Hulu’s Android TV apps can finally stream in 1080p on new Nvidia Shield TV set-top-boxes and Sony Bravia TVs, as spotted by users on Reddit, and written up by Gizmodo, Android Central, and 9to5Google.
Users first noticed the change in the “App & Device Info” page in the Hulu app. After updating, the app lists the new max video resolution as “1920 x 1080”. It’s sort of a sneaky way to make the change. Looking at the update description on the Play Store, there’s no mention of it, so it’s possible something changed on Hulu’s server side as well.
Hulu’s App & Device Info screen that shows the new max resolution.Image: 9to5Google
Gizmodo says it was able to confirm that at least the Nvidia Shield from 2019 and Bravia TVs received the 1080p bump on March 23rd, but the change hasn’t been reflected in Hulu’s support pages, which were last updated in February. Hulu doesn’t seem to specifically list which devices stream in each resolution (outside of Live TV streaming) on its support site, but it does provide minimum bitrates for each:
Standard Definition (SD): 1.5 Mbps
High Definition (HD) 720p: 3 Mbps
High Definition (HD) 1080p: 6 Mbps
4K Ultra HD: 16 Mbps
For the newer Chromecast with Google TV, which runs a skinned version of Android TV, it’s not clear when 1080p Hulu support was added, or if it launched with it. I was able to check on my own Chromecast’s Hulu app and it does currently support 1080p. We’ve reached out to Hulu to confirm which other Android TV devices might have been affected by this update.
4K streaming is even more limited on Hulu. 4K content is primarily limited to Hulu’s original shows and movies, and according to Hulu’s likely out-of-date list, the devices that can actually stream in 4K are the 5th generation Apple TV, the Chromecast Ultra, Amazon’s Fire TV and Fire TV Stick, LG UHD TVs from 2017 onwards, Roku devices, Vizio TVs with SmartCast, and the Xbox One S and X.
It’s nice that more devices could theoretically stream in a higher resolution, especially for folks who’ve shelled out money for higher resolution displays. I do think it’s worth mentioning, however, that some of the Redditors who first found this change had no idea they’d been streaming in 720p all this time.
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It’s still fair to call audio sunglasses a niche category, but with Bose offering several models, Amazon in the game, and counting recent announcements from Razer and JLab, it’s certainly a growing one. There are people out there who just aren’t particularly fond of earbuds — often because they dislike the feeling of silicone tips plugging up their ears. Open-style products like the standard AirPods and Galaxy Buds Live are one alternative, but then you still face the possibility of losing them. If you’re running on a trail or out for an intense bike ride, it’s not an insignificant risk.
For those people, I can absolutely see the appeal of the Bose Frames Tempo, which have speakers built right into their frame and will stay planted on their face no matter how strenuous outdoor activity gets. The Tempo glasses are the sportiest model of Bose’s Frames family, clearly geared at hikers, runners, cyclists, and anyone else who spends a good chunk of their time outside. Bose says they’ve also got the best sound performance of the bunch.
From the front, they look like your typical pair of Oakley, Nike, or Under Armour sunglasses. Bose is clearly going after that same market with the $250 Tempos. If you’re more fashion-forward or looking for a pair of audio sunglasses that don’t give the impression you’re in the middle of a triathlon, you’ll want to stick with the Tenor or Soprano styles of Frames. These come with black mirrored lenses in the box, but Bose also sells a couple of other pairs of $40 lenses that you can swap in to let different amounts of light pass through. The oversized temples are where it becomes more obvious that these are audio sunglasses.
But there’s a benefit to that chunky design: unlike the Tenor and Soprano Frames, which use a proprietary charger, the Tempo model has a regular USB-C connector on the left temple. Bose says the frame is made from “TR-90 nylon.” There’s not much give, but they feel rugged to me, and they’ve got an IPX4 water and sweat resistance rating, so if you get caught running or biking in the rain, they’ll survive.
The large temples are the obvious tell that these are audio sunglasses.
For the first couple of days wearing the Tempos, I felt a slight squeeze at the sides of my head that got uncomfortable. Now, I’ve got an extremely large dome — they used to have to bring out a special-sized helmet in Little League, friends — but thankfully, the fit loosened up a bit because this pressure went away by the end of the first week. The sunglasses didn’t get loose enough to where they started bobbing on my head or anything; they still felt nice and secure. (My friend Theresa, who has a normal-sized head, never mentioned any headache-inducing tightness.) Bose includes three sizes of nose tips in the box, and I found the large to be the right match. Even if my face was covered in sweat from a long run, the nose tips helped ensure the sunglasses didn’t slide around.
The frames have an IPX4 rating for water and sweat resistance.
The controls that Bose came up with are wonderfully foolproof, which is crucial when you’re trying to stay focused on other things. You swipe across the right temple to raise or lower the volume, and on the underside of that temple is a small circular button that you can press to play / pause, double-tap to skip tracks, or triple-tap to go back. In no time at all, these controls felt so natural and easy. Powering off the Frames Tempo just takes holding down the button for a few seconds. Or you can flip them over and lay them down with the top of the frame on a surface. After two seconds in that orientation, they shut off. (You can disable this in settings, but I found it really convenient and, again, natural.) Battery life is listed as eight hours, and that’s lined up with my experience so far. The sunglasses take roughly an hour to charge back to 100 percent. Bose’s mobile app lets you update the sunglasses’ firmware, but there aren’t any EQ controls or other options that adjust their performance.
The sunglasses stay firmly in place through all sorts of outdoor activities.
Describing the sound quality of audio sunglasses can be tricky. They’re nothing like headphones or earbuds since these are essentially down-firing speakers pointed at your ears. But Bose stepped up its game compared to the first-generation Frames, which I’ve tried on occasion. These have more life to them across the whole EQ range.
There’s a surprising amount of separation between vocals and instrumentation, and the Frames Tempo have a nice clarity and even-handed balance. There’s more bass than before, but this is where I think it’s most important to set reasonable expectations: the low end you get from any decent pair of in-ear buds will blow these out of the water. No contest. That said, Bose has at least reached a place where the bass no longer sounds anemic or flat, which is a legitimate improvement over the first-gen Frames. It’s there and perceptible.
Sound bleed is easily canceled out by everyday street noise, but if you’re inside with the volume turned up, people nearby will be able to tell that you’re listening to music. These are sunglasses, after all, so I imagine those situations will be few and far between. The Bluetooth connection has held stable throughout the vast majority of my time with the Frames Tempo so far. No complaints there.
Voice calls while wearing the Tempos have also been a joy. Callers say I sound nearly as good as when speaking directly into my phone, and something about taking calls with your ears totally open just feels very cool.
Bose sells additional $40 pairs of lenses that let in different amounts of light.
Even after a relatively short time using the Frames Tempo, I get this audio glasses thing. I really get it. It’s like Dieter recently wrote: “Not having to put in or take out headphones changes your relationship to audio — it’s just always available, always there when you want it.” Do I wish I could pop clear lenses into them and wear them everywhere? In theory, you bet. But this style wouldn’t really work for that, nor is it what the Tempos are meant to be at the end of the day. So I can’t knock Bose for the disappointment I feel when switching back to my normal glasses, which now seem so very primitive.
The Bose Frames Tempo let you hear the world around you with no obstructions — with a soundtrack playing over everything, while at the same time giving your ears a bit of a break compared to normal earbuds. At $250, they will be a tough sell for some. But I’ve come to realize that audio sunglasses are the exact sort of thing you won’t ever realize you needed. Until you put ‘em on — and all of a sudden, you do.
(Pocket-lint) – If you want to make a worthwhile difference to the sound of your TV, you’re spoilt for choice where soundbars at the lower end of the budget scale are concerned. Equally, if you feel your games console experience requires a sonic rocket, there are numerous LED-happy gaming soundbars ready to do a job for you.
But what if you want both – and you want something small and discreet enough to cause minimal disruption to your viewing and/or gaming environment(s) at the same time? Your shortlist has suddenly become quite a lot shorter.
You can now add the Panasonic SC-HTB01 – or Soundslayer, as it’s also rather excitably known – to your shortlist, though. It may be physically small, but it’s big on performance.
Obviously, the big news is how small the Panasonic is. It’s perfectly proportioned to sit discreetly underneath your TV or games monitor, and at this weight it’s hardly a burden to move it from one position to another. But it’s still big enough to be fitted with reasonably sized speaker drivers.
