Apple made several major Apple Spatial Audio announcements at its WWDC developer conference this week, but it seems to have held back a key feature, reports 9to5Mac.
On Wednesday a Reddituser spotted a new function called ‘Spatialized Stereo’, hidden in the iOS 15 beta. The feature is said to take any non-Dolby audio – such as a song from Spotify or a movie soundtrack from Netflix – and simulate the effect of Spatial Audio.
“The greatest thing about this is that it supports EVERY audio track,” wrote the shocked Reddit user. “Sure I’d pick Atmos Spatial Audio mixes over Spatialized Stereo every time, but for the moment there are only a dozen or so options for Atmos available on Apple Music, so this is such an amazing feature to have!”
Spatial Audio with Dolby Atmos is a version of surround sound. It lets you use your AirPods Pro and AirPods Max wireless headphones to experience dynamic head tracking, which means means that the sound always stays relative to the screen, even when you move your head.
The Cupertino giant recently rolled out expanded support for Spatial Audio – it’s now available to Apple Music subscribers for no extra cost. Apple has also announced plans to bring it to tvOS and MacOS.
Spatialized Stereo is a different kettle of fish. It seems to be Apple’s attempt to simulate the effect of Spatial Audio without using Dolby Atmos. It works with any content but you’ll still need a pair of AirPods Pro or AirPods Max wireless headphones to access it.
Lucky enough to be on the iOS15 beta and fancy trying Spatialized Stereo for yourself? Hit play on some non-Dolby audio content and then bring up the Control Center. Press and hold the volume slider and then tap ‘Spatialize Stereo’. With any luck, the track should sound more like 3D audio, and less like two channels being piped into your left and right ear.
MORE:
Apple spatial audio: what is it? How do you get it?
Apple Music’s spatial audio with Dolby Atmos launches today
Apple Music lossless: which devices will (and won’t) play lossless and Spatial Audio
Microsoft is back teasing Windows 11 again. In a new video on YouTube, the software giant has published an 11-minute (ahem) collection of startup sounds from various versions of Windows. They’re all slowed down by 4,000 percent, and Microsoft positions this as a relaxing video for those far too excited by the Windows event on June 24th.
“Having trouble relaxing because you’re too excited for the June 24th Microsoft Event?” asks the YouTube caption. “Take a slow trip down memory lane with the Windows 95, XP, and 7 startup sounds slowed down to a meditative 4,000 percent reduced speed.”
I think this is very much teasing a new startup sound for Windows 11, or whatever the next version of Windows will be called. Microsoft has been teasing “a new version of Windows” recently, and has dropped a number of hints that it could in fact be called Windows 11.
Among those hints is the event starting at 11AM ET and the event invite that has a window that creates a shadow with an outline that looks very much like the number 11. Microsoft execs have been teasing a “next generation of Windows” announcement for months, and it’s clear from this latest video that these 11 teasers will continue in the weeks ahead.
We’re expecting Microsoft to announce a new version of Windows with significant user interface changes. Microsoft has been working on something codenamed “Sun Valley,” which the company has referred to as a “sweeping visual rejuvenation of Windows.” There will be many other changes, including some significant Windows Store ones, so read our previous coverage for what to expect.
We’ll find out on June 24th whether Microsoft is ready to dial the version number of Windows up to 11, simply name it Windows Sun Valley, or something else entirely. The Windows elevent (as we’re now calling it) will start at 11AM ET on June 24th, and The Verge will be covering all the news live as it happens.
Sharp has announced its new 4K TV range just in time for the Euro 2020 kick off, and there are some seriously affordable big-screen options. Both the DL and DN ranges come with very slim bezels, the Android TV operating system, HDR tech and sound by Harman Kardon.
HDR10 and HLG formats of HDR come as standard, and the DN series TVs also have Dolby Vision on board. The DN sets also feature Sharp’s Active Motion 600 technology, which sharpens up movement and reduces distortions, and 12-bit HDR colour coding to improve the smoothness of shading and reduce banding and colour disruptions common to standard non-HDR sources. The 65-inch model has a slim, full-aluminium body enhanced with a high brightness LCD/LED panel producing 400 nits output.
And there’s plenty of audio tech to get your teeth into (or ears into, rather). As well as integrated speaker systems from sonic specialists Harman Kardon, there’s Dolby Atmos tech onboard (though only on the DN models) to give 3D audio. The DN range also benefits from DTS Virtual:X post-processing tech, apparently improving clarity and ensuring better-quality high frequencies. Again, the 65-inch model gets a little extra – in this case, a 15W Harman Kardon sub to go with the 10W stereo speakers, making a 2.1 system.
The usual apps are present and correct, including Netflix, Prime Video, Spotify, Deezer and Tidal. Google Chromecast tech lets you stream content from your mobile device or laptop to the big screen, and of course Google Assistant lets you control it just by speaking.
Unusually, the 50-inch models have more HDMI inputs than their 65-inch siblings (four compared to three). Go figure.
The entry-level 50-inch 50DL3KA costs £530, and the 50DN3KA (with Dolby Atmos and Dolby Vision) is £550. Stepping up in size, the 65-inch 65DL3KA is £730, and the 65DN3KA is £750.
They will all be available “this summer”. So probably not in time for Euro 2020 after all. Ho hum. if you need a set for then, why not check out our list of best TVs?
MORE:
Check out the other best cheap TVs
Go big this year: best projectors
Find out how to set-up a home cinema in your garden
Monoprice seems to be on a mission to make Dolby Atmos technology as accessible as possible. After releasing a 5.1.2 system for less than $450 earlier this year, the company has announced the SB-300, a 2.1 soundbar with virtual Dolby Atmos that comes in at just $180.
While the SB-300 doesn’t have any upward-firing drivers or surround speakers for ‘true’ Dolby Atmos, Dolby’s Virtual Atmos technology utilises DSP (digital signal processing) and psychoacoustics to (theoretically) reproduce the height dimensions of compatible content for a more cinematic home theater experience.
Despite the bargain price, Monoprice has still given the SB-300 a decent feature set that includes two HDMI ports and an HDMI eARC output, as well as coaxial and optical inputs.
A USB port allows for audio playback of MP3s from a hard drive, while Bluetooth 4.2 is onboard for streaming from portable devices. There’s also a 3.5mm analogue audio input, which means this budget bar is well suited to those with an older TV set.
The soundbar offers ‘Movie’, ‘Music’, and ‘News’ modes to tweak the sound depending on the content you’re watching. Music mode is (obviously) for music playback, Movie mode attempts to focus on both dialogue and sound effects for a more dramatic movie experience, and News mode emphasises dialogue clarity.
Included in the box is an infra-red remote, HDMI cable and hardware for wall mounting.
The SB-300 is available in the US now for $180.
MORE
Best Dolby Atmos soundbars 2021: the best Atmos TV speakers
Apple’s Worldwide Developers Conference keynote came and went this year without a new MacBook Pro — but it looks like that wasn’t the original intent! Intriguingly, Apple quietly included the phrases “M1X MacBook Pro” and “M1X” as tags on its YouTube video of the live keynote, as spotted by Max Balzer (via 9to5Mac).
Not only does that sound like tacit confirmation of at least one new Arm-powered MacBook Pro, it also corroborates the rumors that it’ll include a new M1 chip, and that Apple will likely market it as an enhanced “X” variant, like it used to do with its high-end iPads, rather than going straight to M2.
Three weeks ago, Bloomberg’s Mark Gurman reported that we’d see redesigned 14- and 16-inch MacBook Pros “as early as this summer,” ones that would bring back the SD card slot, HDMI port, and some form of the beloved trip-friendly MagSafe charging connector; offer twice as many high-performance CPU and GPU cores; and support up to 64GB of RAM. I really thought announcing them at WWDC would be the perfect way to distract from recent developer turmoil — you know, by announcing a MacBook Pro that’s actually for pros?
Perhaps that was the original idea, but we got an absolutely jam-packed keynote filled with rapid-fire software announcements instead. Check out our supercut below for the condensed video version, or read our list of the 15 biggest WWDC 2021 announcements if you only want the highlights.
(Pocket-lint) – Whether you agree with the polarising design or not, Apple’s AirPods became an overnight phenomenon back in 2017. Since then those in-ear wireless buds have gone on to become the number one sellers in the world – and you only have to head to any city street to see how many people are wearing a pair.
Following the launch of a tweaked second-gen AirPods earlier in 2019, Apple has deemed the headphone popular enough to expand the range with the AirPods Pro. But this isn’t just about offering tweaks; no, it’s a completely redesigned experience, adding active noise-cancellation (ANC) and more.
But with so many in-ear headphone choices on the market, do the AirPods Pro offer a decent package or are you better off going with Bose, Sony, or a myriad of other options? We’ve be wearing them since launch.
A pro design
Each bud: Measures 30.9 x 21.8 x 24mm maximum / Weighs 5.4g
Wireless charging case included (45.2 x 60.6 21.7mm / 45.6g)
There are two elements to the AirPods Pro that you need to worry about: in the ear and in the pocket.
