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How modders rebuilt Resident Evil 4’s graphics from scratch

Albert Marin has taken some very specific vacations. In Wales, he visited Raglan Castle to snap pictures of its stone wall. At the Palau Güell in Barcelona, he took meticulous photos, not of the building itself, but of the marble floor and its unique veins.

His trips followed in the steps of Capcom, which put bits of real-world architecture found across Europe into Resident Evil 4, which was originally released over 16 years ago. “I collected a great number of locations the game’s developers use as source material,” Marin told The Verge.

Fast forward to 2021, and Marin is now seven years into a project to remaster Resident Evil 4’s blurry GameCube-era graphics into crisp HD, in part using high-resolution photos he’s taken of everything from surfaces and doors to general architecture that seemed to have made their way into the original game. Even though Capcom published its own PC remaster in 2014, it wasn’t Marin’s idea of a true HD version of the game, so he and a small team have been poring through the game’s files to faithfully update every texture.

Screenshots showing the original Resident Evil 4 and the improved graphics of the HD Project.“,”image_left”:{“ratio”:”*”,”original_url”:”https://rondea.com/wp-content/uploads/2021/03/echo/CHAPTER5_043A_resultado.jpg”,”network”:”verge”,”bgcolor”:”white”,”pinterest_enabled”:false,”caption”:null,”credit”:null,”focal_area”:{“top_left_x”:0,”top_left_y”:0,”bottom_right_x”:1920,”bottom_right_y”:1080},”bounds”:[0,0,1920,1080],”uploaded_size”:{“width”:1920,”height”:1080},”focal_point”:null,”asset_id”:22342336,”asset_credit”:”Albert Marin”,”alt_text”:””},”image_right”:{“ratio”:”*”,”original_url”:”https://rondea.com/wp-content/uploads/2021/03/echo/CHAPTER5_043B_resultado.jpg”,”network”:”verge”,”bgcolor”:”white”,”pinterest_enabled”:false,”caption”:null,”credit”:null,”focal_area”:{“top_left_x”:0,”top_left_y”:0,”bottom_right_x”:1920,”bottom_right_y”:1080},”bounds”:[0,0,1920,1080],”uploaded_size”:{“width”:1920,”height”:1080},”focal_point”:null,”asset_id”:22342338,”asset_credit”:”Capcom”,”alt_text”:””},”credit”:”Albert Marin and Capcom”}” data-cid=”apps/imageslider-1615569713_4848_4611″>

Screenshots showing the original Resident Evil 4 and the improved graphics of the HD Project.

Albert Marin and Capcom

In some cases, they work with what Capcom already made, sharpening the images with a mix of off-the-shelf apps and custom-built tools. Other times, Marin is making hand-crafted textures based on high resolution stock photos or pictures that he’s taken himself. If you own the Ultimate HD version of the game on Steam, you can actually test out an in-progress version of the texture pack right now. Eventually, every rock, wall, button, and dial will have been retouched by this small team of modders.

The fan-funded Resident Evil 4 HD Project is almost at the finish line and should be wrapped up later in 2021. Marin says he’s amassed over 4,500 Photoshop files and put in more than 9,000 hours of work (just on his part) to get to this point.

I spoke with Marin over email about his experience tackling a project of this scale, balancing expectations from fans who are just as passionate about the game, how the team was able to deconstruct the game’s files, and more.

How exactly do you remaster the visuals? Do you redraw textures from the ground up, or have a specialized way to increase the resolution of the original without degrading their quality?

Most textures are re-created from scratch using some texture library images as a base. The original textures need to be analyzed several times in order to make sure the new source images match in terms of color, lighting, and even the material.

For example, a rock texture: It may sound like an easy challenge, and it is, if you don’t have an original texture you need to be faithful to. You can’t imagine how complicated it can be to find a rock surface that matches with the original among the hundreds of different kinds of rocks nature has to offer!

Screenshots showing the original Resident Evil 4 and the improved graphics of the HD Project.“,”image_left”:{“ratio”:”*”,”original_url”:”https://rondea.com/wp-content/uploads/2021/03/echo/CHAPTER5_084A_resultado.jpg”,”network”:”verge”,”bgcolor”:”white”,”pinterest_enabled”:false,”caption”:null,”credit”:null,”focal_area”:{“top_left_x”:0,”top_left_y”:0,”bottom_right_x”:1920,”bottom_right_y”:1080},”bounds”:[0,0,1920,1080],”uploaded_size”:{“width”:1920,”height”:1080},”focal_point”:null,”asset_id”:22342346,”asset_credit”:”Albert Marin”,”alt_text”:””},”image_right”:{“ratio”:”*”,”original_url”:”https://rondea.com/wp-content/uploads/2021/03/echo/CHAPTER5_084B_resultado.jpg”,”network”:”verge”,”bgcolor”:”white”,”pinterest_enabled”:false,”caption”:null,”credit”:null,”focal_area”:{“top_left_x”:0,”top_left_y”:0,”bottom_right_x”:1920,”bottom_right_y”:1080},”bounds”:[0,0,1920,1080],”uploaded_size”:{“width”:1920,”height”:1080},”focal_point”:null,”asset_id”:22342345,”asset_credit”:”Capcom”,”alt_text”:””},”credit”:”Albert Marin and Capcom”}” data-cid=”apps/imageslider-1615569713_8656_4612″>

Screenshots showing the original Resident Evil 4 and the improved graphics of the HD Project.

Albert Marin and Capcom

What sorts of applications and tech do you use to accomplish your goals with this project?

A talented modder and coder, “Son of Persia,” helped us a lot: He developed most of the tools I use to edit 3D models, lights, effects, collision data, and much more. I found out how some files work, but I needed to edit in a hexadecimal editor manually. This means a single light/effect would take hours to edit.

“Son of Persia” took all my findings about these files and generated automated tools that would make this work way easier. And he also deciphered how other files of the game work and what they do, and he generated the needed tools to edit these kinds of files as well.

We also use Photoshop, 3ds Max, and dozens of custom tools courtesy of “Son of Persia” and other modders. These tools unpack and convert all the game files into editable data (mostly understandable .txt files and 3D files that can be opened with most 3D editors). Once the data is edited it can be repacked again with the same tools. But I have to admit sometimes I manually edit a few things in a hexadecimal editor, too.

Is it intimidating to make certain adjustments to a game that has such a passionate fanbase, or are you confident in your changes?

We are on the safe side because one of the main goals of this project is to be faithful to the original. And here is where subjectivity plays an important role: Low resolution textures leave a lot to the imagination, and you know… every person’s imagination is different!

Sometimes we receive complaints even when we use the exact same texture, but in HD resolutions, because the low-res textures looked like it was dirtier or muddy or something like that. But the HD re-creation looked too clean in comparison, depending on what the person interpreted when looking at the low-res surface.

And then we have all the lighting and effects changes I’ve done. Most of them are well-received, but I’m aware my personal taste is playing a role to some degree, so I’m always open to feedback and this is the reason I post all those videos and comparison images.

I’ve changed a lot of things because of the feedback we receive!

Albert Marin standing in front of Raglan Castle, specifically, in front of the wall he says is used in a few Resident Evil titles.

Photo: Albert Marin

What are some of the biggest and smallest changes your team has made to RE4 during this project?

The biggest change by far is an entire piece of area created from scratch in the Separate Ways mini-game. The transition between one room and the other made no sense. I combined the 3D structure of the connecting areas and I found out a portion of the path was missing.

The smallest changes are any small texture and small 3D improvement done here and there. In fact, there are hundreds of small edits I’m sure most people won’t ever notice.

As an example, I remember some design changes in certain ammo boxes. This PC port has a HD textures option. The HD textures are 95 percent an upscaled and filtered version of the original [GameCube] textures, but some of the textures are redone or slightly adjusted.

Marin’s team restored some of Capcom’s original texture work that had been lost in later ports, then enhanced it.

Image: Albert Marin

In the image (above) you can see how they altered the TMP ammo box design. The “J” and the wolf drawing on the side are different. So, while I was upscaling that texture I took the opportunity to restore the original design from previous versions of the game.

What have been your favorite sections of the game to upscale textures for?

The castle area, by far, because I used a lot of pictures I took myself during the trips I did around Spain and Wales. It was really satisfying to identify and improve all those architectural surfaces!

