Trevor DeHaas is auctioning his 2017 tweet of the “dinner” he received at Fyre Fest as an NFT. But unlike the Fest itself, the tweeted photo of the limp cheese slice on wheat bread with some greens and a sad tomato in a styrofoam container isn’t a grift; as first reported by Axios, DeHaas is hoping to raise $80,000 which he plans to put toward his medical bills.
“With how hot the NFT market is right now I figured I’d give it a shot and could hopefully raise enough money that I wouldn’t need to rely on a GoFundMe to pay for my medical expenses,” DeHaas said in an email to The Verge. “The last thing I want is to guilt trip someone into buying the NFT and copyright to pay for my medical expenses but I would like the auction winner to know that their money would be going to a good cause.”
The organizers of Fyre Fest billed it as an exclusive, luxury music festival in the Bahamas, which would include top-notch catering, big-name performers, and transportation via Jet Ski and yacht. Kendall Jenner was among the celebrities paid $250,000 to promote the event, which guests paid up to $12,000 to attend.
That is not what happened, however.
Social posts from attendees like DeHaas showed images of a poorly organized, subpar event that wasn’t close to what was advertised, and soon the lawsuits began. In 2018, Fyre Fest organizer Billy McFarland was sentenced to six years in prison after pleading guilty to wire fraud charges.
DeHaas said he was inspired by Twitter CEO Jack Dorsey’s auction of his first-ever tweet, which sold for $2.9 million on March 22nd. “Now, a few weeks before the 4 year anniversary of the festival (4/28) I’m selling the most iconic cheese sandwich on the blockchain along with the ownership of copyright,” he told Axios.
DeHaas clarified on Twitter that he was selling the tweet on flipkick.io, a New York-based company for artists and musicians to “monetize their work with Physical NFTs,” according to its website. Ironic twist: Fyre Fest co-organizer Ja Rule is a partner in Flipkick, but DeHaas says the musician is not directly involved in the auction of his cheese sandwich tweet. However, Ja Rule, who was cleared of wrongdoing in connection with Fyre Fest, recently sold an NFT of a painting of the Fyre Fest logo for $122,000.
DeHaas says he plans to transfer copyright and ownership rights for the NFT to the auction winner. His aim is to raise money for his medical expenses; according to his GoFundMe page, DeHaas is in end-stage renal disease and needs a kidney transplant. “I currently do dialysis for 7 hours every day and in the mean time trying to find a living kidney donor,” DeHaas told The Verge. “The expenses from a kidney transplant can be astronomical even with insurance. Plus there are expenses for my donor that I would like to cover.”
Which raises a troubling question: are NFT auctions going to become another tool — like GoFundMe pages — to raise money for costs not covered in America’s abysmal health care system? If something good comes out of the debacle that was Fyre Fest (other than the dueling documentaries on Hulu and Netflix), that’s certainly a win. But using NFTs to pay for surgery and treatment introduces an even bleaker scenario for people desperate to pay their medical bills who aren’t Walter White or independently wealthy.
Update April 8th, 1:02PM ET: Added comment from Trevor DeHaas
(Pocket-lint) – Electrification is the future. Policy makers as well as car makers have asserted that. So while the revolution’s wheels begin to turn, there’s a good interim point to jump in – a hybrid plug-in, such as this, the Skoda Octavia iV.
The “iV” part of the equation is what tells you this is a plug-in vehicle, as the Octavia is also available in straight petrol or diesel, including a beefier vRS model.
But here it’s all about that plug-in option, which we lived with for a week to see whether it’s worth the circa-£8K price jump, plus whether Skoda’s all-new 2021 interior updates are the future, or feel more a step backwards.
Design & Interior
You can no longer say a Skoda isn’t distinctive – but whether you think that’s in a good way or a bad way is a whole other matter. As we said of the excellent Superb iV Estate, when reviewed back in 2020, it’s to the point where Skoda is extra proud – even spelling out the full name across the rear of each Octavia.
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It’s the front of the Octavia iV that will garner greater attention though, given those slitted headlights, which deliver LED technology as standard (Matrix LED is an extra option and cost). It’s edgy and angular and stands apart from what else you’ll see on the road.
Pop open the door, however, and it’s inside where the 2021 Octavia showcases Skoda’s latest interior. You can choose from black or beige finish options – we’d definitely avoid the latter – and, as a place to sit it’s really rather comfortable.
That’s perhaps the biggest take-away of the Octavia: it’s just effortless to sit in, heated seat cranked up, the upholstery kind of cuddling. Certainly preferable to our freezing cold winter office anyway.
The interior layout adopts what most car-makers are going with too: more touchscreen, fewer physical buttons. Which, in the case of the Octavia, we actually think puts it back a step compared to the last-gen interior.
The Octavia doesn’t have a mechanical gearstick, for example, it’s gone with a little push/pull paddle instead. It functions fine enough, but not all modes are accessed from here. There’s no dedicated EV/Hybrid button to be found, despite there being heaps of space for it, which feels lazy in a car with a focus on electrification.
Instead, you’ll need to find the Mode button on the dash, press that, then select from the on-screen options of E-Mode or Hybrid Mode. The former is pure electric, the latter uses a combination of electric and combustion. By default the E-Mode isn’t activated, so we never had a silent start-up.
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This ‘hiding’ of controls continues elsewhere: the Climate button activates that selection on screen which, again, is difficult to adjust when you’re driving around – and, let’s face it, that’s when you’ll be making adjustments.
Not even the slider control to the south of the main screen is especially intuitive, despite being new. It sometimes gets touched by accident, making adjustments you didn’t know you wanted.
Infotainment & Technology
Those screens do house a lot of technology though. By default the Octavia iV comes with an 8.25-inch main touchscreen, upgradable to 10-inch with that slider control (as per this review) in the correct package options. Beyond the steering wheel there’s the Virtual Cockpit system, another 10.25-inch arrangement, digitally handling various at-a-glance information.