‘Design’ doesn’t really seem to be something that’s happened to the SC-HTB01 – rather, its drivers and accompanying electronics have been put into a housing which has then been mostly covered with acoustic cloth. Its plastics feel ordinary. It’s basically not much to look at – although it’s easy to imagine Panasonic thinking that’s entirely the point.
‘Bland’ isn’t the same as ‘badly made’ though – this, after all, is Panasonic we’re talking about. The Soundslayer may not be visually stimulating, but it’s properly screwed together and feels made to last.
Features
Decoding: Dolby Atmos & DTS:X supported
Modes: Game, Standard, Music, Cinema
4K HDR passthrough supported
There is a brief suite of physical connections on the rear of the soundbar. A couple of HDMI sockets – one input, one ARC-enabled output – a digital optical input, and a USB socket (for updates only).
Panasonic
Via HDMI, the Soundslayer can handle 4K HDR content as well as multi-channel audio up to a hefty 24bit/192kHz standard – so Dolby Atmos and/or DTS:X soundtracks present no problems. Wirelessly connectivity is handled by Bluetooth 2.1 – hands up who remembers when that was the cutting edge of wireless streaming technology?
The SC-HTB01’s equaliser (EQ) presets let you know where it thinks it belongs. Presets for ‘music’, ‘cinema’ and ‘standard’ attest to its flexibility – but within the ‘game’ preset there are sub-settings for ‘RPG’, ‘FPS’ and ‘enhanced voices’ (which is excellent when listening at very low volume levels).
Interface
Included remote control
It’s not a problem, in and of itself, that the Panasonic has no voice assistant or control app. It’s not a problem that everything, from subwoofer level and overall volume level to EQ preset and Bluetooth pairing, is taken care of by a full-function remote control handset.
Panasonic
No, the problem is that the remote control seems to have been selected on the basis that there were no more affordable options available. It’s small, hard, thin, unpleasant to hold, and very nearly as unpleasant to use.
Behind that mild-mannered exterior, two 40mm full-range drivers and two 14mm tweeters face forwards. On the top of the ‘bar there’s an upward-firing 80mm bass driver, alongside passive low-frequency radiators. Panasonic is striving for a ‘2.1’ channel effect with this five-driver layout, and has fitted the SC-HTB01 with 80 Watts of power with which to make it happen.
Panasonic
There’s also a bass reflex slot at the front of the cabinet, just in case that passive radiator doesn’t quite pull its weight. Naturally, this upward-firing configuration means the Panasonic shouldn’t be positioned with surfaces directly above it.
So how does all that come across? Well, if you’ve been using the audio system integrated into your TV or your monitor up until now, the SC-HTB01 will thrill you with the scale and drive of its sound.
The combination of judicious speaker driver placement and careful EQs means the Panasonic sounds bigger – and in every direction – than seems likely from a soundbar this tiny. There’s no mistaking its presentation for that of a dedicated Dolby Atmos soundbar, naturally, but the Soundslayer’s soundstage is taller, deeper and (especially) wider than it would seem to have any right to be.
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At the top of the frequency range it carries plenty of detail, and gives treble sound lots of substance to go along with their considerable bite. Further down, the midrange is nicely shaped and projects forward well – even without the intervention of the EQ presets.
It’s down at the bottom of the frequency range, though, that the Panasonic both triumphs and fails. This isn’t the first soundbar to have mistaken ‘overconfident bass’ for ‘excitement’ – and, to be absolutely fair, the SC-HTB01 controls the low-end stuff pretty well. It certainly doesn’t drone and doesn’t blossom into the midrange, either. But it definitely overplays its hand where bass is concerned – ‘punchy’ is one thing, but being repeatedly punched while trying to watch TV or concentrate on a game is quite another.
Panasonic
The big, bassy emphasis doesn’t help the Panasonic’s overall detail retrieval, which is a pity. It’s possible to independently adjust the ‘subwoofer’ level using the remote control, but the effect is not so much to reduce the soundbar’s outright wallop as to rob it of its dynamism.
That’s unfortunate, because the Soundslayer ordinarily has more than enough dynamism to maximise any game soundtrack you care to mention. It can put a huge amount of distance between ‘stealth’ and ‘assault’, which adds a lot to the gaming experience.
It works well for movies, too – when the soundtrack demands a shift from ‘quiet and contemplative’ to ‘massive attack’, the Panasonic relishes the opportunity. It’s so much more accomplished than the sound of your average TV, and consequently far more involving.
The temptation, naturally, is to go all-in on the volume – but that would be a mistake. The Soundslayer’s tonal balance, which at moderate volume levels is pretty well judged, takes a definite turn for the ‘hard and unforgiving’ if you decide to press on. Treble sounds get edgy and thin, and the bass stops punching and starts slapping. Stick to reasonable levels, in other words – it’s not only your neighbours who will thank you.
Verdict
Keep its limitations in mind and there’s lots to like about the Panasonic SC-HTB01. It may not quite be the ‘soundslayer’ it purports to be, but it’s a convenient and capable way of giving your games and movies a bit more sonic oomph. As long as you don’t get carried away with volume, anyhow.
Also consider
Yamaha
Yamaha SR-C20A
squirrel_widget_4026933
Slightly bigger than the Panasonic, slightly less expensive too, but designed to do much the same job. It is similarly unruly when the volume get big, too, but overall is probably a marginally better bet.
Have you ever wanted to play a sound effect when someone enters the door? Using a Raspberry Pi, some speakers, and some ingenuity you can make your life closer to one of my favourite shows – Seinfeld. This Raspberry Pi project is great for beginners and introduces you to the concept of using the GPIO (general purpose input-output) pins.
If you’re not a Seinfeld fan, you can always replace the audio with another sound of your choosing. Here’s how to build a Raspberry Pi machine that plays a custom sound effect when a door is opened.
What You’ll Need For This Project
Raspberry Pi 4 or Raspberry Pi 3 with power adapter
8 GB (or larger) microSD card with Raspberry Pi OS. See our list of best microSD cards for Raspberry Pi.
Desktop speakers or a megaphone with a 3.5mm input and 3.55mm cable
Speaker wire, any gauge, at least a few feet in length
Aluminum foil
Electrical tape
Male to female jumper cables (2)
Wire strippers or scissors
Monitor or Projector with HDMI and power cables. (Optional)
How to Turn Raspberry Pi into an Electronic Door Chime
Before you get started, get your Raspberry Pi set up. If you haven’t done this before see our article on how to set up a Raspberry Pi for the first time or how to do a headless Raspberry Pi install (without the keyboard and screen). For this project, we recommend a headless Raspberry Pi install.
1. Install the lower-level dependencies we need to play audio files and make our code run by entering the following commands in a terminal window.
2. Set the 3.5mm audio output to be the default audio output in raspi-config. You do this by launching raspi-config (entering sudo raspi-config at the command prompt) and navigating to System Options -> Audio -> Headphones 1. The pi allows for audio to be outputted to either the 3.5mm analog output, or over the HDMI port. If you do not have a monitor attached, Headphones may be the only option.
(Image credit: Tom’s Hardware)
3. Enable auto-login in raspi-config by navigating to System Options > Boot / Auto Login > Console Autologin. When the raspberry pi restarts, it will automatically log in (which we’ll need to run our scripts).
4. Click finish to exit the raspi-config menu, and reboot your raspberry pi (either through the prompt, or the console).
sudo reboot
5. From your home directory, clone the sample code using git.
6. Plug your speakers into your Raspberry Pi, and test them by playing your audio file. You should hear sound from your speakers.
mpg321 /home/pi/doorbell/audio/audio_0.mp3
(Image credit: Tom’s Hardware)
7. Adjust your pi’s volume with the alsamixer command, or if your external speakers have a volume knob, on there too. Use the arrow keys to adjust the volume, and Ctrl + C to exit.
alsamixer
(Image credit: Tom’s Hardware)
8. Test the script. Connect one jumper wire to board pin 12 (GPIO pin 18), and a second to ground. Then run the python command below. Once it’s running, touch (short) the two jumper wires together for a second or two, then release them. If all goes successfully, the console will output “playing audio_0.mp3” and you should hear the sound over your speakers.
(Image credit: Tom’s Hardware)
python3 /home/pi/doorbell/app.py
(Image credit: Tom’s Hardware)
9. Download or copy a few short mp3 files you’re looking to play. In my case, I took a few recordings from YouTube and copied them over to the Raspberry Pi into the audio directory using SCP. However, I could have also used Chromium on the Pi to download or copied files over using VNC or FTP. Any mp3 files placed in /home/pi/doorbell/audio directory will be randomly selected when the door opens or closes.