The carry case, which doubles as the charging case, is shorter in height but wider in design than the one you’ll find with the original AirPods. It’s still very much just as pocketable, in fact one of the most pocketable in-ear headphones cases on the market, and comes in a gloss white finish. It’s also included as standard.
Pocket-lint
The AirPods Pro headphones slot into the case and instantly drawn in by magnets and start charging immediately. Charging can be done via a Lightning cable or by putting the case on a wireless charging pad, even the newer MagSafe charging pucks.
The Pro design is considerably different to the AirPods. The most noticeable difference is the inclusion of silicone tips to improve the fit or ‘seal’, while the thin rod that hangs out of your ear isn’t especially long. This short length will certainly appeal to those who thought the originals’ design just looked odd.
Finding your fit
Three silicone tip sizes; small, medium, large
Vent system for pressure equalization
Ear Tip Fit test via iOS 13.2
Uses Apple H1 chip
Connecting the AirPods Pro for the first time is incredibly simple. You simply open the case near your iPhone (running iOS 13.2) and press ‘connect’ on the screen. It’s as simple as that thanks to the use of Apple H1 chip – as also found in the AirPods and Beats Powerbeats Pro.
Unlike AirPods, the Pro requires a secondary step, which involves running an Ear Tip Fit Test. Using both the internal and external microphones within the headphones, iOS 13.2 analyses the sound and tweaks its profile to sound better for you.
Pocket-lint
The process, which involves playing some music, takes about five seconds. It’s during this time that it will determine whether you’ve got a good fit, and if not recommend you change the silicone tip to another size – there is a small, medium, and large options included. For us the medium worked perfectly and we were up and running with a minute.
The silicone tips feel a little tight in the ear – more so than the standard AirPods, but not that they’re uncomfortable – so Apple has included air vents to try and reduce potential pressure and isolation build up. It calls this a “vent system for pressure equalization”, and in all the time we’ve been wearing them they’ve been fine. It doesn’t hurt wearing them for a long period of time, and if you have concerns over whether or not they would be as easy to put in and out as the standard AirPods, they aren’t.
Active Noise Cancelling (ANC)
Internal and external microphones actively listen for noise changes
Adaptive EQ and Transparency Mode
One of the main features of the AirPod Pro is ANC, or active noise-cancelling technology. This uses the in-built microphones to check the ambient noise around you over 200 times a second and react accordingly, dumbing down external sound. This is the same process as other noise-cancelling headphones, designed to negate wind tear and other real-time sounds around you as best as possible.
You can also dial-down the feature if you want to hear more around you – a feature called Transparency – which allows you to hear people talking, given the frequency cut-off. This is all controlled via a squeeze of the AirPods Pro, via your iPhone volume control settings, or using the Apple Watch.
We’ve used them on the London Underground, the train, by the sea side, cutting the grass, and on a plane, and in all cases the Pro earbuds cut out the majority of the noise. Classical music fans will no doubt love the Pros, as will those that want to really immerse themselves in the music.
Pocket-lint
Switching between the two modes with that squeeze will take a little getting used to, as there’s a specific indented area where you need to squeeze. Precision is key; as is speed: do it too quickly and you’ll stop the track. It’s yet another new control mechanism that you’ve got to learn. Overtime it has become second nature.
Another interesting side effect is wearing the AirPods Pro while talking. Because of the microphones both internally and externally that are trying to cancel the noise, your own voice is amplified when in Transparency mode. The best way to describe it is akin to speaking into a microphone while wearing headphones to hear yourself. You don’t get that experience when you’re on a call with ANC on, although the silence is somewhat alien if you’re used to hearing lots of noise around you all the time when on a call, and if the environment you are in is loud, we’ve found your voice is cancelled out, according to the person at the other end. Our advice is not to use ANC when talking to people on the phone.
Music sounds better with you
5 hours battery life / 4.5 hours with ANC enabled
Custom high dynamic range amplifier
Custom high-excursion Apple driver
We’ve tested the new AirPods Pro with a range of music, from dance tracks from Ministry of Sound, to the Interstellar soundtrack by Hans Zimmer, and everything inbetween from Pink Floyd to Billie Eilish.
Pocket-lint
What is clear is that the AirPods Pro are considerably better than the standard AirPods and certainly hold their own compared to the competition.
The originals focus of the AirPods was on ease of use rather than amazing sound quality, whereas the AirPods Pro address that latter point espeically when you factor in support for Apple’s Spatial Audio technology that’s now rolled out on Apple Music and is available on both the AirPods Pro and AirPods Max and will be coming to more apps and services later this year with iOS 15.
Following the launch we’ve been listening to a number of tracks in Spatial Audio. Some tracks are clearly enhanced by the new experience, while others are barely noticeable. When you do notice it though, the results are amazing. The best way we can describe it, is that It’s a bit like 4K on your TV. Some can see the changes instantly and refuse to watch anything else, while others will be more than happy with the HD footage and wonder what the fuss is about. Apple has big plans for Spatial Audio bringing it to everything from FaceTime calls to games. All that’s left is to see whether the industry embraces it and then runs with it. That’s where things will really start to get interesting.
The Spatial Audio feature also works with movies and that really sings when connected to an iPad or iPhone, especially when it’s been recorded in Dolby Atmos.
But you don’t need Spatial Audio to enjoy the AirPods Pros. They work perfect well in standard stereo whether that’s listening to music, watching a movie or TV show, or taking a voice call. Sure, the Pro doesn’t come as bass-focused as the PowerBeats Pro, for example, but still certainly delivers a decent sound for what they are. For many they will be more than good enough for commuting, especially once you factor in the ANC performance and when available Spatial Audio.
Best USB-C headphones for Android phones 2021
By Dan Grabham
·
Verdict
We are incredibly impressed with the ease of setup and quality of sound that the AirPods Pro deliver. Active noise-cancellation makes a huge difference to ambient noise, making these in-ears far more capable than the originals, and Spatial Audio enhances the music experience to the “next level”.
The Pro is more comfortable to wear and better sounding than we were expecting from Apple, too, given the previous AirPods experience.
But with Beats offering the Powerbeats Pro for a smidgen less cash, the AirPods Pro isn’t the only H1 chip-touting in-ear wireless headphones in town. They will be better if you want to be more “active” or are worried that the AirPods Pro will fall out – they shouldn’t but we also know that some people’s ears just aren’t suited to this type of headphone.
And falling out, or should we say taking out, is one of the big advantages here. Popping them in and out of our ears for the last two years has been easy, and if you make a lot of calls, that’s almost worth it on its own.
The ease of use and great sound, make this a great buy.
This article was originally published on 29 October 2019 and has been updated to reflect its full review status
Also consider
Pocket-lint
Beats Powerbeats Pro
squirrel_widget_148688
Like the sound of active noise-cancellation but want more bass and bigger sound? That’s where Beats comes into play, if you’re willing to pay the extra for the improved quality.
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Late on Monday night, Apple flipped the switch on two new features for its Apple Music subscription service: immersive Dolby Atmos spatial audio and lossless-quality streaming. It feels like the company is really only excited about one of them, though, and it’s not the latter.
Eddy Cue is Apple’s senior vice president of services and the person who oversees Apple Music. He didn’t mince words when he told Billboard that the sudden proliferation of lossless audio isn’t going to significantly evolve or change how we listen to music. “There’s no question it’s not going to be lossless,” he said when asked about what technologies will bring about the “next-gen” of music streaming. Cue firmly stands on the side of the crowd that argues most people can’t hear any difference between CD-quality or hi-res tracks and the AAC or MP3 files that’ve been filling their ears for so long now. He did acknowledge that the higher-bit rate tracks might matter to music lovers with particularly sharp hearing or premium audio equipment, but he was also direct about how niche that group is.
“The reality of lossless is: if you take 100 people and you take a stereo song in lossless and you take a song that’s been in Apple Music that’s compressed, I don’t know if it’s 99 or 98 can’t tell the difference.” Cue revealed that he has regularly done blind tests with the Apple Music team, and they confirm how rare it is for anyone to be able to consistently recognize lossless audio. “You can tell somebody, ‘Oh, you’re listening to a lossless [song],’ and they tell you, ‘Oh, wow. That sounds incredible.’ They’re just saying it because you told them it’s lossless and it sounds like the right thing to say, but you just can’t tell.”
If you go by the message that Cue and Apple are pushing, the Dolby Atmos-powered spatial audio feature is where the true breakthrough is. “When I look at Dolby Atmos, I think it’s going to do for music what HD did for television,” Cue said in the Billboard interview. And then he really went in:
“I think this is going to take over everything. It’s the way I want to listen to music when I’m in my car. It’s going to be the way I listen to music immediately with my AirPods. It’s going to be the way I listen to music in my house. In a way, it won’t feel very good when I’m listening to something that’s not Dolby Atmos because it’s so good. It’s like when I’m watching HD, it’s hard to go back.”
