The Epic Games v Apple trial is starting to wind down after several long weeks of testimonials in court. One issue Apple has raised during this time is Microsoft’s testimony in court, during which it was claimed that Microsoft has never made a profit selling Xbox consoles. Apple is trying to get this particular testimony struck from the proceedings.
A couple of weeks ago, Apple’s legal team requested an “adverse credibility finding” against the testimony of Lori Wright, Microsoft’s VP of gaming, media and entertainment. Now, Apple is bringing this back up again, with another filing claiming that Microsoft is secretly behind Epic Games’ lawsuit.
As reported by Bloomberg, Apple is claiming that Microsoft is using Epic Games as a “stalking horse”, a term used to describe an entity using a third-party to challenge an idea or concept in order to gauge the reaction. This is essentially an accusation that Microsoft is the puppet master behind Epic Games legal battle with Apple.
Apple also previously took issue with Microsoft’s lack of supplied documentation to support Wright’s testimony in certain aspects, such as the claim that Xbox console sales are not or have never been profitable. Microsoft of course denies these claims, labelling them as a way to distract from the legitimate concerns that were raised during trial, such as the treatment of game streaming services on iOS versus the treatment of TV/film streaming services.
KitGuru Says: The judge hasn’t made any decisions yet, but Apple is very keen to get Microsoft’s testimony thrown out before this lawsuit comes to a conclusion. Tim Cook is taking the stand today, so we should get more news out of this trial over the coming days.
Android has been around for over a decade at this point and has grown tremendously during that time. Google’s mobile operating system has now set a new record, with Android being used on over 3 billion active devices.
Since Android is open source, smartphone makers have been free to adopt it and even make changes to help differentiate their devices. This has been a successful approach, with the vast majority of major smartphone makers using Android instead of their own custom operating system.
Back in 2014, Google reached 1 billion active Android devices for the first time and by 2019, that number had grown to 2.5 billion. Now, the number of active Android devices has surpassed the 3 billion milestone.
Google I/O returned this week after a break in 2020. During the event, Google’s Vice President of Product Management, Sameer Samat, announced the new milestone. With three billion devices actively used, Android’s user base now dwarfs Apple’s iOS platform, which has an active device base of 1 billion as of this year.
Breaking down the numbers, this means that an additional 500 million Android devices have been activated since 2019 and 1 billion since 2017.
KitGuru Says: Android has come a long way over the years. What was the first Android device that you owned?
Whenever we use an app continuously, any change to the UI of that app can cause stress — and during these stressful times, who needs more? For example, in a recent update, Instagram tweaked the way it asks its users to create carousels (groups of up to 10 photos or videos that rotate through a single post), and this is apparently causing a bit of confusion.
This new method was pointed out in the Instagram account Digital Mums, where you can find some great tips on how to use various features of Instagram.
If you’d prefer some text instructions on how to navigate the change, here you go:
In your Instagram app (iOS or Android), select the “Add Post” icon (the plus icon on the top line)
You’ll see a selection of your photos. You can change the source of your photos if you wish by clicking on the source name (Recents, Videos, etc.) and then choosing a different one.
Press and hold the first photo or video you want to include in your carousel until the number 1 appears in the corner of the photo.
If you’re using Android, there will be a “Select Multiple” icon above your photo gallery. If you want, you can perform the same task by tapping on the first image you want to include, and then tapping on the “Select Multiple” icon. (The iOS version doesn’t include that icon, so you’re stuck with “press and hold.”)
Press and hold the first image you want to include, and then select the rest
In the Android version, there is also a “Select Multiple” icon you can use
Continue to select the images you want to include. They will be numbered in the order in which you select them. In order to change the order, you’ll have to tap on the numbers on the images you want to re-order, and then add them back in their correct order.
Once you’ve got all your photos selected and in the correct order, choose the “Next” arrow in the top right
Now you can edit or apply a filter to one or all of your photos. You can then go on to the final “New Post” screen that lets you write a caption, tag people, post to Facebook, Twitter, Tumblr, etc.
Easy-peasy — until, of course, the next time Instagram decides to alter its interface…
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Battery life has been the Achilles’ heel of smartwatches and fitness watches. While solid state storage and processing power have been evolving at a rapid clip, battery life has remained stagnant. This goes quintuple for watches that track your activity using GPS, which is a particularly power-hungry thing to do. And yet, somehow, the Garmin Enduro now exists. If you’re the type of person who likes to run until their kneecaps have been ground into a fine powder, this is the watch for you.
The $800 Enduro is a multisport fitness watch. And by multi, I mean pretty much all the sports. Built-in activities include: Run, Ultra Run, Trail Run, Treadmill, Virtual Run, Track Run, Indoor Track Run, Bike, Mountain Bike, Indoor Bike, Pool Swim, Open Water Swim, Triathlon, SwimRun, Hike, Expedition, Climb, Indoor Climb, Bouldering, Ski, Snowboard, Cross Country Ski, Cross Country Skate Ski, Backcountry Ski, Surf, SUP, Kayak, Row, Indoor Row, Navigate, Track Me, Pilates, Yoga, Breathwork, Cardio, Strength, Golf, and others (including downloadable options made by third parties) but honestly I’m tired of typing. Basically, it has all of the same activity modes as Garmin’s current multisport flagship, the Fenix 6 (starting at $550, up to $1,100), but there are some significant tradeoffs, which I’ll get to in a sec.
Let’s start with the body. Physically, the Enduro is a perfect twin of the larger Fenix 6X. (You can see a more in-depth comparison between the two on Garmin’s site.) It has a 1.4-inch transflective (sunlight visible) color LCD screen. It’s extremely easy to read, particularly outdoors (at night it lights up with the push of a button). The screen also doubles as a low-key solar panel, giving you extra juice when you wear it outside.
The body is just over two inches by two inches and 0.6 inches thick. In other words, it’s a bit chunky, and people with smaller wrists probably will not like it. I have weirdly big wrist bones, so I didn’t mind the way it felt, and it didn’t look like I was wearing a tablet on my arm. Despite its size it’s quite light, coming in at 71 grams for the steel version or 61 grams for the more expensive titanium version. That weight is partly due to the new, slightly stretchy nylon strap, which is comfortable and dries quickly. There are a lot of other strap options to choose from, should you so desire.