10. Tape a small, rectangular piece of aluminum foil to the door.
(Image credit: Tom’s Hardware)
11. Cut a piece of speaker wire long enough to stretch from your Raspberry Pi to the door.
12. Strip the wire on both ends
(Image credit: Tom’s Hardware)
13. Tape one end to the door frame so that when closed, the piece of aluminum foil closes the circuit. It is also possible to use a reed switch instead of aluminum foil.
(Image credit: Tom’s Hardware)
14. Connect the other ends of the speaker wire to the jumper cables using solder or electrical tape.
(Image credit: Tom’s Hardware)
15. Add the script to /etc/rc.local so it runs automatically when the Raspberry Pi restarts.
sudo nano /etc/rc.local
# Add the following line before the last line (exit 0)
python3 /home/pi/doorbell/app.py &
16. Restart the Raspberry Pi
17. Test your project by opening or closing the door.
If all goes well, you should hear a random sound from the audio directory.
KEF’s first noise-cancelling wireless earbuds make a positive impression, even if they fall short of being best-in-class
For
Refined, mature balance
Weighty bass
Good battery life
Against
Beaten for dynamics and expression
Call quality could be better
KEF has dabbled in the headphone market since 2013, experimenting with both over-ear and in-ear models over the years, however it’s fair to say the hi-fi giant hasn’t set the headphone market alight. But could all that be about to change with the ambitious Mu3?
The Mu3 are KEF’s first-ever wireless noise-cancelling earbuds and, in terms of price, slot somewhere in between the big-hitting Sony WF-1000XM3 and the Bose QuietComfort Earbuds.
Build
(Image credit: KEF)
If you haven’t heard of Ross Lovegrove before you buy the KEFs, you will have by the time you have unboxed them. His name is emblazoned on the packaging, the instructions and even on the inside of the Mu3 case.
Lovegrove has helped design several KEF products in the past, most notably the KEF Muon – an impressive-looking pair of limited-edition, aluminium, floorstanding speakers that cost an impressive £140,000 ($198,000) per pair. He also played a major part in designing the Award-winning KEF Muo wireless speaker, and now he has turned his hand to a pair of true wireless earbuds.
KEF Mu3 tech specs
(Image credit: KEF)
Type True wireless in-ears
Bluetooth Yes
Noise-cancelling Yes
Battery life 9 hours (+15 hours from case)
Weight 5.8g (each)
From the moment you take the headphones from their packaging, you can see Lovegrove’s involvement. The case looks like a large blob of liquid metal but has a nice subtle shape. It feels robust, too, while the smooth glossy plastic helps to give a more premium first impression. It’s a similar story when you open the case up. The Lovegrove name on the inside might be one nod to the designer too many, but the sheen from the small silver earbuds also gets your attention.
The buds look and feel in keeping with the case, from the smooth glossy exteriors to the KEF logo imprinted on the surface of each bud. They’re surprisingly small, which makes them a little slippery when placed between finger and thumb, but getting them in place with a good seal isn’t too tricky. Pick your eartips (there are four different sizes to choose from), drop them in and twist the buds slightly to lock them into place.
Comfort
(Image credit: KEF)
Provided you achieve a good seal, the level of passive noise isolation on offer is decent. While finding them pretty comfortable for a brief stroll, we are a little less convinced of their comfort during longer listening sessions. The Sony WF-1000XM3 are a slightly bulkier design but feel much less intrusive, as do the Bose QuietComfort Earbuds.
The first time you open the case, the headphones automatically start the pairing process. Once partnered to your headphones, they connect almost as soon as the lid is lifted.
On the outer surface of each earbud, you’ll find a small KEF logo that sits on a circular control button. There are no touch controls here, but the physical ones work perfectly well – and also means you won’t accidentally hit play or skip a track when putting them in place.
On the left earbud, a long press turns the volume down, while a short press switches the noise-cancelling on or off and engages the ambient mode (which lets you hear your surroundings without having to take the buds out of your ears). On the right earbud, a short press answers calls and plays or pauses music and a long press increases volume. Pressing twice stops your phone call or skips forward a track.
Battery life comes in at an excellent nine hours, with the case giving a claimed extra 15 hours of additional juice to keep the buds going. By comparison, the class-leading Sony WF-1000XM3 offer around six hours. If you’re caught short, a quick five-minute blast from the charging case (which uses USB-C) should give you an hour of playtime.
There’s a small LED on the case which blinks when the battery is low, but it’s not that obvious against the glossy plastics and it also doesn’t give any real indication of just how much charge is left. We were caught out when our buds needed charging, only to find the case was also running on empty.
Unlike many wireless earbuds around this price, there’s no app to accompany the KEF Mu3. This means there’s no EQ adjustment for you to play with, but that’s only an issue if you aren’t happy with the balance of the KEFs. And we can’t see why you wouldn’t be.
Sound
(Image credit: KEF)
The KEFs produce a wonderfully balanced sound that’s smooth and refined. They’re quite effortless in their delivery and present the music in a mature and sophisticated fashion, making them easy to listen to over prolonged periods. You can push them to the limits of their battery life and emerge on the other side not feeling drained or tired of their sound.
We play Shout by Tears For Fears and notice fullness and finesse to the percussion, plus a good amount of space around the instruments. There is no hint of harshness as chimes cut through the song’s rich vocal and solid, yet relatively mild-mannered bass. However, the Sony WF-1000XM3 deliver the song with a greater sense of sparkle, proving capable of finding an extra gear when it comes to drama and drive.
Switch to Hayden Thorpe’s Diviner and the smooth, soulful delivery of the track plays to the KEF’s strengths. His vocal is rich and full-bodied with a good sense of expression, while the individual strokes of the piano keys come across well. Again, the Sonys take this level of dynamics and expression up a notch, forming a tighter emotional bond with the listener.
Moving on to Massive Attack’s Angel, the KEFs cope well with the track’s powerful and relentless bassline. There’s a richness to each bass pulse and they sound solid, even if rivals can paint them with greater texture.
The Mu3 do a good job of keeping outside interference to a minimum. Their noise-cancelling tech doesn’t produce such stark results as the Bose QuietComfort Earbuds, but it’s effective and, anyway, not everyone is comfortable with the vacuum-like feeling that more aggressive noise-cancelling technology can have.
The call quality could be better, though. While the best pairs of true wireless earbuds lend your voice a more natural-sounding quality, the KEFs have a slightly coarse edge and introduce more compression.
Verdict
KEF has put its head above the parapet and produced a pair of true wireless earbuds that can be considered worthy rivals to the Apple AirPods Pro. However, we have some reservations about the call quality, and while nothing about the performance stands out as being a negative, the Mu3 can’t quite match the sonic ability of the class-leading rivals at this level from the likes of Bose and Sony.
However, if you’re a fan of the KEF brand – or Ross Lovegrove in particular – and have the funds at your disposal, it’s well worth giving them a chance.
Here’s the situation: you’re typing a report for work, and you suddenly have to write the phrase “Jones née Berkowitz.” Or you are adding a phrase in Spanish and need to use the word “años.” How do you add the special characters to the letters?
Special characters (also known as diacritical marks) may be more common in certain languages, but there are plenty of circumstances in which English speakers may need to use them. But because they are so rare in English, native English speakers may not have learned how to add those marks to documents, emails, or other writings. It’s not difficult to add them to your Windows document, although it’s not quite as smooth an operation as on a Mac, where all you have to do is hold the appropriate key down. (In fact, once upon a time, you would have had to look up the symbol character codes…)
Use the touch keyboard
The easiest way to add diacritical marks to a document is to enable the Windows touch keyboard. (Thanks to Ed Bott from ZDNet for first leading me to this method.) The touch keyboard automatically appears if you’re using a Windows tablet or if you’re using a PC in tablet mode. If you don’t have a touchscreen, you can use the keyboard icon that appears in the taskbar, on the right side near the date. Don’t see it? This is how you get it:
Right click on the taskbar.
Click on “Show touch keyboard button.”
Click on “Show touch keyboard button”
Now, when you want to use a special character:
Click on the touch keyboard icon.
The touch keyboard will appear. Long press (with your mouse button or, if you have a touchscreen, your finger) on the letter you want to use.
You’ll now see several extra keys showing the ways you can type that letter with different symbols. Select the one you want, and it will appear on your document.
If you want to enter an emoji, click on the emoji key (on the left of the “space bar”).
