’s profits, he testified, and “also refute criticisms of my report proffered by certain Apple expert witnesses that it is not possible to calculate reliably or usefully the operating margins of the App Store.” Barnes also testified that Apple has been tracking its App Store profits for several years.
Apple has hotly contested that interpretation of the data. As Bloomberg notes, Apple’s chief compliance officer said at a congressional hearing last month that “we don’t have a separate profit and loss statement for the App Store,” and that Cook has made similar statements about the App Store and how it’s structured.
An Apple spokesperson said in an email to The Verge on Saturday that Barnes’ figures were incorrect: “Epic’s experts calculations of the operating margins for the App Store are simply wrong and we look forward to refuting them in court.”
The question of how much profit Apple makes from the app store is at the center of the ongoing court case between Apple and Epic Games. Epic argues that the App Store provides no real service, but simply serves as a way for Apple to extract money from developers. Epic is suing Apple for antitrust violations on those grounds, after launching an unauthorized in-app payments system for Fortnite earlier this year. But Apple insists the App Store review process is a pivotal part of the broader platform safety efforts around iOS.
Court documents show Apple’s expert witness Richard Schmalensee also disputed Barnes/Epic’s figures. “Mr. Barnes’ estimate of the App Store’s operating margin is unreliable because it looks in isolation at one segment of the iOS ecosystem in a way that artificially boosts the apparent operating margin of that segment,” Schmalensee said in his written direct testimony. “When one looks at Apple’s device and services ecosystem as a whole, the operating margin falls to an unremarkable level.”
Schmalensee further testified that “it makes no sense” to try to measure the App Store’s profitability in isolation since it’s part of the iOS platform and relies on all of Apple’s intellectual property. “As top Apple executives will testify, Apple does not calculate P&Ls by products and services because they view it as an unproductive exercise,” according to Schmalensee.
Court proceedings for the trial are due to begin on Monday.
A report from Vice has opened my eyes to just how big the Pokémon trading card collecting market is getting — apparently to the point where card rating companies have waitlists that range from six to ten months, with one company claiming it’s receiving over 500,000 cards to grade per week. The card graders, who rate trading cards’ conditions to determine how collectable (and therefore valuable) they are, are so swamped that people who want to get their Magic, Yu-Gi-Oh, or sports cards graded are also having to wait in line (or pay out the nose to skip it).
One card rating company apparently needed employees so bad it offered $1,000 starting bonuses — and then bumped them up to $2,500. Another company had to buy two warehouses to store all the cards it was getting in. Apparently, even the the most basic original Pokémon cards can fetch upwards of $40 now in excellent condition, and graded cards can be worth up to 20 times their value in perfect condition.
Of course, we’ve also seen the boom affecting the market in other ways— eBay is adding a feature to its app specifically to scan cards and pre-populate listings with info (though not the card’s condition), making it slightly faster to list them. The Vice report also mentions that plastic card protectors have been completely selling out.
Most of these effects seem linked to older Pokémon cards, as they’re the ones that are scarce — as the author of the Vice article points out, people are looking to see if they’ve got any that escaped the ravages of being childhood playthings after seeing collectors like Logan Paul buying original cards or packs for obscenely high prices.
But it also seems like some of the OG Pokémon shine has started to affect the market for new collectibles with unproven value, too: some Target stores have threatened to call police on people camping outside for new Pokémon card restocks, and the Pokémon card company has rushed to pump out as many new cards as it can.
Maybe the pandemic has awoken people’s inner magpies, turning on an insatiable desire to collect without really considering the value of what we’re buying (just look at NFTs, which feel like peak collectible). Of course, there are also those truly rare Pokémon cards that are quite valuable — but it can’t just be the rare cards hitting these card rating companies with, as one CEO put it, “an avalanche of cardboard.”
Honestly, seeing this news, on top of everything else, has left me with one burning question: where the heck are people getting so much money that they can spend $660K on a Mario cartridge or $300K on a Pokémon card?
After a controversial blog post in which CEO Jason Fried outlined Basecamp’s new philosophy that prohibited, among other things, “societal and political discussions” on internal forums, company co-founder David Heinemeier Hansson said the company would offer generous severance packages to anyone who disagreed with the new stance. On Friday, it appears a large number of Basecamp employees are taking Hansson up on his offer: according to TheVerge contributing editor Casey Newton’s sources, roughly a third of the company’s 57 employees accepted buyouts today. As of Friday afternoon, 18 people had tweeted they were planning to leave.
Not long after Fried’s Monday blog post went public — and was revised several times amid public backlash online — Hansson outlined the terms of the new severance offer in a separate Wednesday blog post.
Yesterday, we offered everyone at Basecamp an option of a severance package worth up to six months salary for those who’ve been with the company over three years, and three months salary for those at the company less than that. No hard feelings, no questions asked. For those who cannot see a future at Basecamp under this new direction, we’ll help them in every which way we can to land somewhere else.
Among those who announced on Twitter they’re leaving the company are reportedly head of marketing Andy Didorosi, head of design Jonas Downey, and head of customer support Kristin Aardsma. Most cited “recent changes” at the company as their reason for leaving.
“Given the recent changes at Basecamp, I’ve decided to leave my job as Head of Design,” Downey tweeted. “I’ve helped design & build all of our products since 2011, and recently I’ve been leading our design team too.”
I resigned today from my role as Head of Marketing at Basecamp due to recent changes and new policies.
I’ll be returning to entrepreneurship. My DMs are open if you’d like to talk or you can reach me at andy@detroitindie.com
— Andy Didorosi (@ThatDetroitAndy) April 30, 2021
I’ve resigned as Head of Customer Support at Basecamp. I’m four months pregnant, so I’m going to take some time off to build this baby and hang out with my brilliant spouse and child.
— Kristin Aardsma (@kikiaards) April 30, 2021
I have left Basecamp due to the recent changes & policies.
I’ve been doing product design there for 7yrs. The last 3yrs I led the iOS team working alongside @dylanginsburg and @zachwaugh — they are the best .
If you need a product designer, please DM or email me: hi@conor.cc
— Conor Muirhead (@conormuirhead) April 30, 2021
After nearly 8 years, given the recent changes at Basecamp, I’ve decided to leave my job as an Android programmer there. Will eventually be looking for something new, so please feel free to reach out / RT. DMs open.
Thank you all for your support and kindness. It means a lot. ❤️
— Dan Kim (@dankim) April 30, 2021
Software developer John Breen is tracking additional Basecamp departures in this Twitter thread.