Like the Fenix and most other Garmin watches, the Enduro has five physical buttons which you use for navigating in lieu of a touchscreen. This is the most intuitive of any of the fitness watches I’ve used, and the UI has only gotten better with age.
The Enduro lacks a touchscreen but has five physical buttons.
In addition to being a training watch, it has basic smartwatch features, including displaying notifications from your phone. Android users (like me, I tested it with a Pixel 5) can quick reply to messages from the watch (unfortunately Apple has blocked this feature on the iPhone for any device except the Apple Watch, which seems pretty anti-competitive if you ask me).
From the main screen, pressing the bottom left button (the down button) gets you to a bunch of widgets that provide a lot of data at a glance. It’s just the right amount of information density. If you want more granular info, you can dive into the Garmin Connect app (iOS and Android), which has a lot of detail, but its design is very dated and it can be tricky to find what you’re looking for in it. It’s not bad, but it could benefit from a refresh.
In addition to daily tracking of things like steps, floors climbed, heart rate, sleep quality, and even respiration rate, the Enduro also has a pulse oximeter which uses a special red LED. In my testing, it was roughly as accurate as the finger-based (medical grade) one I bought toward the beginning of lockdown last year. You can choose to have it track your pulse ox 24/7, but that will take a big bite out of your battery life. You can also choose to just track pulse ox as you sleep, which might be good for someone who suffers from sleep apnea. If you don’t have any underlying health concerns, though, I’d just leave it off and check it on demand whenever you want.
The Enduro is primarily a training watch, and it has all of the excellent tools that the Fenix line has, including Body Battery (which surprisingly mapped quite closely to how well rested or depleted I felt), Stress, VO2 Max over time, as well as Training Status. There are some new features debuting on this watch as well. One of the most useful I found was Trail Run VO2 Max. It takes terrain into account, so if you’re running slower because of rocks, it won’t give you an artificially low V02 Max score. Garmin has also upgraded its ClimbPro features, which take ascend and descend into consideration in both your stats and your pace recommendations. The watch can even alert you before you get to a hill (you have to preload a route into the watch) so you can prepare yourself for a climb. There are also new Ultrarunning specific features which I was unable to test because I prefer other ways of injuring myself. It’s worth noting that these new features are also making their way to the Fenix line.
So, why might you want the Enduro over the Fenix? Capital B Battery life. That is really the one and only reason. The battery lasts more than twice as long as the Fenix, and the Fenix is one of the longest-lasting training watches I’ve tested. If you currently use an Apple Watch, you may weep when you read this, but here are the numbers the company claims:
Smartwatch mode: up to 50 days / 65 days with solar
Battery Saver Watch mode: up to 130 days / one year with solar
GPS: up to 70 hours / 80 hours with solar
Max Battery GPS mode: up to 200 hours / 300 hours with solar
Expedition GPS Activity: up to 65 days / 95 days with solar
That is absolutely unparalleled. It’s also conservative in my estimation. I wore this watch for a solid month, constantly using it as a smartwatch (checking notifications, checking my vitals, etc). That included 12 hours and 51 minutes of surfing (GPS tracked), four hours and three minutes of running (GPS tracked), and three hours and 16 minutes of strength training (non-GPS). I did not have to take the watch off to charge it at all. Not one single time. It is easily the longest-lasting training / smartwatch I have ever tested, and by a gigantic margin. Garmin claims that it didn’t do this by stuffing in a larger physical battery but by optimizing the underlying platform. I tried to get more details, but they were understandably tight-lipped about the secret recipe.
So, you may see that and think “well then, obviously this is an easy choice over the Fenix 6, right?” Well, not quite. There are some things the Enduro doesn’t have, and they aren’t insignificant.
Garmin’s app is functional but in need of a refresh.
The biggest thing the Enduro lacks is maps. The Fenix 6 has topographic maps of the entire US built right into it, and that’s been incredibly useful to me. It’s actually kept me from taking wrong turns while hiking on a number of occasions. You can still track back with the Enduro, bread-crumb style, but it will appear as a disembodied trail without any context or landmarks to help guide you. This also means the Enduro doesn’t have some specific cycling training and other navigational features.
The other big thing the Enduro is missing is music. The Fenix allows you to store songs on it and play them via Bluetooth earbuds, so you can leave your phone at home. The Enduro doesn’t. If you want tunes to go with your workout, you’re going to need to carry a second device. This brings up a somewhat frustrating point.
With those things missing, you might assume that it’s because the Enduro has less storage compared to the Fenix. It doesn’t. In fact, it has double the storage of the Fenix at 64GB vs. 32GB. As far as I can tell, the only reason the Enduro doesn’t have maps and music is because Garmin didn’t want to cannibalize sales of the Fenix 6, which is frustrating. If you compare the Enduro to the Fenix 6 Pro Solar edition (which has the same hidden solar-panel display as the Enduro), both watches are a wince-inducing $800. The Fenix is a bit more svelte and has a very slightly smaller screen, but otherwise they’re the same. You just have to choose, do you want maps and all the features they come with, or do you want double the battery life? Garmin could have easily given you both — and perhaps the Fenix 7 or Enduro 2 will have both, or a firmware update could bring maps and music to the Enduro — but for now it’s an either / or between two fantastic features.
The Enduro is the watch to get if you never want to worry about charging it.
It’s a strange dilemma. Ultimately, I think the Fenix 6 is the better, more complete watch, and so that’s the one I would lean toward recommending. You just have to remember to charge it three times as often. That being said, the Enduro is still an excellent watch, and being able to go on a very long trip and leave the (proprietary) charger at home is a real boon, and if you do any ultra-length activities, then this is absolutely the watch you want. For now, I’ll stick with the Fenix 6 in case I get lost, again.
Microsoft is finally adding a dark mode to its Office app for Android. While the Office app has been available on iOS and Android for more than a year, only the iOS version has included built-in dark mode support until now.
“It’s been a highly requested feature by many of our customers,” admits Sourab Nagpal, a product manager at Microsoft. “Many people prefer using Dark Mode as they find it provides a more comfortable visual experience for reading and working on mobile devices.”