Select the special character you want, and it will appear on your document.
Use the character map
If you’d like to try a more old-fashioned method of adding special characters to Windows, you can use the character map, which is a less polished and more complicated version of the touch keyboard but offers a similar service.
To access it on your Windows 10 system:
Type “character” in your search field and then select the Character Map app.
You’ll get a pop-up map showing a bunch of special characters for a specific font. You can change the font by clicking on the drop-down font menu at the top.
The character map lets you access a wide variety of special characters.
Click on the letter(s) or special characters that you want to use in your document and then click on the “Select” button. They’ll appear in the “Characters to copy” field.
Once you’ve selected all the characters you want, click on the “Copy” button and then paste the character(s) into your document.
Gaming platform Rec Room is now a unicorn, valued at $1.25 billion during a recent funding round of $100 million. It appears to be one of the first, if not the first, virtual reality-focused startup to achieve unicorn status, a notable feat since Facebook’s landmark acquisition of Oculus VR for $2.4 billion in 2014 helped established the modern VR business.
Founded in 2016, Rec Room is a free app that lets players build custom virtual spaces and games that can be played across various platforms. The Seattle-based company launched on Steam as a VR-focused platform, and in 2018, expanded to non-VR platforms. It’s now available on Xbox, PlayStation, iOS, and PC. CEO Nick Fajt said in an interview with The Verge that VR usage on the platform climbed over the holiday season due in part to sales of the Oculus Quest 2 headset.
In 2020, Rec Room saw a 566 percent increase in revenue — most of that comes from in-game purchases — and it now has more than 15 million lifetime users. Fajt says the company now has 1 million monthly active VR users, a number that tripled during the pandemic, TheWall Street Journal reported.
The platform’s primary users are teenagers between ages 13 and 16, Fajt said, so Rec Room benefited from students being online longer during the coronavirus lockdowns of 2020. But it was also growing in popularity before people were confined to their homes.
“The pandemic accelerated trends we’d been seeing for several years,” Fajt said. “A lot of people are looking for a digital third place that’s distinct from home and school or work where they can meet up with friends, hang out, explore, and be creative. I think that’s been true whether teenagers were going to school physically or on Zoom. People need a space like this.”
He added that while it’s possible the platform may see a decrease in users once teenagers can gather in person, he sees Rec Room as more than just a replacement for real-life socializing. “It’s helping a lot of people maintain connections with friends that are hundreds or thousands of miles away,” Fajt said. “These are friends separated by physical distance not just social distance. So if Rec Room has become part of your routine, I suspect it will stay that way even beyond the pandemic.”
Rec Room is preparing for an IPO in the coming years. In the meantime, other gaming platforms are continuing to grow thanks to a boost from pandemic audiences. Roblox, an online gaming platform for slightly younger users than Rec Room’s, also has seen a sharp uptick in use during the pandemic. Roblox went public via direct listing earlier this month and said in its prospectus that it has 31.1 million daily users, who spent an average of 2.6 hours daily on the platform in the past year.
Roblox told The Verge last summer that over half of US kids and teenagers under the age of 16 play the game. During the pandemic there has been much hand-wringing about kids’ increased screentime, but games like Roblox and Epic Games’ Fortnite provide socialization, just not the in-person kind we may be used to.
Before the pandemic, some of the appetite to develop new AR and VR hardware had started to wane — Sony PlayStation CEO Jim Ryan suggested in October that an update to Sony’s PlayStation VR headset was still a few years away. (Sony has since teased more details about its next iteration of PlayStation VR with a formal product announcement, followed by images of its new controllers.)
But other companies have for years been ramping up their efforts in AR and VR hardware. The Information reported earlier this month that Facebook has some 10,000 employees — roughly a fifth of its workforce — focused on new devices in both fields, and the company has already shown off prototypes of experimental research products and plans to release a pair of Ray-Ban-branded smart glasses later this year. Apple has long been rumored to be working on AR and VR hardware, too, and recent reports suggest the iPhone maker will debut a VR device sometime in 2022.
“The market has shown an increased appetite for gaming companies,” Fajt said. “I think that will only grow as more data becomes available about the strength and durability of these businesses.”
Porsche is adding its all-electric Taycan sports car to its subscription service. For as little as $2,500 a month, you can burn rubber in a 522-horsepower, 390-kW Taycan 4S with rear-wheel drive. The 4S normally retails for around $103,800.
The German automaker’s subscription service, Porsche Drive, first launched in October 2017 as a pilot program in Atlanta, Georgia. It has since grown to eight other cities, including San Francisco, San Jose, Los Angeles, Monterrey, Irvine, Houston, and Phoenix. As a subscriber, you can get access to up to seven different models for a month-to-month subscription or for as little as a day.
“Think of Porsche Drive as sports car-as-a-service, a convenient digital way to access the Porsche experience,” said Kjell Gruner, president and CEO of Porsche Cars North America, in a statement.
Porsche is only making the Taycan 4S available to subscribers initially. Customers can access it through the automaker’s Single-Vehicle subscriber plan, not as a swap in the multivehicle program. The fees are as follows:
$3,250 per month for the Taycan 4S
$2,500 per month for the Taycan with rear-wheel drive
$335 per day for daily rentals for three days or fewer
$295 per day for four-plus days
Porsche says its monthly subscription fees are about 20 percent more than the monthly fees associated with a two-year lease, but they come with the added flexibility of being able to cancel your subscription at any time.
As part of the subscription, Porsche also covers vehicle tax and registration, insurance, maintenance, and detailing. There is a $500 activation fee at first and a credit check, but Apple iOS and Android users can then download the app and schedule same-day or future vehicle exchanges through the Porsche Passport app.
Subscriptions have been a mixed bag for the auto industry. Ford walked away from its service last fall following low demand. Cadillac shut down its service Book in 2018, only to resurrect it several months later with fewer options. Last summer, Mercedes-Benz pulled the plug its Collection subscription service, citing mediocre sales. And most recently, BMW suspended its two-year-old service.
Other automakers have had some success. Audi, Volvo, Nissan, and Jaguar are still offering some variation of a subscription service. Even the big car rental companies, Hertz and Enterprise, are getting in on the action. Most of these subscriptions are only available in specific cities and are still in the pilot phase.
Google is reportedly working on a new feature for Assistant called Memory, a combination of a to-do list, a notes app, a Pocket-like reading list, and Pinterest-style collection board into a single overarching digital locker integrated into the broader Google Assistant app. 9to5Google first revealed the feature, which is currently in “dogfood” testing for Google employees.
According to 9to5Google, Memory can save a huge variety of content, including “articles, books, contacts, events, flights, hotels, images, movies, music, notes, photos, places, playlists, products, recipes, reminders, restaurants, screenshots, shipments, TV shows, videos, and websites.”
While Assistant already has a Memory feature for saving information (like a bike lock combination or a favorite flavor of cake), the new iteration of Memory appears to be a major upgrade, one that seems to integrate the “Collections” feature that preceded it and be given top billing on the main menu bar alongside Assistant’s daily snapshot view.
The idea is that you’ll be able to save nearly anything, including links or screenshots, pictures of objects or handwritten notes, or digital to-do lists or reminders. Memory will then let you search, sort, and revisit everything you’ve saved.
Depending on what you’re saving, Memory will also include contextual information: save a recipe, for instance, and it’ll show the cooking time. Save a movie you wanted to watch, and it’ll include a link to the trailer. And of course, Google-based items you save (like Google Docs or uploaded Drive files) will get customized preview cards.
To store things to Memory, users can either use a Google Assistant command or a newly added home screen shortcut. Once added to Memory, saved items can be tagged (with categories like “Important” or “Read Later”) as well as sorted or searched to find a specific item.
Memory is still being tested, and Google hasn’t announced any plans for when — or even if — it’ll receive a public debut. In a statement to The Verge, a Google spokesperson commented: “We are constantly iterating and experimenting with new ways to improve the user experience, but we have no further details to share at this time.”
(Pocket-lint) – Motorola’s Moto G100 marks a big occasion for the brand. Why? Because it’s a G series phone with a Qualcomm Snapdragon 870 processor inside. That, on the face of it, contradicts what a G series is supposed to be all about: affordability. Which, in turn, would typically mean entry-level specification – not a high-end processor such as this.
But, no, the G100 is all about change. It’s the phone to say, “hey, you don’t need that big, expensive flagship when you can have this for half the price”. Which might sound like an echo of, say, what OnePlus has been shouting from the rooftops with its Nord model, as one example.