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The screens line-up more than the earlier iterations in Skoda’s range, as the main display has been raised higher towards the dash – meaning its top edge also protrudes, more tablet-like, bringing it into a position of greater focus. Again, we preferred the lower screen position and additional button controls to keep peripheral distractions at bay.
All Skoda Octavia models feature Apple CarPlay and Android Auto (via Mirrorlink) by default, according to the specification, although we never managed to get Android Auto to activate for some reason unknown to us. Maybe an issue with the USB-C to USB-A converter – as there’s two USB-C ports (the smaller ones) up front, next to a handy inductive charging pad (if your phone has wireless charging aboard).
Another comment about the whole tech setup is the speed at which it loads. It just, well, slow. The start-up time lags and navigation is often blank for a number of seconds. Once things get running everything is fine, but from a cold start you’ll be hanging about a bit before entering that post code.
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Beyond infotainment, Skoda’s range of driver assist safety features is vast. What you pick should reflect the way in which you will use the car – if it’s just short commutes then some of the assist packages, such as lane keep assist, might not be as useful as for someone who’s going to be up and down the motorway on repeat.
The adaptive cruise control is – if you pay for it – an advanced one, able to keep distance, lane keep, and auto-brake to a stop. In certain scenarios it’ll prove a life-saver – not just literally, but just from a comfort point of view.
Drive & Range
And so to the main reason to be looking at a plug-in car: added efficiency and lower emissions – both of which can save you on fuel costs and tax. The green credentials, at this stage, are fairly minor in the bigger overall picture – but it’s a step in the right direction.
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The Octavia iV has a 13kW battery built-in, delivering over 30 miles of pure electric range – we could get around 32 miles – plus decent efficiency and regeneration when in hybrid mode. Skoda quotes 37 miles in E-mode, based on WLTP standard, so our achieved figure isn’t too bad relative to that.
A number of plug-ins that we’ve driven fail to offer an all-electric option – the Volvo XC40 being one such example – while mild hybrids (without a plug-in solution) tend to offer almost zero potential on electric-only travel. So it’s reassuring to be able to use an Octavia for, say, the school run entirely in electric mode without limitation to your driving.
Recharging is possible via the Type-2 charger to the front left of the car. We plugged in at home and refilled once successfully, but were met by an error message at around the 80 per cent mark on recharge attempt number two. A glitch in the system, it seems, and certainly a surprise.
Apple CarPlay explained: Taking iOS on the road
By Britta O’Boyle
·
A detailed look at how Apple’s CarPlay works, with explanations on using Google Maps, sending messages and playing music, among other functions.
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Should you want to drive with no thought about range, then Sport mode – activated by pulling the drive paddle down a second time into ‘S’ – gives a little extra pep to the drive, but typically regenerates the battery quicker through more applied braking. Not that the Octavia is ‘sporty sporty’, but it’s got enough get up and go thanks to a total combined output of 204bhp from that 1.4l engine and 13kW electric motor combination.
Verdict
The Skoda Octavia iV plug-in hybrid might not be a super exciting car, but it’s got some super aspects about it: it’s roomy, it’s comfortable, there’s a lot of tech options, and the electric-only range is practical.
The new interior sometimes feels like a step backwards, though, given how it ‘hides’ settings within a more touchscreen-focused operation. And, in our use, we had glitches with Android Auto and recharging that couldn’t be explained.
Overall, if you’re looking for a practical family hatchback then Skoda sits well among the VW Group’s price listings. The iV model adds an inevitable premium over the petrol/diesel-only selection, but with genuine practicality added as a result that’ll pay its worth back for the right kind of owner.
The 3rd Generation Fire TV Stick is a capable video streamer, but it drops at an awkward price point
For
Strong app offering
Improved UI
Excellent HDR performance
Against
SDR picture could be more subtle
4K model only costs a little more
What’s grey and sticky? The Amazon Fire TV Stick (3rd Generation), of course. Far from being simply another streaming stick, this third version is the first of Amazon’s media streaming devices to feature the company’s all-new Fire TV Experience user interface, which is intended as a game-changer for streaming service integration.
The Amazon Fire TV Stick (3rd Generation) replaces the 2nd generation of the device that was once called the Amazon Fire TV Stick with Alexa Voice Remote. Back in those simpler days, the first-gen model didn’t have voice control.
Since then, Amazon has added several more branches to the Fire TV Stick family tree. Higher up that tree is the Amazon Fire TV Stick 4K (launched in 2018), and below it, there’s now the Amazon Fire TV Stick Lite, the only other Fire TV device to come pre-loaded with the new UI.
Pricing
The Amazon Fire TV Stick (3rd Generation) costs £40 ($40, AU$79) at the time of writing. That’s £10 ($10, AU$20) cheaper than the Amazon Fire TV Stick 4K that launched in 2018 and, of course, has the added benefit of 4K content.
It’s also £10 ($10, AU$20) more expensive than the simultaneously released Amazon Fire TV Stick Lite, which lacks TV volume control and can only pass-through Dolby Atmos, rather than decode it.
Somewhat confusingly, you’ll find the Amazon Fire TV Stick (3rd Generation) listed as the ‘2020 release’ in the UK, but the ‘2021 release’ in the US and Australia.
Features
(Image credit: Amazon)
From a design perspective, the Fire TV Stick (3rd Gen) is hardly a departure for Amazon. It’s a gunmetal grey rectangular prism with an HDMI plug on the end and a micro-USB power socket halfway up one side. There’s a good chance that the power cable or simply the Stick’s girth will get in the way of your TV’s other HDMI sockets, so, as ever, Amazon has included an HDMI extender to take your stick clear of the rest of the ports.
The Stick itself is a little shorter than the 4K model but houses the same 1.7GHz quad-core chip. Bluetooth 5.0 and BLE are onboard for pairing with Bluetooth speakers, headphones or video game controllers, and there’s the standard 8GB of internal storage for your app collection.
The included remote is as handy and compact as ever. It’s the same second-generation Fire TV remote that comes with the 4K Stick. There are volume buttons that will work for your TV, playback controls and general navigation, plus a button at the top that turns the remote into an Alexa microphone for voice search.