The latest Office app for Android will now automatically enable dark mode if you’ve set that as a system preference on your Android device. Dark mode can also be toggled from the home tab in the Office app. Microsoft says it’s rolling out dark mode for Office on Android over the coming weeks, so it might not appear for all users instantly.
Microsoft’s Office app for Android combines Word, Excel, and PowerPoint into a single application. It also includes quick actions like scanning PDFs, or even capturing whiteboards, text, and tables into digital versions. You can download Microsoft’s Office app for Android from the Google Play Store.
Remember the Google Chromecast Audio? It was a little dongle that made any speakers smart – just plug it in, and it would add wi-fi to the party, letting you stream online music through your phone, tablet or computer to your speakers.
Now Belkin has launched a similar device but with Apple AirPlay 2 wireless tech onboard. That means you can stream music from an Apple device to your old speakers that don’t have wireless streaming built-in.
The Belkin Soundform Connect plugs into your speakers using an optical or 3.5mm connection. Then you simply tap the AirPlay icon on your Apple device and your track will start playing from your speaker as if by magic.
AirPlay 2 is adept at multi-room audio, too. So plug Soundform Connect devices into speakers in different rooms and you can fill your house with sweet music. Use Apple’s HomeKit, and you can assign different speakers to different rooms, and create scenes and automations using the Home app.
You can also control playback using Siri voice control, so you can ask what’s playing in each room, adjust the volume, play, pause and more.
To use it, you’ll need an iPhone running iOS 11.4 or later, an iPad with iPadOS 11.4 or later, a Mac running macOS Catalina or later, or an Apple TV running tvOS 11.4 or later.
The Soundform Connect is small enough to fit in a pocket, so you can easily take it with you wherever you go. And it won’t break the bank, with a price tag of £89 ($99).
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Another AirPlay rival: DTS Play-Fi: what is it? What speakers and devices support it?
Apple’s new App Tracking Transparency feature in iOS 14.5 doesn’t seem to be a difficult concept to grasp; initial estimates suggest as many as 96 percent of US users are leaping at the chance to tell their apps, “No, you can’t track me across the internet.” Now, Apple is taking a victory lap with a full ad campaign, too, one that turns the feature into a selling point for the iPhone and furthers the attempt to pitch itself as the only tech company you can trust. And, if you ask me, its new ad spot “Tracked” is just about perfect.
Just give it a watch above. Who wouldn’t want to Thanos-snap ad trackers into dust? It’s no wonder Google is thinking long and hard about following Apple’s lead with an anti-tracking feature of its own.
Critics claim these moves will make the internet more expensive and potentially harm small businesses, and they are updating their apps to warn you about that — as well as the idea that ads might be less relevant if you opt out. But that’s a tough sell compared to the privacy fears that exist these days, and it’s hard to argue with Apple’s idea that users should get to choose for themselves. The company also launched privacy “nutrition labels” late last year.
Apple tells The Verge that its own ad platform and apps don’t track users and that the App Tracking Transparency prompt applies to its own apps as well.
Its ambition is to be applauded, but Deezer falls between the two stools of Spotify and Tidal and struggles to justify itself over either
For
Vast catalogue and device support
CD-quality HiFi tier
Envelope-pushing 3D audio
Against
No hi-res streaming
Spotify does discovery better
Tidal does hi-fi better
Deezer appears to be stuck with a bit of an identity crisis. When we first reviewed the music streaming service in 2015, it clearly saw itself as a Spotify rival, bringing a vast library of music to a mainstream audience as efficiently as possible.
By the time of our re-review, in early 2018, Deezer had begun courting the hi-fi crowd with a comprehensive catalogue of CD-quality tracks and murmurings of hi-res MQA support to come.
In 2020, with hi-res yet to appear on the platform, Deezer hopped into bed with Sony and started offering 360 Reality Audio streaming to subscribers to its HiFi tier.
And now here we are in 2021 and 16-bit/44.1kHz FLAC files (ie. CD quality) is still the pinnacle of Deezer’s HiFi offering. Yes, it is a solid step up from the 128kbps MP3 files of “standard streaming services”, but those are now few and far between. As both Apple (with Apple Music Lossless) and Spotify (with Spotify HiFi) become well and truly embroiled in a hi-res music war and Amazon Music quietly drops its premium tier by £5 per month to just £7.99 if you’re a Prime Member, where does that leave Deezer?
Clearly, the French streaming service is trying its best to find a USP, and that’s to be applauded, but the result is that it falls short of matching Spotify’s mainstream appeal and Tidal’s hi-fi credentials.
Features
(Image credit: Apple / Deezer)
While Spotify held on resolutely to its compressed music streams until its 2021 HiFi tier announcement, Deezer has offered ‘CD quality’ tracks in the 16-bit/44.1kHz FLAC format since 2017.
These tracks are available to those who subscribe to the £14.99 ($14.99) per-month HiFi tier – which used to cost £19.99 until roughly a year ago – and while initially you also needed to own one of a handful of specific devices, they can now be enjoyed on almost any device that supports the core Deezer experience. In fact, Deezer now comes pre-loaded in kit such as Mobee-K’s new smart USB-C headphones while Apple’s own HomePod and HomePod Mini support Deezer voice control, and Deezer tracks can be downloaded to enjoy offline on your Apple watch, too.
It once looked likely that Deezer would add hi-res streaming to its repertoire, but the company has since decided to go down the 360 Reality Audio route. Think of this as a Dolby Atmos rival but specifically for streamed music, and you’ve got the idea.
Deezer was the first music streaming service to offer 360 Reality Audio, but it has since been joined by Tidal, Amazon Music HD and nugs.net (for the uninitiated, that is a streaming service dedicated to live concerts). Back to Deezer and the tracks available in the format are included as part of its HiFi subscription. You will need to download a different app, called 360 by Deezer, if you want to listen to them all, but this extra app also gives access to all of the non-360 tracks of the standard app so you don’t have to constantly switch between the two.
The bad news is that 360 by Deezer is only available on iOS and Android devices. There are eight playlists, including ‘New on 360 by Deezer’ that can be enjoyed on a computer or hi-fi via the desktop app as teasers – but not the full package.
Pricing
(Image credit: Apple / Deezer)
Below Deezer HiFi there are three tiers. Premium (£9.99/$9.99 per month) shares features with HiFi – no ads, unlimited streaming and control on mobile apps, and offline access – but limits sound quality to 320kbps.