The original blog post that started the brouhaha at the tiny company with an outsized voice also detailed how Basecamp would do away with “paternalistic benefits,” committees, and would prohibit “lingering or dwelling on past decisions.” But it was the “societal and political discussions” item that stirred up the most reaction:
Today’s social and political waters are especially choppy. Sensitivities are at 11, and every discussion remotely related to politics, advocacy, or society at large quickly spins away from pleasant. You shouldn’t have to wonder if staying out of it means you’re complicit, or wading into it means you’re a target. These are difficult enough waters to navigate in life, but significantly more so at work. It’s become too much. It’s a major distraction. It saps our energy, and redirects our dialog towards dark places. It’s not healthy, it hasn’t served us well. And we’re done with it on our company Basecamp account where the work happens. People can take the conversations with willing co-workers to Signal, Whatsapp, or even a personal Basecamp account, but it can’t happen where the work happens anymore
While the company argued that it was just trying to get its own employees focused on work, company founders don’t tend to shy away from “societal and political discussions” online, with Hansson in particular having become a vocal critic of Apple’s App Store policies, to the point that he has testified in favor of antitrust regulation.
As The Verge later reported, the initial motivation for the letter stemmed from internal disagreement over a controversial list of “funny names” of Basecamp customers. Several of the names on the list, which resurfaced several times over the years and of which management was well aware, were of Asian or African origin. Employees considered their inclusion inappropriate at best, and racist at worst.
Hansson acknowledged the list and tried to move on (you can read his internal communications here), but employees pressed the issue.
Hansson did not reply to a request for comment from The Verge on Friday.
Since its launch in 2015, Apple Music garnered 72 million subscribers by the end of 2020 and even more impressively (depending on who you ask) racked up a five-star review from us.
Five iOS updates and a couple of hefty interface refreshes later, the arrival of the splendid HomePod Mini (despite the discontinuation of the original HomePod) means there’s no better time to get fully acquainted with the ins and outs of Apple’s music streaming service. You won’t get far with Apple’s little smart speaker if you don’t, at any rate – and there’s so much to enjoy.
Whether you’re on the free three-month trial or already a subscriber and regular user, we’ve pulled together some key tips, tricks and features to make sure you get the utmost from Apple Music.
Read our Apple Music review
Set-up
1. How to unsubscribe
Sure, this is something of a negative note to start on – but if you’re signing up for the three-month Apple Music free trial and don’t want to commit to paying for the service afterwards, you can opt out straight away.
To do this, click on your profile icon in the top right corner of the screen in the For You tab, hit View Account, then View Apple ID and sign in to your iTunes account.
Next, tap Subscriptions halfway down the page. Here you can ‘cancel’ your free trial so it won’t automatically renew – don’t worry, you can still use it free for the three months. This is also how to select your subscription choice in future. Savvy.
2. Bulk unfollow artists
When you sign up to the Apple Music service, Apple will take the liberty of ‘following’ any artist already in your library as part of its Connect feature. This means your Connect section (now relegated to the Made For You tab) will be full of new and seemingly never-ending content from these artists. This may not be what you’re after, especially if you once bought Baby Shark (for a kid’s party or something. We don’t judge).
It’s on by default, but you can switch it off by tapping the profile icon, then clicking on ‘Notifications’ (to see the artists you supposedly ‘like’) and then sliding the ‘New Music’ and ‘Show in Library’ buttons to ‘off’. Now you can make sure you only hear from the artists you really like.
3. Sign in to iCloud Music for extra features…
You might want to enable iCloud Music Library to get the most from Apple Music if you’re using an iPhone or iPad. A number of features are only available with iCloud Music activated – most notably offline listening. In your iPhone/iPad, go to Settings > Music and toggle iCloud Music Library on.
4. Or don’t…
This can present some problems to users with a big existing library, especially if you have your own playlists. Apple will match these with its own tracks so you can listen offline – but it may not always get the right version. So if you’re precious about your existing downloads (and rightly so), you may want to turn off iCloud. To do this, simply toggle the iCloud Music Library option off.
5. Or have iCloud Music on mobile only
If you have a big existing music library and you’re not sure about Apple matching it for access on your mobile, you can turn this feature off on your computer but leave it on for your mobile. This way your existing library is left alone but you can still have offline tracks on the Apple Music mobile app. Turn off iCloud Music Library on your Mac by going to Preferences > General, then unchecking iCloud Music Library.
6. Multiple devices
The Apple Music Individual Membership plan, yours for £9.99 per month, can be associated with up to ten devices, five of which can be computers. You can only stream on one device at a time, as is the case on Spotify, Tidal and other services.
7. Multiple devices at once
If you want to listen to multiple devices at the same time then you’ll need a Family Membership. This gives simultaneous streaming access for up to six different people for £14.99 per month.
Interface
8. View album information for now-playing track
One slightly hidden feature is viewing the album of the track that’s currently playing. You can do this in two ways. The easiest way is to tap on the artist and album name at the top of the now-playing window. A pop-up will appear asking if you want to ‘Go to Album’ or ‘Go to Artist’. Click on the Album option.
The second, slightly longer method is to tap the three-button icon in the bottom corner of the screen, then tap ‘Show Album’ on the pop-up menu. That’ll take you there.
9. View artist page
Same as above, but select ‘Go to Artist’.
Or, if you’ve used the longer method: once you’re transported to the album page, click the artist’s name (highlighted in that pinky-red text). For both methods, you’ll be taken to the artist’s landing page where you can see all their music and related content (such as new releases, playlists they’re featured in, bio, and similar artists).
10. Explicit tracks
If you were wondering what that little ‘E’ was next to certain tracks, it doesn’t stand for exclusive, it’s for explicit. So prepare your ears (or your child’s).
Organising your music
11. Optimise your storage
This one is a no-brainer. Because why fill up your phone’s storage space with music you’re not listening to? The Optimise Storage feature in Apple Music will automatically delete downloaded songs if storage is running low and you haven’t listened to them in a fair while.
It’s a neat, simple feature that keeps your phone free of music you don’t need. And once you’ve toggled a button, you’re all set. It works when you’re low on storage. To set it up, open the Settings menu on your iPhone, scroll to Music, then Optimise Storage. Boom.
12. Offline music
You can save tracks, albums and playlists to your phone for offline playback (when you don’t have an internet connection) if iCloud Music is enabled (see point 3).
You can only download music that’s been added to your library. If there’s a ‘+’ icon next to a song, that means it isn’t added to your library. Tap it to add. It’ll then transform into a cloud icon, meaning it’s not been downloaded yet. Tap the cloud to download.
You can identify the songs downloaded on your device as they won’t have any icon next to them.
13. Viewing offline music
No mobile or network coverage? Simply select the Downloaded Music category in the Library tab to only see the music stored on your phone for offline listening.
Remember: this is both downloaded songs and playlists from Apple Music, as well as your own music files physically stored on the phone.
14. Sort songs alphabetically by artist (or however you’d prefer)
Want to sort your music library alphabetically by title instead of by artists (the default setting)? In the Library tab, select Songs and tap ‘Sort’ in the top right corner. Then select Title, Recently Added or Artist in the pop-up menu. Hey presto.