“This requires somebody who’s a sound engineer, and the artist to sit back and listen, and really make the right calls and what the right things to do are,” Cue told Billboard about mixing for spatial audio. “It’s a process that takes time, but it’s worth it.”
Problem is, with much of the Dolby Atmos content on Apple Music I’ve sampled so far, it doesn’t seem like everyone is making those right calls. It’s a hit-or-miss game of exploration, and songs that truly showcase the immersive potential of Atmos are more often the exception than the rule. In many cases, spatial audio tracks have an artificial wideness to them, unfamiliar placement of vocals and instrumentation, and just sound… off. Distant? Too reverb-y? Pick your preferred interpretation. Yet, Apple is so confident in Apple Music’s spatial audio that essentially overnight it became the default for millions of customers listening with AirPods.
But let’s back up a bit.
What is spatial audio supposed to do for music?
In a word, it’s all about immersion. Here’s how Cue hyped it: “it makes you feel like you’re onstage, standing right next to the singer, it makes you feel like you might be to the left of the drummer, to the right of the guitarist.” On its website, Apple says “music created in Dolby Atmos is freed from channels, allowing artists to place individual sounds all around you.”
Whoa there. Like all of Apple’s senior executives, Eddy Cue knows how to pitch something. But if you slap on your AirPods and expect to feel like an invisible person standing in the middle of a recording session, you’ll probably be underwhelmed.
When it’s done well, spatial audio does indeed give music a unique feeling of breadth. And it’s in a different way than a high-end pair of headphones might bring the most out of a stereo track’s soundstage. In particular, vocals often have a very distinct placement in the mix and cut through better than on traditional stereo tracks. That’s the most consistent advantage I’ve noticed with spatial audio music. But because of the different mix, you’ll very likely also pick up on details or sounds that ordinarily don’t stand out in the regular version of a song. And on the best Atmos tracks, everything has a lot more room to breathe.
But when engineers don’t put much care into an Atmos mix, it really shows. Sometimes giving everything so much space can take the impact or crunch out of guitars. Or other aspects of a track fall flat. I’ve included just a few samples below where the spatial audio version of a song is an obvious downgrade from the original. But there are many, and when you hit a few in a row where the vocals sound weird or something’s amiss, it can detract from the listening experience.
How many songs are available in Dolby Atmos spatial audio?
Apple currently isn’t providing a hard number, and is instead only saying that “thousands” of tracks are available with spatial audio at launch, with many more on the way.
How do I know when I’m hearing spatial audio on Apple Music?
You’ll see either a Dolby Atmos or Dolby Audio logo appear on the Now Playing screen beneath the album artwork.
A few random, good examples of Apple Music spatial audio:
“Don’t Know Why” by Norah Jones— This is one where I nearly buy into Cue’s description. Close your eyes, and you could almost transport yourself to a small club where the spread of this mix feels like a live version of Jones’ career-making hit. Stereo doesn’t take you to the same place.
“Paparazzi” by Lady Gaga — With a very surround sound-esque mix (skip to the second verse at 1:23 for the best examples), this is a great example of an old pop hit with an excellent spatial audio treatment.
“Boom” by Tiësto and Sevenn — A fun, lively track that does give off a nice surround sound effect.
“Black Skinhead” by Kanye West — This one is another good example of the “beyond two-channel” openness that spatial audio can provide.
A whole lot of jazz and classical — If there are two genres that naturally lend themselves to spatial audio and Dolby Atmos, it’s jazz and classical. Orchestras can sound truly massive, and it’s a captivating way to listen to jazz ensembles where it’s easy to hear even the quietest notes.
Other examples where it just sounds wrong
“Buddy Holly” by Weezer — The guitars basically lose all life in this mix and vocals dominate the entire thing in a way that just sounds strange and bad. And yet this song is on Apple’s own playlist meant to showcase Atmos.
“Follow Your Arrow” by Kacey Musgraves— Apple mentioned Musgraves as an artist to check out with Atmos. And while her most recent album Golden Hour sounds… fine… her breakthrough Same Trailer Different Park is pretty rough in spatial audio format. “Follow Your Arrow” seems to lose most of its background vocals, and even the main guitar melody is way quieter here than in the regular mix. It almost comes off like a demo recording.
“What’s My Age Again?” by Blink 182 — This is another song that Apple seems to think makes spatial audio sound good, but I’d strongly argue it does the opposite. Mark Hoppus’ muffled vocals legitimately sound like they were recorded through a phone.
“Alex Chilton” by The Replacements — Is that enough cowbell for you during the chorus? It overpowers everything else and makes me feel like I’m in the old Christopher Walken SNL skit, only with a different band.
I’m curious to hear some of your examples that sound great, and others you’ve found that are a disappointment with Atmos.
Do I need AirPods or Beats headphones for Apple Music spatial audio?
No. Apple Music’s spatial audio works on:
All headphones and earbuds
The loudspeakers on supported iPhones, iPads, and Macs
Apple TV 4K
If you set Dolby Atmos to “always on” in settings for the Music app, you’ll see a pop-up advising that it probably won’t sound right on all speakers, but Apple Music will still play the spatial audio mix if that’s your preference. In fact, Apple clearly states that you can “listen on any headphones” to Apple Music’s spatial audio.
How do I turn off Apple Music spatial audio if I don’t like it?
iOS and iPadOS: Go to Settings > Music > Dolby Atmos (under “audio”), and there you can pick between automatic, always on, and off.
If you’d prefer to leave Atmos on by default but want to quickly switch to a regular stereo version of any song that’s playing, just pull down Control Center, press and hold on the volume slider, and toggle off spatial audio. Apple Music will switch over to stereo. If you turn spatial audio back on, you’ll return to the Atmos track.
macOS: In the Music app, open preferences and select the “playback” tab. Halfway down you’ll see an “audio quality” section and Atmos is in there. You get the same three automatic / always on / off choices as on Apple’s mobile devices.
Head tracking is coming to Apple Music spatial audio this fall
Apple Music’s spatial audio is currently much different than the spatial audio experience you get when watching movies and TV shows on an iPhone or iPad. For videos, Apple includes a head-tracking feature that adjusts the sound placement as you turn your head to keep it anchored to the source device. This trick is exclusive to the AirPods lineup, but it’s a very impressive effect.
Apple has said it plans to bring this sound-changes-as-you-turn-your-head feature to Apple Music in the fall — likely with iOS 15.
Is this just a gimmick?
That’s really the question that remains to be answered. But Apple isn’t alone in hyping multidimensional music (nor is it the first to do so). Amazon, Tidal, and others are also increasingly pushing the experience. I recently reviewed an extravagant Sony speaker that positions 360-degree audio as its main selling point.
Are people like Eddy Cue and Zane Lowe right in their insistence that spatial audio will revolutionize how we consume music in the same way that stereo did? Or is this a gimmick like 3D TVs that will fizzle out and be forgotten within a few years? If it’s going to be the former, it’ll take a lot of work and creativity from artists, producers, and mixers to make this format shine.
Because right now, for every Atmos spatial audio track that’s a standout on Apple Music, there are a dozen others that are quite meh — or worse than in stereo. We’re still in the early days, and now that Atmos is officially part of Apple Music, hopefully the consistency will improve. When you do find those mixes where they totally nail it, it’s something special.
Apple should make it easier to switch between Atmos and stereo
But in the meantime, and to avoid turning people off from Atmos when they land on a lackluster mix, Apple Music should make it easier to go back and forth between spatial audio and regular stereo tracks on a per-song basis. One solution could be displaying a choice when you tap on the Dolby icon, similar to the “go to artist / album” options that appear when tapping on an artist’s name.
You won’t find many true wireless earbuds that come close to matching the all-round brilliance of the Sony WF-1000XM4
For
Clear, detailed bass performance
Wonderful sense of musicality
Comfortable
Class-leading battery life
Against
Missing Sony’s Multipoint feature
Lacking ear tip choices
No aptX HD
How do you improve on arguably the best all-round true wireless earbuds on the market? Sony has gone back to the drawing board and designed a brand new pair that look nothing like their predecessors – and the result is the WF-1000XM4. Is it a brave move? Definitely. Crazy? Quite possibly.
Sony’s WF-1000X range of wireless earbuds has been a dominant force in this category over the last few years, and the last pair to emerge from its stable, the WF-1000XM3, are two-time What Hi-Fi? Award-winners.
But instead of making the odd refinement here and there, Sony’s engineers have gone to town on the WF-1000XM4 with an all-new design, a new charging case and a new audio processor. They have even found time to develop a new eartip material, which here is appearing on a pair of Sony earbuds for the first time. What could possibly go wrong?
Luckily for Sony, very little does. In fact, the WF-1000XM4 are one of the most feature-packed, user-friendly and sonically gifted pair of wireless earbuds we’ve tested.
Pricing
Unsurprisingly, the Sonys sit at the premium end of the market, coming in at £250 ($280, AU$500). That places them right in the firing line of other five-star rivals such as the Sennheiser Momentum True Wireless 2 (£279, $299, AU$499), Bose QuietComfort Earbuds (£249, $280, AU$399) and, of course, the Apple AirPods Pro, which at the time of writing range in price between £199 ($199, AU$300) and £249 ($249, AU$329).