Deezer Family (£14.99/$14.99 per month) gets you everything on Premium for up to six profiles. There’s also a free, ad-supported tier with 128kbps streaming and limited mobile app use.
Compatibility
(Image credit: Apple / Deezer)
As well as smartphones and computers, the Deezer app is also available on many other devices: TVs from the likes of Samsung, Sony and LG; wireless speakers by Sonos, Amazon, Bluesound and Bose; and even cars via Android Auto or Apple CarPlay. And that’s far from an exhaustive list.
What’s more, Chromecast and AirPlay allow you to send tunes to yet more devices. Deezer might not quite match Spotify’s ubiquity (it’s missing from Cambridge Audio’s streamers, for example), but it’s close.
Regardless of the device used, subscribers can access a catalogue of over 56 million songs, more than 52 million of which it claims are in the CD-quality FLAC format. It’s an impressive figure, but with all music streaming services making similarly huge claims, the numbers game is rendered a little academic.
What matters is whether the tracks you’re looking for are available and, in our experience, Deezer produces the fewest blanks after Spotify. It’s very rare to find a song in Spotify’s catalogue that isn’t also available in Deezer’s – and usually in that higher-quality format. One nil to Deezer.
We find Deezer stocks pretty much every track of the diverse range we search for, and all in CD quality too. Just be aware that, unlike Apple Music and Tidal, Deezer doesn’t have artist or album window ‘exclusives’, although it does occasionally release its own live sessions with big artists.
Ease of use
(Image credit: Apple / Deezer)
As HiFi subscribers, we mostly use the desktop and iOS mobile apps, and the ability to flick from one to the other is made easy by the fact each platform offers a very similar interface.
Deezer’s appearance is perhaps best described as stripped-back – almost brutally so. The interface is clean and clear, but also a bit bare, particularly on desktop. Music streaming services are generally similar in layout, with a bottom playback bar and a few left-hand side tabs bordering the centralised chunk of content – and Deezer doesn’t stray too far from this template.
Since our last review update, things have been slightly tweaked. ‘Home’ has been replaced by ‘Music’, although it does the same job as before: presenting users with personalised playlists as well as the opportunity to browse music by charts, new releases, popularity and various moods. Radio stations still appear at the bottom of this page, but podcasts now have their own tab.
‘Favorites’ has replaced ‘My music’, but again, the purpose is unchanged: it’s a gateway to your saved playlists and ‘favourite’ tracks, albums and podcasts.
Performance
(Image credit: Apple / Deezer)
We play the What Hi-Fi? January 2021 playlist, and are pleased to hear Deezer HiFi (CD-quality) streams are clear, full-bodied and, perhaps most importantly, an upgrade from the ‘Better’ (320kbps) quality streams. It’s worth noting sound quality can be changed between ‘Standard’ (128kbps), ‘Better’ (320kbps on wi-fi and 128kbps on mobile data), and ‘High Fidelity’ (1411kbps).
The HiFi streams cling more committedly to the textures of the ‘80s-style keys, percussion and synths underpinning Chaka Khan’s Pallion (aka Hot Butterfly), and those of the affected backing track and vocals in Dua Lipa’s Levitating.
However, we find Tidal’s CD-quality streams a little crisper, cleaner and more precise. There’s more fuel driving Tiny Giant’s Draw Me a Line, and greater space around the instrumental and vocal accompaniment. Timing of the drumbeats and underlying cymbal rhythm is noticeably more accurate, too, with Tidal’s version of Donald Fagen’s I.G.Y. springing into life with a touch more bite.
That said, listening through Grado SR325e headphones plugged into a MacBook Air, the differences are admittedly subtle. And it’s only when we up the transparency of our set-up with a Chord Hugo 2 DAC that these discrepancies become really significant, helped by Tidal’s fancy options for taking exclusive control of the DAC and bypassing the MacBook’s audio processing and volume control. Deezer has no such options.
Of course, the ace up Deezer’s sleeve is 360 Reality Audio, which isn’t offered by any other streaming service. 360 Reality Audio offers a 3D sound space by creating multiple virtual speakers and can be listened to via most standard headphones – although the experience has been optimised for Sony’s range.
At its best, it’s really rather impressive, immersing you in the music and surrounding you with spatially distinct instruments in a way not previously experienced. As a technological showcase it’s very effective, and gives you fresh insight into some of your favourite tracks (although the selection is fairly limited at this point).
But whether the 360 version of a track will replace the stereo version in your affections is debatable. For one, even the best tracks sound comparatively lacking in punch and weight when compared to their stereo equivalents, and some other tracks just don’t seem to have made the transition to 3D particularly well, coming across as rather flat and compressed in terms of detail and dynamics.
It’s worth remembering that 360 Reality Audio is still in its infancy and there’s already so much to like. In time it could be absolutely brilliant – it’s just not a hugely persuasive reason to opt for Deezer over Tidal right now.
Verdict
(Image credit: Apple / Deezer)
While we prefer Tidal’s comprehensive layout and slightly superior sound quality, the main chink in Deezer’s armour is its current lack of hi-res audio.
After all, subscribers to Tidal’s HiFi tier get access to over a million (typically 24-bit/96kHz) hi-res Masters in addition to CD-quality streaming – although they have to pay a little more for it at £19.99 ($19.99) per month – and Amazon Music HD delivers hi-res tracks for £7.99 ($7.99) per month for Prime members and £9.99 ($9.99) per month if you don’t have an Amazon Prime account.
Deezer may still have hi-res in its sights, but all has gone quiet on that front since the announcement of its partnership with MQA back in September 2017. And until it comes as part of a competitive package, it doesn’t shine brightly enough to be the leading light in music streaming.
Its core, non-HiFi subscription, meanwhile, falls just a whisker short of Spotify when it comes to ubiquity, discovery and presentation.
But, while Deezer rather falls between the two pillars of Tidal and Spotify right now, the addition of hi-res streams (and some of the hi-fi-focused features of Tidal) could actually one day see it become the best of both worlds.
SCORES
Performance 4
Features 4
Ease of use 4
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Apple’s software engineering head Craig Federighi had a tricky task in the Epic v. Apple trial: explaining why the Mac’s security wasn’t good enough for the iPhone.
