Recognising the convenience of Bluetooth and the fact that not every hi-fi system – especially those of the vintage variety – has it integrated, McIntosh has launched a device that brings it onboard any home audio set-up.
The MB20 Bluetooth transceiver is a two-way device that can both receive and transmit audio wirelessly. In receiver mode, the MB20 can accept audio from a phone or any other Bluetooth source for playback through the system it’s connected to. In transmitter mode, the transceiver can send music playing on a system, including from vinyl and CDs, to a pair of Bluetooth headphones or speakers. A back-panel switch changes the device to the required function.
The MB20 supports the latest Bluetooth 5 codec, as well as aptX HD, aptX Low Latency and AAC for higher quality transmission between compatible devices. It can connect to systems via a range of outputs and inputs, which include RCA, XLR, optical and coaxial connections.
(Image credit: McIntosh)
As a receiver, it utilises a 32-bit/192kHz DAC (if used with an external DAC, its output is fixed at 96kHz). And when in transmitter mode, it uses an ADC with a 110dB signal-to-noise ratio.
The Class 1-supporting MB20 can transmit audio within a 150-foot (45.7m) range – 10x greater than a typical Class 2 Bluetooth device – and features an external antenna designed to maximise its range.
The McIntosh MB20 is available to order now, priced £649 ($500), with shipping expected this month for the United States and Canada, and in June for the UK.
MORE:
10 affordable ways to upgrade your hi-fi system
How to add a streamer to your hi-fi system
15 of the best turntable accessories for better vinyl sound
(Pocket-lint) – Despite being TCL’s current flagship 4K TV, the C81 costs under a grand in its 65-inch format. A price which becomes all the more eye-catching when a scan of its features uncovers such high-end attractions as QLED Quantum Dot colour technology, support for both of the premium Dolby Vision and HDR10+ high dynamic range formats, and even a built-in soundbar designed by Japanese audio brand Onkyo.
The TCL C81 therefore has all the ingredients it should need to be just the sort of hit with consumers that might put it on the TV map. But what are the compromises to keep that cost down?
Design
3x HDMI 2.0, 2x USB ports
LAN & Wi-Fi Multimedia
The C81 looks unusually premium for an affordable 65-inch TV. Its metal frame delivers robust build quality for starters, and it’s remarkably slender across much of its rear panel. Almost OLED-thin, in fact. Even the inevitable ‘chunky bit’ housing the processors, image drivers, connections and a bass speaker is pretty elegantly integrated.
The most striking thing about the C81’s design, though, hangs unusually boldly from the screen’s bottom edge: a built-in soundbar. As well as benefiting aesthetically from a mild blue tint and adding too rather than detracting from the TV’s aesthetic appeal, this forward-facing speaker enclosure looks big enough to potentially do some serious audio damage.
Pocket-lint
Unusually the TCL C81 sits on three feet rather than two. Two of these sit under the left and right corners facing forwards, while the third faces backwards from the middle of the bottom edge, counterbalancing the other two.
While the C81’s key connectivity of three HDMIs and two USBs falls short of the most high-end TVs, it’s good enough for its money. Gamers should note, though, that none of the HDMI ports can handle the 4K at 120Hz or variable refresh rate (VRR) features now being served up by the PS5, Xbox Series X/S and latest generation of Nvidia and AMD graphics cards. However, a provided game preset does get input lag down to a very respectable sub-17ms.
What is ALLM and VRR? TV gaming tech explained
Picture Features
HDR Support: HDR10, HLG, Dolby Vision, HDR10+
Processing engine: Clear Motion and IPQ 2.0 Engine
Affordable 65-inch TVs tend to struggle with high dynamic range (HDR) sources, thanks to a lack of brightness colour range. The C81, however, is having none of that.
For starters, it can produce a peak brightness of 540 nits – that’s substantially higher than the figures possible with most LCD TVs in its price range. It also boasts Quantum Dot colour technology, which can produce wider and more accurate colour gamuts, but is still typically associated with more expensive TVs than this TCL.
Pocket-lint
It further bolsters its HDR credentials by supporting both of the Dolby Vision and HDR10+ formats. These improve on the industry standard HDR10 system by providing extra scene-by-scene picture information, usually resulting in more dynamic-looking pictures. Most TVs only support one or other of these (or sometimes neither). Given that there’s plenty of content out there that’s only available in one or other of these formats, the C81’s format-neutral stance is very welcome.