Yet the Moto G100 feels genuinely different. Having recently reviewed a glut of Chinese-borne phones – such as the Poco X3 Pro, the Redmi Note 10 Pro – where sub-flagship affordability is the key selling point, the lighter touch of the Motorola software feels simply refreshing.
So what gives? Well, the G100 can’t pretend to have the biggest, fanciest cameras. Because it doesn’t. It’s not got a Hasselblad partnership like OnePlus. It’s not got a Zeiss partnership like Vivo. But, you know what, we don’t care – because the Moto G100 is a half-price flagship that adds up to oh so much more.
Curiously the G100 has already been released elsewhere in the world: it’s called the Edge S in China. Which, um, makes absolutely no sense to us – as we thought the ‘Edge’ series was all about having a curved screen edge.
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The G100 does not have a curved screen, it’s flat, so there’s nothing ‘edge’ about it. It’s also an IPS LCD panel, not an AMOLED one, so you might not call it ‘cutting edge’ either.
That said, it sits perfectly well in a device like this a you don’t really lose out on brightness or resolution at this level. Plus the IPS part of the tech means viewing angles are good without causing colours to skew. Speaking of which: the colours – available in natural, boosted and saturated configurations within the settings – hold up really well, delivering realistic rather than ridiculous hues.
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The only thing that we’re a little less keen about with this panel is the surface’s coating, which is a little more reflective than some. Oh, and the double punch-hole camera is, well, exactly that: two holes burning into the corner of the screen that are more distracting than just the one (but at least it’s not a giant pill-shaped hole).
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Flip the G100 over and, what’s this, a finish that’s actually fun? Hurrah. After the dodgy palette of the Moto G30, it’s good to see that the colour palette people at Motorola have got their mojo back. This model pictured is called ‘Iridescent Sky’, because it looks like one of those pink/blue spring-time sunsets we suppose.
That finish is good at hiding how fingerprints catch on the surface, too, because they are there aplenty – we’ve just been cautious when photographing the handset. It’s easy to wipe clean, though, as the surface is nice and smooth – even the ‘batwing’ Motorola symbol on the rear is holographic-like in appearance, not debossed or textured onto the surface.
That the Moto logo lives on the rear and doesn’t serve a function hints at the fingerprint scanner’s location too: it’s found within the power button on the side of the phone, foregoing the in-display option. Much as we like the display-based sign-in, this fingerprint scanner is a decent operator. And there’s face unlock available too.
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Keeping with being a G series handset, the G100 also features a 3.5mm headphone jack and microSD card expansion slot. Good to see it’s not forgotten its roots.
While the G100 supports such legacy features as card expansion and wired headphones, in other departments it’s very much all about embracing the future. There’s no sloppy Wi-Fi connection, as you’ll suffer in the lower-down-the-ranks G10. The 128GB storage is reasonably generous, but it’s UFS 3.1 to ensure fast read/write access for best performance.
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But above all else, the big sell of this phone is the Qualcomm platform at its heart. Here it’s the Snapdragon 870 – which, while part of the 800 series, isn’t the very, very top-end processor, it’s only a whisker away. Which is to say: it’s mighty fast, a step up from many of those using 700 series processors, and if you want to dabble in a bit (or a lot) of gaming then it’s a really good choice.
That’s one of the things about the Moto G100: it’s kind-of like a budget gaming phone. Things will run super smooth thanks to the processor, the fast RAM, but also the smooth 90Hz refresh rate of the display. No, you won’t see that bump in refresh affecting everything all of the time – plus you’ll need to activate it within the settings, as it’s off by default – but it’s a good place for a phone such as this to exist.
Even plugging away at games for hours at a time doesn’t cause too much trouble where battery is concerned. The 5,000mAh cell is a big part of the reason for the G100’s above average weight, but it’s a great capacity to have at your fingertips. We’ve seen its drain be very linear – around 30 per cent every 8 hours – even with an hour of gaming thrown in during such a time-frame.
Given the capability of the processor, the screen refresh rate, and the presence of 5G (we’ve been outside of such networks for this review though), that’s really solid performance.
As we’d alluded to before, the software in the Moto G100 is lovely to use. It’s close to stock Google Android, with a single Moto app to control gestures, themes/styles, display notifications, and gaming controls (such as do not disturb). You don’t have to dabble in the Moto app, indeed you could entirely ignore it. But what’s particularly great about the software is that it doesn’t need lots of tinkering, it just works – and without glitches, such as the notification delays issue with our Xiaomi Mi 11.
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There’s another sideline part of the G100 puzzle too: it’s the first Motorola phone to be compatible with the company’s Ready For system. Which is a bit like ‘Moto DeX’ if you’re familiar with Samsung’s desktop-based DeX system. We’re not going to dig deep into the system for this review as, frankly, we don’t think it’s the core appeal of why people will buy a G100. It’s a niche extension option, complete with a camera dock that may have its uses instead of a Facebook Portal, but that’s as much as we can say right now.
Whereas many flagships make a big song and dance about their camera arrangements, the G100 doesn’t really earn the right to do so. That’s the thing about top-end devices these days – so much of the cost comes from additional lenses, co-engineering partnerships, and so forth. The G100, on the other hand, keeps things fairly simple.
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: Main cameraMain camera
Well, kind-of simple. The claim of “quad camera” on the rear is nonsense as that apparently includes both a depth sensor and time-of-flight sensor, which would more or less do the same thing – both are there to ultimately make up the numbers as if “quad” is better than “triple”, even if it isn’t due to lack of core, usable lenses.
Anyway, let’s focus on what is here: a usable main camera and less commendable wide-angle one. There’s a gallery above showing how the two compare, and the quality drop-off from the wide-angle option is quite significant.
The main lens is 64-megapixels, using a four-in-one processing method to output at 16-megapixels total – although the processing is often heavy handed, oversharpens and can’t discern detail in all situations (the daylight country scene below being one such example – the trees are all blocky and indistinguishable, if you look at the 100 per cent crop).
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: Main cameraMain camera
Where subjects are a little closer to camera – but not too close as it struggles to focus and the macro mode is poor (avoid this when prompted) – there’s more ability to resolve detail from a scene. Whether a dim-lit puzzle board or the fur of a toy bear, there’s enough detail to tick the main camera’s “usable” box.
But we touched upon this at the very beginning: if you don’t want the biggest and fanciest of cameras then the G100 does the job. Not the best job, but it gets by. And with features such as HDR (high dynamic range) to balance out shadows and highlights, various shooting modes, and the hardware to capture without delay, there’s enough to keep this camera setup from being the very baseline of entry-level kit for 2021.
Verdict
The Moto G100 is a shake-up for the G series, bringing performance levels not before seen in this line-up. While that might be a little perplexing on the face of it – especially as it’s not a G series device in China, it’s the Edge S, muddying the naming convention further – it’s a rather refreshing take in a section of the market where there’s not a tonne of great options.
If you’re willing to forego the usual camera hype and pizzazz that top-end flagships tend to promise – as there’s really very little of that here – and having a high-end processor and performance potential is high up your roster, then the Moto G100 is a strong sell. It’s got the software right – which, in our opinion, can’t be said of the Xiaomi MIUI and Oppo ColorOS competition – the visuals tight, and performance is at peak height.
That’s the Moto G100 in a nutshell: a budget gaming-capable phone that foregoes the AMOLED screen hype and camera cost implications to deliver a half-price near-flagship that, in use, adds up to oh so much more.
Also consider
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OnePlus Nord
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Also 5G capable, with a 90Hz refresh screen, but a little less power and, therefore, a little lower asking price. If every penny counts then it’s a savvy alternative.
With clear audio, a great microphone and an understated but attractive design, the Fnatic React+ is aimed at eSports gamers, but it’s a great all-around headset for media and working from home too. The bundled USB sound card adds great-sounding 7.1 virtual surround sound to PC gaming, and a 3.5mm jack means you can use it with other gaming devices too.
For
Very good virtual 7.1 surround
Simple, attractive design
Superb microphone clarity
Swappable ear cushions
USB-A and 3.5mm
Against
Vestigial inline volume/mic switch is redundant when using USB
No software
Earcups don’t swivel
The Fnatic React+ adds virtual surround sound to the feature set that made the original React popular with gamers: large, clear drivers with very good gaming audio quality and excellent stereo separation, a design that remains comfortable throughout long gaming sessions, and a microphone with top-of-its class clarity. All that is wrapped in an understated design that looks cool enough for eSports gaming but subtle enough for teleconferencing.