Build
(Image credit: Sony)
Your initial contact with the WF-1000XM4 is a surprising one. Sony has ditched the usual glossy box for recycled packaging made from a special blend of paper. This makes for a more compact box (34 per cent smaller than the WF-1000XM3’s), and one that’s plastic-free. That’s great news for the environment, though it doesn’t really give off the vibe that you’ve just bought a pair of premium noise-cancelling headphones.
Sony WF-1000XM4 tech specs
(Image credit: Sony)
Bluetooth version 5.2
Noise-cancelling Yes
Battery life 8 hours (BT + ANC), 24 hours (total)
Voice control Google Assistant, Amazon Alexa
Finishes x2
Weight 7.3g (x2)
Once you’ve liberated the WF-1000XM4 from their packaging, you’re greeted by a small, black charging case. It’s smaller than the case that comes with the Bose Quiet Comfort Earbuds, and positively tiny (40 per cent smaller) compared with the charging case that comes with their predecessors.
The case charges via USB-C and also introduces wireless charging to the WF-1000X range for the first time – all you need is a compatible Qi charging pad. You can even battery share with compatible smartphones and piggyback off their power supply, too.
You shouldn’t have to worry too much about the battery life. Sony’s new buds might come with a smaller case, but the XM4’s battery life is actually up compared with the XM3. You now get eight hours of play from the earbuds with noise-cancelling and Bluetooth turned on, and Sony claims the case can supply a further 16 hours of charge. That places their battery life from a single charge above all major rivals. The AirPods Pro can only manage five hours, the Sennheiser Momentum True Wireless seven hours and the Bose QuietComfort Earbuds six hours. Turn off noise-cancelling and the Sony’s life is extended to 12 hours from a single charge and 24 hours with the case. A five-minute quick charge is good for one hour of playtime, too.
You can see the life remaining in both the buds and the case through Sony’s Headphones Connect app, which will also give you a reminder when the case drops below 30 per cent charge.
As with all wireless earbuds, battery life can vary due to a number of different factors, such as the quality of files you’re listening to, how hard the internal processor is working, and the volume you’re listening at. During our testing, we found the battery life consistently good enough to get us through a day of mixed use.
Comfort
(Image credit: Sony)
Flip open the magnetic case and you’ll see the all-new earbud design of the WF-1000XM4. Based on a combination of customer feedback about the XM3 and research about the human ear, Sony has settled on a rounder body that sits more inside the ear opening.
The matte finish on each earbud gives the headphones a premium feel, while the small accents around the microphone and sensor holes add a tiny splash of colour. Speaking of colour, the XM4 come in a choice of black or silver.
If you want your XM4 to double as sports or running headphones you’ll be pleased to know they boast an IPX4 rating, making them resistant to “splashing from any angle” – a big improvement on the old model.
Besides the new-look earpieces, the XM4 also have brand new eartips. Made from polyurethane, which feels like a cross between silicone and foam, Sony claims they help secure a tighter, more stable fit. The thousands of tiny bubbles in the tips are also supposed to help reduce and dissipate noise.
The only downside here is that you only get a single set of small, medium and large-sized tips to choose from. Sony says you will get years of use out of one pair, and naturally extra tips should be available to purchase if you need them.
We don’t have any major problems sliding the earbuds in and twisting them into place. If you are struggling for a seal, you can pinch the tips and slide them into your ear canal, until they expand. We find they sit snugly in your ear opening, but they are comfortable over longer listening sessions.
To make sure you have the perfect fit, Sony has introduced a new air-tightness test, accessible through its Headphones Connect app. The app fires out a test tone and reports back on whether or not you need to make any adjustments. It’s worth trying out, especially if you feel the sound is lacking bass or there is outside noise leaking in.
In fact, we’d recommend installing the Headphones Connect app when you first connect the XM4. It gives you direct access to all the key features and functions of the earbuds so you can choose which ones to enable and disable. It also helps you get set up for listening to music in Sony’s 360 Reality Audio format from compatible streaming services such as Tidal and Deezer.
Features
(Image credit: Sony)
The circular outer surface of each earpiece is a touchpad and, by using the Headphones Connect app, you can customise the functionality of each one. They can control volume and playback or switch between noise-cancelling and ambient sound modes through the usual combination of taps, presses and long holds – and the headphones are quick to respond to these actions. Switching between sound modes, changing volume and activating and deactivating features such as Quick Attention (which drops the volume of what you’re listening to, so you can have a quick conversation without having to remove the earbuds from your ears) happen with minimal fuss.
The Sony WF-1000XM4 borrow the Speak-to-Chat function that debuted in the WH-1000XM4 wireless headphones. This feature allows you to talk to someone while the earbuds are still in place and is triggered when you start talking. It works well, although as is the case with the over-ears, it’s only triggered a second or so after you start talking.
This slight delay can be frustrating, as can the tendency for the feature to be triggered by a cough or an impromptu karaoke session while sat at your desk. You can reduce the sensitivity of the feature, or you can turn it off completely and either use Quick Attention or remove an earbud completely (which pauses playback automatically).
On the inside of the XM4 is plenty of new technology. The earbuds feature an improved DAC and analogue amplifier and are powered by a new Integrated Processor V1. Sony claims it provides a clearer sound and even better noise-cancelling than their predecessor. The new model also gets Sony’s DSEE Extreme audio processor with Edge-AI, which we have already experienced in the WH-1000XM4 over-ear headphones, and is designed to upscale low-bitrate music files to near hi-res quality.
The 6mm driver used inside the XM4 is similar in size to the one used in the previous model, but it’s made from a new material and features a bigger magnet, which Sony claims helps improve sound quality and noise-cancelling, especially with certain low frequencies.
There’s no aptX HD support onboard, but the XM4 support Sony’s LDAC file format, which, streamed over Bluetooth from a compatible source, allows hi-res audio files up to 24-bit/96kHz to be transmitted at data rates of up to 990kbps.
(Image credit: Sony)
Sony has also aimed to deliver clearer call quality with new features, including beam-forming and the use of a bone conduction sensor that stops the mics from picking up distracting ambient sounds while you’re talking. There’s even an automatic wind noise reduction mode which attempts to cut out swirls of noise passing through the headset and into your ears.
All of this works with Sony’s Precise Voice Pickup technology, originally introduced in the WH-1000XM4. The net effect is an impressive call quality for a pair of wireless earbuds. The technologies all combine to do a solid job of dampening down outside noise and interference, especially for the person on the other end of the line.
The general level of noise-cancelling is excellent, especially for a pair of wireless earbuds. Not everyone likes that ‘vacuum’ feeling you get when it’s turned on, but it’s extremely effective through the Sonys and you’ll struggle to find better noise cancellation at this level.
Android users will be pleased to hear the Sonys are compatible with Fast Pair so you can get up and running with minimal fuss. You receive a battery notification pop-up on your smartphone when they power up and you can even track their location down using the Google Find My Device app.
Unfortunately, iOS users don’t get any such pairing perks, but all you need to do to start pairing is open the case and take the headphones out. It’s a shame Sony hasn’t carried across the ‘Multipoint’ feature enabled on the WH-1000XM4 over-ears. This allows you to connect the headphones to two different Bluetooth devices simultaneously, which can come in handy if you’re working on a laptop but still want to be connected to your phone. Here’s hoping it can be added at a later date.
In terms of stability, we use an Apple iPhone 12 and Macbook for the bulk of our testing and find the connection to be rock solid with no dropouts, even in more built-up areas.
Sound
(Image credit: Sony)
Before we get to the WF-1000XM4’s immense musicality and expressive dynamics, we should note the way the headphones handle bass. The quality of bass and the clarity of low frequencies is stunning. There’s such a fantastic level of detail on display that it makes rival headphones, such as the Bose QuietComfort Earbuds, sound congested in comparison.
We’re keen to hear how the earbuds handle one of our favourite bass-heavy test tracks, Massive Attack’s Angel – and we’re blown away by the confidence with which the song is dispatched. Every element of that pulsing bassline is precisely deployed and dripping in texture. It’s the clarity around the notes that really grabs you – it allows the WF-1000XM4 to communicate intricacies in the bass notes that other headphones struggle to uncover.
But it’s not a sound that purely favours low frequencies. There’s clarity across the board and a sense of rhythmic precision that allows the Sony’s to switch pace effortlessly. They sound as at home keeping up with, and succeeding in not being tripped up by, Radiohead’s 15 Step as they are dispatching the slow, deliberate swagger of Nina Simone’s Feeling Good.
Simone’s effortless vocal oozes class and sophistication, with every nuance in her delivery laid bare for the listener. Combine the emotion in her voice with the impact of the piano, percussion and wind section and the Sony’s create a captivating sound you can’t help but be swept away by.