The TCL C81 uses a VA rather than IPS LCD panel type. This bodes well, since experience shows that VA panels typically produce significantly better contrast than IPS ones, even though it means less wide viewing angles are plausible.
Less promising, however, is the C81’s use of edge-based lighting. Direct lighting – i.e. where LEDs are placed directly behind the screen – typically provides better contrast, especially on screens as large as 65 inches.
However, a Micro Dimming feature raises hopes of some localised light control that might help enhance contrast. In fact, though, this feature merely refers to a system that breaks the image down into small sections for more accurate analysis.
Smart Features
Smart System: Android TV 9.0
TCL has turned to Google’s Android TV platform for the C81’s smart features. It’s version 9.0, meaning it benefits from improved stability and responsiveness, as well as enjoying the Android platform’s huge app support (backed up by Freeview Play to provide all the UK’s main terrestrial broadcaster catch up services).
As usual, using Android TV brings with it built-in Google Chromecast support, as well as the Google Assistant voice recognition system. There’s even a mic built into the TV’s main bodywork.
Pocket-lint
The full-screen Android TV interface, though, continues to feel a bit old-school and cluttered – especially given how few customisation options it offers. Android still doesn’t feel as clever as some rival platforms, especially when it comes to providing intelligent viewing recommendations based on viewing habit analysis.
At the time of writing there’s no support on the C81 for Apple TV app or Apple AirPlay.
The 65C815K handily ships with two remote controls: a long, thin but still comfortable to hold ‘regular’ one; and a smaller, stripped back ‘smart’ one. Either works perfectly well, though most people will likely gravitate towards the smart remote after initial setup.
Picture Quality
The TCL C81 certainly stands out from the crowd. Out of the box its HDR pictures blaze off the screen with a level of brightness and, especially, colour intensity that just isn’t supposed to happen in this price bracket.
In fact, the richness of its colours leaves many way more expensive TVs looking flat and muted by comparison. Here for once, it seems, is an affordable TV that really can unlock the joys of the wide colour gamuts and volumes associated with HDR sources.
TCL
It doesn’t take long, though, before something starts to feel a bit off about the C81’s full-on colours: it starts to look overly aggressive rather than delivering a genuinely helpful, measured application of all the colour horsepower QLED technology has clearly put at the C81’s disposal.
The boldest tones regularly look over-saturated, for instance, standing out unnaturally from the rest of the image. The QLED colours push brightness and saturation so hard that subtle shading gets lost in all the histrionics. Some shades – including skin tones – look pretty unnatural as well.
Fortunately, you can tame the C81’s most gaudy out-of-the-box HDR instincts. The best fix is to try and feed the set as much Dolby Vision or HDR10+ content as possible. The extra picture information supplied by these two HDR formats has a dramatic effect, reining in the TV’s excesses and balancing the tonal range to create a far more immersive, even-looking image. Colours don’t hit the same blistering extremes that they do with HDR10, but they’re still unusually vibrant for such an affordable LCD TV. With bright Dolby Vision and HDR10+ scenes, at least, the C81 can look really very good.
This suggests that the C81’s HDR10 problems are down to issues with its tone mapping engine – the processing it uses to map HDR to its screen capabilities. There are, though, settings that can at least calm the crazy default HDR10 images down.
Pocket-lint
Using the Movie or Low Power presets rather than the default one is a good start. But even with the relatively restrained settings of these presets it’s a good idea to also turn off the Dynamic Contrast and Black Stretch options, since whenever anything’s left in play that might enhance the dynamic range things tend to go off the rails again.
Brightness, too, plays a big part in how well the C81 holds up with HDR10 content. Only with the brightness level reduced by around a quarter from the default 540 nit level do the picture’s excesses really melt away. Which is a pity, of course, since with that much light removed from the picture, colours look less punchy, and the images start to look more typical of the ‘normal’ affordable TV market.
There’s another issue with C81’s pictures that proves a more stubborn one to address: backlight clouding.
It’s always difficult for edge-lit TVs to control their light evenly across large screens – and the 65C815K proves this point. A number of pronounced areas of light inconsistency are routinely visible during dark scenes – a situation not helped by how they’re not restricted to the image’s edges.