The React+ pairs the original React headphones with Fnatic’s XP USB sound card (no relation to Windows XP), which adds 7.1 simulated surround sound at the touch of a button, and an extra set of earpads. Yet, the cans are still cheaper than many of the best gaming headsets, at just $99.99 as of writing. The resulting package, while not without its quirks, offers superb performance for a headset in its price class.
Fnatic React+ Specs
Driver Type
53mm
Impedance
23 Ohms
Frequency Response
20 – 40,0000 Hz
Microphone Type
Cardioid boom, detachable
Connectivity
3.5mm or USB Type-A
Cables
3.9 feet (1.2m) 3.5mm cable
3.3 feet (1m) USB cable
6.5 feet (2m) extender/mic splitter
Weight
0.8 pounds (348g)
Lighting
None
Software
None
Extra
1x extra set ear cushions
Design and Comfort
(Image credit: Tom’s Hardware)
For a design marketed directly at the eSports crowd, the Fnatic React+ headset has a tasteful, understated aesthetic that lacks any elements you’d likely describe as bling. There’s no RGB lighting here, just a tasteful matte-black plastic finish with white accents. There’s a Fnatic logo on each earcup, and the company name is subtly embossed on the side of and on top of the headband.
The one hint of color is the soft, bright orange mesh fabric inside the earcups, helpfully stamped “R” and “L” to assist in putting them on correctly when the microphone is unplugged. The React+ ships with comfortable, memory foam-filled, faux leather-covered earpads installed. But you can also swap these for the included velour earpads. Those will feel more airy, particularly helpful for gamers who get warm while playing.
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The oval, enclosed earcups are mounted on adjustable metal hangers, which feel very solid and should hold up well to regular use. The earcups completely enclose your ears, providing very good passive noise isolation. They can swivel vertically for comfort when being worn, but there’s no horizontal swivel axis to fold them out and flatten them for easier transport or storage.
With either set of pads in place, the React+ headset was comfortable even on my rather large head. At 0.8 pounds, it’s not as lightweights as some wired headsets. The similarly specced MSI Immerse GH61, for example, is 0.6 pounds. Thankfully, the React+ didn’t feel overly heavy in use. The clamping force is solid enough to provide good noise isolation without becoming uncomfortable over time, which is not always the case with my big noggin. Meanwhile, a strip of memory foam padding across the inside of the headband aids in comfort.
When using the microphone, it snaps solidly into the left earcup, but if you’re playing a solo game, listening to music or watching a movie, you can easily pop it out.
The React+ also includes Fnatic’s XP USB sound card, which the company also sells separately for $23. The sound card is enclosed in a small, oval controller with a 3.5mm jack on one end and a 3.3-foot-long USB-A cable on the other. Its matte black design matches the headphones, with rocker switches for headphone volume and microphone level, a button to toggle 7.1-channel surround sound and a microphone mute switch on the side. The controller adds little weight to the headphone setup, and the rockers are well-positioned for quick adjustment when gaming.
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Overall, it’s well-designed, but an additional analog volume dial and microphone switch near the top of the headphone cable (left over from the original design that didn’t include the sound card) can cause frustration if you accidentally brush the analog volume dial and wonder why the volume dial on the soundcard suddenly won’t go high enough. That said, if Fanatic had omitted the analog controls from the React+ bundle, they’d be unavailable when using the headphones sans soundcard with other devices.
The headset also comes with a 6.6-foot extension cable that splits the microphone and audio jacks for devices that don’t support both on a single connector.
The one design element I’d change, if given the chance, is that the 3.5mm cable is permanently attached to the headset. Without a removable cable, the headphones will be rendered useless if the primary cable is damaged by your cat, kids, or other sinister elements.
Audio Performance
The 53mm drivers Fnatic uses in the React+ are calibrated for gaming, with a separate chamber for bass frequencies to help separate them from mids and lows. This helps keep bass from explosions and gunshots from overwhelming other game sounds. Though the sound is relatively pure, mids and highs are slightly boosted, and the result is much better audio clarity from complex game soundscapes than you’d expect in headphones in this price range. Playing Metro 2033, Call of Duty: Warzone and Apex Legends, environmental sound and voices remained clear even in heavy combat situations.
This clarity isn’t lost when engaging the React+ virtual surround sound by pressing the surround button in the center of the USB sound card controller. The effect is convincing and adds a more enveloping quality to the audio without changing it to the point where clarity is lost.
Playing Watch Dogs: Legion, the surround sound significantly enhanced immersion as I walked and drove around the city. Even in the sedate environment of Microsoft Flight Simulator, the directional audio as I panned around my plane in external views was noticeably more enveloping than the default stereo audio heard with surround disabled.
The in-game soundscape of the React+ is excellent because the bass separation, large drivers and clarity across frequencies means you won’t miss important dialogue or environmental sounds in the heat of play. It’s a significant improvement over using headphones geared for music playback while gaming, where heavy bass emphasis can muddy the audio.
These cans also sound great when watching movies on the PC, as those same characteristics also keep audio clear during film and TV action sequences.
Conversely, the one area where the cans are more pedestrian is music. Albums like Logic’s The Incredible True Story and Kenrick Lamar’s DAMN. benefit from the boosted bass on more music-oriented headsets, and Pink Floyd’s classic Dark Side of the Moon sounded off with emphasized mids and highs of the React+ when compared to my (admittedly more expensive) Sennheiser Momentum 2.0 wired headphones.
With the leatherette ear cushions, the passive noise isolation from the large earcups is excellent; in my home office I only heard the loudest outside sounds when playing games. They also do a good job of keeping the noise from leaking out and disturbing others nearby. It is passive isolation, though, so if you use these to listen to music on your next flight, they can only block out so much. The velour cups are slightly less isolating than the leatherette.
Microphone
(Image credit: Tom’s Hardware)
The detachable cardioid microphone includes a pop filter and has a flexible but stiff arm that stayed in position well and never came loose during gaming. There’s no noise cancellation, but it targets the mouth well enough that it didn’t pick up environmental sounds when I was gaming.
Fellow players reported that my vocals were very clear. And when I listened to audio from the microphone recorded on my PC, it sounded very pure, although perhaps a tiny bit higher in pitch than natural. As you’d expect from a headset marketed squarely at the eSports market, Fnatic does a great job with the microphone here.
In addition to a microphone mute switch, the XP sound card controller includes a mic level adjust rocker as well. This is great when you’re in-game, and your teammates complain about your mic’s volume. It’s much easier to quickly adjust mic sensitivity with the rocker instead of having to tweak it using audio settings on your computer.
Features and Software
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The headset uses a 3.5mm TRSS plug to connect to the USB sound card. You can omit the sound card and use the plug to connect to other devices. Fnatic says the headset is compatible with Macs, as well as Xbox, Nintendo Switch, PlayStation 4 and (if you still have a headphone jack or adapter) mobile phones. The USB adapter is only fully supported under Windows, but we found the headset worked well plugged directly into an Xbox Series X controller and a Switch, though we missed the surround sound and the ability to adjust microphone levels.
There’s no bundled software, so you won’t be able to adjust equalization in-game. That said, the ability to toggle surround sound and adjust microphone and volume levels using physical buttons is more convenient when in-game than having to switch to an app.
Bottom Line
For a penny under $100, the Fnatic React+ performs like a more expensive headset. Audio is clear and sharp, both in your ears and coming from your microphone. The addition of effective, clear virtual 7.1-channel surround sound addresses the chief complaint about the original React (if you bought that, Fnatic offers a $29.99 bundle that includes the XP USB sound card and velour earpads to bring it up to React+ level), and the additional volume controls on the USB soundcard are a godsend if you need to quickly make adjustments during a frantic battle.
I’d love for the primary headset cable to be removable though. Not only would that make it less susceptible to being taken out by cable damage, but then we could omit the analog volume dial and microphone mute switch, which are redundant when using the USB sound card.
Overall, the Fnatic React+ offers superb audio for gaming and movies, decent–if unexceptional–music playback, and the headphones look cool without turning your head into a light show. So you’re not going to get strange looks if you’re wearing them during a Zoom call. The React+ also offers stiff competition to some of the best gaming headsets too, such as the HyperX Cloud Alpha. The React+ comes in at around the same price but adds 7.1 surround sound to the mix.
You can certainly find headsets with more features, but not in the React+’s price range. For gamers on a budget, this is a top choice.