If you were wondering whether the WF-1000XM4 would be a step up from the WF-1000XM3, we can confirm that they are. The newer model sounds more informative and uncovers more subtle detail. Bass notes are better defined and the overall sound is better balanced. Even the much-admired Sennheiser Momentum True Wireless 2 struggle to match the Sonys for tonality and refinement.
You can hear that refinement and natural tone shine through as we listen to Ludovico Einaudi’s Experience. From the delicate, deliberate piano strokes at the start to the soaring strings at the song’s climax, the Sonys bring the individual personalities to life and mix them together like the ingredients of a fine cocktail.
Verdict
We’re quite taken by the Sony WF-1000XM4. Given all the design changes and new features in these wireless earbuds, it must have been a real challenge to get them right. But Sony has absolutely nailed it. The headphones deliver a satisfying user experience, class-leading battery life, some of the best noise-cancelling we’ve heard in this category, and absolutely stunning sound quality. Put simply, this is a new benchmark for premium true wireless earbuds.
(Pocket-lint) – There’s no beating around the bush, the Sony WF-1000XM4 true wireless in-ears are exceptional for their price. And, while there are one or two competitors that offer slightly better sound quality, they are usually more expensive and cannot match these for adaptive noise-cancelling (ANC) tech.
Sony has taken an already excellent pair of ANC headphones – the WF-1000XM3 ‘buds, in this case – and improved almost every aspect, resulting in a class-leading product. Sure, some will likely bemoan Sony’s lack of support for Qualcomm’s aptX, but the XF-1000XM4 are still among the best all-round in-ears we’ve had through the test labs. Here’s why.
Design and comfort
Bluetooth 5.2 to each ear
Four NC microphones
Bone conduction sensor
Custom Polyurethane eartips
The first thing that’ll strikes you when unboxing the headphones from Sony’s new totally biodegradable packaging is just how much smaller the charging case is from the previous generation. It is, according to Sony, 40 per cent smaller – and it notices.
To be fair, the last model has one of the biggest charging cases in the business – especially when compared to its near competitors – so the latest brings the XM4s into line. However, its lightness and pocket-sized girth are both very welcome.
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As is the Qi charging and the matte plastic finish. The latter makes it nice to hold in the hand and will disguise minor scratches, we expect. The former wireless charging feature will make it much easier to just plonk the case onto a mat, ready to pick it up again when you are about to leave the house.
The ‘buds themselves are smaller than before – 10 per cent, it is claimed – with a familiar bulbous design, matte finish, some neat design touches such as small gold elements (rose gold on the black version we tested).
There are two noise-cancelling mics on each ‘bud, one behind the (almost) Mod symbol on the front, another behind a little slot facing rearwards. Both are accented by gold.
Three different sized eartips are included in the box, which are made from soft polyurethane rather than the usual silicone. This allows for a more comfortable, secure fit that also aids noise isolation greatly.
You do have to fiddle around with each ‘bud a bit more than with most brands in order to get it into the right position in your ear, but the audio quality merits it. The Sony Headphones Connect app even helps each ‘bud analyse the shape of your ears for even better audio personalisation.
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We were pleased to note that after a decent period of use these ‘buds were just as comfortable as they were at the start. That’s not something we could comparatively say about their predecessors.
They also stay in better during exercise. We haven’t worn them on a full run yet, but have aggressively used an exercise bike and jogged on the spot a few times to make sure they don’t wobble much. They are also IPX4 certified, so are sweat- and water-resistant.
Setting up the WF-1000XM4 earphones is a doddle. They support both Android and Windows’ easy pairing modes, while our iPhone found them instantly in the Bluetooth list. The Sony Headphones Connect app also found them straight away.
It is here that you get to customise just about every nuance, including the ANC modes, touch controls, and sound equaliser (EQ). Sony provides many more options than a lot of rivals we’ve tried, so you can spend a while tweaking all the options to suit you best. However, the defaults are generally decent too, if you don’t want to get bogged down in minutiae.
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The ‘buds themselves have touch options on each ear: noise cancelling/ambient sound controls on the left; play/pause on the right. Touch both at the same time for seven seconds and you can set them back into pairing mode.
These touch options can be changed in the app though, such as adding voice assistant activation or volume. Both Alexa and Google Assistant can be enabled by voice instead – with wake-word support – so you are probably best sticking to the original setup.
You will need to turn on Speak-to-Chat though, if you want to use it. This stops any playback as soon as you talk – handy for speaking to cabin crew on an aircraft, for example. And, you might want to adjust the Bluetooth connection too – if the priority on sound quality is causing too many dropouts.
DSSE Extreme is also available in the app on a slider. This is said to enhance standard audio – MP3/AAC – to a higher bitrate through artificial intelligence.
Sony’s tried and trusted ANCtech is on board too, of course, which is one of the last customisable options. Again, default will be perfect for most as it will assess the best sound mode based on your current location and circumstance – whether you are sitting, travelling, and so forth.
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We did find that we had to go into the app to force ANC on when we wanted to use it in the garden, for example, as it thought the ambience was tranquil enough – and we didn’t.
This generation of in-ears come with a new integrated V1 processor, which better handles ANC duties, you just have to make sure certain options are tuned to your own preferences first.
Sound performance and battery
Up to 24 hour battery life (8hr in buds, 16hrs in case)
Qi wireless charging
New integrated V1 processor
LDAN and Hi-Res Audio Wireless support
There are a number of reasons why the Sony WF-1000XM4 earbuds outperform their predecessors. A new 6mm driver with increased magnet volume, plus enhanced amplifier is one. A high compliance diaphragm is another. The latter is more flexible, so can reduce latency and therefore more accurately reproduce certain frequencies.
In short, these ‘buds sound great. We tested them mainly on an iPhone 12 Pro Max, which means we couldn’t feed them with lossless audio that way. However, we also ran a few lossless tracks over LDAC (which is Sony’s own high-res streaming codec – but nobody has any idea what the acronym means) on a supporting Android handset, so feel we got a good grip on their capabilities.
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The ‘buds are Hi-Res Audio Wireless capable and support LDAC themselves, although they do not come with support for Qualcomm aptX or any of its guises. As we’ve said above, that might irk some, but many handsets are LDAC-enabled these days and we’d imagine these will be used with lower bitrate tracks for the vast majority of the time anyway.
To that end, DSEE Extreme is provided. This is a newer version of Sony’s own AI-driven software. It essentially upscales lower quality audio to around CD quality – filling in the gaps as it imagines. It’s a bit like watching a Blu-ray on a decent 4K TV – it will look better, but don’t expect miracles.
Still, unless you are an audio purist, you will likely love the richness and grunt of these ‘buds. Even basic AAC versions of The Beatles’ She’s Leaving Home and Liam’s Gallagher’s Once exhibited great detail and staging, especially with DSEE Extreme activated. While the thumping bass hits in Elbow’s Dexter & Sinister grab you by the nethers.
That’s in either noise cancelling and ambient sound modes. Speaking of the former, the improvements made to the tech are quite impressive. ANC on in-ears has been somewhat hit-and-miss in the past, but the new implementation here is jaw-dropping at times.
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Considering how the world is right now, flying anywhere to test its prowess, even taking a train have been difficult, but we wore the ‘buds with ANC on while mowing the lawn as part of our tests. We didn’t hear the mower. At all. Some might think that dangerous, but it’s certainly staggering.
What’s more, the Bluetooth connection held up well. We’d like to find out how it would act when thousands of wireless technologies are all bouncing around and competing – on a packed London Tube concourse, say – but that’s not really feasible right now.
Battery life might be tested a little more then too. As it stands, Sony quotes eight hours for the ‘buds, a further 16 in the case, and that seems reasonable based on our experiences – if a little stingy compared to some competitors. We do love that addition of Qi wireless charging though – it makes life so much simpler.
Verdict
Sony has sure hit its stride now, first with the superb WH-1000XM4 over-ears, now followed-up by these exemplary WF-1000XM4 in-ears. There are so many new features in these true wireless earbuds that they’re even worth considering as an upgrade over the last generation – something that we rarely recommend.
Above all it’s the excellent audio performance and, in particular, active noise-cancelling (ANC) talents. Yes, we couldn’t really try them out in as many real-world settings we would usually wear ANC ‘buds in, but in homelife equivalent tests they hold up superbly.
So sony has done it again: it’s truly taken every tiny quibble anybody had with the XM3s, tweaking and improving along the way to make a class-leading pair of in-ears that will take some beating. The WF-1000XM4 are fairly pricey, of course, but we think worth every penny.
Also consider
Pocket-lint
Bose QuietComfort Earbuds
A very strong competitor in the active noise-cancelling game, offering similar sound isolation, comfort, and longevity for a very similar price. Talk about battle of the best!
(Pocket-lint) – The Ratchet & Clank series has been a PlayStation stalwart for almost two decades. But we’ve not had an original outing since Into the Nexus in 2013 – and that was on the PlayStation 3.