The extent to which the backlight clouding distracts depends to some extent on ambient light levels. In bright rooms it’s much less likely to be a major distraction than it is in dark rooms. But even the most casual users will likely want to dim the lights for a movie night from time to time, and when they do, as noted previously, there isn’t any setting in the TV’s menus that really fixes the clouding issue really satisfactorily.
Pocket-lint
Despite these highlighted issues, with the right content and preset selection, the TCL C81 can deliver good images. As noted, Dolby Vision and HDR10+ images look vibrant and dynamic, plus baseline black levels can actually look pretty respectable for an edge-lit TV too – though ironically this fact arguably exaggerates the impact of the clouding problems.
While motion can cause a little softness to creep into the image, the TV’s native sharpness with relatively static 4K images is also very good. And finally, even though the C81’s processing engine is rather hit and miss, it scores a solid hit when it comes to upscaling HD sources to the screen’s native 4K resolution.
Sound Quality
Working with Onkyo on the C81’s audio has paid off handsomely. The distinctive integrated soundbar proves to be powerful and expressive, casting sound a surprising distance left, right and forward of the screen.
Pocket-lint
The directness and scale of the sound is backed up by good dynamic range, too, so that punchy, tight bass is able to sit in effective opposition to crisp, clean treble details. High frequency sounds appear largely free of harshness, too, even at high volumes.
There is a limit to the available bass though, so don’t expect the rear-mounted subwoofer to deliver the same sort of rumble depths you’d expect from a good external soundbar. Heavy basslines can cause a little unwanted humming on occasion too, and voices sometimes sound slightly detached from the onscreen action. Overall, though, the C81’s sound is way above the affordable TV norm.
Verdict
At first glance the TCL C81 looks like it might rewrite the affordable LCD TV rulebook. Its QLED colours are explosively rich and dynamic for its price point, and it’s bright enough to give HDR real impact. It pushes the boat out sonically, too, with its impressive Onkyo-designed speaker system.
Unfortunately, closer examination uncovers some clouding issues from the edge-illumination, while many presets are overly punchy when it comes to colour and finesse. It’s a common issue at this price, really, and that’s the compromise.
Still, there are times when – with the right content and/or presets selected – that pictures can look pretty good. Find Dolby Vison or HDR10+ content and this is where the TCL finds its groove. But otherwise the C81 is a bit too out of control and high maintenance to deserve a whole-hearted recommendation.
Also consider
LG 65NANO906
A new power management system that counteracts most of the contrast issues associated with the 65NANO906’s IPS panel type, together with LG’s excellent Nanocell colour technology, results in LG’s most effective LCD TV to date. Though as with the 65C815K, it’s better suited to bright than dark rooms. score
In a new support document on its website, Apple dives a little deeper into the details around the upcoming launch of lossless audio on Apple Music.
Apple now says that both the HomePod and HomePod Mini will support lossless audio after a future software update. That’ll be good news to people who’ve invested in one or a pair of Apple’s smart speakers. Two HomePods grouped in stereo playing a lossless source? Yeah, that’s going to sound wonderful. Apple isn’t yet giving any timetable for when this software update will be released, however.
The document also clarifies that the Apple TV 4K will only support standard lossless audio when the ALAC files become available in June. Apple has said that in most cases, the “Hi-Res Lossless” tier will require external devices like a USB DAC.
Apple uses the document to tout its “commitment” to providing customers with the best possible listening experience. It talks up both AAC — claiming that the format has become “virtually indistinguishable from the original studio recording” as encoding methods have evolved — and its Apple Digital Masters initiative. I continue to think that Apple is much more excited about spatial audio and Dolby Atmos mixes coming to Apple Music than anything to do with lossless itself.
The document also reiterates what Apple told The Verge earlier this week in regards to the AirPods Max: when listening to audio via the Lightning-to-3.5mm cable, the company says it’ll sound fantastic, but it won’t technically be “lossless” due to an analog to digital conversion that occurs in the cable. Apple again confirms that lossless quality will be exclusive to Apple Music:
Can I redownload my iTunes purchases in lossless?
If you subscribe to Apple Music, you can redownload music in lossless only from the Apple Music catalog.
The straightforward answer to the question as written is really a flat “no,” but obviously Apple wants to nudge people towards its subscription service. Apple Music will offer over 20 million songs in lossless quality at launch in June, and that total will reach over 75 million by the end of 2021.
(Pocket-lint) – Make a list of things the world is crying out for. How far up your list does ‘another pair of true wireless in-ear headphones’ come? The answer may well be ‘not very’.