The Raglan Castle-inspired wall as it appears in the original game (left), and the team’s version based on photography (right).“,”image_left”:{“ratio”:”*”,”original_url”:”https://rondea.com/wp-content/uploads/2021/03/echo/254700_20210224200505_1.png”,”network”:”verge”,”bgcolor”:”white”,”pinterest_enabled”:false,”caption”:null,”credit”:null,”focal_area”:{“top_left_x”:0,”top_left_y”:0,”bottom_right_x”:1920,”bottom_right_y”:1080},”bounds”:[0,0,1920,1080],”uploaded_size”:{“width”:1920,”height”:1080},”focal_point”:null,”asset_id”:22342355,”asset_credit”:”Albert Marin”,”alt_text”:””},”image_right”:{“ratio”:”*”,”original_url”:”https://rondea.com/wp-content/uploads/2021/03/echo/254700_20210224200321_1.png”,”network”:”verge”,”bgcolor”:”white”,”pinterest_enabled”:false,”caption”:null,”credit”:null,”focal_area”:{“top_left_x”:0,”top_left_y”:0,”bottom_right_x”:1920,”bottom_right_y”:1080},”bounds”:[0,0,1920,1080],”uploaded_size”:{“width”:1920,”height”:1080},”focal_point”:null,”asset_id”:22342358,”asset_credit”:”Capcom”,”alt_text”:”The improved version, based on Albert’s photography.”},”credit”:”Albert Marin and Capcom”}” data-cid=”apps/imageslider-1615569713_6067_4613″>

The Raglan Castle-inspired wall as it appears in the original game (left), and the team’s version based on photography (right).

Albert Marin and Capcom

What section(s) of the game required the most amount of work to remaster?

The laboratory and factory areas on the island are probably the most time-consuming in terms of texture and 3D retouching, because there are tons of weird and blurry control panels, medical and military devices, and cables. Any small inaccuracy becomes really apparent, unlike the organic textures of the village or the old architectural surfaces in the castle.

Is your HD project focused strictly on visuals, or has there been work done to the sound quality and other parts of the game as well?

Unfortunately I do not have enough sound knowledge to remaster the game’s audio. Although I fixed some bugs, mostly related to wrong sounds playing in the wrong moment or low quality sounds during the Separate Ways campaign (shipped as part of the PS2 port and all ports following it).

I also fixed some stage collision issues here and there.

AI upscaling looks far better than the original texture, but not as good as what Marin and the team eventually accomplished manually.

Image: Albert Marin

You currently accept donations to help fund the RE4 HD project, but do you plan to sell the finished project once it releases?

No, it will be for free. Modding and remastering this game is also a game for me.

What sort of reception have you gotten from this project, and who do you hope to reach with it?

It surpasses anything I’d imagined. I guess some people, sites, and communities have spread its existence. But after all, Resident Evil has a huge fanbase, so I guess it’s quite understandable a few thousands of this fanbase is interested in the remaster process of one of the best games of all history.

About our target audience, I’d say, everyone who likes the remasters for the sake of the visual pleasure; or playing their favorite game you like with no trace of blurriness, or simply the people who like this kind of fan project but don’t like the game at all!

Because this project is more about the journey than the final result. After all, it can’t compete with any next-gen game in terms of visuals, no matter how crisp the textures are or how round the models look.

One of Resident Evil 4’s laboratory environments, with upscaled textures applied.

Image: Albert Marin

Have you worked in any capacity with Capcom (or any of its current or former employees) on this project?

No. We were in contact with them at the beginning. Someone at Capcom was interested in our project, and he took the time to send a planning document, but I guess the other Capcom people in Japan were not interested because the communication ended there. Other than that, there was no help on making the project.

Given that Capcom recently released the RE3 remake, it’s likely that an RE4 remake is in development. Does your team worry about Capcom eventually stealing your thunder, so to speak, with an improved version of the game?

No, the remakes are really different games. Even now, the original Resident Evil 2 & 3 receive their own mods and visual improvements (Resident Evil 2 and 3 HD Seamless Project) They are different and complementary experiences. Just think about any Hollywood remake. Most of them don’t hurt the original movie, and they are alternative visions of the older title.

Stream it yourself

Illustration by Alex Castro / The Verge

Here’s what it’s like to craft live on stream

PmsProxy, a partnered Twitch streamer who has 147,000 followers, was tired. Tired of streaming Grand Theft Auto roleplay, and of streaming herself playing games more generally — something she’d been doing nearly every day for around six years. “I didn’t just want to sit and play games all day, I realized,” she says when I reach her by Discord. “I want to either tell a story through roleplay or just do something that made it feel fulfilling, and roleplay wasn’t that.” So she decided to make a change: instead of streaming herself playing games, she’d stream herself making things for her business.

That business was leatherworking. Proxy made the jump from full-time game streamer to full-time crafting streamer at the beginning of this year; it was a nerve-wracking but ultimately necessary step. “It’s been unbelievably different in the best way possible,” she says. “My viewers have gone up, my subs have gone up. And I think a lot of it has to do with the fact that my community members are seeing me be happy, right? They’re seeing me do something that I love.” The people who stayed, she says, want to buy her work and learn how she makes it.

Twitch is usually thought of as a place for streaming video games. And while that reputation is deserved — yes, a lot of people stream their gaming on Twitch — the site also has a surprising breadth of channels. Makers & Crafting is one of them; the category was created in 2018, after Twitch renamed “Hobbies & Crafts” to better represent the many pros who streamed in it (in their words). According to Twitch Tracker, a website that logs Twitch statistics, the category averaged 520 viewers in September 2018, the month it was created. As of January 2021, Makers & Crafting was averaging 1,520 viewers, or about three times more.

The people who stream in the category do everything from embroidery to woodworking; it’s mesmerizing to bounce among them. Makers & Crafting is a warm, welcoming category that feels a little intimate. The streams can run long — I mean, they’re making physical goods — but every streamer I’ve seen seems to vibrate at a slightly different frequency than the people who stream on the rest of the site. They’re calmer. Less frenetic. The vibe is aggressively wholesome. In other words: it’s about as close to an oasis as you can get online.

Streaming anything is difficult. In every broadcast you have to be a host, producer, audio engineer, and video technician — all at the same time. Streaming your crafts, however, is harder: making things for an audience is a special kind of difficult, especially if the products you’re making are eventually going to be sold. What’s perhaps more interesting is how learning crafts has changed with the accessibility of the internet. Proxy and another streamer and woodworker I spoke to, WorkedLettuce3 — whose handle was chosen by the Xbox gamertag gods — both learned their crafts from the internet.

“I watched a lot of YouTube videos,” he says. “I just never thought it would be something I would take up. Because, you know, a lot of woodworking YouTubers in particular, they like to flex their shop, they like to flex all the hundreds of thousands of dollars they spent on their tools, right? And, yeah, I mean, that was never gonna be me.” Even so, he found a channel that he says motivated him to be a woodworker — one that emphasized that you didn’t need tons of gear to pick it up as a hobby. “I’m very, very glad I found it because I’ve been loving just messing around woodworking, hanging out with people in the garage like we’ve been doing now,” he says.

Proxy also learned some of the tools of her leatherworking trade from the internet. Her foray into the Makers & Crafting section coincided with the first time she tried her hand at leatherworking. “I started leather crafting January of this year. Like my first time really getting my hands on my own stuff was in January,” she says. “But I spent the last year researching. So starting in 2019 and all through 2020, I did nothing but watch YouTube videos and Instagram videos. I did tons of research.” Proxy says she’s always been gifted in working with her hands. Leatherworking is just the most recent outlet. (She also went to art school.)

Lettuce is in a similar position; before six months ago, he’d never sawn a board in half.

He’d never streamed before, either. His first streaming setup was just streaming directly to Twitch from his phone; these days, he’s got a dedicated PC in his garage, a couple webcams, and the TV from his living room to read chat on. And his chat is important: among his viewers are veteran woodworkers and other crafters, along with people who’ve just stopped by to watch. The woodworkers help him when he’s stuck; he says there are people there who have coached him through his entire woodworking career. That kind of interaction is unique to Twitch, and to the Makers & Crafting section in particular.

Even so, he says he finds woodworking on stream scary sometimes. “Like, before the first time I turned my table saw on, I was terrified. Before I turned my router on for the first time, I was terrified. Before I ran a circular saw for the first time, I was terrified,” he says. And he did fall into some bad habits — like reading chat from his phone while working on things. “My chat would see me reading the chat from my phone. And a couple people in there just like stepped in and they were like, ‘Yo, like, for real. You can’t be doing that.’” He credits chat with keeping him honest.