Yes, developer Insomniac Games remade the first game for PS4 in the shape of 2016’s Ratchet & Clank, but it has rather focused its attention on Sunset Overdrive and the superb Marvel’s Spider-Man games instead.
That’s why we’re thrilled to see the return of everyone’s favourite Lombax and his robot chum. And, thanks to the leap to PlayStation 5 proper, they have never looked – or arguably played – better.
Next-gen necessity
Insomniac cut its next-gen teeth on Marvel’s Spider-Man: Miles Morales, plus a dolled-up remaster of its predecessor, but Ratchet & Clank: Rift Apart is its first PS5 exclusive. That has given the studio free rein on a featureset of tools and talents only the latest in Sony’s kitbag can provide.
The entire premise of the game is only possible thanks to clever compression techniques and superfast SSD loading speeds. The graphics drip with ray-tracing and other wizardry from every pore. And the tricks afforded by the PS5’s DualSense controller are exploited to the max. In many respects, this is the first truly next-gen game on any console and has us salivating for what’s possible in the future.
We’re getting ahead of ourselves though. Technical bells and whistles aside, this is a Ratchet & Clank game through and through, so we’ll start there.
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Like most others in the series, this is essentially a shooter-meets-platformer with a keen sense of humour and stunning, Pixar-like visuals. It is split across a fair few planets and regions, each with their own puzzles, secrets, bosses and, in the case of some, open-world landscapes.
Favourite elements return, such as crazy, often hilarious weapons, hover boots, rail riding, the weapons shop (which is now in shape of Mrs Zurkon – an enemy in the 2016 remake), and plenty more besides – but there are some key differences too. Not least the fact you play as two Lombaxes this time around.
That’s because, after Dr Nefarious gets his hands on the oft-featured Dimensionator and accidentally opens up huge dimensional rifts, our eponymous heroes are split up. That leads Clank to meet with Rivet, a female Lombax who is new to the series, and Ratchet, to eventually hook-up with an alternative robot pal named Kit.
Sony Interactive Entertainment
This allows for missions to be split between them all – and provides variety in both gameplay and dialogue. You will often swap characters when choosing which mission to undertake from the navigation screen and likely not return until it is complete – certainly for the first part, anyway.
There are also other-dimensional versions of many recognisable friends and foes, to add extra weight and humour to the story. Certainly, as fans of the series, we loved the references and a few Easter Eggs. However, if you’re new to it, you’ll still get plenty from it – you might even end up seeking older outings elsewhere, such as on PlayStation Now.
Dimensionally speaking
Levels in the game will often require a lot of blasting, but are reasonably varied. Some are based on massive open areas that can be explored, a la the R&C remake, others tighter and largely on rails. One thing that ties them all together is the ability to jump through dimension portals to reach different areas in a zone.
Sony Interactive Entertainment
For example, a small rift might appear on an otherwise hard-to-reach patform, so you just focus at it, tap a button, then are instantly zipped over to that location. It certainly helps you get around a map during a battle, zipping through portals to keep ahead of enemies.
Traversing different dimensions is also used cleverly too, with one level in particular requiring you to hop between an existing, thriving world and a destroyed version in another dimension. By jumping between the two, you can get past barriers in one, or solve an otherwise impossible puzzle.
It is here where the PS5 exclusivity becomes obvious. Travelling through rifts or swapping between dimensions is instant – you certainy don’t notice any loading time, even when everything in the landscape has completely changed or you are on a totally new part of the map. Insomniac has previously said that this needs both the SSD and Sony’s clever loading shenanigans to work, and it’s easy to see why.
The DualSense controller is also a necessity for gunplay, as the game uses both haptic feedback and the adaptive triggers as effectively as Returnal (a very different game, but an amazing one – as we said in our review).
Not only do you feel every shot – with the gamepad’s speaker also utilised for some elements – you get different shot options on the right trigger. Press it down halfway and you get one weapon mode, pull it harder and the other activates. It takes a little getting used to, but is intuitive and immersive when you do.
So, so pretty
The last, obvious reason why this is a PS5-only game lies not in its gameplay but in its look. This is quite simply the most gorgeous next-gen game yet. Easily the best use of high dynamic range (HDR) that we’ve seen.
As with Miles Morales, the developer has provided three graphics modes: Performance, Performance RT, and Fidelity.
Sony Interactive Entertainment
The prettiest – Fidelity – runs at 30 frames-per-second (30fps) but is in 4K resolution with HDR and features ray-tracing, enhanced lighting, additional VFX, and increased scene density. This is the way we preferred to play, even with the lower frame rate. It looks incredible. The different worlds are bursting with details and creativity, so having the enhancements make it for us.
Performance RT keeps some of the options, such as ray-tracing, but drops the resolution and some of the effects in favour of 60fps. While, Performance mode offers 60fps with an increased resolution over the last, it ditches the ray-tracing entirely.
Whichever you opt for, the game is still a stunner. We played it on a 65-inch OLED telly, where the colours popped out of the screen so vividly, but we’d expect it’d look great whatever your TV or display tech. There are also so many instances of neon lighting in the game – not least cascading from your weapons – that it would even be a great reference test for a new HDR TV.
Sound is superb, too, especially the excellent voice acting. And the use of Sony’s 3D Audio tech is great if you have compatible headphones. The spacing in open-world segments is especially good.
Sony Interactive Entertainment
Indeed, our only minor quibbles with the game is that there is a fair amount of repetition in bog standard enemy types and, like with previous outings, it’s a little short.
Still, there are sub-quests on most of the worlds, and there is a decent enough challenge here, with some bosses that will take you multiple tries to defeat. Also, it’s refreshing to have a game that doesn’t take over your life for a month once in a while.
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Verdict
Rachet & Clank: Rift Apart is an excellent return for the franchise. It is steeped in invention and it wrings every ounce out of the PlayStation 5’s capabilities.
We’ll no doubt see more complex, even better-looking games over this generation of gaming, but considering we are still relatively at the beginning, this is highly impressive stuff.
Also, don’t be fooled into thinking that, because it looks like a cartoon, this is a kids game. Like previous R&C adventures, there’s plenty to enjoy here for young and old, with ample challenge too.
Throwing new playable characters into the mix is also inspired, because it both breaks up the narrative and gameplay a touch. There’s a fair amount of repetition, which is par for the course, but apart from that, this is top-level stuff.
Let’s just hope it doesn’t take Insomniac eight years and a new console generation to deliver another slice. But then when it’s this good, it’s worth the wait.
Ratchet & Clank: Rift Apart takes great advantage of the PlayStation 5’s SSD and offers creative third-person combat, but a second playable character doesn’t do much to change the formula.
For
+ Fast level changes enabled by SSD
+ Grinding levels are particularly fun
+ Creative weapons for hectic combat
+ Plenty of collectibles and side quests
Against
– Goes overboard with DualSense haptic features
– Ratchet and Rivet have no gameplay differences at all
– Glitch puzzles don’t connect
When the PlayStation 5 arrived about six months ago, we were promised a number of improvements under the hood that would change the way people play games. One of the big ones was that consoles finally moved to solid state drives for faster loading.
Ratchet & Clank: Rift Apart
Available on: PlayStation 5
Developer: Insomniac Games Publisher: Sony Interactive Entertainment
Genre: Platformer, Action, Third-person shooter ESRB Rating: E10+ Release Date: June 11, 2021 Price: $69.99 ($79.99 for Deluxe Edition)
Ratchet & Clank: Rift Apart takes full advantage of that upgrade. The latest game in the franchise, exclusive to Sony’s latest console, throws the heroes through multiple dimensions, often at a moment’s notice to show off that speed. But it also expresses it through chaotic combat and some zany platforming.
Still, it slows down just enough to examine the main characters’ thoughts and vulnerabilities when it comes to heroism, their own confidence and which questions about your life are worth asking, making for some strong character moments amidst all the havoc.
Talk About Distant Relatives…
Rift Apart serves as a sequel to 2013’s Ratchet & Clank: Into the Nexus, but, at the beginning, at least, it serves as a fine entry point to the series. The game finds Ratchet, the last Lombax in the galaxy, and his robot compatriot Clank, being celebrated for most of their major achievements (cue the history lesson for newer players). And Clank has a surprise for Ratchet — he has repaired the Dimensionator, a device that opens rifts to other, well, dimensions, in the hopes that Ratchet can find one where the Lombaxes still exist and meet his family.
Ratchet is hesitant about this. Life is good. He’s getting a parade. Why mess up a good thing with questions he’s always had at the back of his mind? But there’s a bit less of a choice when their enemy, Dr. Nefarious, steals it to find a dimension in which he’s always the victor.
(Image credit: Tom’s Hardware)
The chase to stop Dr. Nefarious leads Ratchet and Clank to a dimension where a small group of freedom fighters are led by Rivet, the last Lombax in the galaxy (that is, in her dimension). The game switches between Ratchet and Rivet, both of whom suddenly are partnered with someone very different, but also very familiar.
From there, the game hops between planets and dimensions, some of which are alternate versions of levels from earlier games in the franchise.