Amazon Fire TV Stick (3rd Gen) tech specs
(Image credit: Amazon)
Bluetooth version 5.0
HDR support HDR10, HDR10+, HLG
Max resolution 1080p
Dolby Atmos Yes
Storage 8GB
Finishes x1
Dimensions (hwd) 13 x 30 x 86mm
Weight 32g
Those looking for 4K and Dolby Vision support will have to look elsewhere. The Amazon Fire TV Stick (3rd Generation) maxes out at 1080p HD, but can still process HDR metadata in the shape of HDR10, HLG and even Samsung’s HDR10+. Dolby Vision isn’t supported, though Dolby Atmos is.
The headline addition, though, is the all-new Amazon Fire TV Experience. The reimagined UI design pares everything down to four main screens, Home, Find, Library and Live, for a more holistic approach to your entertainment. The platform pulls in content from other streaming services, including Netflix, Disney+ and iPlayer, and sits those suggestions alongside TV and films available on Prime Video. The end result is less of a shop window for Amazon and a more useful quick hit of recommendations from across the board instead.
It’s pretty well done too. The top row on the Home page is itself a mixture of content from your subscriptions, followed by lines of film and TV suggestions dedicated to what’s on specific services such as Netflix and iPlayer. It’s certainly an improvement on the previous iteration of the Fire TV OS, but still isn’t a match for what Google has done with the Google TV UI on Chromecast.
That first row of content on the new Fire TV experience never seems to be as much of a mix as it could be. It tends to start with too big a burst from a single source, whether that’s a few screens of animated Disney content or a slew of Amazon Originals. It’s also still too Prime Video-heavy as we scroll down the page with the rows dedicated to other services swamped by too much of what’s on Amazon.
The ‘Find’ section of the experience is far better, as it seems to give a more balanced approach, as well as plenty of handy suggestions of genres and sub-genres to drill down into. Fancy comedy horrors, action dramas or trending documentaries? This is the place to look.
If you have the right to watch a piece of content for free, the Fire TV OS will let you know. It also directs you to free versions on apps you might not already own, including those available through free trials. The only thing to watch out for is that the UI still encourages you to buy and rent 4K content, even if the Stick won’t allow you to play it back at UHD resolution.
Like all current Fire TV devices, Alexa is along for the ride and makes an easy way to navigate around the OS. The addition of six user profiles per household – each with its own preferences, apps, permissions, watchlists and settings – is also welcome.
All the major apps are present here, apart from Google Play Movies & TV and Rakuten. There’s HDR available on Netflix, Disney+, Prime Video and Apple TV, but there’s no Dolby Atmos material on Apple and no way of buying new content on Apple TV through the Fire Stick itself. You have to purchase or rent content via your computer or phone, at which point it will be available in the Apple TV library on the Stick.
Picture
(Image credit: Amazon)
Heading straight to the HDR sections of the popular streaming services, we’re delighted to see that this Stick’s performance is excellent. Watching I Care A Lot on Prime Video in HDR, it’s easy to spot how well this device puts that tonal metadata to good use.
The bright scene outside the courthouse in the first episode is full of potential pitfalls. There are textures to render and different blacks to produce all while under the glare of the midday sun that bounces off the pale stone steps and floods the picture with a harsh white light. Despite all this, the Fire TV Stick copes admirably.
Even at the maximum-supported 1080p resolution, we get a decent sense of the stone-washed jeans of a bystander and the layers of clothing material on the black-clad Eiza Gonzalez. The sky is a searing blue and Rosamund Pike’s dress an expensive red, while the nearby trees remain a natural green. It’s an enjoyable picture with an easy-to-watch balance between dynamism and subtlety.
Dropping to SDR content is certainly a different experience, but the picture still pleases. It’s a punchy effort with a lot of brightness and big contrast, which helps to keep that sense of zeal to the on-screen action. Watching the sitcom Flowers on Netflix in Full HD, there’s plenty of impact as Mrs Flowers walks down her ramshackle garden to flirt badly with the tradesmen. What could be quite a flat, overcast sky has a bold, foreboding look and works as a fantastic foil to the dark brown, gnarled trees and the thick, overgrown grass. You can’t fail to get a sense of the way the story is going to play out.
That dynamic approach isn’t without its drawbacks, though. The focus on punch can leave detail fairly scant without the benefits of HDR. The faces of the characters sometimes come off a little too uniform, missing the same wealth of tone that is available from the Fire TV Stick 4K, given the same source material. The push for high contrast can overpower black depth and white detail too, unless you keep a careful eye on your TV settings. Again, that’s something the more expensive Stick has a better handle on.
Sound
(Image credit: Amazon)
The differences in audio between the Fire TV Stick (3rd Generation) and the 4K model are far less marked than the picture performance. Their overall character is undeniably similar.
Listening to This is Me from The Greatest Showman soundtrack on Tidal, there’s a respectable sense of rhythm to the music in the build towards the first full chorus. The drum rolls are tight enough to pick out the individual beats of the sticks, the reverb on the guitar is clear and controlled, and all of the excellent diction on vocals is nicely clipped.
Switching to the cinema, we head to the freeway crash shoot-out at the beginning of Deadpool on Netflix with its wealth of surround sound action. The audio is just as spacious as we’d expect from a budget streaming stick. Ajax’s motorbike zips neatly from one side to another as he weaves his way through the traffic, and both the movement and detail of sound as the pin flies out from the hand grenade shows what an enjoyable experience this stick can deliver.
At the same time, the 4K model is just a touch better all over for sound. Dynamically, the more expensive model has a noticeable edge that is easy enough to pick up both with music and while watching video content. It’s also a little crisper, which gives it a shade more energy.
Playing This is Me via the third-gen Stick, there isn’t quite the same thrill as the chorus reaches its crescendo. The equivalent for Deadpool is a slight loss of dimension to the sound effects. The bullets are a little less impactful than through the 4K Stick, and it’s noticeable in more incidental noises, such as the opening of the electric car door window before the eponymous hero pops his head out to address the bad guys. There isn’t quite that same satisfaction to its clunk as the glass reaches its limits.