“No one is coming in to backseat you,” says Proxy. “They’re not like, ‘Oh, you should go here and you should do this. And oh, you didn’t kill my favorite boss.’” Viewers are there to watch someone make something, and maybe learn a little in the process.

Proxy also makes just about everything in her store live on stream. Which she says is intimidating but also rewarding — because viewers (who are also buyers) can see exactly how much labor goes into making what they’ve bought. “They get to see what work is actually being put into this,” she says. “It’s not just, you know, a quick two hours, and it’s done. It’s a grueling two hours. Like everything is hand cut, and hand stitched and glued and stamped.”

Not everyone sells what they make on stream. Another crafter I spoke to, LaserGeekCreations, says that he doesn’t usually create the things that show up in his shop on stream. “Mainly because a lot of the stuff that’s on my Etsy shop is like, quick and easy to make,” he says. “It’s kind of boring to make a lot of the time.” (He assuages this boredom by creating things like a giant wooden dinosaur, which he also destroyed on stream.) LaserGeekCreations also happens to be the streamer who raided Lettuce when he was just starting out — which gave Lettuce his first real start on Twitch.

It’s not all fun and games on Twitch. The larger viewer community can sometimes be brutally toxic to people who don’t fit its notions of who can and can’t be a streamer; recently, Twitch partner Negaoryx lamented, at Twitch’s 2020 Participation Ceremony event, that the chat was targeting presenters with tons of hate speech.

There’s more than 42,000+ viewers watching the Twitch Participation Ceremony on the offical @Twitch channel now. Users in chat are spewing hate speech & harassing the guest streamers. 3 mod names in the chat list but since I’ve been watching, have seen ZERO messages get deleted.

— negaoryx (@negaoryx) January 23, 2021

Makers & Crafting feels different, though. It’s smaller, for one thing. But all the people I’ve spoken to who’ve been involved with the category think it’s a uniquely welcoming space nestled within the larger Twitch community. “It was almost like — it’s gonna sound fucking hilarious — but it was almost like walking into a warm hug,” says Proxy. “It was just like everyone was so welcome.” During her first week in the section, Proxy says she went from getting around 100 viewers to getting more than 500. They were leatherworkers and other crafters; they dropped tips and ideas and support.

Lettuce had a similarly warm experience. “The Makers & Crafting community is — I’m gonna say in my opinion, but I’m pretty sure it’s a fact — that they’re the most welcoming and loving community-minded community I’ve ever seen in my entire life.” Once the pandemic is over, Lettuce says, he’s considering driving from Las Vegas, where he lives, to New Jersey, where his parents are, and visiting his friends from Twitch on the way.

“I don’t think I’ll ever leave Twitch. I mean, live-streaming and the community in general,” he says. “The stream will still be a thing, but I think interpersonal communication and hanging out and, you know, giving someone a firm handshake is my end goal.”

LaserGeekCreations has been streaming crafting for longer than Lettuce and Proxy, and he confirms their assessments of the community. “The makers community is such an amazing community. I think you’ve probably heard that from other people already,” he says. “Because it doesn’t matter what you’re making. We’re all makers, we all like seeing what other people are doing. Everyone’s so supportive of each other.”

That kind of supportive community feeling can be invaluable if you’re trying to finish something. As anyone who’s tried to make anything knows, creating things is hard because going from idea to reality requires a number of steps, which sometimes aren’t particularly obvious. On Twitch, the Makers & Crafting community makes it just a little easier.

Netflix trials restrictions on password sharing to those you live with

(Image credit: Future)

Perhaps inevitably, Netflix has begun testing new tools to prevent account sharing, the BBC reports.

In the trial, which currently affects a small sample of accounts, viewers are shown a screen saying: ‘If you don’t live with the owner of this account, you need your own account to keep watching’.

Users are then asked to provide confirmation that they share the same household by entering a verification code sent to the owner.

A spokesperson for Netflix told the BBC: “This test is designed to help ensure that people using Netflix accounts are authorised to do so.”

This may sound rather officious for the typically laid-back Netflix, but never fear; it has been reported that there’s an option to ‘verify later’, banishing the warning screen from reappearing. For now, anyway. The company has not yet decided whether the feature will roll out across its whole network.

While sharing passwords outside of a household violates Netflix’s terms of service, it’s long been a common practice that the company has acknowledged as one of its strongest marketing tools, with CEO Reed Hastings having called it “a positive thing” back in 2016.

That may have been the case when we were first introduced to the delights of streaming, but with users becoming savvier and increasing the number of digital services they are willing to subscribe to, Netflix’s attitude could be shifting.

Streaming subscription numbers saw a record increase in 2020 thanks to the combination of the Covid-19 pandemic and new services like Disney Plus and HBO Max. Netflix is still the clear leader with over 203 million accounts, but as competitors have started to eat up its market share, could password control be the company’s way of fighting back?

MORE

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McIntosh’s reference car audio system revealed in 2022 Jeep Grand Wagoneer

(Image credit: McIntosh / Jeep)

McIntosh has released details of its reference in-car audio system, which will feature in the 2022 Jeep Grand Wagoneer SUV, due in mid-2021.

This is the latest fruits of the American hi-fi brand and car’s partnership (announced last September), following the launch of the McIntosh sound system inside the Jeep Grand Cherokee L earlier this year.

The McIntosh MX1375 Reference Entertainment System is the company’s first-ever ‘automotive reference system’ and will be available exclusively in the Grand Wagoneer. The set-up boasts 23 speakers and “one of the highest performing 12-inch subwoofers in the industry.” It will be powered by a 24-channel 1375-watt amplifier.

There’s no word on pricing yet, but McIntosh points out that splashing out on the MX1375 gets you the firm’s Adaptive 3D Surround Processing capabilities, which aim to provide an “immersive listening experience”.

If the reference system proves a little rich for your blood, you can opt for the McIntosh MX950 Entertainment System, which will be available in the Grand Wagoneer Series I and II, as well as the Wagoneer Series III. The same system found in Jeep’s Grand Cherokee L, the MX950 comprises 19 speakers, a 10-inch subwoofer and a 17-channel, 950-watt amplifier.

(Image credit: McIntosh / Jeep)

(Image credit: McIntosh)

It’s not the first time McIntosh has teamed up with an American icon. In the early noughties, the US-based audio maker developed custom systems for Harley Davidson motorcycles and the reissued Ford GT.

No expense has been spared this time around, though. McIntosh’s acoustics experts are said to have had “free rein” to create the best possible audio system design, with the aim of enveloping passengers in a convincing live music experience.

“When we were developing the MX1375 Reference Entertainment System, we set up a McIntosh Reference room next to the Wagoneer team’s facility to ensure the best parts of the home system experience made it into the Grand Wagoneer,” said McIntosh president Charlie Randall.

And yes, those iconic blue meters are present on the vehicle’s infotainment display.

McIntosh isn’t the only hi-fi brand hitting the road. Sonos will offer its audio kit in the upcoming Audi Q4 E-tron, while Naim has recently teamed up with Bentley.

MORE:

Vroom with a view: the best in-car audio tech and trends

Read our review of the Naim for Bentley in-car audio system

An in-depth look at the McIntosh MA9000 integrated amplifier

The best wireless earbuds to buy right now

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The true wireless earbuds market has never been more crowded than it is in 2021. With so many to choose from, finding the best earbuds can seem daunting. But the vast selection is actually a good thing: not only are there excellent picks for everyday buds to carry in your pocket, but you’ve also got a slew of options that prioritize things like noise cancellation, fitness, lengthy battery life, and comfort.

Even if you don’t consider yourself any kind of audiophile, it’s important to find a set of earbuds that sound good to you. This means different things depending on the person: do you want head-rattling bass or something more balanced with an immersive soundstage? You’ll want to find a pair with a good, reliable Bluetooth connection — all of the below picks check off that box — and enough battery life to last you through a normal day of intermittent listening.

Remember that getting the most out of earbuds requires a good seal in your ear. Always try the various ear tip sizes that come with whichever buds you purchase — and don’t be afraid to experiment with different sizes in each ear. Ears are funny like that. Many of these earbuds have apps you can install on your phone to further personalize their sound and controls the way you want.

If you’re looking for the overall best noise-canceling earbuds, you’ll be very happy with Bose’s QuietComfort Earbuds. They have best-in-class noise cancellation and sound great.

But if you’ve got other priorities, there is a range of great options from Apple, Beats, Jabra, Sennheiser, and Ultimate Ears that won’t disappoint. This guide covers higher-end wireless earbuds. If you’re on the hunt for more affordable options, check out the best cheap wireless earbuds to buy.