Mac computers have an official Apple App Store, but they also allow downloading software from the internet or a third-party store. Apple has never opened up iOS this way, but it’s long touted the privacy and security of both platforms. Then Epic Games sued Apple to force its hand, saying that if an open model is good enough for macOS, Apple’s claims about iOS ring hollow. On the stand yesterday, Federighi tried to resolve this problem by portraying iPhones and Macs as dramatically different devices — and in the process, threw macOS under the bus.
Federighi outlined three main differences between iOS and macOS. The first is scale. Far more people use iPhones than Macs, and the more users a platform gets, the more enticing that audience becomes to malware developers. Federighi argued iOS users are also much more casual about downloading software, giving attackers better odds of luring them into a download. “iOS users are just accustomed to getting apps all the time,” he said, citing Apple’s old catchphrase: “There’s an app for that.”
The second difference is data sensitivity. “iPhones are very attractive targets. They are very personal devices that are with you all the time. They have some of your most personal information — of course your contacts, your photos, but also other things,” he said. Mobile devices put a camera, microphone, and GPS tracker in your pocket. “All of these things make access or control of these devices potentially incredibly valuable to an attacker.”
That may undersell private interactions with Macs; Epic’s counsel Yonatan Even noted that many telemedicine calls and other virtual interactions happen on desktop. Still, it’s fair to say phones have become many people’s all-purpose digital lockboxes.
The third difference is more conceptual. Federighi basically says iOS users need to be more protected because the Mac is a specialist tool for people who know how to navigate the complexities of a powerful system, while the iPhone and iPad are — literally — for babies.
As Federighi put it:
The Mac from the beginning has been part of a generation of systems where the expectation is you can get software from wherever — you can hand it to your friend on a floppy disk and run it, that’s part of the expectation. But Mac users also expect a degree of flexibility that is useful to what they do. Some of them are software developers, some of them are pros running their unique tools, and having that power is part of it.
I think of it is as if the Mac is a car — that you can take it off-road if you want, you can drive wherever you want. And that comes with as a driver, you gotta be trained, there’s a certain level of responsibility in doing that, but that’s what you wanted to buy. You wanted to buy a car. With iOS, we were able to create something where children — heck, even infants — can operate an iOS device, and be safe in doing so. So it’s a really different product.
Federighi expanded on the metaphor a little later, when Apple’s counsel asked if macOS was “safe.”
Safe if operated correctly, much like that car. If you know how to operate a car, and you obey the rules of the road and are very cautious, yes. If you’re not — I’ve had a couple of family members who’ve gotten some malware on their Mac. But ultimately, I think the Mac can be operated safely.
I find the mental image of slowly, cautiously “driving” a Mac around the internet hilarious, because cars are deadly two-ton metal boxes that crush obstacles at superhuman speeds, while my MacBook starts losing keys if I type on it too hard.
If you pair these comments with some earlier statements about macOS, though, it’s a bit less funny. Federighi was bluntly critical of macOS security, saying Apple saw “a level of malware on the Mac that we don’t find acceptable.” If you used the Mac’s security model on the iPhone, “with all those devices, all that value, it would get run over to a degree dramatically worse than is already happening on the Mac,” Federighi said. “iOS has established a dramatically higher bar for customer protection. The Mac is not meeting that bar today.” It’s a distinctly negative evaluation of open computing systems, implying onlya relatively small platform could afford that openness without disaster.
Federighi took a far broader view of security than Epic’s own expert witness James Mickens. Mickens testified earlier that iOS wasn’t meaningfully more secure than Android, but he analyzed mostly technical threats to the platforms. Federighi focused on scams, phishing, and other apps that target human psychology instead of computer code — many of which pose serious dangers.
Sometimes, though, the protectiveness felt patronizing. When Federighi explained Apple’s restrictions on cloud gaming, he focused partly on tangible security issues, like how to grant device permissions for different titles on a single gaming app. But he slipped seamlessly into discussing how the concept would be simply too confusing — that iPhone and iPad owners would be befuddled by the notion of launching a separate game catalog. Apple wants iOS devices to feel trustworthy, but at times like that, it seems more like Apple just doesn’t trust its own users.
Twitter is phasing out its image cropping algorithm in favor of showing larger previews, and the company has announced that it’s been looking into accusations that the system was biased. It found that the crops were slightly biased towards certain races and genders, but Twitter’s main gripe seems to be that the algorithm doesn’t give users control.
Starting in 2018, Twitter started using the algorithm to crop images so they fit in its image preview boxes. The algorithm tries to determine what will be most visually interesting to a user so it can include it can include it in the preview, but some have accused it of favoring white faces over black ones. To determine if that’s the case, Twitter had some of its researchers produce a report analyzing the choices it makes when determining crops.
When testing to see if the algorithm indeed had racial biases, the researchers’ found that the algorithm chose to crop to white women over black women 7 percent of the time, and white men over black men 2 percent of the time, with an overall 4 percent preference for white individuals.
Twitter also tested for gender bias, trying to see if the algorithm chose to crop around men more than women, and if it cropped pictures of women inappropriately (read: cropping around a woman’s chest or legs, rather than her face). It found that the algorithm favored women 8 percent of the time, but didn’t seem to crop them in a perv-y manner: in the approximately 3 percent of cases where it didn’t crop to a woman’s face, it was focused on things like a sports jersey’s number.
An image from the report showing a correct and incorrect crop.Image: Yee, Tantipongpipat, Mishra
Twitter admits that the algorithms could still be harmful in other ways it hasn’t tested, and that relying on machine learning to crop images takes a lot of agency away from users. The company said draws the conclusion “that not everything on Twitter is a good candidate for an algorithm, and in this case, how to crop an image is a decision best made by people.”
To let people make that decision, Twitter has made the image previews bigger in its iOS and Android apps, so the algorithm doesn’t have to make as many cropping decisions. When it does need to crop an image, like if the image is very tall or wide, the user will be shown a preview of what it will look like.
The cropping algorithm hasn’t fully gone away, especially in the case of Twitter for the web where image preview crops still abound, but Twitter seems to hope that in most cases machine learning will take a back seat to human intuition.