15. Shuffle and repeat
Wondering where the shuffle and repeat icons have gone? On the Now Playing screen, you’ll see them right underneath the track and artist, next to ‘Playing Next’.
Music curation
16. Love tracks (or don’t)
Much of Apple Music’s draw is centred on the For You tab, where you’ll find recommended albums and artists based on the music you like. To give Apple’s algorithms a steer, you need to tap the Love (heart) icon on the pop-up menu for every song (or album) you like.
There’s now also a Dislike option right next to it (with a thumbs-down icon) to tell Apple songs you don’t want it to recommend. You can do this for whole playlists, too.
17. Adjust the EQ
You can use Apple Music to change the way music sounds on iPhone with EQ settings, volume limit options and Sound Check. Simply go to Settings > Music > EQ to choose from an exhaustive list of presets. To normalise the volume level of your audio: go to Settings > Music, and toggle on Sound Check.
18. New music
Need to find new music? Click on the Browse tab and you’ll find a section called New Music dedicated to the latest releases, albums, playlists, music videos and more.
In Browse’s Playlists section, you’ll find curated playlists from the likes of Pitchfork, NME and Sonos, as well as playlists for your every mood and activity.
19. Browse new music by genre
Tailor to your musical tastes even further by going to the Genres section and filtering music by, you guessed it, genre.
You can filter playlists by genre, too, in the Playlists section.
20. Use built-in Shazam
Here’s a bit of insider knowledge: Shazam is built right into iPhones, even without a download of the app. This nifty tool can help you figure out what songs are playing when you’re in the car and can’t scrutinise your screen (do not scroll and drive), or while watching shows or movies.
If you’re trying to put a name to a song, simply tap the Shazam button on your iPhone, iPad or iPod touch. And here’s the best bit: the app will identify the music you’ve captured and save it to your library.
To use this feature, open the Control Center in your device’s Settings and add the Music Recognition icon to your ‘Included Controls’ – if music recognition is enabled on your device, you’ll be able to swipe up and see the Shazam icon from your iPhone’s lock screen. Now, tap this Shazam music recognition button to swiftly identify what’s playing around you.
Radio and TV
21. Create your own radio station
You can play an Apple-curated selection of music based on a certain artist or track. Simply click on the three dots on an artist or a track and select Create Station from the pop-up menu to listen to related music. Tap the ‘love’ icon on subsequent songs to tell Apple to keep playing more songs like it.
22. Listen to live radio on Apple Music
Apple Music subscribers can now tune in to not one but three live radio stations: Apple Music 1, Apple Music Hits, and Apple Music Country. Click on the Radio icon at the bottom of the home screen, then scroll down to Apple Music 1, Apple Music Hits, or Apple Music Country to tune in live, see upcoming shows, and listen to previously aired shows on-demand.
23. Listen to broadcast radio
You can also tune in to your favorite broadcast radio stations, including your local ones. To do this, go to Search, search for the radio station by its name, call sign, frequency, or nickname, then tap or click the radio station to listen to it live. And don’t forget, you can also ask Siri to play a radio station by name.
24. Play music videos on Apple TV
Apple Music makes it easy to watch music videos on Apple TV. There’s actually a Videos screen in the Apple Music app that includes the hottest new music videos and video playlists, and it’s accessible right from the app on your Apple TV. To use it, open Music on Apple TV and swipe to Videos. Then, swipe down to see a menu of video categories. Depending on the video, you can add it to a playlist or your library or remove it from your library.
More features
25. Share your listening history with your friends
Fancy sharing new sonic discoveries with your friends? You can do it by creating an Apple Music profile within the app. Then, if your friends subscribe and create a profile, you can see what they are listening to, too.
To create a profile, tap Listen Now and, in the upper-right corner of this screen on your iPhone, tap the photo icon. (On an Android device, tap the More button, then tap Account). Now, tap See What Friends Are Listening To. Follow the onscreen prompts to create a username, find and follow friends, share playlists and more.
You can also control what you share (nobody needs to know all of your listening habits, right?) hide certain playlists, block or unblock users or follow your friends’ accounts.
26. Siri + Apple Music = clever
You can use voice control to play your music, whether you’re on your iPhone or Apple Watch ( for instance: “Hey Siri, play AC/DC”). But it’s actually even cleverer than that. You can start a radio station by saying “play AC/DC station”.
Apple Music can also play by date, popularity and release date, so “play the number one hit from April 1988”, “play the top songs by AC/DC” or “play the newest song by AC/DC*” all work. It can be a little hit and miss at times, but it’s worth experimenting with all sorts of commands.
(*other bands are available. They’re not as good, though)
(Image credit: Apple)
27. Siri + Apple Music + HomePod Mini = cleverer
Siri voice commands and Apple Music are the key ingredients to a great Apple HomePod Mini speaker experience, so if you’ve bought yourself a new HomePod Mini, you can ask it all sorts of questions to get your favourite tunes playing. Start off with “Hey Siri, play something I like” and it’ll use your Apple Music profile to create a personalised radio station of songs you know and like.
Amazon Echo vs Apple HomePod Mini: which is the best smart speaker?
28. Turn off Listening History for Apple HomePod Mini
If you have a HomePod Mini, you might not want your kids or that friend who only loves country music messing up your carefully curated For You recommendations when they start shouting out song requests.
Keep your Apple Music profile separate from what the Mini’s been playing by firing up the Home app (which you should’ve downloaded when setting it up), head to the Details section and switch ‘Use Listening History’ to off.
29. Wake and stream
Want to wake up to the sound of your favourite song? When setting an alarm in your iPhone’s Clock app, tap Sound > Pick a song (under the Songs section) and then choose a track from your Apple Music library.
30. Lyrics
You can karaoke! Scroll up from the now playing screen, and lyrics (where available) will appear. Alternatively, tap the Lyrics tab in the pop-up options menu.
Since iOS 12, searching for songs by lyrics is a thing, too. Just start typing lyrics in the search box and voila – you’ll get the song you’re looking for (or at least suggestions for what it could be).
Best music streaming services 2021: free streams to hi-res audio
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If you’re more into hi-fi than music, that’s a problem
It’s nigh-on impossible to find meaningful fault with Netflix
For
Excellent video quality
Big, easy-to-navigate catalogue
High quality Originals
Against
Rarely first for big film releases
Netflix just keeps on getting better, making a more compelling case for your money at every turn. It’s everything you want from a video streaming service: simple to use, available on your preferred platform and filled with content you want to watch.
But it’s now got more rivals than ever and they’ve also upped their game, so is Netflix really the best video streaming service out there?
Pricing
Netflix UK pricing and features (Image credit: Netflix)
Netflix subscriptions start at £5.99 ($8.99, AU$10.99) per month for standard-definition streams to a single screen. Up your spend to £9.99 ($13.99, AU$15.99) per month and get high-def stuff available to watch on a couple of screens simultaneously.