Rivet and Ratchet are similar beyond their heritage. Both are quick to take action and like to crack jokes. Rivet is a bit more competent than her interdimensional counterpart, but she’s not used to working with others, robot or otherwise. Of course, meeting each other turns everything Ratchet and Rivet know upside down, and leads to alternate realities that flip what you may know about the franchise, too, with references to other games in the franchise taking a bit of turn.
Much of the game, especially its quieter moments, focuses on introspection and self doubt. Ratchet isn’t sure how long he can keep the hero thing up. Rivet isn’t sure if she can overcome her loner tendencies. Heck, even Dr. Nefarious’ plan is based on the fact that he feels he’s not good enough in his own dimension.
Two Different Lombaxes, Same Crazy Gameplay
Rift Apart is a single-player third-person shooter with heavy platformer elements. Much of the game consists of sections in which you transverse different planets on foot. But to get to your goals, you’ll also wall-run, jump between platforms, stick to magnetic platforms, grind on rails and race with rocket boots.
The other big part is combat, where waves of enemies attack as you fight them off with increasingly bizarre weapons that you obtain from Mrs. Zurkon, a robot with enough southern charm that I’m sure she has a good cornbread recipe. These include the executor (a double barrelled shotgun), the lightning rod (yeah, it shoots lightning) and my personal favorite, the topiary sprinkler, which temporarily stuns enemies in place and turns them into landscaping. The game is heavy on the gunplay, but the violence is cartoony, making it more than appropriate for its E10+ rated target audience.
By time you’re done with the game, you’ll be shooting rockets, bullets, lasers and have tons of little minions at your command. As you move on and get more powerful, the combat shines more and more, with wackier weapons and higher stakes. Additionally, certain battle and puzzle areas have rifts that you can “tether” to in order to pull yourself around the stage, instantly loading the new area around you. It’s disorienting and a bit gimmicky, but ultimately provides some novelty in each part of the game.
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(Image credit: Sony Interactive Entertainment)
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(Image credit: Tom’s Hardware)
Beyond their species, Ratchet and Rivet are incredibly similar in that no matter which of them you’re playing as, the game feels exactly the same. The two share gadgets, controls and even weapons. Buy something as Rivet, and Ratchet will have it next time. On the one hand, this makes the game seamless. You never lose something you just saved up for because you switched to another character. But it also creates a bit of sameness when you’re playing as a new, interesting character.
Most of the missions contribute directly to moving the story forward, but there are some that branch out to encourage you to explore, and those tend to reward you with collectibles. Throughout the game, there are two other types of puzzles. The first, which largely features Clank, requires you to explore a level and use a number of powers (speed, antigravity, etc.) to move alternate-dimension “possibilities” throughout the level. It doesn’t make huge amounts of sense to the story, but they’re a fun way to put the spotlight on Clank. The others are worse. Early in the game, Ratchet meets a spider-like robot named Glitch, who can enter computers and fight viruses. Glitch has a small side-story, but it ultimately doesn’t affect the main narrative, and I found that it pulled too much attention from the plot that I actually cared about.
My other personal favorites, which I completed as soon as I could, were a series of combat challenges that provided tons of in-game unlockables and money for further upgrades. These fights have unique gimmicks, like randomizing weapons or changing gravity.
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(Image credit: Tom’s Hardware)
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(Image credit: Tom’s Hardware)
In combat, switching between weapons requires opening a menu and picking new arms. This has the effect of pausing fights often, and varieties of enemies, like some with shields that require attacks that don’t hit from the front, encourage you to switch. I personally liked the little pauses, as they gave me time to plan, but the game also lets you assign four weapons to the D-pad for quick switching. However, those four didn’t seem to serve enough, as I ultimately ended up using the larger menu.
All-in-all, my initial playthrough lasted about 16 hours per the PlayStation 5’s clock. (I don’t believe you should necessarily judge a game’s worthiness by it’s length.) That was with some, but not all, of the optional quests, nor did I find every single collectible or piece of armor, so there’s still plenty to go back for. For those looking to squeeze every bit out of their $70, there’s also a Challenge Mode that makes the game more difficult, provides new weapon upgrades and lets you earn far more bolts, the in-game currency.
I suspect some diehard fans will wish that the game were longer, though the story doesn’t necessarily require it.
The PS5’s SSD Makes the Difference
Rift Apart is the first major exclusive in the back-half of the PlayStation 5’s first year, and, in some ways, takes the most advantage of the system’s new features, both to its advantage and to its detriment.
We reviewed the game using pre-release code from Sony. For this review, we played primarily in Fidelity mode, which promises a stable 30 frames per second with ray tracing and other enhanced effects using a high quality image derived from a 4K base. We had less time with the day one patch, which adds Performance RT mode, which aims for 60 frames per second with fewer effects and a lower resolution; and performance mode, which eliminates more effects for a higher resolution 60 fps. It also fixed a few bugs from our first playthrough.
Perhaps unsurprisingly, the game, with its mix of colorful, lush environments and the darker, grimmer environments was beautiful. There’s some nice fur effects, primarily in cutscenes. And no matter how much was happening on screen during the most intense battles (and they got pretty crazy towards the end), the game was stable.
Ultimately, though, I preferred playing at the higher frame rates. The 60 fps made combat and platforming puzzles, like pocket dimensions, look and feel smoother to play. It simply felt right to be playing it that way. Unless you’re gaming on a 4K TV, you shouldn’t even consider Fidelity. Even then, I think the sacrifice for frames is worth it.
But the star of the show here is the SSD. For most of the game, it feels as if there’s no loading at all, which is surprising when you’re pulled through multiple, complicated environments in just a few seconds as Ratchet, Rivet and Clank travel through rifts. This happens for the first time fairly early in the game, and it was clear then that the SSD, not the graphics, is the most important reason for a console owner to upgrade. Sure, PC gamers have had SSDs for years. But now we’re starting to see what happens when a game is designed around it.
(Image credit: Tom’s Hardware)
This wasn’t complete, though. There were a few sections where it felt like the game was slowing down to enable the game to load, which put those parts at odds with the rest of the game’s tempo. On one mid-game planet, I got into an elevator several times, and waited the entire ride while the characters had small-talk. After so much speed, everything, for a little bit, screeched to a halt until those rides were done.
Sure, when we saw Spider-Man: Miles Morales (and Spider-Man Remastered), it was surprising how quickly one could fast-travel around New York City. But here, it’s not just a feature – it’s integral to the story. That’s really cool.
The DualSense controller was a real mixed bag. While I was initially wowed — and sometimes continue to be — by the controller’s enhanced rumble and trigger features, it sometimes felt like Insomniac lacked restraint when using them. Every single effect in the game does something with the rumble, as does each gun. During combat, it’s a cacophony in your hands, as the controller vibrates and the triggers lock and unlock almost constantly. I did, however, get some joy out of the built-in speaker as I used the ricochet, a button which lets you fire and then bounce ammo off enemies. It made an arcade pinball sound that burst from the controller, which gave me a laugh.
You can turn down the rumble by switching to a “functional” mode that provides gameplay cues and nothing else, or shut it off altogether. This sometimes felt like it went too far in the other direction, as not every action you would expect provides feedback.
Bottom Line
Ratchet & Clank: Rift Apart is a chaotic thrill ride through space and, well, space in other dimensions. While the storytelling is not especially deep, it’s enough to make for a game that enables some creative platforming setpieces and intense combat.
(Image credit: Sony Interactive Entertainment)
Even when the game dips into the dark world of a facist leader, has heroes hide from tortured monsters or simply asks them to be introspective about their flaws, its soul is ultimately zany and upbeat. With the exception of a handful of side-puzzles, it’s a tight, fast-moving game with room for the cast to shine.
While the game doesn’t always feel like it’s taking full advantage of the PS5’s power, the near-instant changes in scenery powered by a game designed by an SSD is exciting. The developers would be well-served by being more conservative with the DualSense controller, though. The game has a lot of rumble, and sometimes it’s too much to be immersive.
Those looking for a moderately-sized family-friendly romp that takes advantage of the latest PlayStation’s features will likely enjoy Rift Apart and all of the bonkers experiences it provides.
We’ve had not one, but two big Apple Spatial Audio announcements during today’s 2021 WWDC keynote. The first is that Dolby Atmos Spatial Audio for Apple Music is rolling out now.
The second is that Apple is bringing spatial audio to tvOS and MacOS. This means you’ll be able to use your AirPods Pro and AirPods Max wireless headphones to take advantage of surround sound and 3D audio from the new Apple TV 4K and any Macs equipped with Apple’s high-tech M1 chip. You’ll also be able to experience dynamic head tracking which means that the sound always stays relative to the screen, even when you move your head.
Apple said that Spatial Audio for tvOS and MacOS will arrive “this Fall”, so we’re assuming it will be September, around the same it’s expected that Apple’s new iOSv15 will roll out.
MORE:
Apple spatial audio: what is it? How do you get it?