Bose’s QuietComfort Earbuds are the best noise-canceling wireless earbuds you can get.

Photo by Chris Welch / The Verge

1. Bose QuietComfort Earbuds

Best noise-canceling earbuds

The QuietComfort Earbuds offer very powerful active noise cancellation, but what’s equally nice about them is how customizable the ANC is. You can choose between 11 different levels of noise cancellation (based on how much of the outside world you want mixed in) and set three favorites to cycle between when you double-tap the left earbud.

Bose’s premium earbuds put out fantastic audio with punchy bass. Their transparency / ambient mode is second only to Apple in how natural it sounds. And even the voice mics work well, so you really get the whole package — as you should for this kind of money.

The AirPods Pro remain the best wireless earbuds for iPhone owners because some of their best features only work with other Apple products.

Photo by Chris Welch / The Verge

2. Apple AirPods Pro

Best wireless earbuds for the iPhone

There’s no beating the interplay between AirPods and Apple’s other devices like the iPhone, iPad, and Mac. The AirPods Pro don’t offer the best sound quality of our top picks, but it’s perfectly satisfactory to many people. And the active noise cancellation is right up there with Bose.

But it really all comes together if you’re in Apple’s ecosystem and also own a Mac or iPad. The AirPods Pro can automatically hop between devices based on which one you’re using, and on iPhone or iPad, spatial audio delivers immersive surround sound when watching streaming video apps. They’re fantastic for making calls with, and Apple continues to pull ahead of competitors when it comes to ease of use.

Here’s a tip: if none of the included ear tips get you a perfect seal, I recommend a set of memory foam tips like those from Comply or Dekoni.

The Jabra Elite 75t are the best wireless earbuds if you want to pair with two devices simultaneously.

Photo by Chris Welch / The Verge

3. Jabra Elite 75t

Best wireless earbuds for multitasking

Jabra is pretty much the only company making true wireless earbuds that support “multipoint” for two simultaneous Bluetooth connections. So you can pair them up with a phone and your laptop or tablet at the same time. Jabra’s mobile app offers a ton of customization over the controls, EQ, and even includes bonuses like white noise or nature sounds if you’ve got situations where they’d be handy.

Jabra Elite 75t

$130
$150
14% off

Prices taken at time of publishing.

Jabra’s Elite 75t earbuds offer pleasing bass-heavy sound, reliable performance, and can connect with two devices — like a phone and laptop — at the same time.

$130

at Amazon
$130

at Best Buy

The newer Elite 85t earbuds add more effective noise cancellation to the mix, but the 75ts are on sale so frequently that they’re still the go-to pick if multitasking is important to you. They pack a wallop when it comes to bass — but not to the point where it overwhelms the rest of the mix.

Jabra backs them with a two-year warranty in the event you experience any hardware issues. (I’ve had a 75t bud stop taking a charge out of nowhere, so it can happen.)

The Powerbeats Pro have been around for some time now, but they still rank as the best wireless earbuds for fitness.

Photo by Chris Welch / The Verge

4. Beats Powerbeats Pro

Best wireless earbuds for fitness

Nothing has managed to unseat the Powerbeats Pro as the best fitness earbuds since their release in 2019. Their ear hook design keeps them planted on your ears during intense exercise, they can endure your sweatiest workouts, and the nine hours of continuous battery life should get you through just about any marathon. And the sound quality is killer, with plenty of bass to keep you motivated and moving.

And since Beats is owned by Apple, the Powerbeats Pro can also take advantage of features like audio sharing, auto device switching (like the AirPods Pro), and a dead-simple pairing process.

The Samsung Galaxy Buds Plus can last for up to 11 hours on a single charge, which blows away many competitors.

Photo by Chris Welch / The Verge

5. Samsung Galaxy Buds Plus

Best wireless earbuds for battery life

They can last 11 hours on a single charge. That’s what I consider marathon battery life for true wireless earbuds, and few other companies have managed to keep up with the longevity of Samsung’s Galaxy Buds Plus. They lack active noise cancellation, so that helps them keep playing for longer, but even then, 11 hours is quite a feat. Like the Jabras, these are often on sale and easy to grab at a discount.

Sennheiser’s Momentum True Wireless 2 are the best wireless earbuds in terms of sound quality.

Photo by Jon Porter / The Verge

6. Sennheiser Momentum True Wireless 2

Best wireless earbuds for sound quality

Sennheiser’s second swing at true wireless earbuds improve on the original Momentums with a more comfortable fit and the addition of active noise cancellation. But everything about these earbuds is second fiddle to their sound quality: the Momentum True Wireless 2 earbuds put out dynamic, expressive, and wonderfully detailed audio. They’re the sort of buds that will bring out things in your favorite music you haven’t noticed before.

But that upgraded sound quality comes for a hefty $300 price. If you want arguably the best sound that true wireless earbuds can deliver, these are it. But all of these other picks sound plenty good in their own right.

You’re not going to find any silicone ear tips that can match the UE Fits and their custom tips, which mold to match your ear shape in seconds.

Photo by Chris Welch / The Verge

7. UE Fits

Best wireless earbuds if comfort is everything

If you often have difficulty finding ear tips that fit your ears comfortably, it doesn’t really get better than the UE Fits. These earbuds include special tips that mold to the shape of your ear during a 60-second fitting process that you activate with UE’s app. They get warm during molding (but not uncomfortably so) and you can feel them adapting to the contours of your ear canal.

Once the process is done, you’re left with custom earbuds with a fit that’s as close to perfect as you’ll ever find — unless you visit your local audiologist for a professional mold, and that gets expensive fast. Ultimate Ears has a fit “guarantee” and will send you a second set of tips should your first molding attempt go awry. The UE Fits are quite good, last for up to eight hours of continuous playback, and they’re rated IPX4 for water resistance.

UE Fits

$249

Prices taken at time of publishing.

The UE Fits come with unique ear tips that permanently mold to the unique shape of your ears in just 60 seconds. This allows for a much better fit that you can comfortably wear for hours.

$249

at Ultimate Ears

Polk React soundbar + React Sub review: An injection of bass

(Pocket-lint) – If your TV audio isn’t up to snuff then there are a bevy of options on the market to help step things up a notch. Among these is Polk Audio’s React soundbar, which is available for less cash than many a rival.

But just because you’re paying less doesn’t mean you’ll get less in terms of raw sound capability. Especially if, as we have for this review, you opt for the bundled React soundbar and React Sub package.

That said, the Polk React doesn’t offer any fancy object-based sound decoding, it doesn’t even play pretend – as there’s no Dolby Atmos surround output here from the bar itself – instead sticking to Dolby Digital and DTS surround formats.

You can later invest in Polk’s RS2 surround speakers, which are simply paired at the touch of a button, to create a fully fledged 5.1 system (if you have the Sub) in smaller steps rather than forking our a massive chunk of change up front. That, we think, is a big part of this soundbar’s wider appeal.

Design & Setup

Ports: 1x HDMI (ARC) output; 1x optical input
Controls: Included remote / four-button top-of-‘bar panel
Connectivity: Wi-Fi, Bluetooth, Alexa voice control integrated
Dimensions (soundbar): 56mm (H) x 864mm (W) x 121mm (D)
Dimensions (sub): 348mm (H) x 218mm (W) x 419mm (D); 7.5kg

Having recently reviewed the JBL Bar 5.0 MultiBeam – which is an all-in-one box solution that can’t ever be connected to separates – it was interesting to dig into the Polk React for its points of difference. The Polk is a longer soundbar – at 864mm it’s 160mm longer by comparison – so even sat against a 55-inch telly, as pictured, it’s fairly good at covering the majority of the screen width, which is handy for a wide soundscape to help match the action on screen.

The Polk is simpler than the JBL in terms of core specification, though, as there’s no HDMI input, just the one HDMI input – the latter of which is ARC (audio return channel) capable. For us this meant a slight rejig of our TV’s four HDMI ports, as we couldn’t passthrough using the soundbar itself, ensuring the HDMI ARC cable provided was running from TV to React ‘bar.

Thing is, our ARC port is one of the two 4K resolution capable HDMI ports on the TV (every maker does this at present), so our BT TV box for telly had to be relegated to HDMI 4 (running Full HD maximum – which, in fairness, is how majority content from there is streamed) to save HDMI 1 for our PlayStation 5 (our source of Blu-ray and 4K streaming apps such as Netflix). ARC does its job though: once the TV is switched on the audio handshakes between device and soundbar.