Or go the whole hog (provided you’ve already gone the entire pig on a 4K Ultra HD TV) and spend £13.99 ($17.99, AU$19.99) per month for 4K content on as many as four screens at a time.
MORE: How to use Netflix Party: watch Netflix with friends online
Features
It goes without saying not all content is available in HD (720p) or Full HD (1080p), let alone Ultra HD or 4K. One of the great pleasures of a Netflix subscription is happening upon classic films such as Easy Rider and old episodes of cult TV shows such as Peep Show, and it would be optimistic in the extreme to expect them to represent the state of the technological arts.
But there’s now a huge stack of 4K content available, from The Crown and Last Chance U to Shadow Bone and Snowpiercer, and that stack is forever growing.
Netflix has a continuing good relationship with Sony Pictures that also grants the streamer exclusive rights to some Sony films. There’s also the excellent Studio Ghibli oeuvre now available in most countries.
In terms of bespoke content, Netflix distances itself from any nominal competition.
Netflix now prioritises its own content to such an extent that it seems less committed to adding blockbuster films from other studios than its main rival Amazon Prime Video. And now that Disney+ is on the scene, it’ll likely never be the first streaming service to add a Disney, Marvel or Star Wars title to its catalogue. But Netflix still has a strong selection of older favourites and not-too-aged blockbusters such as, at the time of writing, Arrival and Rocketman.
And as a content provider in its own right, Netflix goes from strength to strength, whether that’s through cinematic adventures or its increasingly impressive run of excellent documentary features and series.
And if you have an HDR (High Dynamic Range) compatible TV, there’s now loads of HDR content on Netflix too. It’s not immediately obvious, as there isn’t an HDR section anywhere in the menus, but if you type HDR into the search box you’ll find a list of HDR content such as After Life, The Witcher and Lupin. You’ll see an HDR logo (or Dolby Vision logo, if your TV supports it) on relevant content.
MORE: Best 4K TVs 2021
Provided your broadband connection is up to the task, it has always been a fuss-free and stable experience, and its broad compatibility is a strong sell too.
PCs and Macs, Google Chromecast, Apple TV, Amazon Fire TV devices, Roku streamers, any smart TV worth its salt, games consoles, Blu-ray players from all the big brands, tablets and phones, whether iOS, Android or Windows, are all on the menu. In fact, there’s a strong argument that if a smart device doesn’t have Netflix, it can’t really be considered smart at all. It’s certainly the first app we look for whenever testing a new streaming product.
There’s good news for mobile users too. In the early days it wasn’t possible to download anything from Netflix to watch offline. Since November 2016, though, content can be downloaded to your phone and tablet to watch, glitch free, at your leisure on the Netflix app – and it does not count toward the limit of how many screens you can watch on at the same time. You can’t download literally everything, but there’s plenty of choice and lots of the most popular content is there for you to stick on your device.
MORE: Amazon Prime Video review
Ease of use
(Image credit: Netflix)
Ergonomically, things could hardly be simpler.
Aside from the TV app’s rather retrograde A-Z keyboard (rather than QWERTY) search function, it’s straightforward to browse, create a shortlist and enjoy Netflix’s more-hit-than-miss recommendations based on your previous viewing habits.
You can establish multiple user profiles, including parental locks to prevent the kids stumbling onto Zombeavers or similar.
There are also handy and fun features such as Play Something/Shuffle Play for when you’re stuck for what to watch next, and Netflix Party to watch online with friends.
MORE: 25 Netflix tips, tricks and features
Performance
Whether 4K, Full HD or standard definition, Netflix serves video streams at exactly the sort of quality you expect. Watch a 4K HDR stream such as Formula 1 Drive to Survive on an appropriate display and it’s prodigiously detailed, vibrant and stable.
Colours pop, contrast is punchy and the sheer amount of information available for your enjoyment is thrilling. It almost goes without saying, but if you own a 4K TV or 4K projector, the top tier £14 ($18, AU$20) subscription should be considered almost compulsory.
It’s all equally high-contrast, steady-motion, fine-detail good news for Full HD too. Native 1080p content looks accomplished, though obviously the exact amount of detail revealed in dark scenes (for instance) is to an extent dependent on the source material.
MORE: 15 of the best movies of the 1990s to test your home cinema
Given a fighting chance, though, Full HD stuff such as Collateral is vivid, stable and eminently watchable. As regards standard-def stuff, you take your chances.
The majority of decent TVs – and certainly all the screens we recommend – are equipped with effective upscaling engines and won’t make you regret your partiality for schlocky thrillers such as Ravenous.
5.1 audio is now available on many titles, and Netflix serves it up in the same manner as it does pictures: robustly and positively.
Provided you have the necessary home cinema set-up (or even the right soundbar) at home, Dolby Atmos is also available on a good portion of Netflix’s own TV shows and movies. It presents an altogether more substantial and immersive sound than anything your TV’s integrated speakers can manage.
Verdict
It’s difficult to think of a downside to Netflix. Set your mind to it and you can search for plenty of films it doesn’t have, but the same is true of any movie streaming service and Netflix is better than almost all of those when it comes to the combination of original content, cherry-picked classics, video and sound quality, usability, and individual recommendations.
Disney+ will have turned many a head, but there are plenty who are left cold by the House of Mouse’s output, and, with recent price hikes to Netflix and Disney+, signing up to both services is not quite the financial no-brainer it once was.
Sure, the Premium tier (£13.99, $17.99, AU$19.99) now feels a more considerable monthly outgoing than before. All the same, if we had to live with just one video streaming service, it’s no contest. The quality, consistency and breadth of content available mean that Netflix is still king.
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With quality programmes, vast platform support and a great interface, iPlayer is the best video-on-demand catch-up TV service out there
For
Superb content
Intuitive and slick interface
Extensive platform support
Against
Still no permanent 4K offering
It’s free (although you need a TV licence). It’s the home of superb TV shows. There are no ads. And you can download programmes for offline watching. Put simply, BBC iPlayer is the UK’s best catch-up TV service.
Even without considering all the live broadcast TV and radio the corporation provides across many channels, iPlayer is almost worth the licence fee on its own.
Missed the last episode of Line of Duty, need another Pointless fix or want to see what all the Killing Eve or Fleabag fuss is about? BBC iPlayer is your answer. It was already a great desktop service when first introduced in 2007 and, well over a decade on, it’s even more excellent in its incarnation as an app for your TV, smartphone and tablet.
Features
(Image credit: BBC)
Unlike Netflix and Amazon Prime Video, iPlayer is free to use – so long as you pay the BBC’s annual licence fee (currently £159), which has been in place, in some form or another, for almost a century.
The on-demand service is the home of BBC shows that have recently aired, offering a (typically 30-day) window to catch them before they are free to whizz off to the BBC and ITV’s relatively new, £5.99-per-month BritBox streaming service, which is where you’ll find the biggest collection of British TV content ever, combining current and classic boxsets for on-demand viewing.