In the early 1960s, before it became known as ‘Silicon Fen’, the small university city of Cambridge, long a magnet for scientists and engineers, started to attract a new breed of technologically minded entrepreneurs.
It was in this stimulating environment, with networks of like-minded people, that a group of young graduates decided to establish an R&D prototyping business at the old Enderby’s Mill in St. Ives, Cambridge: Cambridge Consultants.
By 1968, the company had grown to include a sub-division, Cambridge Audio. The small team led by Gordon Edge, a scientist with a head for a business who would go on to become a key figure in the Cambridge technology sector, was tasked with addressing a particular problem – how to create a hi-fi that could deliver the ‘Great British Sound’ into people’s homes.
British bands and recording studios had become a dominating force in music, and Cambridge Audio wanted to deliver a ‘neutrally British’, uncoloured and balanced sound that let the original recordings shine. And that ethos continues today. The company’s designs have always been minimalist and necessity driven: from the upside-down labels on the back panels for easy reading when setting up, to a rule limiting one switch per function, the customer at home is always considered.
Cambridge Audio has a policy of continuous improvement, whether it’s for high-end or budget equipment, and being relatively small has allowed it to adapt and innovate quickly. The company has a history of upgrading its hardware far more frequently than other UK brands (sometimes to its customers’ frustration). Many of the products featured on this list are the results of this culture of research, refinement and frankly borderline obsessive ‘Great British’ tinkering.
Read all our British Hi-Fi Week reviews and features
Cambridge Audio P40 Amplifier (1968)
(Image credit: Cambridge)
Like many long-established audio firms, Cambridge made its name by releasing the most crucial piece of any hi-fi system: a quality stereo amplifier.
The P40 integrated amp was the company’s first-ever product, developed by Gordon Edge and Peter Lee, who took a simple approach with just a few transistor stages. But they were also willing to take chances, and the P40 became the first-ever amplifier to use toroidal transformers, a nascent technology that just happened to be being manufactured by another local company at the time.
The risk paid off, and these days, toroidal transformers are a standard component inside high-end amplifiers.
While the P50 and P60 amps that followed quickly on its heels offered greater reliability and efficiency (as well as sales), it’s the P40 with its elegant low-contour case from Woodhuysen Design, boldness and longstanding influence that makes it the first of six Cambridge amps on this list.
Old amplifier vs new amplifier: which is better?
Cambridge Audio C75 preamp and A75 power amp (1984)
(Image credit: Cambridge)
The C75 pre-amplifier and A75 power amplifier were the first of a new generation of Cambridge amps split into two units that could be combined using end panels. The idea was to shield the sensitive input circuitry from the electrically noisy power amplifier, improving the sound and giving better performance.
And the separation didn’t stop there. The C75 implemented a phono stage that used a new technique called ‘segmented equalisation’ whereby the signal current would pass through discrete stages of passive EQ and amplification.
Passive EQ was preferable to an active circuit, as it kept negative feedback consistent across all frequencies and tracked the required RIAA equalisation to very high frequencies. However, it was also prone to increased noise interference and degradation of the dynamic range. By alternating EQ and amplification circuits, Curtis overcame this issue and produced a superb sound in the process.
The A75, for its part, kept Cambridge’s trademark toroidal transformer, but added a power supply for each channel, resulting in an impressively high output current capability.
While the C75/A75 combination was costly to build, the level of detail taken in developing the circuitry and careful choice of components ensure its status as one of the best Cambridge products of all time.
9 debut stereo amplifiers from iconic hi-fi brands
Cambridge Audio CD1 (1985)
(Image credit: Cambridge)
When Cambridge released the CD1, it was the first player to be split into 2 boxes; the upper deck carried the power supply and disc tray while the lower housed the DAC circuitry. A third box was soon added with a quality assurance module that corrected for inaccuracies on the disc.
The DAC section cleverly used three matched 14-bit DACs per channel to cancel out errors; this resulted in a linear performance to -120 dB, an incredible feat at the time. The transport mechanism was mounted on a lead beam to increase isolation, and there were separate power supplies for the digital and analogue circuits.
Another novel feature of the CD1 was the inclusion of playback filters. Different studios were using different pre-conversion filters at the time as there wasn’t yet a standardisation for digitising analogue master tapes to CD. Cambridge recognised that to get true fidelity to the original recording, the digital to analogue conversion performed by a CD player needed to have an accurate mirror image of whichever filter process had occurred to begin with. The company came up with nine filter options for the CD1 meaning that almost every CD could be played back faithfully.
Unfortunately, this idea increased the manufacturing cost, which in turn meant that the CD1 cost a small fortune – at £1500 – double the cost of most other players at the time. Still, despite the price, its ability to read the fine detail on discs accurately made it hugely popular with music lovers and CD manufacturers alike.
12 of the best British CD players of all time
Cambridge Audio A1 Amplifier (1995)
(Image credit: Richer sounds)
The A1 was the company’s first product after being bought in 1994 by James Johnson-Flint and Julian Richer. Keen to make their mark, they hired the prodigious designer Mike Creek and tasked him with delivering the A1 in only one month.
A true classic budget design, costing £80, the Cambridge Audio A1 integrated amplifier brought low-priced high performance to the masses. Even a more premium upgraded version with improved circuitry and toroidal transformers cost a mere £20 more.
The A1 maintained Cambridge’s principle of simplicity while bringing a new definition of quality to an affordable price range. It went on to become one of their best selling products ever.
Best stereo amplifiers 2021
Cambridge Audio DacMagic (1996)
(Image credit: Future)
The DacMagic was one of the last of the original generation of DACs. Unassuming to look at it had a lot to show for its £150 price point, raising the standard for the amount of functionality that could be packed into a stand-alone DAC.
By the mid-90s, manufacturing for Cambridge took place primarily in China, which designer John Westlake described as an electronics “candy store”, offering him the flexibility to upgrade to high-end components without the cost becoming prohibitive. As a result, the DacMagic boasted three separate transformers feeding 19 independent power supplies, BNC inputs and outputs, as well as balanced outputs on two gold-plated XLR connections.
Sonically superb, direct and detailed, the DacMagic earned comparisons to much more expensive equipment, coming out at a time when a CD player with balanced outputs could cost you in the region of £1000. And it gave Cambridge its first outright What Hi-Fi? Award win.
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Cambridge Audio CD4SE CD player (1998)
(Image credit: Future)
Sometimes an upgrade can feel as though a few stripes have simply been drawn on; on other occasions it takes a good product and elevates it way beyond its original brief.
The latter was the case for the CD4SE. Originally intended to be a special edition of the CD4, it instead became a total revamp. Circuitry was simplified, and the transport functions sharpened up, while the engineers casually deployed a few innovations at the same time.
Cambridge became the first manufacturer to use dual Crystal DACs, which oversampled, offering 20-bit performance. This enhanced the player’s dynamic range while reducing distortion and giving a truly musical performance.
Refinement at this level for the low price of £200 bags the CD4SE a place on our list.
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Cambridge Audio Azur 640A Amplifier (2003)
(Image credit: Future)
The Azur range epitomised Cambridge’s commitment to high-quality budget equipment, and the formidable 640A integrated amplifier was no exception. When we gave it five stars back in 2003, we described it as “good enough to strike fear in the heart of the establishment”; and it did just that.
Dynamically vivid, the 640A delivered a polished sound, full of fluidity and precision, lacking any hint of the gentle compression that other amps at this price level were prone to employ.
With a pretty muscular 65 Watts per channel, high-quality circuit enhancements and impressive quality of build, the 640A displayed a level of detail that made it a great all-rounder and set it apart from its rivals.
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Cambridge Audio Aero 5.1 speakers (2013)
(Image credit: Future)
With the introduction of the Aero 5.1 range, Cambridge shifted its focus from making excellent value electronics and sought to become a force in speakers, establishing itself as a serious alternative to the likes of B&W, KEF and Monitor Audio. Going up against such established rivals, the company’s solution was to offer something a bit different – BMR (Balanced Mode Radiator) technology.
BMR drivers work like a traditional piston driver for low frequencies, while higher frequencies are produced using a vibration motion across the surface of the speaker diaphragm. This technology allowed the Aero range to reproduce a wide frequency range using just a single small driver, without the need for a separate tweeter. It also meant it could achieve a near 180-degree dispersion, making the sizable boxes flexible to position within the home.
The result was a cohesive sound field with an articulate, detailed and punchy presentation. It’s no surprise that the Aero 5.1 speaker range went on to win What Hi-Fi? Awards in both 2013 and 2014.