Best Bluetooth speakers 2021: Top portable speakers to buy today

By Dan Grabham
·
22 January 2021

Our guide to the best Bluetooth wireless speakers available to buy today, including B&O, Denon, JBL, Marshall, Sonos and Ultimate Ears

Well, it didn’t at very first. For a brief period of time we were in a no man’s land of having both TV audio and soundbar audio outputting simultaneously. That’s because the setup is, to our mind, a little finicky. The soundbar needed an update out of the box, that much it told us (by voice alert), but having advised us to install the Polk Connect app – which we did on our Google Android phone – it then didn’t like it, forcing a handover to Amazon Alexa instead. But the Alexa app initially failed to get things talking successfully.

Pocket-lint

Success did come after a few attempts, after which there’s been no issues, but it very much points to this Polk’s intentions: it’s an Alexa voice control soundbar through and through. There’s even an Alexa button pride of place on the included remote control. There’s not even a proper off button – as your main TV remote will take over for that duty anyway – and there’s always a glowing light of some colour to the front of the ‘bar, which we think is a design downside when watching movies in darkened rooms.

Oh, and Alexa shouts crazily loud for some reason too – almost to the point of distorting – and there’s no simple way that we can find to turn this down, which is irksome.

The included remote isn’t the prettiest, but it’s well appointed, able to switch between TV and Bluetooth audio sources. There are adjustments for bass up/down on the left, volume up/down in the middle, voice up/down on the right, four quick-select movie presets below this, and surround sound volume/balance adjustment to the bottom of the controller.

That surround sound adjustment won’t do anything unless you’ve bought into the Polk’s expandable options though. As the React soundbar itself is a straight forward left, centre, right speaker arrangement. But if you buy the RS2 surround speakers – not on test here – then you can easily sync them at the touch of a button on the back of the soundbar and boost things to a 5-channel system.

Go with the subwoofer – paired in the same way, using the same button to quickly sync without extra wires – and that brings 5.1 channel potential into your living room. The sub is pretty beefy in terms of scale – and deeper than it is either wide or tall – but the addition of true bass at the lower end of the spectrum is transformative to the sound profile. We think it’s an essential addition to make the React ‘bar deliver its potential.

Sound Quality

Soundbar: 2x 96x69mm mid-range drivers; 2x 25mm tweeters; 2x passive radiators
Adjustment: Bass +/-, Voice +/-, Volume +/-, Surround balance & volume
Mode presets: Movie, Music, Sport, Night
Sub: 1x 7-inch woofer

Which brings us to the whole reason to buy a soundbar: to enhance audio quality, notching up TV audio to new heights. And the Polk React does a generally decent job, although given its positioning to the base of a screen (inevitable, of course) and lack of object-based sound control it lacks any distinct verticality – so on larger screens voice parts might not give the impression they’re coming from the person speaking with the greatest of precision.

Pocket-lint

Otherwise there’s a lot of tweaking that can be done with ease, so it’s great to have all that control directly to hand. The presets are particularly useful, selecting Movie to enhance that extra bass – there’s always a good down-pitched “wommm” in an action flick – or Night to quieten such frequencies and allow your family/neighbours/whoever to get some shut-eye when you’re having a late night session.

The independent controls for bass and voice are handy too, the latter really adjusting the mid-to-high-end of the frequency range to give more curvature to vocal output. So if you’re finding the bass balance is a bit too high, then this can help voices to cut through the mix with greater clarity. We like that it’s a simple system, too, not over-complex in how many ways it can all be adjusted.

Pocket-lint

However, bass-wise we’ve heard soundbars with chunkier capability. Which is why, once paired with the React Sub, you’ll really hear and feel the difference. With the React subwoofer linked up the sound has a much more rooted appeal, delivered with gusto. It’s got great musicality too, to the point we’ve ceased using our Marshall standalone speaker in the living room and instead just tuck into the Polk React and Sub on Music mode for the best possible listen.

Through the Alexa app it’s simple enough to get the soundbar to register as part of your home network. With Google Home open it’s easily identified (although not directly controllable here, as Alexa rules the way), so Spotify plays nice – and you can ask Alexa by voice to load your favourites.

We suspect that adding a pair of RS2 speakers would add to the expanse of the overall sound as, like we said up top, the Polk React doesn’t support object-based audio, so you’re not going to get any Dolby Atmos pseudo height and all-around sense from this soundbar. But, really, given how such systems can sometimes fly off the handle in weird (and not always wonderful) ways, we think Polk delivers here exactly what people will want – enhanced sound on a smaller budget.

Pocket-lint

That will raise the question, however, as to whether you want something smaller and more technologically complete, such as the JBL Bar 5 MultiBeam that we mentioned at the beginning of this review. It can’t match the smacking bass of the subwoofer by any means, but if you don’t have the space then it might be a better fit to your needs – and the Atmos found there is impressive given the right source material.

Verdict

While the Polk React doesn’t have object-based sound decoding bells and whistles – that’s to say there’s no vertical channels for pseudo surround – as a standalone large ‘bar with decent output and control, for a very fair price, it’s got a lot going for it. Especially if you’re keen on Alexa integration for voice control.

But things really step up a notch when you add a React Sub as part of the package. That’s when the sound becomes extra full, deep and rich – to the point that it’s taken preference as our living room music speaker when the telly is out of use. Now if that’s not high praise, then what is? Keep your expectations in check in terms of technological prowess and Polk delivers strong at this end of the market.

Also consider

Pocket-lint

JBL Bar 5.0 MultiBeam

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It’s a different prospect, as it’s a single box solution – so you’ll never be able to add extras or a sub – but that might better suit your space restrictions. However, it permits passthrough (thanks to HDMI in and out ports with eARC) and offers Dolby Atmos decoding, which with the right source delivers a more complete sound. That said, the Polk’s React Sub, if you want to fork out the extra cash, takes impactful sound to the next step where the JBL simply cannot reach.

Read our review

Pocket-lint

Yamaha SR-C20A

squirrel_widget_4026933

Looking for something smaller? If what you need is a bit of everything from your soundbar – ignoring that, at this price point, you can’t expect surround sound – you can’t go far wrong with this little Yamaha. It’s a one-box solution (so, like the JBL above, there there’s no subwoofer here) and can turn its hand to pretty much anything, without ever making itself the centre of attention. A different prospect, but a nice neat little package.

Read our review

Writing by Mike Lowe.

Yamaha SR-C20A

Our Verdict

For those simply looking to improve on the sound of their TV for just a couple of hundred pounds, the Yamaha SR-C20A is a great option

For

Focused, clear presentation
Rich tone
Great size

Against

Could be more expressive

As with any market that becomes congested, manufacturers are trying every trick in the book to make their soundbar stand out. For only a few hundred pounds these days you can have it all: mile-long bar, massive sub and every 3D sound technology so far invented.

Sound quality, however, is often secondary. After all, if you can sell a cheap soundbar before anybody’s heard it then you’re unlikely to get many returns – unless it sounds absolutely atrocious.

Build

(Image credit: Yamaha)

It’s almost a relief, then, when we receive an affordable product such as the SR-C20A and find it to be free of frills, almost basic. It suggests Yamaha has focused on designing a great-sounding compact soundbar that will improve your TV’s sound with little fuss. And if you take a look at our 2020 Award winners, you’ll see that is an approach we like a lot.

At only 60cm wide and 6.4cm tall, the SR-C20A will have little trouble sitting beneath any TV (a 32-inch set is about 70cm in width) or, as Yamaha suggests, a computer monitor for more immersive gaming. Not that it is content sounding that small.

Features

(Image credit: Yamaha)

The SR-C20A promises volumes and depth belying its stature thanks to its pair of 46mm full-range drivers and integrated 75mm subwoofer with dual passive radiators. Though there is no attempt made here to deliver counterfeit height channels, it does use Yamaha’s Virtual Surround Technology to help create room-filling sound you might not readily associate with a soundbar of its size.

Yamaha SR-C20A tech specs

(Image credit: Yamaha)

Bluetooth version 5.0

Output power 100W

AirPlay No

Dolby Audio Yes

Inputs/outputs HDMI, optical x2, analogue audio

Dimensions (hwd) 6.4 x 60 x 9.4cm

Weight 1.8kg

Things are kept simple at the back of the unit, too. Between the keyholes for wall mounting are two optical inputs, one 3.5mm analogue in and an HDMI ARC out – there is also a USB socket, for updates only. And if you don’t want to connect your new soundbar to anything but the power, Bluetooth 5.0 is on board for wireless streaming.