Verdict
The third generation of the original Amazon Fire TV Stick offers the kind of solid performance we’ve come to expect from the Stick family. It also features all of the most important apps and comes with an all-new interface that offers owners a genuine solution to the problem of what to watch next at short notice. HDR viewing is excellent and it’s hard to ask for much more sonically.
The trouble is that more is actually available and for only a little extra. For just a few extra pounds or dollars, you can buy the 4K version of the Fire Stick, which is slightly better performing with the same content and offers all of that 4K future-proofing too. And that leaves our third-generation model, although good, in a slightly sticky spot.
100 Thieves, a popular esports organization and lifestyle brand, announced that two of its biggest content creators, Rachell “Valkyrae” Hofstetter and Jack “CouRage” Dunlop, will now be co-owners.
“As a streamer and former pro-player myself, I always wanted 100 Thieves to be an organization guided by and built to be a platform for content creators,” Haag said in a statement. “Rae and Jack have been with us since 2018 and 2019, respectively, and are significant contributors to 100 Thieves. They deserve recognition for what they’ve done for the company to date – and we want their strategic input on what we can all do together in the future.”
Hofstetter and Dunlop join 100 Thieves founder and CEO Matthew “Nadeshot” Haag, rapper Drake, music industry talent manager Scooter Braun, and Cleveland Cavaliers owner Dan Gilbert in the ownership group.
Hofstetter joined 100 Thieves in October 2018, and has become a fixture in 100 Thieves’ content and on YouTube, where she has 3.3 million subscribers. She left Twitch to exclusively stream on the Google-owned video platform in January 2020 (though appeared on Twitch as part of Jimmy Fallon’s debut stream on Tuesday).
Happy to announce that I am officially a co-owner of 100 Thieves!
Its been almost 3 years since I joined the team and I would have never expected this path to lead to this..
I’m proud to be one of the first women co-owners in esports and beyond excited for our future together! pic.twitter.com/hb5uxI8rea
— rae ☀️ (@Valkyrae) April 7, 2021
Dunlop became a part of 100 Thieves in May 2019, and like Hofstetter, has become one of the most recognizable faces of the organization. He also defected from Twitch to exclusively stream on YouTube, and did so even sooner than Hofstetter, making the move in November 2019. He has 3.27 million followers on the platform.
Hofstetter and Dunlop will both receive equity in 100 Thieves, reports The New York Times. In their new roles, they’ll be more involved in 100 Thieves’ business strategy, including “helping identify and bring on new talent, building new programs and other initiatives,” according to a press release. They’ll both continue to make content as well.
The Amazon Music mobile app is getting a new feature to make it a little bit easier to use while driving. Car Mode is a simplified version of Amazon Music’s interface, featuring larger buttons, suggested playlists and albums, and easy access to Alexa.
Once enabled, Car Mode is divided into two sections. The upper part near the top of your phone is devoted to playback controls like play, pause, and skip, while the bottom section features a collection of music suggestions which you can switch between with a swipe or a tap. If a hands-free experience sounds better (and it probably should if you’re trying to drive safely) you can trigger Alexa in the bottom right corner with a tap or by using an Alexa voice command (“Hey Alexa, play Elton John”).
Car Mode doesn’t add any new functionality to Amazon Music, but its changes to the user interface could make it easier to switch songs or dive into a new playlist without having to take your attention away from the road. Like Spotify’s own take on simplified car controls, Amazon Music can be set to switch to Car Mode as soon as it recognizes your phone connecting to your car’s Bluetooth. For anyone with an older car, Car Mode can also be enabled in settings.
Amazon Music might not be as popular as Spotify or Apple Music — it’s on its way with over 55 million subscribers as of January 2020 — but for a growing service that’s pretty easy to try if you’re already have an Amazon Prime subscription, any new feature has the possibility to help a lot of people. Car Mode is available in Amazon Music now on iOS and Android.
Facebook’s experimental app development division, the NPE Team, has released a new Q&A platform that borrows concepts from buzzy, audio-only social network Clubhouse but with dashes of live-streaming thrown in.
The platform is called Hotline, and it featured its first Q&A with investor Nick Huber earlier today, according to a report from TechCrunch. A website for the service is online now and allows sign-ins via Twitter, but it features only a waitlist and a tool for applying to host your own show. TechCrunch says Facebook has created designs for mobile versions of the app, though those do not appear to be live at this moment.
News of Facebook building its own version of Clubhouse first surfaced in February, though Hotline is said to be a different product than the ongoing Clubhouse competitor being built by the team behind the video chat platform Messenger Rooms, TechCrunch reports. Twitter has been openly testing its Spaces alternative, too, putting more pressure on Clubhouse as whispers of a new funding round valuing the company at an eye-popping $4 billion valuation surfaced earlier this week.
Image: Facebook
Hotline works differently than Clubhouse and Spaces. It allows hosts to use video and to schedule more formal presentations with Q&A built in, rather than the more open-ended, audio-only conversations that take place on Clubhouse. Hotline also allows hosts to record their sessions in both audio and video formats, TechCrunch says.
The core Q&A component of Hotline involves the hosts fielding questions from the audience supplied via text, while audience members can then upvote which questions they want answered and then respond to the ongoing conversation with emoji reactions. Hosts can also bring individuals from the audience up onto the virtual stage to ask their question live and potentially engage in a longer conversation. In that way, Hotline events seem designed more like a cross between a radio show and a Twitch stream, where the audience is asked to weigh in here and there but control of the conversation remains firmly with the host.
The project is being led by Erik Hazzard, who joined Facebook when his app tbh, a platform for sending anonymous compliments to your friends, was acquired in 2017. Facebook later shut tbh down, despite Hazzard’s success attracting millions of users to the platform. But it sounds like his expertise in creating these new mobile experiences is now being put to good use at Facebook as part of the NPE Team, which in the past has released music-making apps like Collab and Bars.