Read our Cambridge Audio Aero 5.1 review
Cambridge Audio CXN Music Streamer (2015)
(Image credit: Cambridge Audio)
Cambridge was one of the first of the ‘traditional’ hi-fi brands to embrace digital music wholeheartedly by including streamers as part of its core hi-fi ranges. And 2010s NP30, 2013s Audio Stream Magic 6 and 2014s Audio Stream Magic 6 V2 all won What Hi-Fi? Awards.
By 2016, streaming had most definitely gone mainstream with faster connection speeds and wide adoption of subscription services, and Cambridge’s response to this trend was sonically game-changing. At £700 when we first reviewed it, the CXN was mid-range only in price, with a fantastic, incisive sound and excellent low-end impact.
Offering a full-colour screen for artwork, third party app support and digital inputs capable of playing high-resolution files of up to 24-bit/192kHz (upsampled to 384kHz), the CXN was packed with future-proofed features to keep it relevant in rapidly changing times. So much so that when the updated CXN V2 (yet another award winner) was released, we were relieved to find that the sound we had come to know and love was still intact.
Read our Cambridge Audio CXN review
Cambridge Audio Melomania 1 (2019)
(Image credit: Cambridge Audio)
After tentatively dipping a toe into headphone production with a pair of wired earbuds in 2017, Cambridge made a splash with their inaugural true wireless offering, 2019’s Melomania 1.
Literally meaning ‘crazy about music’, these minimalist designed in-ears punched well above their weight, offering an expansive listening experience that few other brands achieve at this price.
Forgoing the bells and whistles of many big brands, Cambridge focused on the basics: battery life, connection stability and above all else, the sonic experience. Melomania 1 delivered on all fronts receiving five stars and best wireless in-ears £75-£150 at the What Hi-Fi? Awards. A great win for a headphones newbie and proof that sonic expertise can still prevail even in the smartfeature-centric world of portable audio.
Read our Cambridge Audio Melomania 1 review
Cambridge Audio CXA81 amplifier (2019)
(Image credit: Future)
Like other products on this list, the CXA81 started as a mere refurb and turned into a renovation. Cambridge engineers took the four-star CX81 amp and upgraded the op-amps, capacitors and DAC, and in doing so made progress in almost every sonic regard.
Adding to that a USB input supporting audio of up to 32-bit/384kHz, an aptX HD Bluetooth receiver and a pair of Toslink optical inputs, the CXA81 set a new baseline for thousand-pound integrated amplifiers bagging a What Hi-Fi? Award in 2020 in the process.
One thing that the CXA81 was missing, however, was the tone controls that Cambridge had continued to include on their amplifiers long after most manufacturers had dismissed them. The company often cited the consumer’s need to adjust the sound to suit their taste, space and playback; but with the CXA81, a new, more purist standard began.
Dominic Baker, technical director at the time, explained the reasoning to the FT saying: “Tone controls came into existence in the days of cassettes, and the very poor sound quality they gave. There’s good reason today to let the music sound how it left the recording studio, which CD and digital allows.”
The CXA81 had a seismic impact on the market, disposing of its rivals with its powerful, dynamic, and astonishingly detailed sound.
Read our Cambridge Audio CXA81 review
Cambridge Audio Edge A amplifier (2019)
(Image credit: Cambridge Audio)
Timed to coincide with the 50th anniversary of Cambridge Audio, the Edge series (named after founder Gordon Edge, not Bono’s mate) was the culmination of a three-year process that started with a blank sheet of paper and no time constraints.
Harking back to the P40’s original innovation, the engineers designing the Edge A took toroidal technology one step further by using two opposing transformers to cancel out electromagnetic interference, offering outstanding power and maintaining consistent tonality.
Elsewhere the signal path was shortened as much as possible to reduce significantly the chance of colour or distortion being added to the sound. Capacitors were removed from the signal path, and a DC-coupled topology was introduced to the circuit board.
The result was an impressive sound that won five stars from us. At £4500, the Edge A amplifier is a premium product with a premium price, signalling that, despite its long-term commitment to excellent-quality budget products, Cambridge Audio can still compete at higher price point too.
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Qobuz has beaten Tidal to become the first music service to bring 24-bit hi-res audio streaming to Sonos speakers. It’s quite a coup for Qobuz – and welcome news for Sonos owners who have been waiting patiently for the chance to stream higher quality audio.
You’ll need a subscription to either of Qobuz’s tiers, Studio Premier or Studio Sublime, plus the Sonos S2 app, which supports 24-bit 44.1/48kHz for FLAC and is compatible with most Sonos speakers including the new Sonos Roam.
“For many years hi-res audio was only available to a select few with the knowledge of where to get it and how to play it”, noted Dan Mackta, MD of Qobuz USA. “Now, millions of people have the hardware in their homes already – and the source has never been easier to access than through hi-res streaming with Qobuz on Sonos.”
The Sonos S2 app already lets users play 24-bit files from a local drive, but this is the first time that users have been able to stream hi-res tracks from a music service.
Quboz launched in 2007 and quickly became the first music service to offer CD-quality streaming in the UK. A subscription costs from £12.49 a month but new users can try it out for free here. In 2013, it became the first service to offer 16-bit streaming on Sonos, which may go some why to explaining how it got the jump on its biggest rivals – Tidal and Amazon Music HD – in this instance.
Qobuz 24-bit hi-res streaming is available now on Sonos in Austria, Belgium, France, Germany, Ireland, Italy, Luxembourg, Netherlands, Spain, Switzerland, United Kingdom, and the United States.
Meanwhile, Spotify has announced plans to launch Spotify HiFi later this year. The new subscription tier will offer “lossless audio” streams, but not, it seems, 24-bit high-res tracks. But will that matter?
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Google appears to be testing touchscreen controls for Stadia on Android. 9to5Google has analyzed the latest Stadia release on Android, and found multiple references to a “direct touch” feature. Once enabled, direct touch will allow Stadia users to tap, swipe, and pinch elements in games, or continue to use a Bluetooth or USB controller.
It’s not yet clear which games will support direct touch, although Stadia currently has very limited support for touchscreen controls in games like Monopoly that allow users to toggle a touch mode on. This new direct touch feature has only been discovered in the Android version of Stadia, but hopefully it makes its way to the web version for iOS, too.
Google hasn’t officially detailed direct touch for Stadia, so we don’t yet know how touch controls will be supported. Microsoft’s xCloud game streaming service has implemented a variety of touch controls across more than 20 games, allowing Xbox players to enjoy games without a controller.
Google also appears to be readying Android TV support for Stadia. 9to5Google notes that there are explicit references to Android TV in this latest Stadia app update. Stadia launched on Chromecast Ultra devices, but support for Android TV has been missing since Stadia’s debut more than a year ago.
We’re still waiting on a release date for the Playdate, a tiny handheld with a crank made by Untitled Goose Game publisher Panic, but Panic just showed off a new feature for the device on the official Playdate Twitter account: you’ll be able to plug the Playdate in to your computer and mirror its screen.
As Playdate says in its tweet, there are a lot of potential use-cases for this, including better accessibility and making it easier to stream your Playdate gameplay. And pressing the virtual buttons in the Playdate app will pass them back to your Playdate device, giving you another way to play your games. (It doesn’t look like there’s a virtual crank, but maybe that’s something Panic hasn’t shown off yet.)
Here’s a short video of the computer connection in action:
Here’s a fun little new thing we made. Plug in your Playdate, launch this app, and it will mirror your Playdate screen to your PC/Mac/Linux in real-time. Perfect for streamers, YouTubers, and better accessibility. Input from the PC can pass through to the Playdate also! pic.twitter.com/OE8q1X0txC
— Playdate (@playdate) March 24, 2021
While the Playdate computer app may look a little small in this video, you’ll be able to make it bigger, Panic said in a reply on Twitter. And if you listen closely to the video, you can also hear some extremely charming Playdate menu sound effects, which Panic says are new.
The Playdate was first revealed in 2019, with games in development from Katamari Damacy creator Keita Takahashi, Good SudokudeveloperZach Gage, and more. At the time, Panic expected to ship the Playdate in early 2020, but said in October that it expects to kick off orders in “early 2021.”
Panic has also set up a Twitter account, @playdateAlerts, that will only tweet when there is “important” news about the Playdate. If you want to know exactly when you can order the device, @playdateAlerts seems like it a good account to follow.
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