However, at least LG’s Tone Free HBS-FN7 aren’t just another ‘me-too!’ by-the-numbers attempt to steal market share from the likes of Apple’s AirPods Pro.
The HBS-FN7 have a feature or two that sets them apart from the majority, including ultraviolet (UV) cleaning. So while the world is all too familiar with products like this, might it find room in its heart for these LGs?
Design
Black or white finish
Weigh: 5.6g per earbud
Included charging/self-cleaning case
The wireless earbud arrangement pioneered by Apple, whereby a stem drops from the wearer’s ear like some hi-tec jewellery, is a bit of a ‘Marmite’ proposition, isn’t it? So whether you dig it or despise it, that’s the route LG has gone down with the HBS-FN7. The stem is pretty short here, mind you, though that’s counterbalanced (literally) by the fairly bulbous in-ear area of the FN7 design.
Best true wireless earbuds: Wire-free Bluetooth audio bests
At less than 6g per earbud, though, the LG are undeniably easy to get comfortable and to wear – even for hours on end. They’re provided with a selection of hypoallergenic eartips, too, so even the uncommonly sized ear should have no trouble finding a decent fit.
Pocket-lint
The options for earbud finish – it’s shiny white or shiny black – look good until they’re dulled by fingerprints. And that happens pretty much immediately.
The brilliantly compact charging case – which is less than 3cm deep, less than 6cm in diameter, and a mere 39g – is in a much more successful (and slightly grippy) matte finish. Fingerprints, therefore, are less of a bother here.
Best USB-C headphones for Android phones 2021
By Dan Grabham
·
You won’t be staggered to learn, given that it’s LG we’re discussing here, that build quality is beyond criticism. Keep them safely in their case when you’re not using them and the HBS-FN7 will last a long time.
Features
Bluetooth 5.0
IPX4 splash resistance
Ultraviolet (UV) cleaning
Sound tuned by Meridian
Active noise-cancellation (ANC)
Battery capacity: 390mAh (case), 55mAh (per ‘bud)
Having promised an unusual feature or two, that may as well be where we start – with LG’s UVnano technology. Pop the earbuds into their charging case, close the lid and wait for the little blue LED to illuminate – this indicates the case is scrubbing the earbuds free of bacteria using UV light. And in these ‘hand-sanitiser everywhere you turn’ times, that can only be a good thing, right?
Pocket-lint
Elsewhere, it’s business slightly more as usual. The FN7 use Bluetooth 5.0 for wireless connectivity, and are compatible with SBC and AAC codecs. That’s more than good enough to access some hi-res audio from a top-tier streaming service subscription, but it would have been nice to see aptX Low Latency too – after all, we all like to consume a bit of video content on the move, don’t we?
The sound, once it’s on board, is delivered by a couple of 6mm neodymium full-range drivers. And as another differentiator, LG has opted to give the FN7 a bit of hardcore hi-fi credibility by continuing its partnership with UK specialist Meridian. So there are some Meridian-derived equalisation (EQ) settings to be investigated.
There’s active noise-cancellation (ANC) included here too, and while that’s hardly a revolutionary feature it’s not especially common down in lower price brackets. There are a couple of intensities to choose from – ‘high’ and ‘low’, naturally – as well as an ‘ambient sound’ setting that boosts external noise to keep you orientated. Noise-cancelling can be switched off, too.
Pocket-lint
Battery life is an OK-we-suppose 5 hours from the earbuds (with noise-cancelling switched on), with another three full charges available from the charging case. So 20 hours, all in, is plenty long enough to go between charges, but there are plenty of alternative earbuds that will go for longer. For recharging there’s USB-C or wireless Qi charging is available.
Interface
Raised touch-surface
Control app
There’s the tiniest little bump at the top of each FN7 stem – it’s a capacitive surface, and it proves extremely responsive. So you can instruct the earbuds to ‘play/pause’, ‘volume up/down’, ‘skip forwards/backwards’, ‘cycle through noise-cancelling options’ and ‘answer/end/reject call’ really easily and with confidence.
Pocket-lint
Alternatively, you can always avail yourself of LG’s impressive Tone Free control app. It’s very nicely rendered, is unswervingly stable and reliable, and has quite a breadth of functionality. Rearrange the way the touch-controls respond, explore Meridian’s EQ presets (‘natural’, ‘treble boost’, ‘bass boost’ and ‘immersive’ are pretty self-explanatory), control noise-cancelling intensity, or save a couple of EQ presets you’ve defined yourself.