If you want to pull up your favorite Spotify track or playlist without pressing buttons, there is no shortage of voice assistants to help you get those jams, including Alexa, Siri, Google Assistant, Cortana, and even Bixby. But now, Spotify has its own hands-free wake word: “Hey Spotify” appears to be rolling out on Android and iOS, as tested by GSM Arena, 9to5Mac, and us here at The Verge.
Frankly, it’s a little less handy than some of the native voice assistants built into your phone because you need to leave the app open for it to work — it’s not something you’ll launch with your phone asleep or with Spotify simply running in the background.
But if you have the app open, you can just say “Hey Spotify” and ask it to play a song; pull up a playlist; launch a radio station; and skip, pause, or play. We also found the “Play something I like” command would pull up a random one of our Daily Mix playlists.
The phone version of the feature’s been in the works for at least a year, as app researcher Jane Manchun Wong discovered last March. The app should prompt you to get started if the feature’s rolled out to you by now, but you might be able to find the toggle manually under Settings > Microphone permissions > “Hey Spotify.”
Why now? Why bother when other voice assistants can do this without launching an app? I imagine that’s because Spotify is tracking toward its own hardware, where its voice assistant will be always on and always ready. Specifically, Spotify appears to be tracking toward the launch of its Car Thing, a dedicated Spotify smart assistant for your vehicle that was reported to include a “Hey Spotify” voice command way back in January 2019.
Having the same voice command on your phone makes sense; users might get used to it, and start looking for it, after they exit their vehicles. And while they’re at it, I also wouldn’t be surprised if we see some “Hey Spotify” headphones or earbuds sometime in the next year.
(Pocket-lint) – When out cycling it’s not just your eyes but also your ears that can be crucial in assessing what’s going on around you – it’s why we’d never put in headphones and listen to music while out on the road. But sometimes your own limited senses aren’t quite enough.
That’s where the Garmin Varia (RTL515) comes into play. Not only does it function as a rear bike light, it also has built-in radar that can detect when another vehicle or cyclist is on the approach and, through sync with your Garmin Edge cycling computer or mounted smartphone (via the Varia app) can alert you to what’s going on.
Thing is, the Varia RTL515 is rather a lot of money. But, having been solo cycling in the country for some months now, it’s proven its worth and our peace of mind time and again. Here’s why we recommend it.
Design & Mount
Syncs with Garmin Connect / Garmin Edge computers / Varia mobile app (iOS & Android)
Mount: Garmin twist-lock mount (adaptors included)
Dimensions: 98.6 x 19.7 x 39.6mm / Weight: 71g
ANT+ & Bluetooth connectivity
IPX7 weather-resistant design
While most bike lights are rather small, the Varia is a lot larger on account of its mount, internal battery and radar technology. It’s not big to the point of bothersome, but much of the product isn’t the actual light itself – as you can see from the extended black area in the elongated pill-shaped design.
To mount the light it’s a case of getting the included Garmin mount, fixed by O-ring bands, onto your rear seatpost. It fits fairly snug, although road vibrations can, to some degree, make the light/radar turn around the seat post slightly – and we cannot see any way to make it tighter. It’s never stopped the product functioning for us, though, so it’s no bother.
There are some adaptors included in the box, which you may find helpful, which pad out the mount. Our light, once mounted, has a fairly ‘downward’ facing position, so using the adaptors can be assistive in getting a better position overall.
Once it’s mounted up, there’s an on button, a press of which will see a small blue light show you that the light is active. From here it’ll want to find your relevant Garmin kit to sync. Through the Garmin Connect app it’s possible to sync with a bike computer, as we have with the Edge 1030 Plus, where the light’s presence shows as a little always-on-top symbol to the top right. If it’s deactivated this is red, if it’s in play then this is black. Nice and simple.
You don’t even really need to worry about turning the light itself off or on – a long press of the on/off switch can do this though – as the sync with your Garmin product means it’ll only be active when your cycling computer is also active. Very handy.
The connection is made through ANT+ or Bluetooth in the case of using a phone app instead of dedicated Garmin cycling computer. We’ve had no issues with the connection, but if the radar is blocked due to say, excess mud all over the light, then it’ll let you know that it’s not functioning – so you can stop and give it a wipe down as needed.
Performance
Radar: 140m range & 220 degree field of view
Modes: Solid, Peloton, Night Flash, Day Flash
Maximum lumens: 65 (in Day Flash mode)
Minimum lumens: 8 (in Peloton mode)
Up to 16 hours battery life
Micro-USB recharging
Once you’re out on the road, the only presence of the Varia is that little symbol to the top right corner of the Garmin Edge display. However, once a vehicle is detected on the approach the side of the display becomes an ‘approach bar’ showing a little dot (representing the vehicle) and how closely it’s approaching. There’s also an audible “de-dah, de-dah, de-dah” type alert, which will make you look – and is really useful, as it sounds even when the rest of your Garmin’s functions are muted.
That ‘approach bar’ is reasonably accurate, as you’ll tend to note a vehicle sits awaiting its sensible moment to overtake. At this point, the Varia will sound an alert again – as the radar can detect the wider movement, effectively giving you one alert for initial approach, and a second alert for overtake.
Once a vehicle has passed, the ‘approach bar’ will turn from red to green, to let you know there’s nothing else on the approach. If there is, however, the bar will remain red and show the next vehicle awaiting its turn to pass – and you might not get an approach alert in this instance. We don’t see that as a problem, but it’s something to be aware of.
There’s a similar minor issue we’ve found when riding with others: when riding chain gang style, in a bit of a peloton, the close proximity seems to make the Varia think nothing is in your near vicinity. This is how it’s supposed to function – a consistent speed follow within 30m is seen as a fellow cyclist, in effect – in order to free up the system to alert you for faster approaching vehicles.
Which is all well and good, but can’t you just use your ears? Well, yes and no. See, when we lived in London, cycling was a whole other experience compared to cycling country backroads. Our old London route was open, largely straight, with ample passing space and, frankly, enough traffic that it would rarely be faster than two legs a-pedalling. But in the country, with often concealed turns, dappled light, and rush of wind that can make hearing tricky, it’s very valuable.