You’ll also find a few touch controls on top of the SR-C20A for source selection, power and volume, and LEDs at the front signifying the source in use, but otherwise, this is a pleasingly clean soundbar. In fact, you’ll find much more going on with the remote than the unit itself.

Yamaha has its own Sound Bar Remote App from which you can control all aspects of the SR-C20A, but we’re pleased to have a physical controller in the box as well. As well as the basics, you can use this remote to tweak subwoofer levels and select from four sound modes: Stereo, Standard, Movie and Game.

There are also buttons for Bass Extension, should you want to give more emphasis to the lower frequencies, and Clear Voice, which picks out dialogue and allows it to be more audible when otherwise it may get lost in a busy scene.

All potentially useful, though inevitably the SR-C20A sounds its best in its standard settings, with the bass dialled back depending on the surface the unit is placed on. Leave it to do its work in its most basic mode, and this is a cost-effective soundbar well worth your attention.

(Image credit: Yamaha)

The SR-C20A delivers that rich Yamaha tone, immediately promising a performance it’d be difficult to dislike. The midrange in particular is full-bodied and clear, the SR-C20A’s woofer making itself known by providing solid foundations, if not exactly rumbling the walls of the room.

There is a commendable level of detail on offer for a soundbar at this price, too, and overall clarity is good. Yamaha is clever enough to know why people buy products such as these, and has succeeded in delivering a clear and focused presentation that will improve on that of any regular flat-screen TV. The SR-C20A’s dimensions mean the sound is a little closed in at times – when scenes become particularly busy and at higher volumes – but never to the extent it becomes messy or unintelligible.

The main area in which it lacks a little something is in terms of dynamic expression. This Yamaha is indeed quite interesting – you couldn’t go as far as to accuse it of being flat – but it doesn’t quite convey the lilts and emphases of dialogue in a way we’d want in order to give it a full five stars.

That affects its use as a wireless speaker for music too, or for watching music shows on TV, as does a slightly pedestrian sense of timing. It’d be harsh to compare the SR-C20A directly with a sole-purpose speaker at the same price, but rhythmically we’d still like a little more energy and impetus. It’s why the Sonos Beam is well worth the extra outlay if you can afford it.

Verdict

But that doesn’t mean this soundbar is unworthy of our recommendation. It is still a clear step up from the sound of most TVs, while its price and dimensions make it easy to accommodate in just about every way.

Of course, there are better soundbars out there, but you’d have to be willing to spend a chunk more. At this price, the Yamaha SR-C20A is a worthy contender for a spot in your living room.

SCORES

Sound 4
Features 5
Build 5

MORE:

Read our guide to the best soundbars

Read our Sonos Beam review

Read our Yamaha SR-B20A review

Read our JBL Bar 5.0 MultiBeam review

Grassroots online efforts are forming a new queer network of care

Almost exactly one year ago, Theo Hendrie thought he might have to drop out of school. His partner had lost his job, and they were struggling to pay bills and make ends meet. He worried that X Marks The Spot, his newly released anthology, might be the only creative project that he’d ever be able to complete. And then, at just the right time, Tuck Woodstock’s Gender Reveal mutual aid program came through.

“Up until then it was always, you know, when we’ve got a tenner we’ll put it into so-and-so’s top surgery fund, and they’ll probably put something into mine later on, and it all gets swapped around,” Hendrie says. “Whereas I think Tuck’s thing was the first time I saw something that was helping the community as a whole, and helping us to do something creative rather than just paying for medical bills.”

Hendrie received £75, and credits the money with allowing him to stay in school. Admittedly, that doesn’t sound like a lot. But since then, he has graduated from university and returned, for a master’s degree in media and communications. Like the thousands of other folks who have benefited in some form or fashion from mutual aid, monetary assistance empowered him to pursue his goals and stabilize his life, sans disruption.

Hendrie’s experience is not unique — all across the internet, people are accessing assistance and care through digital networks that, inevitably, spill into the offline, everyday lives of queer folks. When people in the LGBTQ community feel excluded from, unwelcome in, or underserved by mainstream health networks, groups like QueerCare, For The Gworls (FTG), and transanta step in, offering aid in the form of care and, often, cash.

Woodstock launched their mutual aid fund via Gender Reveal at the beginning of the pandemic, when it became obvious that people urgently needed help. The fund replaced what was originally the Gender Reveal Grant, which required folks to present their work to a panel of judges. It wasn’t appropriate for the moment, Woodstock says. “It became just, ‘Do you need money to live? Do you need money in order to pay rent, to feed yourself, to pay for your medications?’”

Woodstock’s pivot to mutual aid and away from the Gender Reveal Grant is emblematic of a larger shift that happened in 2020, courtesy of COVID-19. It’s been well documented that the pandemic exacerbated inequality across the board; in some marginalized communities, doubling down on care independent of mainstream systems was the recipe for survival.

But this building of DIY care networks has been decades in the making. Queer people and other marginalized groups have been doing this grassroots work for generations, and the modern ubiquity of GoFundMe pages and Instagram accounts is merely the latest chapter in a long history of alternative care.

Asanni Armon, founder of FTG, credits Langston Hughes and the rent parties of the Harlem Renaissance with the idea to raise money for Black trans people’s rent and gender-affirming surgery costs. “We are just following in those footsteps,” Armon says. “As long as we’ve been affected by the ills of capitalism, especially Black people, we’ve had to do this kind of work.”

Mutual aid can look like a lot of different things, depending on what you need — while Woodstock has sent money in amounts as big as $800 (and as small as Hendrie’s £75) via PayPal and Venmo, FTG just helped raise $50,000 for 23 young people to receive a year’s worth of hormone replacement therapy, through Point of Pride’s new HRT Access Fund. Historically, mutual aid has been a way for folks on the fringes of mainstream economies to collectively access resources and provide care; look at the Black Panther Party’s breakfast program, or the AIDS activism of ACT UP, and you’ll see the same network formation, sans internet.

It’s no coincidence that these networks typically form alongside activism work, says Kirsty Clark, a postdoctoral research fellow at the Yale School of Public Health whose research focuses on LGBTQ mental health.

“When folks are pushed to the margins, they create social networks through formal or informal channels where people can give each other information and support,” she says. “It’s this coming together to push back against persecution and to forge a feeling of belongingness within the group. And these networks not only produce peer support, but then can also lead to resources for medical care.”

While the pandemic has put a stop to FTG’s rent parties, and forced organizations like Trans Defense Fund LA (TDFLA) to host their self-defense courses online, it has not slowed the proliferation of mutual aid programs within the queer community — quite the opposite. TDFLA just shipped out another 200 self-defense kits for trans folks in LA; FTG announced on February 8th that, since its inception in July 2019, $1.1 million has been redistributed to Black trans folks around the world; Woodstock, of Gender Reveal, raised $100,000 in one month alone. Clearly, the practical implications of mutual aid are real, and, often, life-saving.

“The biggest success is that we are supplying people with the necessary tools they need and it’s going in their hands,” says Nikki Nguyen, the organizer behind TDFLA. “That’s the biggest part — just being able to provide this for the trans community.”

Building the ultimate retro computer

Although I assembled it myself, and its software all comes from an open-source DIY project, in many ways my MiSTer is the most versatile computer I own. It’s a shapeshifting wonderbox that can change its own logic to make itself run like countless other machines as accurately as possible. From old arcade boards to early PCs to vintage consoles, MiSTer developers are devoted to helping it turn into an ever-expanding range of hardware.

If you’ve ever wanted to use computer software or hardware that is no longer available for sale, you’ve probably run into emulation before. It’s a huge field that often involves a ton of people working on a technically challenging feat: how to write software that lets one computer run code that was written for another. But there’s only so much traditional emulators can do. There are always inherent compromises and complexities involved in getting your current hardware to run software it was never designed to handle. Emulated operating systems or video games often encounter slowdown, latency, and bugs you’d never have encountered with the original devices. So what if there was a way to alter the hardware itself?

Well, that’s MiSTer. It’s an open-source project built upon field-programmable gate array (FPGA) technology, which means it makes use of hardware that can be reconfigured after the fact. While traditional CPUs are fixed from the point of manufacture, FPGAs can be reprogrammed to work as if they came right off the conveyor belt with the actual silicon you want to use.

What this means is, you’re not tricking a processor into believing it’s something else, you’re setting it up to run that way from the start. A MiSTer system can theoretically run software from the NES to the Neo Geo, to the Apple II or Acorn Archimedes, and deliver responsive, near-as-dammit accurate performance next to what you’d get from the actual devices.