BBC iPlayer does host some of its most popular TV shows for longer durations, however – Killing Eve (which became the first British-made show to be named the best comedy series at the Emmy Awards last year), Line of Duty (multipleBAFTA Television Awards nominee), Luther (multiple Golden Globe nominee) and Doctor Foster (two-time National Television Awards winner) are, at the time of writing, available to binge in their entirety on iPlayer, for example.
In a bid to boost the nation’s spirits during lockdown, the BBC helpfully added a slew of new long-term boxsets to iPlayer. The ‘from the archive’ tab in ‘categories’ is where you’ll find full series’ of classic fare such as Absolutely Fabulous, Black Adder and The Vicar of Dibley as well as pretty much every Michael Palin documentary ever made.
It would be difficult to guess how many hours of content iPlayer offers at any one time, but there always seems to be at least one show on iPlayer that everyone is talking about – and that’s a credit to the broadcaster’s consistency for quality programming.
As with many streaming services these days, BBC iPlayer lets you download shows onto your smart device for offline watching for up to 30 days. This is great for long train journeys, if you’re travelling out of the country (iPlayer is only available in the UK) or can’t get any internet or data signal.
You can choose whether to restrict downloading to when you’re connected to a wi-fi network or allow downloading over your mobile network data in the app’s settings.
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(Image credit: BBC)
BBC iPlayer’s familiar grid layout is neat and stylish, with its home screen logically presenting you with ‘Featured’, ‘Recommended for You’, ‘Continue Watching’ and ‘Most Popular’ suggestions. The service dynamically highlights programmes, too, mixing documentaries and comedy panel shows so that there’s something for everyone.
You can also browse programmes by channels (BBC One, BBC Two or CBeebies, for example), categories (Arts, Food and Documentaries, say) or TV guide schedules. Or you can simply search for them. You can add shows to your ‘My Programmes’ list, too, so new episodes are easy to access.
Essentially, each update to iPlayer over the years has made it fresher and more intuitive to use. Scrolling through the service is a swift and smooth process, regardless of what platform you’re using.
This is probably a good time to mention that the iPlayer app is everywhere: on pretty much every smart TV and media streamer, available to download across iOS and Android devices, even on Xbox Series X/S. iPlayer’s not currently on the PS5, but it’s still one of the most prevalent apps across smart devices in the UK.
Just be aware that you need to create a BBC ID account to watch any iPlayer content, although it is free to sign up and stays logged in at all times, keeping your favourites list and watching history synced across all devices.
29 BBC iPlayer tips, tricks and features
Picture
(Image credit: BBC)
With increasingly high-quality screen resolutions on smartphones and tablets, both standard and high-definition shows on iPlayer look as good as you’d reasonably expect them to.
Naturally, we would urge you to play HD whenever you can. Most programmes are available in HD, so long as they’ve first been broadcast on a BBC HD channel.
Then there’s the BBC’s next-level 4K Ultra HD content, which offers a huge step up in picture quality – namely in resolution and detail. While the BBC still doesn’t yet have a regular, permanent 4K offering, it has run several 4K trials on iPlayer since 2016, including Planet Earth II and Blue Planet II on-demand viewing and, even more excitingly, live broadcasts of the 2018 FIFA World Cup football and Wimbledon tennis.
After temporarily removing 4K content during 2020 to help ease the strain on broadband networks, iPlayer has made UHD programming available again. The current ‘trial’ has nine shows available to stream, including His Dark Materials and Black Narcissus. We can’t help but feel it really is about time for 4K to become a permanent fixture of the service.
Despite broadcasting some HD programmes, such as The Proms, in 5.1 surround sound, all content on iPlayer is only available in stereo. This is a bit disappointing, especially when streaming modern films or the flagship 4K documentary Seven Worlds, One Planet, which we know has a lush Dolby Atmos soundtrack on its Blu Ray release. Although some paid-for streaming platforms do have tiers that support multi-channel sound, we understand that the BBC doesn’t have any plans to add that functionality to iPlayer in the short term.
The BBC does provide excellent accessibility features for the visually impaired and hard of hearing. Many programmes will have icons that tell you whether audio description (AD) or sign language (SL) options are available.
Here’s what’s next for 4K HDR streaming content on the BBC
Verdict
BBC iPlayer isn’t entirely free, of course. But when the license fee amounts to less than 45p per day, and you look at the incredible range and accessibility of programming available from the BBC, not to mention the cutting-edge picture technologies it strives to offer in the hopefully near future, we’d happily carry on paying so that we can see more of the broadcaster’s David Attenborough-narrated nature documentaries.
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The University of Minnesota’s path to banishment was long, turbulent, and full of emotion
On the evening of April 6th, a student emailed a patch to a list of developers. Fifteen days later, the University of Minnesota was banned from contributing to the Linux kernel.
“I suggest you find a different community to do experiments on,” wrote Linux Foundation fellow Greg Kroah-Hartman in a livid email. “You are not welcome here.”
How did one email lead to a university-wide ban? I’ve spent the past week digging into this world — the players, the jargon, the university’s turbulent history with open-source software, the devoted and principled Linux kernel community. None of the University of Minnesota researchers would talk to me for this story. But among the other major characters — the Linux developers — there was no such hesitancy. This was a community eager to speak; it was a community betrayed.
The story begins in 2017, when a systems-security researcher named Kangjie Lu became an assistant professor at the University of Minnesota.
Lu’s research, per his website, concerns “the intersection of security, operating systems, program analysis, and compilers.” But Lu had his eye on Linux — most of his papers involve the Linux kernel in some way.
The Linux kernel is, at a basic level, the core of any Linux operating system. It’s the liaison between the OS and the device on which it’s running. A Linux user doesn’t interact with the kernel, but it’s essential to getting things done — it manages memory usage, writes things to the hard drive, and decides what tasks can use the CPU when. The kernel is open-source, meaning its millions of lines of code are publicly available for anyone to view and contribute to.
Well, “anyone.” Getting a patch onto people’s computers is no easy task. A submission needs to pass through a large web of developers and “maintainers” (thousands of volunteers, who are each responsible for the upkeep of different parts of the kernel) before it ultimately ends up in the mainline repository. Once there, it goes through a long testing period before eventually being incorporated into the “stable release,” which will go out to mainstream operating systems. It’s a rigorous system designed to weed out both malicious and incompetent actors. But — as is always the case with crowdsourced operations — there’s room for human error.
Some of Lu’s recent work has revolved around studying that potential for human error and reducing its influence. He’s proposed systems to automatically detect various types of bugs in open source, using the Linux kernel as a test case. These experiments tend to involve reporting bugs, submitting patches to Linux kernel maintainers, and reporting their acceptance rates. In a 2019 paper, for example, Lu and two of his PhD students, Aditya Pakki and Qiushi Wu, presented a system (“Crix”) for detecting a certain class of bugs in OS kernels. The trio found 278 of these bugs with Crix and submitted patches for all of them — the fact that maintainers accepted 151 meant the tool was promising.