Apple Music’s spatial audio with Dolby Atmos launches today
Apple Music lossless: which devices will (and won’t) play lossless and Spatial Audio
Amazon’s midsize Echo Show 8 is the best smart display in its lineup. It is larger and more capable than the diminutive Echo Show 5, while costing far less than the larger Echo Show 10. The Echo Show 8 is handy for watching video, listening to music, getting weather reports, controlling smart home devices, making video calls, and more.
So it’s no surprise that the second-generation model, which sells for $129.99 and is shipping this week, doesn’t rock the boat. It’s largely the same smart display as before but with slightly faster performance and an improved video calling camera. It has the same display, same design, same speaker system, and the same set of features as its predecessor.
Improving the video calling capabilities makes sense, given how much video calling has been done while everyone was (and for large part, still is) stuck at home during the pandemic. The new Echo Show 8 borrows the 13-megapixel camera from the flagship Echo Show 10, replacing the pathetically low-resolution, mediocre 1-megapixel camera that was in the first gen. As before, there’s a mechanical privacy shutter you can slide in front of the camera to both disable it and block its view.
The improvements in video calls are immediately noticeable. You can use the Echo Show for video calls to the Alexa app on phones or other Echo Show devices, or you can join Skype, Zoom, or Amazon’s Chime calls from it. In my testing with Zoom calls, the image is much sharper and more pleasant to look at, with better color and much more detail.
The Echo Show 8 doesn’t have the motorized base on the bigger Echo Show 10, but it still can automatically frame you and follow you around as you move thanks to its high resolution. The autoframing isn’t as good as the new iPad Pro’s Center Stage feature, and it moves much slower and tends to constantly reframe itself, like you’re the star of a Ken Burns documentary. But the Echo Show is a $130 smart display, not an $800 tablet, so it’s hard to complain, so long as you stay relatively still during video calls. If you don’t want the camera to autoframe, you can say “Alexa follow off” to disable it.
You can use the Echo Show 8 for Zoom calls, but it works best for one-on-one calling, not groups
That said, there’s still plenty of room for improvement. The new camera has a much wider-angle lens, which allows it to do those auto-framing tricks. But it can also cause the image to look distorted at times and isn’t always very flattering.
The Echo Show 8’s eight-inch display works fine for one-on-one video calls, but it’s too small to comfortably use for a group call. If you are on a call where someone is sharing a screen, it’s hard to see what’s happening, and while you can view messages posted to a chat, you can’t type any out yourself on the Echo Show’s display. Joining Zoom calls can be done entirely by voice, but it’s much easier to call up the Zoom app on the Echo Show by saying “Alexa, open Zoom” and then typing in a meeting code or starting one yourself from the touchscreen.
I also observed an echo of my own voice in several Zoom calls, both with individuals and group calls, which made it hard to use the Echo Show for anything work related. Other parties on the line also said there was an annoying echo of my voice whenever I unmuted my mic. Amazon says it is looking into this problem and I will update this review if a solution is found.
The new processor in the second-gen Echo Show 8 does make the smart display respond quicker to taps and swipes than its predecessor. It’s not a huge difference, and Amazon’s software still has a long way to go to make it more useful via touch, but when compared side by side, the new one opens menus and screens quicker.
Elsewhere, the changes are either nonexistent or very minor. The wedge-shaped design is exactly the same; you can still get it in the same white or black color options as before. (Annoyingly, both colors come with a white power cord.)
The display has the same 1280 x 800 pixel resolution, but now it can adjust its color and white balance to the lighting in the room. Like the new processor, the difference isn’t huge, but the new model is slightly warmer and more pleasant to look at when the adaptive color setting is enabled. I’m still more impressed by the ability of Google’s Nest Hub to mimic the look of a printed photo by adapting its color to the lighting in the room.
The dual-driver speaker system is unchanged and it’s as loud and full sounding as the first gen. The Echo Show 8 can fill a small room with sound surprisingly well, and its bass response is better than expected. At times, it might even sound too bassy, but you can adjust the EQ in the Alexa app easily enough to compensate for that. Unfortunately, Amazon dropped the 3.5mm output jack on the back of the new model, so it’s not possible to hook it up to a larger speaker system with a wire.
You can watch Amazon Prime Video, Hulu, and Netflix on the Echo Show, but Disney Plus, Peacock, HBO Max, and many other streaming services aren’t available. YouTube is available through the Echo Show’s Silk browser, but it’s not as seamless of an experience as available on Google’s Nest Hub, and you can’t easily cast videos from your phone to the Show’s screen.
The Echo Show 8’s software is the same as what debuted on the Echo Show 10 earlier this year. Amazon is starting to make better use of the display, with split screens that show weather data alongside news, but it still feels very much like a voice-first device. Though the new Echo Show 8 is faster, it’s still a chore to tap through all of the screens to get to the smart home controls, and managing what shows up in the rotating information screens on the display requires a lot of menu diving and trial and error to get what you want. (And even then, you’ll still probably get nagged about new Alexa Skills or other Amazon promotions you don’t care about.)
There are of course many, many other things you can do with an Echo Show smart display — far too many to cover in the scope of this review. The things that I find it most useful for are weather reports, managing a grocery shopping list, and viewing the video feed from a doorbell or security camera.
The Echo Show 8’s main competition is the second-gen Nest Hub from Google, which has a slightly smaller seven-inch screen and costs $30 less. The Nest Hub supports more video streaming services, has a more useful touch interface, can track your sleep, and works with the Google Assistant instead of Alexa. But it doesn’t have a camera for video calling, its single speaker is blown away by the Echo Show’s dual speakers, and it’s much slower and laggy to use. Ultimately, the choice comes down to how you want to use the smart display and which smart assistant you prefer.
Facebook’s 10-inch Portal is another option if you plan to use a smart display primarily for video calling, but it loses to the Echo Show 8 in effectively every other aspect.
If you do prefer Alexa, the new Echo Show 8 remains the best smart display to get, as it has a big enough screen to read from across the room, doubles as a great speaker, and comes with a host of camera-related features, including the aforementioned video calling and security camera features. It’s also over $100 less than the motorized Echo Show 10, while still providing many of the same features and capabilities. And given Amazon’s frequent discounts, you’ll likely be able to find the new Echo Show 8 for less than its sticker price quite often.
The new Echo Show 8 doesn’t redefine what a smart display can be, but it’s still a very good virtual assistant with a screen for an attractive price.
Apple has announced the next version of macOS at its WWDC keynote, after showing off iOS, iPadOS, and watchOS.
The company is promising even more interoperability with iOS, including the ability to share a keyboard and mouse between a Mac and an iPad. The feature is similar to the one found on Logitech keyboards and mice, letting you seemingly move your cursor and files between a Mac and iPad. Macs are also getting the ability to act as an AirPlay target, allowing you to use your Mac’s screen and sound to play content from your iPhone and iPad (or even other Macs if you’re feeling spicy).
Apple has also announced that Macs would be getting its Shortcuts automation application.
In addition, Safari is getting a bit of a redesign, with tab groups and a cleaner toolbar.
A look at the new Safari interface.
This is the first version of macOS that’s being announced after the rise of Apple’s M1-powered Macs, the first of which was announced in November 2020. Apple’s plan is to have its entire line switch over to its custom chips by the end of next year, so it seems that macOS Monterey will be the operating system shepherding Macs through much of the rest of the transition.
Spatial audio is coming to Apple Music today, Apple has confirmed at its WWDC (Apple Worldwide Developers Conference).
Last month, Apple announced that Dolby Atmos-powered spatial audio tracks would soon be coming to its music streaming service alongside CD-quality and hi-res lossless audio for no additional cost, and while we patiently await a release date for lossless quality, “thousands” of spatial audio songs will be available to Apple Music subscribers from today.
Spatial audio with Dolby Atmos is designed to deliver surround sound and 3D audio via your headphones; to put “multidimensional sound and clarity” between your ears. This experience works with Apple’s AirPods, as well as any headphones. That’s right, Apple Music’s spatial audio tracks will play on all headphones (and here’s how to enable it).
Unlike the spatial audio feature that initially launched as part of iOS 14 and iPadOS 14, the new Spatial Audio with Dolby Atmos for Apple Music doesn’t require the sensors in Apple’s own headphones to enable head-tracking (which helps position the sound accurately). The implementation for Apple Music of spatial audio is sound-only, and this opens it up to more devices. For example, while the Apple TV can’t output spatial audio to a pair of headphones (a feature we’d very much like to see added in the future), it will support Dolby Atmos tracks from Apple Music when connected to an Atmos-capable sound system.
So keep your eyes peeled for today’s update, Apple Music subscribers, because this is sure to be a freebie worth checking out. And when will lossless audio quality follow? Very soon, we expect. Last week, some users reported seeing lossless and hi-res icons appear on the service, suggesting its arrival is imminent.
MORE:
With Apple and Amazon offering lossless streaming for no extra charge, what now for their rivals?
Apple Music lossless: which devices will play lossless and Spatial Audio
Apple spatial audio: what is it? How do you get it?
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