It’s here where you can update software too, and where you can provoke the earbuds into emitting a piercing chirrup. ‘Find my earbuds’, that last feature is called – and they’d have to be quite a long way away for you to fail to hear them calling to you.
Sound quality
As far as sound quality is concerned, what the HBS-FN7 do well they do very well indeed. Where they’re found wanting, though, they fall down quite heavily.
Pocket-lint
On the plus side, set the EQ to ‘natural’ and the balance of the sound is very nicely judged. The low frequencies have weight but plenty of momentum too – so a chunky tune like The Bug’s Poison Dart hits more than hard enough, but doesn’t get bogged down by its own heft.
The feverish vocal in the midrange of the same tune is detailed, packed with character and enjoys a lot of breathing space too, and as a consequence there are real powers of communication on display here.
And the top of the frequency range has ample crunch but doesn’t get particularly hard, even if you like to listen at oppressive volumes.
The integration of the whole frequency range is smoothly achieved, too, so there’s convincing unity to the sound – nothing is overstated or underplayed. (Of course, mess with the EQs and you can undermine all of this good work. The choice, as always, is yours.)
The soundstage upon which all this happens is properly laid out and coherent. There’s more than enough space available for each individual strand of the recording to be identified, but that’s not at the expense of unity or integration – there’s proper confidence to the way the FN7 stage a song.
Pocket-lint
What there isn’t much of, though, is dynamism or attack. The LG just can’t summon the reserve to put much distance between the quietest and the loudest parts of a recording, and neither can these ‘buds shine much of a spotlight on the little harmonic variations that are so important to giving the listener the complete picture. Attack, of which in normal circumstances The Bug is far from short of, is of the mildest, politest type. And anyone who knows this recording knows ‘polite’ isn’t really what it’s aiming for.
The active noise-cancelling is only a qualified success, too. Set to ‘high’ it undoubtedly takes quite a lot of external noise out of the equation – but it introduces a slight-but-definite hiss at the bottom of the noise-floor as it does so. Set it to ‘low’ and it may as well be set to ‘off’.
Verdict
We go out as we came in: by pointing out that you’re spoiled for choice where products of this type are concerned.
The LG HBS-FN7 have some real strengths, no doubt about it – the balance of their audio reproduction, the quality of their construction and the excellence of their control app, for instance, as well as the reassurance of their self-cleaning technology.
But if the reason you’re buying earbuds is to get as complete an account of the music you like as your budget will allow, they come up fractionally short. Still, the UV cleaning technology is undoubtedly a special attraction.
Also consider
Pocket-lint
Sony WF-1000XM3
For a little less than the cost of the LG, Sony will sell you equally adept (and more attacking) sound, much better noise-cancelling and a different, but equally odd, physical form. You’ll have to clean the bacteria off them manually, mind you…
Today we are looking at three peripherals from TecWare – the EXO Elite gaming mouse, Q5 gaming headset and the Phantom mechanical keyboard. Let’s see if three is the magic number, or if three is a crowd, by diving into the specs and features for each of these products. Are they worth your hard earned cash? Let’s find out!
Watch via our Vimeo channel (below) or over on YouTube at 2160p HERE
Q5 Gaming Headset
Specifications:
Type : Stereo Headset
Connector : USB 2.0 (Virtual 7.1)
Weight Without Cable : 320 g
Controller : Inline
Software : EQ, Effect, 7.1, Mic, LED
Speaker Diameter : 40 mm
Impedance : 32 Ω
Frequency Response : 20 Hz – 20,000 Hz
Sensitivity : 98 dB ± 4 dB @ 1khz
Max. Power 100 mW
Volume Control : Via Inline Controller
MICROPHONE SPECIFICATIONS
Direction : Omnidirectional
Impedance : 2.2 kΩ
Frequency Response : 100 Hz – 10,000 Hz
Sensitivity : -40±4 dBV
Microphone Mute : Via Inline Controller
Detachable Microphone : Yes
Flexible Microphone: Yes
Windscreen: Yes
You can purchase the Q5 Gaming Headset for £54.99 from Amazon HERE!
You can purchase the EXO Elite Gaming Mouse for £54.99 from Amazon HERE!
Pros
Solid build quality.