On the whole, it was a useful body of work. Then, late last year, Lu took aim not at the kernel itself, but at its community.
In “On the Feasibility of Stealthily Introducing Vulnerabilities in Open-Source Software via Hypocrite Commits,” Lu and Wu explained that they’d been able to introduce vulnerabilities into the Linux kernel by submitting patches that appeared to fix real bugs but also introduced serious problems. The group called these submissions “hypocrite commits.” (Wu didn’t respond to a request for comment for this story; Lu referred me to Mats Heimdahl, the head of the university’s department of computer science and engineering, who referred me to the department’s website.)
The explicit goal of this experiment, as the researchers have since emphasized, was to improve the security of the Linux kernel by demonstrating to developers how a malicious actor might slip through their net. One could argue that their process was similar, in principle, to that of white-hat hacking: play around with software, find bugs, let the developers know.
But the loudest reaction the paper received, on Twitter and across the Linux community, wasn’t gratitude — it was outcry.
“That paper, it’s just a lot of crap,” says Greg Scott, an IT professional who has worked with open-source software for over 20 years.
“In my personal view, it was completely unethical,” says security researcher Kenneth White, who is co-director of the Open Crypto Audit Project.
The frustration had little to do with the hypocrite commits themselves. In their paper, Lu and Wu claimed that none of their bugs had actually made it to the Linux kernel — in all of their test cases, they’d eventually pulled their bad patches and provided real ones. Kroah-Hartman, of the Linux Foundation, contests this — he told The Verge that one patch from the study did make it into repositories, though he notes it didn’t end up causing any harm.
Still, the paper hit a number of nerves among a very passionate (and very online) community when Lu first shared its abstract on Twitter. Some developers were angry that the university had intentionally wasted the maintainers’ time — which is a key difference between Minnesota’s work and a white-hat hacker poking around the Starbucks app for a bug bounty. “The researchers crossed a line they shouldn’t have crossed,” Scott says. “Nobody hired this group. They just chose to do it. And a whole lot of people spent a whole lot of time evaluating their patches.”
“If I were a volunteer putting my personal time into commits and testing, and then I found out someone’s experimenting, I would be unhappy,” Scott adds.
Then, there’s the dicier issue of whether an experiment like this amounts to human experimentation. It doesn’t, according to the University of Minnesota’s Institutional Review Board. Lu and Wu applied for approval in response to the outcry, and they were granted a formal letter of exemption.
The community members I spoke to didn’t buy it. “The researchers attempted to get retroactive Institutional Review Board approval on their actions that were, at best, wildly ignorant of the tenants of basic human subjects’ protections, which are typically taught by senior year of undergraduate institutions,” says White.
“It is generally not considered a nice thing to try to do ‘research’ on people who do not know you are doing research,” says Kroah-Hartman. “No one asked us if it was acceptable.”
That thread ran through many of the responses I got from developers — that regardless of the harms or benefits that resulted from its research, the university was messing around not just with community members but with the community’s underlying philosophy. Anyone who uses an operating system places some degree of trust in the people who contribute to and maintain that system. That’s especially true for people who use open-source software, and it’s a principle that some Linux users take very seriously.
“By definition, open source depends on a lively community,” Scott says. “There have to be people in that community to submit stuff, people in the community to document stuff, and people to use it and to set up this whole feedback loop to constantly make it stronger. That loop depends on lots of people, and you have to have a level of trust in that system … If somebody violates that trust, that messes things up.”
After the paper’s release, it was clear to many Linux kernel developers that something needed to be done about the University of Minnesota — previous submissions from the university needed to be reviewed. “Many of us put an item on our to-do list that said, ‘Go and audit all umn.edu submissions,’” said Kroah-Hartman, who was, above all else, annoyed that the experiment had put another task on his plate. But many kernel maintainers are volunteers with day jobs, and a large-scale review process didn’t materialize. At least, not in 2020.
On April 6th, 2021, Aditya Pakki, using his own email address, submitted a patch.
There was some brief discussion from other developers on the email chain, which fizzled out within a few days. Then Kroah-Hartman took a look. He was already on high alert for bad code from the University of Minnesota, and Pakki’s email address set off alarm bells. What’s more, the patch Pakki submitted didn’t appear helpful. “It takes a lot of effort to create a change that looks correct, yet does something wrong,” Kroah-Hartman told me. “These submissions all fit that pattern.”
So on April 20th, Kroah-Hartman put his foot down.
“Please stop submitting known-invalid patches,” he wrote to Pakki. “Your professor is playing around with the review process in order to achieve a paper in some strange and bizarre way.”
Maintainer Leon Romanovsky then chimed in: he’d taken a look at four previously accepted patches from Pakki and found that three of them added “various severity” security vulnerabilities.
Kroah-Hartman hoped that his request would be the end of the affair. But then Pakki lashed back. “I respectfully ask you to cease and desist from making wild accusations that are bordering on slander,” he wrote to Kroah-Hartman in what appears to be a private message.
Kroah-Hartman responded. “You and your group have publicly admitted to sending known-buggy patches to see how the kernel community would react to them, and published a paper based on that work. Now you submit a series of obviously-incorrect patches again, so what am I supposed to think of such a thing?” he wrote back on the morning of April 21st.
Later that day, Kroah-Hartman made it official. “Future submissions from anyone with a umn.edu address should be default-rejected unless otherwise determined to actually be a valid fix,” he wrote in an email to a number of maintainers, as well as Lu, Pakki, and Wu. Kroah-Hartman reverted 190 submissions from Minnesota affiliates — 68 couldn’t be reverted but still needed manual review.
It’s not clear what experiment the new patch was part of, and Pakki declined to comment for this story. Lu’s website includes a brief reference to “superfluous patches from Aditya Pakki for a new bug-finding project.”
What is clear is that Pakki’s antics have finally set the delayed review process in motion; Linux developers began digging through all patches that university affiliates had submitted in the past. Jonathan Corbet, the founder and editor in chief of LWN.net, recently provided an update on that review process. Per his assessment, “Most of the suspect patches have turned out to be acceptable, if not great.” Of over 200 patches that were flagged, 42 are still set to be removed from the kernel.
Regardless of whether their reaction was justified, the Linux community gets to decide if the University of Minnesota affiliates can contribute to the kernel again. And that community has made its demands clear: the school needs to convince them its future patches won’t be a waste of anyone’s time.
What will it take to do that? In a statement released the same day as the ban, the university’s computer science department suspended its research into Linux-kernel security and announced that it would investigate Lu’s and Wu’s research method.