Apple announced a variety of new and updated features for people with disabilities today. Beginning May 20th, customers can use the new SignTime sign language interpreter service to contact AppleCare and retail customer care through their web browsers. Software updates later this year to iOS, watchOS, and iPadOS will bring improved options for Assistive Touch, VoiceOver, hearing aid support, and background sounds.
We believe everyone should have the tools they need to change the world. Accessibility is a fundamental right, and we’re always pushing the boundaries of innovation so that everyone can learn, create and connect in new ways. #GAAD https://t.co/oZwQNG7p5x
— Tim Cook (@tim_cook) May 19, 2021
The new SignTime service is launching first in the US, UK, and France, and offers remote interpreter access for American Sign Language, British Sign Language, and French Sign Language. People can also use the service in Apple stores to get interpretation without booking it in advance, potentially preventing the hassle of wrangling an interpreter on short notice.
People with limb differences will be able to use Assistive Touch on watchOS, which should enable them to use Apple Watch without touching the screen. (Apple did not verify which Watches this will work for.) Apple says the Apple Watch can detect muscle movement and tendon activity through its built-in sensors, allowing users to control a cursor on the watch screen, answer calls, access notifications, and more by making various movements and gestures. (You can see it in action in the video on this page.)
iPadOS will support third-party eye-tracking devices, allowing people with low mobility to move a cursor with their gaze and perform actions by holding eye contact, rather than tapping the screen.
VoiceOver, Apple’s built-in screen reader, will be updated to include more details in images. According to Apple, it will allow people to navigate images with text and data tables by rows and columns, and describe people and objects in images. People will also be able to add image descriptions with Markup.
Apple plans to upgrade the Made for iPhone hearing devices program, too, with support for bidirectional hearing aids. Users will also be able to upload their hearing test results to Headphone Accommodations to more easily customize how the feature amplifies sounds and adjusts different frequencies.
Image: Apple
For neurodiverse people (or anyone who likes white noise), Apple is introducing Background Sounds that can be incorporated with other audio and system sounds. They include “balanced, bright, or dark noise, as well as ocean, rain, or stream sounds” that can be set to play continuously and mask distracting or overwhelming noises.
Other features Apple is planning for later in the year include the ability to use mouth sounds like clicks or pops instead of using physical buttons, the customization of display and text size settings in individual apps, and new Memoji options with cochlear implants, oxygen tubes, and soft helmets.
Companies large and small always have room for improvement when it comes to making their products accessible, but Apple has generally been a leader in the space. These updates hopefully signal a continued commitment to designing with disabled people in mind.
The antitrust case between Apple and Epic continued today, and it brought Craig Federighi, Apple’s senior vice president of software engineering, to the stand. Federighi’s mission was pretty clear from the outset: to extol the security benefits that come with iOS’s walled-off ecosystem and warn of the dangers that would come with breaking the App Store model.
But in building that argument, Federighi also made some surprisingly blunt concessions about security on macOS.
“If you took Mac security techniques and applied them to the iOS ecosystem, with all those devices, all that value, it would get run over to a degree dramatically worse than is already happening on the Mac,” Federighi said in the testimony. “And as I say, today, we have a level of malware on the Mac that we don’t find acceptable and is much worse than iOS.”
Federighi made the claim as part of a broader argument for why iOS could not adopt the same software model as macOS, which allows for alternate software sources like the Epic Games Store. But in making the case for iOS security, the software chief ended up painting a bleak picture of security on the desktop platform. The full exchange is presented in context below:
Judge Rogers: There are multiple stores on the Mac. So, if that can happen on the Mac, why should we not allow the same stores to exist on the phone?
Craig Federighi: Yeah, it’s certainly how we’ve done it on the Mac and it’s regularly exploited on the Mac. iOS has established a dramatically higher bar for customer protection. The Mac is not meeting that bar today. And that’s despite the fact that Mac users inherently download less software and are subject to a way less economically motivated attacker base. If you took Mac security techniques and applied them to the iOS ecosystem, with all those devices, all that value, it would get run over to a degree dramatically worse than is already happening on the Mac. And as I say, today, we have a level of malware on the Mac that we don’t find acceptable and is much worse than iOS. Put that same situation in place for iOS and it would be a very bad situation for our customers.
Federighi also cast the difference between the two platforms in unusual terms, describing the desktop platform as something akin to a car. “If operated correctly, much like that car, if you know how to operate a car and obey the rules of the road and are very cautious, yes,” he said when asked directly whether macOS is safe. “If not, I’ve had a couple of family members who have gotten some malware on their Macs.” macOS allows software to be downloaded and installed from the web, but Apple advises customers that restricting this functionality to the App Store is “the most secure setting.”
In contrast, Federighi presented iOS as a child-safe version of the less restricted macOS. “With iOS, we were able to create something where children — heck, even infants — are able to operate an iOS device and be safe in doing so. It’s really a different product,” Federighi said.
Federighi’s testimony comes in the final days of the trial, with much of the remaining time devoted to testimony from Apple executives. CEO Tim Cook is expected to take the stand on Friday, with closing statements from both sides given on Monday.
Yesterday brought the momentous news that Google and Samsung will merge together their Wear OS and Tizen-based smartwatch platforms into a single operating system. The new software is currently being referred to as Wear, but that name could change as we get closer to the first devices that will ship with it.
The unified platform is intended to give Android smartwatches a huge boost and much simpler strategy. It will also allow developers to create apps and widgets for a single OS instead of splitting their efforts between Wear OS and Tizen. A lot of this is spelled out in more detail in the below video, but let’s also focus on the big highlights.
It’s going to be faster than Wear OS
Speed and responsiveness were one of the major talking points when Google and Samsung made this announcement during the I/O 2021 keynote. The companies are claiming that apps open up to 30 percent faster than they currently do on Wear OS. Google also promises “smooth user interface animations and motion,” which hasn’t always been a strength of Wear OS.
Battery life will be a step up, too
Samsung’s smartwatches were already routinely outlasting Wear OS products, so this doesn’t come as a surprise. The company is lending Google some hardware expertise to ensure better stamina. “Samsung implemented our best technology to provide optimized performances, and advanced sensor batching and low power display technology to ensure an efficient and long-lasting battery,” Samsung’sJanghyun Yoon wrote after Tuesday’s news. Google’s Bjorn Kilburn said customers can expect “handy optimizations like the ability to run the heart rate sensor continuously during the day, track your sleep overnight and still have battery for the next day.”