Lightweight.
Spare glide pads provided.
Low LOD.
Good value for money.
Cons
Not overly unique.
Braided cable is quite stiff.
Phantom Mechanical Keyboard
Specifications:
Dimensions: 361.5 x 133.5 x 40.1 mm
Weight: 0.95kg
Rated Voltage: 5.0V / 300mA
Switch Lifespan: 50 million keystrokes
Cable Length: 1.8m Braided USB cable
Frame: Black Plastic Body / Gunmetal Alloy Backplate
Switch Type: Mechanical Outemu Brown Switches
Circuit Board: FR-4 Fibreglass PCB
SMD LEDs
USB
Double-shot ABS Keycaps
You can purchase the Phantom Mechanical Keyboard for £59.99 from Amazon HERE!
Pros
Good build quality.
Nice detailing.
Strong RGB.
Great value for money.
Cons
ABS Keycaps attract grease and get shiny quickly.
Individual software apps is slightly inconvenient.
Discuss on our Facebook page HERE.
KitGuru says: Considering the price of each individual item, I think you are getting your money’s worth here. We’re not absolutely blown away by any of the products, but TecWare has three solid peripherals on its hands.
It might be time to put away the popcorn. Phoronix today reported that Linux developer Greg Kroah-Hartman reverted 37 patches associated with the University of Minnesota (UMN), which he banned from contributing to the kernel in April. This came via a pull request to Linux 5.13 Release Candidate 3 (5.13-rc3) submitted on Thursday.
“The majority here is the fallout of the umn.edu re-review of all prior submissions,” Kroah-Hartman said in the pull request for these changes. “That resulted in a bunch of reverts along with the ‘correct’ changes made, such that there is no regression of any of the potential fixes that were made by those individuals. I would like to thank the over 80 different developers who helped with the review and fixes for this mess.”
UMN was banned from contributing to the Linux kernel in April following two research projects — one into “hypocrite commits” and one the researchers said was meant to “automatically identify bugs introduced by other patches (not from us)”—that drew ire from the Linux developer community. The Linux Foundation Technical Advisory Board (TAB) ended up reviewing 435 contributions associated with UMN.
TAB released the findings of that review two weeks ago. The final tally showed that many of UMN’s contributions were made in good faith: 349 contributions were “found to be correct,” 39 were “found to be incorrect and in need of fixing” and the remaining 47 were essentially deemed irrelevant. But it still made it clear that UMN would have to make changes if it wanted to regain the Linux community’s trust.
Those changes include a more thorough review process for proposed research projects and the addition of an experienced Linux developer who could stop contentious projects from “getting beyond the idea stage.” UMN’s Department of Computer Science & Engineering acknowledged TAB’s report, but it doesn’t appear to have clarified its response to these issues beyond that brief statement.
Phoronix said the changes included in Kroah-Hartman’s pull request affect the Advanced Linux Sound Architecture, networking features and other aspects of the Linux kernel. More information about scope of the changes are in the message accompanying the pull request.
Linux 5.13-rc3 should be available via The Linux Kernel Archives soon; 5.13 proper is expected to debut this summer.
Google’s Pixel range of smartphones looks set for a major refresh. Not only will Google bring back a high-end model missing from last year’s line-up (instead of ‘XL’ it should be called the Pixel 6 Pro), it’s also giving it a curved OLED screen.
That’s according to new renders that come courtesy of reliable leaker OnLeaks (via digit.in). They show the Pixel 6 Pro sporting a curved, 6.67in OLED screen, along with the first triple camera array in Pixel history. There’s no word on what refresh rate the OLED panel will have, but this being a high-end model, we would expect 90Hz or 120Hz.
The cameras include a wide-angle snapper, a periscope telephoto camera and one unknown camera, all arranged next to an LED flash. They are lined up horizontally across the upper rear of the Pixel 6, which is another change for the range. The colour strip across the top is also a new design element.
Top and bottom speakers should provide stereo sound when watching in landscape, while wireless charging should come as standard, as it did on the Pixel 5. And the Pixel 6 and 6 Pro could be the first phones powered by Google’s own chips – the search giant is rumoured to be working on an SoC (system on a chip) codenamed Whitechapel. Controlling both the hardware and Android software on the phone would ape Apple’s approach to its iPhones, and give Google greater control, which could lead to gains in performance and battery life.