Of course, it’s not as easy as that makes it sound. In order to program an FPGA to act like a computer from three decades ago, you have to intimately understand the original hardware. And that’s what makes MiSTer one of the technically coolest DIY projects going today, building on the knowledge of developers around the globe.

The DE10-Nano sandwiched between the I/O and USB hub boards.

FPGAs aren’t new technology. Two early companies in the field (sorry) were Altera, now owned by Intel, and Xilinx, now part of AMD. The two have competed since the 1980s for market share in programmable logic devices, largely serving enterprise customers. One of the biggest advantages of FPGAs on an industrial scale is that companies can iterate their software design on hardware before they need to manufacture the final silicon. FPGAs are widely used to develop embedded systems, for example, because the software and the hardware can be designed near-concurrently.

You might be familiar with FPGAs if you’ve come across Analogue’s boutique console clones, like the Mega Sg and the Super Nt. Those use FPGAs programmed in a certain way to replicate a single, specific piece of hardware, so you can use your original physical cartridges with them and get an experience that’s very close to the actual consoles.

The MiSTer project is built around more accessible FPGA hardware than you’d find in commercial or enterprise applications. The core of the system is an FPGA board called the DE10-Nano, produced by another Intel-owned company called Terasic that’s based out of Taiwan. It was originally intended for students as a way to teach themselves how to work with FPGAs.

The DE10-Nano looks somewhat similar to a Raspberry Pi — it’s a tiny motherboard that ships without a case and is designed to be expanded. The hardware includes an Altera Cyclone V with two ARM Cortex-A9 CPU cores, 1GB of DDR3 SDRAM, an HDMI out, a microSD card slot, a USB-A port, and Ethernet connectivity. It runs a Linux-based OS out of the box and sells for about $135, or $99 to students.

MiSTer is inspired by MiST, an earlier project that made use of an Altera FPGA board to recreate the Atari ST. But the DE10-Nano is cheaper, more powerful, and expandable, which is why project leader Alexey Melnikov used it as the basis for MiSTer when development started a few years back. Melnikov also designed MiSTer-specific daughterboards that enhance the DE10-Nano’s capability and make a finished machine a lot more versatile; the designs are open-source, so anyone is free to manufacture and sell them.

You can run MiSTer on a single DE10-Nano, but it’s not recommended, because the board alone will only support a few of the cores available. (A “core” is a re-creation of a specific console or computer designed to run on the MiSTer platform.) The one upgrade that should be considered essential is a 128MB stick of SDRAM, which gives MiSTer enough memory at the right speed to run anything released for the platform to date.

Beyond that, you’ll probably want a case, assuming you’d rather not run open circuitry exposed to the elements. There are various case designs available, many of which are intended for use with other MiSTer-specific add-ons that vertically attach to the DE10-Nano. An I/O board isn’t necessary for most cores, for example, but it adds a VGA port along with digital and analog audio out, which is useful for various setups. (A lot of MiSTer users prefer to hook up their systems to CRT TVs to make the most of the authentic output and low latency.) You can add a heatsink or a fan, which can be a good idea if you want to run the system for extended periods of time. And there’s a USB hub board that adds seven USB-A ports.

For my setup, I ordered the DE10-Nano, a 128MB SDRAM stick, a VGA I/O board with a fan, a USB hub board, and a case designed for that precise selection of hardware. These largely came from different sources and took varying amounts of time to show up; you can order the DE10-Nano from countless computer retailers, but other MiSTer accessories involve diving into a cottage industry of redesigns and resellers. Half of my parts arrived in a battered box from Portugal filled with shredded paper and loosely attached bubble wrap.

MiSTer accessories are based on Melnikov’s original designs, but since the project is open-source, many sellers customize their own versions. My case, for example, includes a patch cable that hooks directly into the IO board to control its lighting, while some others require you to route the LEDs yourself. The USB board, meanwhile, came with a bridge to the DE10-Nano that seemed to be a different height from most others, which meant I had to improvise a little with screw placements. Nothing I ordered came with instructions, so it did take some time to figure out what should go where, but everything worked fine in the end. The only other thing I had to do was go buy a small hex screwdriver for the final screws in the case.

That’s part of the fun with MiSTer. There’s a base specification that everything works around, but you’re still ultimately assembling your own FPGA computer, and you can adjust the build as much or as little as you want.

Once your hardware is set, you need to install the MiSTer software. There are a few ways to do this, and you’ll want to dig around forums and GitHub for a while so you know what you’re doing, but the method I went with was simple in the end — essentially, you format your microSD card with an installer package, put it into the DE10-Nano, plug in an Ethernet cable and a USB keyboard, power on the system, and it’ll download all of the available cores. Your SD card will then be set up to boot the MiSTer OS directly, and you can run another script to make sure everything’s updated with the most recent versions.

The MiSTer OS is very simple, with a default background that looks like pixelated TV static and a basic menu in a monospaced font that lets you select from lists of console and computer cores. The first thing I did was load some old Game Boy Advance ROMs I dumped well over a decade ago, because for some reason Nintendo doesn’t want to sell them for the Switch. (Please sell them for the Switch, Nintendo.) The performance felt about as authentic as I could’ve expected, except for the fact that I was looking at a 4K TV instead of a tiny screen.

My main reason for getting into MiSTer is to have a hardware-based way to access the parts of computer history that I missed, or to revisit forgotten platforms that I was around for. I knew that computer systems like the Apple II and the Amiga were big gaps in my knowledge, so it’s great to have a little box that can run like either of them on command. I’ve also been getting into the MSX platform, which was popular in Japan in the ’80s. My next rainy-day project is to work on an install of RISC OS, the Acorn operating system that was on the first computers I ever used at school in the UK. (You can actually still buy licensed ROM copies of various versions of the OS, which was a neat surprise.)

MiSTer development is a vibrant scene. Melnikov has a Patreon that’s updated several times a week with improvements he’s made to various cores, but there are lots of other people contributing to the project on a daily or weekly basis. A colleague introduced me to the work of Jose Tejada, for example, who’s based in Spain and has made a ton of progress on replicating old Capcom arcade machine boards. There’s another project aiming to get the original PlayStation running, marking the biggest step yet into 3D hardware on MiSTer.

FPGAs are often talked about as if they’re a silver bullet for perfect emulation, but that’s really not the case — at least, not without a lot of effort. Anything that runs perfectly on MiSTer, or as close to perfectly as is otherwise imperceptible, is the result of a ton of work by talented programmers who have spent time figuring out the original hardware and applying the knowledge to their cores. Just read this post from the FPGA PSX Project about what it took to get Ridge Racer running on MiSTer, as well as the assessment of how far they have to go. The cores can vary in quality, accuracy, and state of completion, but a lot of them are still under active development and huge strides have been made in the past couple of years.

Analogue lead hardware engineer Kevin Horton spoke to The Verge in 2019 about the work that went into re-creating the Sega Genesis for the Mega Sg console. The process took him nine months, including two-and-a-half months figuring out the CPU at the heart of the console. “I didn’t know Genesis very well, and knew literally nothing about the 68000 CPU at all!” he said. “This was my first foray into both things and probably slowed the process down since I had to learn it all as I went.”

Ultimately, Horton confirmed the accuracy of his work by directly connecting a 68000 to an FPGA and comparing their performance on a test that ran for a week straight. It demonstrates the lengths that FPGA enthusiasts go to in pursuit of the most accurate results possible, but what makes MiSTer special is that this is largely the work of hobbyists. No one’s paying anyone a salary to make incremental tweaks to the performance of the arcade version of Bionic Commando, but that’s where Tejada has directed his passion.

MiSTer is an important project because it speaks to the concept of preservation in a way that all too often goes underserved by the technology industry. The project makes the argument that the way we run software is as big a part of our experience as its content. Yes, you can port or emulate or re-release software to run on modern hardware, but there’s always going to be a compromise in the underlying code that moves the pixels in front of your eyes.

Of course, that might sound like a pretty niche concern for anyone who’s satisfied with, say, the emulated software you can run in a browser at Archive.org. I’m often one of those people myself — emulation can be great, and it’s hard to beat the convenience. But the MiSTer project is an incredible effort all the same. I’ll never have a shred of the technical knowledge possessed by MiSTer developers, but I’m grateful for their effort. Once you build your own system, it’s hard not to feel invested in the work that goes into it; MiSTer is a never-ending pursuit of perfection, and there’s something beautiful about that.