The next Samsung Galaxy Watch will run Wear
Samsung has confirmed that its next smartwatch — and all others in the pipeline — will run the unified Wear platform. But the company made sure to note that it will bring over some of its popular hardware elements, like the rotating bezel mechanism.
A standalone Google Maps app will do turn-by-turn directions
In a report from Wired, we learned that there are plans for a Google Maps app on Wear that features “a new user interface that will also work even if your phone is not with you.” That hints at cellular data support on the new unified platform.
Spotify and YouTube Music apps will support offline downloads
Spotify already allows owners of Samsung smartwatches to download songs for offline listening, and now that same convenience will be extended to Wear. That’s one thing Spotify for the Apple Watch still doesn’t do.
Google also confirmed that YouTube Music will be available on Wear. Like Spotify, it’ll include full support for offline listening.
Fitbit activity tracking will be built into the platform
Having completed its acquisition of Fitbit at the start of this year, Google will now integrate some of the brand’s health and activity tracking features into Wear. Future premium Fitbit wearables will also run the unified platform.
Device makers will be able to customize the look and feel
Google tried to emphasize on Tuesday that this platform isn’t just intended for itself and Samsung. “All device makers will be able to add a customized user experience on top of the platform,” Kilburn said. That’s going to prove important if Google wants to keep companies like Garmin on board with the new platform. And we can’t forget about the many traditional watchmakers — Fossil, Citizen, TAG Heuer, and others — that have gotten behind Wear OS in recent years in the absence of a flagship smartwatch from Google.
Apps should be faster and easier to develop with new APIs
Wear’s apps will use the latest Android development techniques like Jetpack and Kotlin to help reach the best possible performance. Google is also promising to make life easier for app makers with new APIs that cover Tiles, health services, watchfaces, complications, and more. And an activity indicator will show when certain functions are running in the background.
Some Wear OS smartwatches might get upgraded to Wear
There aren’t any firm promises yet, but Google at least didn’t outright say existing products won’t be updated to the new OS. The company told 9to5Google, “we will have more updates to share on timelines once the new version launches later this year.”
Samsung will not update Galaxy Watch models to Wear
Samsung will not be updating its Galaxy Watch line to Wear, but says it has no intention of leaving its current customers in the dust once it starts releasing Wear hardware. “For customers who already own the Tizen OS based Galaxy smartwatches, we are continuing to provide at least three years of software support after the product launch,” the company said Tuesday. However, it seems plausible there will be more than a few features and new Wear tricks that will never make their way to older Galaxy smartwatches.
Samsung will bring over its watchface designer tool
Some people out there really care about having a good watchface selection on a pricey smartwatch. Google and Samsung are promising a wide mix of styles, and Samsung told Wired its design tool — and many of the company’s own signature watchfaces — will be available on Wear.
The unknowns
Google and Samsung shared a decent chunk of information on day one, but we’re still left without answers to a few important questions. We should learn more details over the summer as we head into fall hardware season.
When will the first Wear smartwatch be available?
Is the underlying operating system closer to Wear OS or closer to Tizen? (Considering that developers will be using Android tools to build apps, it seems like the former.)
Will there be required helper apps like some of Samsung’s watches have needed?
Is Wear going to continue offering some semblance of iOS support?
What’s going to happen to Samsung Pay and Bixby? Are they both goners on the wrist?
When Tidal began offering hi-res audio streaming in 2017, becoming only the second streaming service to do so after Qobuz broke that ground the year before, we didn’t expect hi-res streaming to be a two-player game for quite so long.
Now though, not only have their rivals caught up but they are attempting to leapfrog the established players. And this could change the game significantly.
Higher audio quality, lower subscription prices
Apple Music has just embraced hi-res streaming with open arms – and isn’t asking people to pay a penny more for it. Its all-encompassing individual subscription plan is sticking at £10 ($10, AU$12) per month, significantly cheaper than the monthly hi-res tiers from Tidal (£20, $20, AU$24) and Qobuz (£15, $15, AU$25).
In response to Apple, Amazon has now bundled its Music HD hi-res tier, which arrived in 2019, into its standard plans rather than asking a £5 ($5) premium. That means the monthly subscription has dropped from £13 ($13) to £8 ($8) for Prime customers, and from £15 ($15) to £10 ($10) for everyone else.
Meanwhile, Deezer offers CD-quality for £15 ($15, AU$20) per month, and Spotify plans to begin offering CD-quality – no mention of hi-res so far – later this year for a fee expected to be equal to or perhaps even higher than its current £10 ($10, AU$12) per month asking price.
Maybe Apple’s bold move means that Spotify won’t ask a premium price or shun hi-res audio for its imminent Spotify HiFi tier. Realistically, Spotify’s popularity and class-leading usability mean it can probably afford not to match or undercut its rivals and still remain competitive. Even ‘only’ CD quality may be enough to keep its loyal subscribers onboard.
The wider adoption of hi-res audio streaming by big players such as Apple and Amazon has brought better sound quality into the mainstream. The fact you can have unlimited access to it for as little as £8 ($8) per month is great news for those who care for sound quality.
With Apple offering hi-res at no extra charge, and Amazon readjusting its offering accordingly, the streaming service competition has reached a crossroads, with all ways potentially pointing to tier simplicity and affordability.
Do USPs justify premium prices?
So how will the competition justify charging extra – in Tidal’s case, double? Perhaps rivals will now have to reconsider their current monthly fees, and if they don’t, hope that their unique selling points are enough.
Tidal, for example, uses MQA to power its hi-res audio streams. It’s a technology that arrived as a handy enabler for hi-res streaming back when; a method of efficiently packaging and transporting high-resolution (and therefore large) files without lossy compression.
Now that Amazon and Apple have used other methods to do this (Amazon doesn’t disclose specifics, while Apple uses its ALAC format), MQA isn’t quite as fundamental to hi-res streaming as it once seemed. However, as it is now licensed to many hi-fi brands, MQA-powered Tidal Masters tracks can be played through an increasing amount of audio hardware, via app support or Tidal Connect. If you own a compatible device that doesn’t play ball with Amazon Music HD or Apple Music, you may well be swayed to stick with Tidal.