Other renders from OnLeaks and @91Mobiles show the Pixel 6 looking like a smaller version of the 6 Pro, but with a flat screen instead of curved.
(Image credit: OnLeaks/@91Mobiles)
The Pixel 6 will have a dual camera set-up instead of a triple, and its screen is smaller – 6.4in to the Pro’s 6.67in. But it has the same wireless charging and in-display fingerprint scanner. This squares with previous Pixel 6 renders, which suggests this latest leak is on the money.
We’re expecting an official announcement sometime in the autumn/fall, but we’ll keep you up to date with all the latest Pixel 6 news, leaks and rumours as they emerge over the coming weeks.
MORE:
Read all about it! Google Pixel 6: release date, leaks and all of the news
Check out the competition: Best Android phones for all budgets
OS agnostic? These are the best smartphones for music and movies
Cambridge’s Award-winning recipe has been refined to include app support and extra sonic clarity and detail
For
Extra ounce of dynamic expression
Great clarity for the level
Slick app support
Against
No noise-cancelling
When Cambridge Audio announced a new model in its inaugural and two-time What Hi-Fi? Award-winning Melomania line-up, we heaved a collective sigh of relief. The Melomania 1 Plus (or Melomania 1+) promise the same look and feel of their decorated older sibling, the original Melomania 1, but with additional app support, customisable EQ settings and the British audio firm’s innovative High-Performance Audio Mode.
There’s a new colourway, too – gone is the ‘stone’ grey hue we lovingly dubbed ‘NHS Grey’. Here, the upgrades are hard to spot to the naked eye, but then again, beauty is usually in the detail. The pricing hasn’t changed, with the Melomania 1 Plus launching at the now-traditional £120 ($140, AU$185).
So how good do they sound, and are they worth upgrading to?
Build and comfort
(Image credit: Cambridge Audio)
The fresh white finish of our Melomania 1 Plus charging case sample (also available in black) is a matte affair and a solid upgrade on its predecessor. It feels cool, tactile, more pebble-like and means that fingerprint smudges no longer collect on the perfectly sized case.
Cambridge Audio Melomania 1 Plus tech specs
(Image credit: Cambridge Audio)
Bluetooth version 5.0
Finishes x2
Battery life Up to 45 hours (low power)
Dimensions 2.7 x 1.5cm
Weight 5.6g (each)
The five-strong row of LEDs to indicate battery life remains, just below the snappy flip-top lid. The ‘L’ and ‘R’ on each earpiece, underneath the tiny LED light on each, are now written in electric blue lettering. You now get a USB-C fast charging port, too.
Although multiple ear tips were promised to ensure a secure fit, what Cambridge has done is double up on its standard small, medium and large offerings, so you now get two sets of each rather than one.
There are also two sets of medium and large ‘memory foam’ options, but curiously no small option. The memory foam tips are only supplied in black, too – the regular tips are white – which spoils the ice-white aesthetic somewhat.
The bullet-shaped buds are practically identical in build to the Melomania 1 – each weighs the same 4.6g, boasts IPX5 certification against rain and sweat, houses a 5.8mm graphene-enhanced driver and boasts Bluetooth 5.0 connectivity with aptX and AAC codec support.
Features
(Image credit: Cambridge Audio)
The Melomania 1 Plus boast up to nine hours of battery life on a single charge plus four extra charges from the case, which adds up to an impressive 45 hours of total playtime when in Low Power mode. In the default High-Performance mode, you’ll get seven hours from a charge or 35 hours in total courtesy of four more blasts from the case, which is still highly competitive.
Pairing is easy using the handy quick start guide. Only one earpiece needs to be paired on your device; the second bud (labelled ‘Handset’) will simply request a connection to it – and that only needs to be done once. During our tests, the connection between both units and our device remains secure and snag-free.
Possibly the biggest upgrade with this new iteration is support for the free Melomania app, which is now considerably more stable than it used to be. With it comes the ability to customise the EQ settings yourself or pick from six presets, check the battery level of each earbud, locate misplaced earbuds on a map, and receive firmware updates.
Touch controls here involve pressing the circular button on each bud and we find these intuitive and useful. Holding down the right one increases volume, while holding down the left lowers it – simple and effective. A single press of either earpiece starts or pauses playback, two skips forward a track (right earbud) or back a song (left earbud), and three presses of the right bud calls up Siri on our iPhone – although note that they can also access the Google Assistant.