Pocket-lint
As one example: there are two sections of our daily country ride that are a bit tighter. It’s actually hard to hear anything on the approach in those sections, due to the rush of wind at relative speed. That said, it’s a national speed limit road, so a passing vehicle could, technically speaking, overtake at pace. What we do here is get alerted from the Varia that there’s a vehicle behind, then await a decent passing spot and sign for the vehicle to proceed safely. Not something we needed in London, massively useful in the country.
As for the brightness of the Varia, it’s pretty punchy. A flashing Day Flash mode is 65 lumens, with a battery life up to 16 hours. There’s also Solid (20 lumens, always on), Peloton (8 lumens to not distract nearby cyclists’ eyes), and Night Flash (29 lumens, to be seen). We’ve also seen that the sequence of flashing will change when the radar detects a vehicle in order to help you to be seen, which is a clever little feature.
As for battery life, the claimed time of 16 hours is perhaps a stretch. We’re probably poor at switching the light off properly, however, and it is at least easy to charge – although it uses older Micro-USB when we’d prefer USB-C and the possibility of wireless charging for a much simpler solution without the need for vulnerable ports and enclosing flaps to protect.
Pocket-lint
In terms of sensitivity, the Varia is very good at identifying a relevant approach. If your bike is stationary and you walk up to it from behind it’ll count that as an approach. And, as we’ve said, other vehicles – motorbikes, cars, vans and beyond – and cyclists are detected with ease. So if there’s a T-Rex on your tail, the Varia will let you know about it.
Verdict
Your eyes and ears are one thing, but adding radar to your cycles adds a layer of safety that’s very useful. In the case of the Varia RTL515 it’s expertly integrated into your Garmin setup, too, which makes it an easy-to-understand tool to act upon as necessary.
The only real question mark over whether to buy one is the simple fact that it costs an awful lot of money for what is, in effect, a fancy rear light. But it’s proven its worth and our peace of mind time and again. And for that we say it’s well worth it.
It’s taken Atari less time to introduce its own Ethereum-based token, a crypto casino, and an NFT licensing business than it has to finally release the Atari VCS not-quite console it revealed in 2017 under the Ataribox moniker. Now the company’s going even harder on crypto and NFT: It announced yesterday that it’d created two new divisions, Atari Gaming and Atari Blockchain, as well as a reshuffle of its leadership team.
The company said in its announcement that its now-previous chief executive, Frédéric Chesnais, would “focus on Licensing and Atari Blockchain.” He was replaced by board of directors chairman Wade Rosen, who said that Chesnais “inherited a situation burdened with debt” and “eliminated debt and enacted a meaningful turnaround” during his tenure by pushing Atari beyond the gaming market.
That push is where Atari started to get weird. (Even weirder than the Speakerhats it announced in 2017, which is saying something.)
Let’s start with the Atari Token. The company said its “primary objective is to be a means of payment for the interactive entertainment industry, but we believe the token will be beneficial for other industries as well” and that “eventually, we envision the Atari Token being available worldwide as a means of payment.”
Then it announced a partnership with Decentral Games to create an Atari-branded casino in the “Vegas City” gaming district on the Decentraland metaverse, which is also based on Ethereum, with a two-year lease. Think that’s confusing to read on an enthusiast-focused website in 2021? Imagine saying that sentence to someone playing Space Invaders on the Atari 2600 in the ’80s. Yet here we find ourselves.
But then Atari managed to cross all those decades by embracing the NFT, or non-fungible token, market that went from a meme to a mega-hit seemingly overnight. The company said yesterday that it “has seen a tremendous amount of success in licensing the Atari related brands for the use in NFTs” and that it “anticipate[s] this playing an even larger part of our licensing strategy in the coming years.”
That’s all happened very quickly. Meanwhile, it seems the Atari VCS is perpetually close to—but not quite ready for—release. The console was revealed in 2017, rebranded to the Atari VCS in 2018, and expanded to a “Raspberry Pi for the living room” in 2019. Atari said it would start shipping the device in July 2019, the end of 2019, March 2020, and spring 2020; it finally started to reach buyers in December 2020.
However, there didn’t appear to be much stock because the Atari VCS is currently limited to pre-orders that Atari claims will ship in spring 2021. We’ll believe it when we see it, especially given the global chip shortage. The device’s former architect also filed a lawsuit in 2020 claiming the company owed him six months of back pay, which doesn’t exactly support the idea that Atari VCS is a priority for Atari… Gaming.
The company’s announcement also suggests that it’s no longer focused on hardware. Here’s the section of the release devoted to the Atari VCS:
“Atari will continue to support the Atari VCS through meaningful third-party content and exclusive first-party content. The VCS community has shown an ingenuity and creativity in adapting the system, and Atari will work to support this by releasing tools that will allow creators the ability to design their own classic Atari games (beginning with the Atari 2600). With an eventual goal of making it easier to create, share and play retro gaming content in the modern era.”
It’s not clear how those efforts would differ from introducing official emulators for the Atari consoles of yore—many of which can already be emulated by other means—or why developers would make retro games for a device that very few people own. But at least there’s some hope for the Atari VCS; the Speakerhat’s all but disappeared from Amazon. So much for the future of listening to music.
Cambridge Audio has just unleashed two beautiful beasts into the just-add-speakers streaming system market. The Evo 75 and Evo 150 are the first of their kind from the British brand, and oh boy don’t they look lovely?
Hopefully they sound just as lovely too – not least as they’re positioned in the firing line of the multi-Award-winning Naim Uniti Atom and five-star Arcam SA30.
Cambridge is hoping to continue its good run of form with this new product venture, which is naturally based on the company’s established StreamMagic streaming platform for playback over – deep breath – DLNA, AirPlay 2, Bluetooth, Chromecast, Spotify Connect, Tidal Connect, Qobuz, aptX HD Bluetooth and internet radio. The new Evo systems are also Roon Ready.