Photography by Sam Byford / The Verge

Meze Audio celebrates 10 years with limited-edition Empyrean Headphones

Boutique headphone manufacturer Meze Audio is marking a decade of operation by releasing a limited run of their flagship Empyrean over-ear headphones.

The new Art Gallery Empyrean Phoenix headphones will be restricted to just 100 products worldwide, each with a unique serial number and CNC sculpted aluminium chassis, and hand-painted with a flame-inspired red and black design.

The fiery headphones also employ Meze’s patented isodynamic array drivers using technology allegedly acquired by Soviet spies during the Cold War. Whereas conventional headphone drivers have a movable diaphragm and a central electromagnetic coil, here the diaphragm is suspended between two coils that vibrate independently as the electrical current flows. But does it help the headphones sound better? Meze Audio certainly thinks so.

Each pair of Art Gallery Empyrean Phoenix headphones will cost £2900 ($4000) and ship with two sets of earpads – leather and Alcantara – and the option to upgrade to a High-Purity Oxygen-Free Copper cable of your choice.

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Technics Ottava F SC-C70 MK2

Our Verdict

It might work for those who need a CD player and streaming in one box, but there are far better alternatives if you can compromise on features

For

Plenty of weight to sound
Good timing
CD player can be useful

Against

Dynamically uninteresting
Bass detail is poor

With vinyl sales having overtaken those of the CD for the first time in 35 years, and cassette tapes enjoying a similar resurgence to the black disc, it is almost novel to be testing an all-in-one system such as the Technics Ottava F SC-C70 MK2 in 2021.

We’re very much in favour of any physical media inclusion in a sector that is increasingly geared towards streaming, of course; it’s just a pleasant surprise when there’s a wireless speaker asking us to dig into our racks of CDs.

This is actually the second generation of Technics’s most premium Ottava wireless speaker, adding features such as Auto Space Tune along with a complete retune for its new drivers. We didn’t get our hands on the first one, but did spend some time with the four-star Ottava S SC-C30 – the baby of the group – so feel justified in having some high expectations.

That said, you shouldn’t really need any prior knowledge of the range to expect something for the money you’ll have to pay. A price tag of £799 ($999, AU$1649) certainly isn’t the weightiest among the wireless speakers we’ve tested, but it does place the SC-C70 MK2 in a premium bracket.

We’ve heard plenty of speakers that can comfortably account for prices doubling that of this Technics, even without bonuses such as the CD player. But to get an idea of how stiff competition is here, we only dished out one 2020 What Hi-Fi? Award to a wireless speaker costing more than £500, and that one is £50 cheaper than the SC-C70 MK2. Essentially, this is a lot of money to spend, and you’re well within your rights to expect something special in return.

Build

(Image credit: Technics)

There are certainly some aspects of the SC-C70 MK2’s construction that resonate with its price. Opening the packaging reveals a thick aluminium top panel – either grey or black, depending on which of the two finishes you’ve chosen – and the speaker’s weight as you lift it from the box is equally reassuring.

It looks pretty good, too. There’s an industrial stylishness to its straight lines and vent-like grille, which stands out just enough while hopefully not dating it too much into the future; a speaker such as this should have some staying power.

The OLED display is small, but functional, while that top plate also houses a few well-engineered push buttons alongside a row of touch controls for playback. You probably won’t be up this close often, though, thanks to the included remote and ability to work the SC-C70 MK2 via its app.

Around the back, there are inputs for aux-in, optical and USB, alongside connections for the included radio antenna, power and wired internet. These are all sandwiched between a pair of reflex ports that complement a quintet of drivers inside.

Most notably, the SC-C70 MK2’s downward-firing subwoofer, which you’ll feel if you stroke the speaker’s undercarriage. It’s a 12cm driver aiming to add some serious depth to the pair of forward-firing 8cm drivers taking care of the speaker’s midrange.

Technics F Ottava SC-C70 MK2 tech specs

(Image credit: Technics)

Power 30W + 30W (40W sub)

Inputs Aux-in, optical digital, USB-A

Headphone out Yes

Finishes x2

Dimensions (hwd) 14.3 x 45 x 28cm

Weight 8kg

In this second-generation SC-C70, these woofers are said to benefit from the reduced weight of their voice coil, enhanced airflow and increased rigidity of their diaphragm, and aren’t the only component to have undergone a major revamp.

The pair of 2cm dome tweeters are much changed, too, with a lighter silk diaphragm and optimised acoustic lens for improved dispersion. And each section has its own JENO Engine full digital amp unit, delivering 30W to the tweeters and midrange drivers and 40W to the sub.

There’s a lot packed in, and it becomes evident that it’s the SC-C70 MK2’s interior, along with the top plate, providing most of the weight. Unfortunately, the rest of the outside is rather plasticky to the touch. That might not be of great importance, given you’ll rarely touch the speaker’s sides, but it’s a feature that extends to the swiveling CD lid. Our initial hope that this might be glass is soon quashed, and a less than smooth finish on the edge only compounds the disappointment.

Features

(Image credit: Technics)

At least we can’t fault the feature list. Built-in Google Chromecast means the SC-C70 MK2 is primed for multi-room use, while Apple AirPlay 2 and Bluetooth also offer wireless playback options. That is, of course, along with the CD drive, DAB+ and FM radio, and analogue and digital inputs.

Less ordinary, though, is Technics’s Space Tune technology, and more importantly this speaker’s new automatic function. The MK1 offered pre-sets of Free, Near the Wall, and Near the Corner; all of those are present again for quick EQing, depending on where your speaker is placed, but the new Auto function can do that more precisely by using test tones and on-board mics for optimal sound.

You can even go further, using the Technics Audio Center app to adjust settings depending on your listening position. iOS devices can also be used to measure room noise and acoustic conditions as well as further calibrating sound characteristics.

Sound

(Image credit: Technics)

Some tuning could be vital, depending on your room, as there’s a lot of power coming from the SC-C70 MK2 that needs to be kept tame. Most notably in the low end, where that subwoofer proves a sound investment early on for those who like a lot of bass.

The key, of course, is finding a good balance; the Auto Space Tune does a good job of that, and the ability to further tweak is welcome. But you won’t be criticising this Technics speaker for not having enough in the way of bass weight.

Detail levels are generally okay as well, giving enough information to keep that full-bodied presentation from becoming soft – in the upper registers at least. Unfortunately, though, the other side of all that bass is that the mix is a bit of a blunt object and rather bereft of detail.

Despite that slightly corpulent low end, timing is still surprisingly good. It is an aspect with which a lot of really bassy-sounding products often struggle, appearing slow or muddled, but the SC-C70 MK2 is actually rather good at keeping time.

However, because that accurate timing is betrayed by a real dearth of dynamic expression, it fails to deliver any great sense of rhythm. This is our main gripe: there is such a lack of expression it quickly becomes a wearing listen.

(Image credit: Technics)

We sit there willing the SC-C70 MK2 to appear a little more interested in the music we’re sharing with it, but it has made up its mind. It’s even more of a shame when you consider all the power it flaunts delivering those bass frequencies; even if just a little more of that was directed at giving some punch, this would be a more entertaining listen.

And as we noted earlier, the SC-C70 MK2 has entered the market among some seriously talented rivals. If we were underwhelmed with its performance at first, the Technics only loses more ground when we compare it with the Award-winning Naim Mu-so Qb 2nd Generation.

There’s no CD player here, of course, but you should ask yourself whether you really need one; the Naim is leagues ahead in terms of detail, rhythmic sense and excitement. And you can always put the money saved towards a CD transport later on if necessary.

You’d even get a better all-round performance by going for a micro system such as the Denon D-M41DAB. Again there are compromises – the stereo speakers are separate, so it isn’t a on-box solution, and your only wireless streaming is via Bluetooth – but if CD is your main concern, then it’s a no-brainer in terms of sonic performance and value.

For anyone considering buying the Technics SC-C70 MK2, our advice would be to go back to the drawing board and think about what you’re willing to compromise. Our choice would always be features or space, rather than compromising on sound.

Verdict

Regardless of whether or not there is a true like-for-like alternative, the Technics Ottava F SC-C70 MK2 is just too expensive to sound this lifeless. A re-tune may be able to solve its issues – the feature set and building blocks of a good performance are here, but at the moment you’d need some fairly specific requirements to consider this a worthy buy.

SCORES

Sound 3
Features 5
Build 4

MORE:

Read our guide to the best all-in-one systems

Read our Naim Mu-so Qb 2nd Generation review

Read our Denon D-M41DAB review