Naturally, device support will play a part in people’s subscription decisions. While desktop and mobile apps are par for the course as far as lossless support is concerned, some services also have their own quirks. For example, Qobuz has recently become the first to bring 24-bit hi-res streaming to Sonos speakers, and its vast hi-res catalogue is also accessible via the widely supported Chromecast (which supports transmission up to 24-bit/96kHz).
Apple Music is only an attractive proposition for owners of Apple devices – and even then, its hi-res implementation isn’t without its frustrations. We wonder whether Apple Music’s hi-res streaming will be supported by AirPlay 2 (or 3!) in the future to open up the device ecosystem, or even by some new Apple-developed Bluetooth codec for inter-Apple device wireless transmission.
You can bet that Spotify HiFi will have almost universal support upon, or soon after, launch, too.
Tidal also has a burgeoning catalogue of immersive 3D tracks, thanks to its support for Dolby Atmos Music and Sony 360 Reality Audio. That said, Amazon Music HD also supports these two formats, Deezer supports the latter, and Apple will have its Dolby Atmos-powered Spatial Audio catalogue. Who knows whether Spotify has any immersive audio plans up its sleeve for its HiFi tier?
Qobuz is the audiophile’s choice for its hi-res catalogue, as well as the fact its most premium tier (Sublime) also includes discounts on hi-res downloads. But it has a comparatively limited catalogue and has long been a more niche option compared to its rivals.
Over to you, Spotify et al
Right now, Apple Music appears to offer the best-value hi-res streaming proposition for iOS users, while Amazon Music HD does that for everyone else, especially Prime members. It’s the service we’d pick right now for mobile and desktop listening.
Spotify could, of course, outdo all of them with an excellent value, hi-res HiFi tier, but even if it doesn’t, the likes of Tidal, Deezer and Qobuz are still being significantly undercut by their competition.
So will the latest moves by the streaming giants be nails in their coffins or a necessary force for change? We very much hope it’s the latter.
MORE:
Our pick of the best music streaming services
The lowdown on Spotify HiFi: quality, price, release date, and latest news
10 of the best hi-res albums on Tidal Masters
Apple Music lossless: which devices will (and won’t) play lossless, Spatial Audio
Haptic feedback on Android phones is usually terrible, at least compared to devices that have Apple’s Taptic Engine. You know it, I know it, and a haptics company called Lofelt apparently knows it, too. Today, though, Lofelt, in partnership with Qualcomm, announced that it’s making its VTX haptic framework available to OEMs, with the hope that these manufacturers will start putting better haptics into more Android devices.
The framework will allow OEMs to utilize high-definition haptic vibration on phones running the latest Snapdragon 8-series and 7-series without any hardware tweaks. The system is “tightly integrated with Snapdragon and fully validated by Qualcomm,” according to Lofelt. While the framework is technically compatible with older phones that have a Snapdragon 7-series and 8-series chipset, it’s at the discretion of each OEM whether to add support. It seems more likely that companies will make the big effort to implement improved haptics in upcoming phones than adding it to older models. As for which newer models will feature the framework, none have been announced yet.
Ahead of this announcement, I got to actually feel the difference myself that Lofelt’s improved haptics can make on a phone through software tweaks only. The company sent over a custom Google Pixel 4 packed with demos that show off how its vibrations feel compared to the stock Android implementation (the same setup can’t be duplicated on other devices). Compared to phones designed to take full advantage of Lofelt VTX’s integration with the chipset, this Pixel 4 was running the haptics tricks through the application layer as a proof of concept.
Lofelt’s app let me feel the difference between stock Android vibrations and the company’s own — and the difference was noticeable.
Each of the demos featured a toggle that lets you switch between the stock Android vibration and Lofelt’s refined haptics, as shown in the bottom right of the picture above. One instance ran through a few scenarios in Call of Duty: Mobile. The vibrations varied in strength and duration depending on the kind of gun being shot, and I was able to feel distinct pulsations of a helicopter soaring through the sky. A demo for Asphalt 9: Legends let me feel the roar of an engine through haptics, as well as the fast, crunchy pulsing of the vibration motor when the car ran over a dirt median. Even though the Pixel 4 and earlier models don’t natively support VTX, these demos were far more expressive than standard Android phone vibrations. If you’re someone who takes mobile gaming seriously, to the point of owning something like a Razer Kishi controller, haptics could make your favorite games feel more immersive.
The big challenge for Lofelt isn’t in proving that these sorts of immersive haptic experiences are worth building (give the Lofelt Studio app for iOS a try if you need convincing yourself). The real work is ensuring that as many phones as possible can eventually get them, and that it won’t take too much effort for developers. That’s where Lofelt’s AX (adaptive experience) signal processing tech built into VTX comes into play.
According to Lofelt, AX converts a universal haptic signal into vibrations that play to the strengths of each individual phone, taking into consideration its haptics driver, actuator hardware, and control algorithms from the manufacturer. The goal is for Android devices to catch up to Apple’s excellent Taptic Engine that’s in modern iPhones.
Older phones with the Snapdragon 7-series and 8-series can be updated as OEMs see fit, but you’ll likely find better haptics in new phones.Photo by Amelia Holowaty Krales / The Verge
App and game developers can design advanced haptics using Lofelt Studio, which integrates with Unity, Unreal, and Xcode, and create a universal .haptic file that works across multiple devices. According to Lofelt, these files contain “universal parameters, such as whether the haptics should include smooth, continuous signals or more punchy, dynamic events.” In other words, you’ll only need to build it once, then the framework can deliver a consistent experience across different phones.
Existing games and apps running on supported Snapdragon hardware won’t be left in the dust. Lofelt claims that framework will also be able to convert the audio stream coming from an app into vibrations in real time without any hardware or coding modifications. So, you won’t necessarily need to wait for every developer to create bespoke haptics in order to start feeling some tactile enhancements with apps you already know and love.
Lofelt says that its VTX framework comes with no performance trade-offs, and that it aims to deliver better haptics “while minimizing the impact on battery and actuator.” That sounds great, and the demo I tried feels ready for deployment. But now, the wait begins for some phone manufacturers to kickstart what could be a big, positive change for Android.
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