(Image credit: Cambridge Audio)
The Evo 75 and Evo 150 are powered by Hypex NCore Class D amplifiers (chosen by Cambridge for their, “clear advantages in clarity, resolution and musicality”) and rated at 75 and 150 watts per channel respectively.
The other discrepancy between the two models lies in physical connectivity: both have RCA, optical and coaxial inputs as well as HDMI ARC and 3.5mm headphone sockets, but the Evo 150 expands on that further with an MM phono stage, asynchronous USB and balanced XLR inputs, plus two sets of speaker terminals for running two pairs of speakers. The Evos are determined not to be out-featured.
That walnut wooden panel you see up top is a nod to Cambridge’s first-ever product, the 1968-released P40 amplifier, although owners can choose to dress the black anodised aluminium cabinet with black side panels made from Richlite (an innovative new material made primarily from recycled paper) instead. The side panels can also be switched out according to each customer’s taste.
Completing the look is a dual-concentric rotary dial and 6.8in LCD panel that hark back to the company’s flagship Edge products.
(Image credit: Cambridge Audio)
The Cambridge Audio Evo 75 and Evo 150 will be available from this month, priced £1799 ($2250) and £2249 ($3000) respectively.
A specifically designed Evo CD transport (£799, $950) and a pair of Evo S speakers (£649, $750) will join the Evo range later in the year, with further details on those promised nearer the time.
Whether or not the new Cambridge Evo systems have sonic appeal remains to be heard, but one thing’s for sure: they have plenty of visual appeal.
MORE:
Good news! Tidal Connect comes to Cambridge Audio music streamers
See our pick of the best hi-fi systems 2021: micro, hi-fi, vinyl
If portable audio has been shaped by anything other than advancing headphones technology in recent years, it’s the arrival of portable DACs – pocketable ‘middleman’ devices that connect between a phone or laptop and a pair of headphones to improve sound quality. We’ve had laptop-friendly AudioQuest DragonFlys and the more versatile Audiolab M-DAC nano, for example, and now THX (yes, that same firm famously behind cinema audio standards) is entering the consumer electronics market with a similar device.
The all-new THX Onyx ($200, €210) is a dongle designed to enhance the performance between your USB source and your headphones or desktop speakers. You can plug it into any PC, Mac or Android device toting a USB or USB-C port, with iOS devices requiring the slim Apple Lightning to USB Camera Adapter to be compatible. At the other end, the Onyx has been designed to drive all manner of headphones – those with impedances from 22ohms to 600 – via its 3.5mm jack, through which desktop speakers can also be connected.
It’s the first DAC of its kind to utilise THX’s AAA-78 amplifier technology, which is the highest-powered configuration within the company’s Achromatic Audio Amplifier design and promises the same power output as a desktop THX AAA DAC amp – just in a much smaller package. THX says this technology can “reduce harmonic, intermodulation, and crossover distortion by up to 40dB”, promising a performance with “infinitesimally low levels” of noise and distortion. It also claims this makes the Onyx up to five times more powerful than other similar USB DACs.
Our pick of the best DACs 2021: USB, portable and desktop DACs
(Image credit: THX)
That AAA technology is bolstered by an ESS ES9281PRO DAC chip, as well as a Master Quality Authenticated (MQA) renderer for playing back MQA hard files and (MQA-encoded) Tidal Masters in their native quality.
The Onyx has an all-metal body, with LED lights to signify the quality of file being played through it – blue denotes 44.1kHz or 48kHz PCM files, yellow signifies sample rates above that, while red and pink display DSD and MQA signals respectively. THX has incorporated cable management into the design so that wires from connected headphones are kept neat and tidy, too.
THX Onyx is now available in the United States and Europe for $200 and €210. Needless to say we look forward to taking it for a spin very soon.
MORE:
See all our DAC reviews
Astell & Kern AK USB-C Dual DAC cable promises to boost your portable listening
Last week, Apple Arcade received its biggest update since launching back in 2019. More than 30 titles were added to the subscription service, including much-anticipated games like Hironobu Sakaguchi’s roleplaying epic Fantasian. But while the quantity and quality of titles added were impressive, the most important part of the announcement was a change in direction. Among those big-name exclusives were a number of classics, ranging from Monument Valley to chess to Threes, that help round out the service. Apple Arcade has finally matured into something close to a Netflix for mobile games.
Since the beginning, the pitch for Apple Arcade has been entirely centered on quality. While the App Store continues to devolve into a space dominated by free-to-play games, Arcade provided an alternative where some of the most talented developers in the world could create great mobile games without having to worry about monetization. It launched alongside new games from the likes of Zach Gage and Ustwo, and it has continued to add titles on a near-weekly basis. Subscribers get all of those games for a flat monthly fee. It’s been a solid service — but it’s always felt like something was missing.
When you sign up for something like Netflix, it might be because of one of the service’s big exclusive titles like The Witcher or Bridgerton. But that won’t necessarily keep you hooked. Part of what makes Netflix so compelling is everything else, from reality shows to classic sitcoms, that give you something to watch after you’re done with the big tent poles. Frequently, these aren’t traditional exclusives: think of how important Friends and The Office have become in the age of streaming TV.
Those kinds of experiences are something Apple Arcade didn’t really have before this shift. Now, though, when you’re done playing a short narrative game like, say, Creaks or Assemble With Care, there’s a lot more to keep you invested with recent additions like Good Sudoku or Threes.
Wonderbox.
Even better, while many of these games are available on other platforms or through the App Store, the Arcade versions are generally improved because they feature no form of in-app purchases or monetization. You won’t find puzzle or card games saddled with ads or have to open loot boxes in NBA 2K21. There’s even Star Trek: Legends — essentially a character-collecting gacha game — which almost feels strange to play without being prodded to spend money. (This lack of microtransactions makes Arcade a very family-friendly service.)