But that wasn’t enough for the Linux Foundation. Mike Dolan, Linux Foundation SVP and GM of projects, wrote a letter to the university on April 23rd, which The Verge has viewed. Dolan made four demands. He asked that the school release “all information necessary to identify all proposals of known-vulnerable code from any U of MN experiment” to help with the audit process. He asked that the paper on hypocrite commits be withdrawn from publication. He asked that the school ensure future experiments undergo IRB review before they begin, and that future IRB reviews ensure the subjects of experiments provide consent, “per usual research norms and laws.”
Two of those demands have since been met. Wu and Lu have retracted the paper and have released all the details of their study.
The university’s status on the third and fourth counts is unclear. In a letter sent to the Linux Foundation on April 27th, Heimdahl and Loren Terveen (the computer science and engineering department’s associate department head) maintain that the university’s IRB “acted properly,” and argues that human-subjects research “has a precise technical definition according to US federal regulations … and this technical definition may not accord with intuitive understanding of concepts like ‘experiments’ or even ‘experiments on people.’” They do, however, commit to providing more ethics training for department faculty. Reached for comment, university spokesperson Dan Gilchrist referred me to the computer science and engineering department’s website.
Meanwhile, Lu, Wu, and Pakki apologized to the Linux community this past Saturday in an open letter to the kernel mailing list, which contained some apology and some defense. “We made a mistake by not finding a way to consult with the community and obtain permission before running this study; we did that because we knew we could not ask the maintainers of Linux for permission, or they would be on the lookout for hypocrite patches,” the researchers wrote, before going on to reiterate that they hadn’t put any vulnerabilities into the Linux kernel, and that their other patches weren’t related to the hypocrite commits research.
Kroah-Hartman wasn’t having it. “The Linux Foundation and the Linux Foundation’s Technical Advisory Board submitted a letter on Friday to your university,” he responded. “Until those actions are taken, we do not have anything further to discuss.”
Photo by Glen Stubbe / Star Tribune via Getty Images
From the University of Minnesota researchers’ perspective, they didn’t set out to troll anyone — they were trying to point out a problem with the kernel maintainers’ review process. Now the Linux community has to reckon with the fallout of their experiment and what it means about the security of open-source software.
Some developers rejected University of Minnesota researchers’ perspective outright, claiming the fact that it’s possible to fool maintainers should be obvious to anyone familiar with open-source software. “If a sufficiently motivated, unscrupulous person can put themselves into a trusted position of updating critical software, there’s honestly little that can be done to stop them,” says White, the security researcher.
On the other hand, it’s clearly important to be vigilant about potential vulnerabilities in any operating system. And for others in the Linux community, as much ire as the experiment drew, its point about hypocrite commits appears to have been somewhat well taken. The incident has ignited conversations about patch-acceptance policies and how maintainers should handle submissions from new contributors, across Twitter, email lists, and forums. “Demonstrating this kind of ‘attack’ has been long overdue, and kicked off a very important discussion,” wrote maintainer Christoph Hellwig in an email thread with other maintainers. “I think they deserve a medal of honor.”
“This research was clearly unethical, but it did make it plain that the OSS development model is vulnerable to bad-faith commits,” one user wrote in a discussion post. “It now seems likely that Linux has some devastating back doors.”
Corbet also called for more scrutiny around new changes in his post about the incident. “If we cannot institutionalize a more careful process, we will continue to see a lot of bugs, and it will not really matter whether they were inserted intentionally or not,” he wrote.
And even for some of the paper’s most ardent critics, the process did prove a point — albeit, perhaps, the opposite of the one Wu, Lu, and Pakki were trying to make. It demonstrated that the system worked.
Eric Mintz, who manages 25 Linux servers, says this ban has made him much more confident in the operating system’s security. “I have more trust in the process because this was caught,” he says. “There may be compromises we don’t know about. But because we caught this one, it’s less likely we don’t know about the other ones. Because we have something in place to catch it.”
To Scott, the fact that the researchers were caught and banned is an example of Linux’s system functioning exactly the way it’s supposed to. “This method worked,” he insists. “The SolarWinds method, where there’s a big corporation behind it, that system didn’t work. This system did work.”
“Kernel developers are happy to see new tools created and — if the tools give good results — use them. They will also help with the testing of these tools, but they are less pleased to be recipients of tool-inspired patches that lack proper review,” Corbet writes. The community seems to be open to the University of Minnesota’s feedback — but as the Foundation has made clear, it’s on the school to make amends.
“The university could repair that trust by sincerely apologizing, and not fake apologizing, and by maybe sending a lot of beer to the right people,” Scott says. “It’s gonna take some work to restore their trust. So hopefully they’re up to it.”
(Pocket-lint) – The Amazfit T-Rex Pro is a sportswatch built for outdoor lovers. Its maker, Zepp Health, has sought to make it a better companion for trail runs, hikes and open water swims than the original 2020 T-Rex model – by making the Pro better suited to surviving in extreme conditions and adding new sensors to offer richer metrics too.
A core part of the T-Rex Pro is its affordable price point – it’s significantly cheaper than most outdoor watches, so could save you some money if you wanted something to take out on adventures. But while the price and feature set might read as appealing, does this T-Rex bring future goodness or is it a bit of a dinosaur at launch?
Design & Display
Measures: 47.7mm (diameter) x 13.5mm (thickness)
1.3-inch touchscreen display, 360 x 360 resolution
10ATM waterproofing (to 100m depth)
Weighs: 59.4g
The T-Rex Pro largely sticks to the same design formula as the T-Rex. There’s a similar-sized 47mm polycarbonate case, matched with a 22mm silicone rubber strap, all weighing in at 59.4g. To put that into perspective: the 47mm Garmin Fenix 6 weighs 80g, and the Polar Grit X weighs 66g. So the T-Rex Pro is a lighter watch thanks to that plastic case. We’d almost like a bit more weight to it, if anything.
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There’s also a chunky bezel with exposed machined screws to emphasise its rugged credentials – and it’s passed more military grade tests than the original T-Rex to make it better suited to the outdoors. The Pro attains 15 military grade tests – up from the original’s 12 – and is built to handle extreme humidity and freezing temperatures.
Along with those improved military grade toughness credentials, it’s also ramped up the water-resistance rating – offering protection up to 100 metres depth (10ATM). The ‘non-Pro’ T-Rex can be submerged in water up to 50 metres.
At the heart of that light, rugged, chunky exterior is a 1.3-inch AMOLED touchscreen display, which can be set to always-on. Tempered glass and an anti-fingerprint coating has been used to make it a more durable and smudge-free display – and we can confirm it’s a screen that doesn’t give you that unattractive smudgy look as its predecessor suffered.
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It’s a bright and colourful screen, with good viewing angles. In bright outdoor light, that vibrancy isn’t quite as punchy as in more favourable conditions, but it’s on the whole a good quality display to find on a watch at this price.