It’s also important to note that this change in strategy is additive. Apple has introduced two new categories to Arcade — one for older App Store hits, another for classic games like chess or solitaire — but it’s still releasing those big exclusive titles. In addition to Fantasian, last week’s update included Wonderbox (think Minecraft meets Zelda for younger players), World of Demons (the latest action game from PlatinumGames, the team behind Nier: Automata and Bayonetta), and Taiko no Tatsujin: Pop Tap Beat (a new entry in an excellent long-running rhythm game series). It’s a great and diverse lineup of experiences; sometimes scrolling through games on Arcade can feel like heading into an alternate reality version of what mobile gaming could have been if the race to free-to-play never happened.
Obviously, none of this is a guarantee of success. And if previous reports are to be believed, the shift appears to be a result of Arcade’s inability to keep subscribers hooked. While the subscription model is now dominant for the music, film, and television industries, it’s still relatively nascent for games. Outside of Xbox Game Pass, there hasn’t been a major success to date. Apple Arcade arguably faces a greater challenge being on mobile, where users have long been conditioned to expect games for free. The Netflix of games still feels inevitable, even if we’re not there yet — but Arcade feels closer than ever.
Nintendo has announced Pac-Man 99, a new multiplayer game that’ll be included with its Nintendo Switch Online subscription service. Like Tetris 99 and the recently departed Super Mario Bros. 35, the game pits dozens of players against each other in a battle royale-style fight to the end.
The game looks similar to the classic arcade original Pac-Man, but you can make it more difficult for opponents by munching on power pellets, eating ghosts, and sending “Jammer Pac-Man” over to their screens. There are eight different preset strategies you can use to screw with other players, for example by speeding up their game.
Pac-Man 99 also has various themes available for purchase that change up the music and visuals based on other Namco games like Galaga, Xevious, and Dig Dug. There are 20 in total.
Pac-Man 99 will be available to download tomorrow, April 7th, and it’ll be free for anyone with a Nintendo Switch Online subscription. The game is exclusive to the Nintendo Switch.
Leaving a missed call on someone’s phone usually signals that you should call them back — but at one point in India, it was communication in its own right. A new feature by Atul Bhattarai in Rest of World examines the Indian culture that grew up around missed calls — and the startups that took advantage of it.
In basic terms, a “missed call” means dialing a person but hanging up before they can answer. Hanging up without talking let users send a basic message (“I called”) without getting charged for minutes or SMS messages — like paging someone without a pager. Bhattarai focuses on ZipDial, a company that turned missed calls into a robust advertising business and a way to experience some of the features of online life without paying for data.
As Bhattarai writes, using missed calls to communicate came about because of the high cost of cellphone data and limited access to high-speed internet. Calling long enough to connect to someone else’s phone and then hanging up or not picking up on the other end avoided being charged for the call. These missed calls could mean a variety of things, like letting a friend know you’re on your way or a loved one know that you miss them. “The fact that the missed call demanded only basic numeric literacy made them accessible to the third of India’s population that was illiterate,” Bhattarai explains.
ZipDial combined the missed call trend and preexisting SMS services into a kind of a one-stop shop for cellphone owners who wanted basic internet functionality. ZipDial would partner with a brand and set up a hotline that people could call for services like sports scores or celebrity tweets. All it took was “signing up” with a missed call.
Bhattarai also highlights a proto-Spotify algorithmic playlist service called Kan Khajura, which delivered new music in 15-minute calls. “Kan Khajura’s central appeal was that it could be accessed anywhere and anytime, unlike the radio and TV,” Bhattarai writes.
Those businesses became unsustainable as mobile data became cheaper, and ZipDial ceased operations in 2016. But Bhattarai argues the services helped bridge the offline-online gap in a period before internet service providers and physical infrastructure caught up.
You can read the full feature on ZipDial’s missed call empire on Rest of World.
Ikea and Sonos are starting to tease the next products that the two companies have collaborated on. The furniture giant today posted an Instagram story that directly mentions the “Symfonisk” line and flashes the Sonos logo at the end, so there’s little doubt that new hardware is coming soon. Two fresh filings have also just appeared at the Federal Communications Commission.
The Verge can exclusively share details on what’s coming. The first new product, covered in this filing, is a revamped version of the Symfonisk table lamp. It’s expected to be sold for around the same price ($179) as the original product, which basically stuffed the sound quality of a Sonos Play:1 into the body of a lamp.
But from what The Verge understands, the $99 Symfonisk bookshelf speaker — the most affordable gateway into the Sonos platform — is not due for any major updates. Instead, the second product that Ikea and Sonos will announce in 2021 is completely new: a piece of wall art with an integrated speaker.
Ikea and Sonos are also preparing an updated table lamp speaker.Photo by Chris Welch / The Verge
Companies like Soundwall have produced artwork speakers before, but it’s safe to assume that Ikea and Sonos are targeting a price point that’s dramatically lower than those expensive products.
The Verge has seen an early image of this product, codenamed “Titan,” but details about how it functions couldn’t yet be learned. Specifically, it’s unclear whether the entire artwork print is the product or if the speaker unit can be transferred between different exterior art housings. One of the two new FCC filings from Ikea and Sonos is for a “wireless module.” At a distance, it could look like any of Ikea’s wall prints, only with much more tech on the other side (and a power cord running down from the bottom).
All of the Symfonisk products so far have been designed with a dual purpose in mind. The lamp combines a speaker and light source; the bookshelf speaker can literally be used as a shelf when mounted to a wall. And they’re also meant to blend into home decor. From that angle, combining artwork and a music speaker seems like a natural progression for the Symfonisk series.
I’ve heard from a fair number of Sonos customers who use the Symfonisk bookshelf speakers as rear surrounds for Sonos’ Arc and Beam soundbars. They work very well for that purpose, but a stereo pair of wall art speakers could make for an even sleeker home theater setup.
Ikea and Sonos have not yet revealed exactly when they plan to announce their latest collaborative efforts. The Verge has reached out to Sonos for comment. In the immediate future, Sonos is gearing up for the launch of its new Sonos Roam, a product first leaked by The Verge, which starts shipping on April 20th. You can read my full review of that excellent portable speaker.
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