Around the back is where you’ll find the optical sensors and the charging pins for when you need to power things back up again. It uses the same slim charging setup as the T-Rex, which magnetically clips itself in place and securely stays put when it’s time to charge.
Fitness & Features
GPS, GLONASS, Beidou, Galileo satellite system support
Firstbeat training analysis
Heart rate monitor
SPO2 sensor
In true Amazfit fashion, the T-Rex Pro goes big on sports modes – and includes the kinds of sensors that should make it a good workout companion.
There’s 100 sports modes up from just the 14 included in the standard T-Rex. It still covers running, cycling and swimming (pool and open water), but it’s also added profiles for activities like surfing, dance, and indoor activities like Pilates.
The majority of these new modes will offer you the basics in terms of metrics, though modes like surfing and hiking will offer additional ones like speed and ascent/descent data in real-time. The addition of an altimeter here means you can capture richer elevation data, which is useful if you’re a fan of getting up high and hitting those mountains and hilly terrain.
For outdoor tracking, there’s support for four satellite systems with GPS, GLONASS, Beidou and Galileo all on board to improve mapping accuracy. You don’t have any type of navigation features to point you in the right direction, though, nor can you upload routes to follow on the watch.
For road and off-road runs, we found core metrics were reliable during our testing. GPS-based distance tracking came up a little short compared to a Garmin Enduro sportswatch, plus we had issues inside of the app generating maps of our routes as well.
Best Garmin watch 2021: Fenix, Forerunner and Vivo compared
By Chris Hall
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Swim tracking metrics were generally reliable and it was a similar story for indoor bike and rowing sessions. In the pool, it was a couple of lengths short of the Enduro’s swim tracking, though stroke counts for indoor rowing largely matched up to what we got from a Hydow rowing machine.
But when you dig a little deeper beyond core metrics, some of the T-Rex Pro’s data seems a little questionable. If you’re happy to stick to the basics, though, then the Pro does a good enough job.
Along with manual tracking, there’s support for automatic exercise recognition for eight of those sports modes. This is something we’ve seen crop up on Fitbit, Garmin and Samsung smartwatches with varying success. On the T-Rex Pro, you’ll need to select whether to automatically track activities like running, swimming and indoor rowing. As Zepp Health outlines: there can be instances where accidental recognition can happen with some activities when you jump on a bus or a car. Fortunately, that wasn’t the case for us.
Zepp Health’s newest BioTracker 2 optical sensor is included to power a host of heart-rate features outside of continuous monitoring and measuring effort levels during exercise. It’s also used for the PAI scores, which seeks to shift the attention away from counting steps to regularly raising heart rate through exercise. It’s also used for taking heart rate variability measurements to track stress levels and is used for training insights – like those found on Garmin watches – that will generate VO2 Max scores, training effect, training load, and recovery times.
As far as the reliability of that heart rate monitoring, the Amazfit is better suited to resting heart rate and continuous heart rate data as opposed to relying on exercise and those additional training and fitness insights. In our testing it generally posted higher maximum heart rate readings and lower average heart rate readings compared to a Garmin HRM Pro heart rate monitor chest strap. Those readings were enough to put us in different heart rate zones, which undermines the usefulness of those training insights and PAI scores.
That sensor also unlocks blood oxygen measurements with a dedicated SpO2 app on board to offer on-the-spot measurements. It can be used to offer alerts when you hit major altitude changes. We didn’t get up high enough to trigger those altitude alerts but did compare on-the-spot measurements against a pulse oximeter and they largely all matched up.
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You’ll get those staple activity tracking features here too, such as capturing daily step counts and monitoring sleep as well as naps, capturing sleep stages and breathing quality, which is tagged as a beta feature and makes use of the new onboard SpO2 sensor.
We found step counts were at times well within the counts of a Fitbit smartwatch – but also some days where we registered longer step totals there was a much bigger difference.
When you’re not tracking your fitness, the Pro does do its duty as a smartwatch too. It runs on Zepp Health’s own RTOS software – and while it might not be the most feature-rich smartwatch experience, it will give you a little more than the basics.
Google Android and Apple iPhone users can view notifications, control music playing on your phone, along with setting up alarms, reminders and changing watch faces. You don’t have payments, the ability to download apps, a music player or a smart assistant, which has appeared on some Amazfit watches.
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Notification support is of the basic kind, letting you view notifications from native and third-party apps, but not respond to them. They’re easy to read, but what you can read varies based on the type of notification. If you happen to have multiple notifications from the same app, it struggles to display them all and merely lets you know you have multiple messages. Music controls work well as they do on other Amazfit watches and features like weather forecasts and watch faces are well optimised to that touchscreen display.
Performance & Battery Life
Up to 18 days in typical usage
Up to 9 days in heavy usage
40 hours of GPS battery life
The T-Rex Pro features a 390mAh capacity battery – matching what’s packed into the T-Rex. That should give you 18 days in typical usage, 9 days in heavy usage, with an impressive 40 hours of GPS battery life.
Like other Amazfit watches, those battery numbers tend to be based on some very specific lab testing scenarios. In our experience, it’s always felt a little on the generous side. In our time with the T-Rex Pro, we got to around the 10 day mark on a single charge. That was with regular GPS tracking, continuous heart rate monitoring, stress monitoring, and the richer sleep tracking enabled. We had the screen on max brightness but not in always-on mode.
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The standard T-Rex felt like it was good for a solid week using it in similar conditions, orring 20 days in typical usage by comparison – but the Pro can get you longer than a week even with some of the more demanding features in use.
Things seem to have improved on the GPS battery front as well. An hour of using the GPS usually knocked the Pro’s battery just under 10 per cent, while the T-Rex usually lost 10 per cent from 30 minutes using the GPS. It might not be the 40 hours that was promised, but the Pro does seem to hold up a little better than the T-Rex when it comes to tracking.
Verdict
The T-Rex Pro is a solid outdoor watch offering that’s missing one key ingredient that would makes it a great one – there’s no maps to point you in the right direction when you think you’re lost.
Otherwise, if you want something that offers a durable design and can track your outdoor activities, then the T-Rex Pro’s chunky-but-light design will no doubt appeal to adventurers on a budget. Its fitness and sports tracking features by and large do a good enough job too.
So if you’re hoping that you’ll be able to get an experience that rivals what the Garmin Fenix, Instinct, and the likes of the Polar Grit X can offer, then this T-Rex isn’t quite the full package. But that’s reflected in the price – which is so much less that you should be willing to accept such compromise.
Also consider
Pocket-lint
Garmin Instinct Solar
Garmin’s outdoor watch that sits underneath the pricier Fenix does still cost considerably more than the T-Rex Pro, but will give you those navigation features and great long battery life too.
Read our review
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Pocket-lint
Polar Grit X
The Grit X will give you navigation features, a light design, and help you fuel for long runs and hikes to make sure you’re not running on empty.
Read our review
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Writing by Michael Sawh. Editing by Mike Lowe.
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