These controls are so reliable that we rarely dig out our smartphone when testing them in transit. That should be a given, but it hasn’t always been our experience when testing competing buds at this price.
Cambridge has advised wearers to position the earpieces so that the recessed circle within the circular top surface of the driver housing is at its lowest point so that the MEMS mic in each bud can perform to its fullest. We do so and are able to enjoy clear voice calls.
The good news is that with low power mode deployed, you’ll get a performance that is on a par with the originals.
Sound
(Image credit: Cambridge Audio)
Switching back to High-Performance Audio and with all EQ levels unaltered, we’re treated to an impactful and expansive presentation of Kate Bush’s And Dream Of Sheep (a Tidal Master file). The keys feel three-dimensional in our left ear as Bush’s vocal soars through the frequencies centrally, backed by samples of seagulls, pared-back guitar picking, wind instruments and spoken word. When the brooding storm builds, the Melomania 1 Plus deliver it dutifully and with remarkable clarity for this level. This is a small but definite improvement on their older sibling for layering and detail.
Instruments such as the slinking bass, Wurlitzer and saxophone at the outset of Beck’s Debra are organised with precision and given an extra few yards of space within the mix, too. The low-level, call-to-action vocal before the verse is often lost in muddier bass registers of lesser headphones, but not here. Beck’s distinctive voice is emotive and held masterfully in check even as the intensity builds. Through the mids and treble, we’re aware of the step-up in terms of clarity and refinement over the original Melos.
Through heavier tracks such as Eminem’s Stan, the teeming rain sounds natural at the window as Stan’s scrawl cuts through with clarity, underpinned by an accurate and regimented bassline. There are marginal gains to be had over the originals in terms of the dynamic build too. The leading edges of notes are marginally cleaner in the updated set of in-ears, as demonstrated by the initial synth strings in Dr Dre’s Forget About Dre.
In our review of the five-star Panasonic RZ-S500W, we said that in direct comparison, the Cambridge product suffered marginally for detail. That balance is now redressed with the Melomania 1 Plus. Whether you prefer the Panasonic proposition over the Melomanias will likely come down to the former’s noise-cancelling or teardrop design, neither of which feature in the Cambridges. But for an engaging, detailed, expansive listen, the Melomania 1 Plus are very much back in the running for best at this level.
Verdict
Cambridge’s compact, fuss-free and affordable design was a hit with us the first time around in 2019. The addition of a slicker paint-job, app support for EQ customisation and the step-up in sonic detail and refinement – without the anticipated price hike – only makes us want to heap extra praise upon the new Melomania 1 Plus.
While the original Melomania 1 can now be had for a significant discount, we’d still point you towards this updated model. There’s no noise-cancelling onboard, but those who don’t need shouldn’t hesitate to add these latest Melomanias to their shortlist.
(Pocket-lint) – Your computer’s internal speakers aren’t really supposed to perform very well. They’re the thing that always gets pushed aside to make way for better processors, more efficient fans, and sleeker designs. So if you’re often watching videos or listening to music on your computer, it’s a great idea to go for some external speakers.
The sound will be so much bigger so you’ll actually be able to understand what people are saying. No, people really don’t sound so tinny in real life.
As with most other speaker systems, there’s a wide variety to choose from in terms of cost and design. You can get the classic two speaker pod design that fits nicely on either side of your computer. Then there’s the soundbar design that works well with desktops unless you have an alternative space for them around your laptop. For that full bass sound, you can go for a subwoofer too.
Our guide to the best computer speakers to buy today
Creative
Creative Pebble 2.0 USB-Powered Desktop Speakers
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We really like the subtle styling of the Creative Pebble 2.0 USB-Powered Desktop Speakers. The black rounded casing and exposed copper driver make a nice distinction from the standard rectangle and mesh speakers you so often get.
It’s USB-powered, so no long cables looking for a wall socket needed. And it’s simple. You just have a volume knob and no complicated adjustments to get good sound.
ELEGIANT
ELEGIANT 10W RGB Desktop Speakers
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Computers can be quite drab, so for those that want to brighten up their desks, the ELEGIANT 10W RGB Desktop Speakers can provide that colour.
It’s got both wired and Bluetooth compatibility, and two 5W drivers pushing out a peak of 200W. That makes for a decent sound for sure. There’s a focus on bringing through both the highs and lows, so you get a nice, deep bass rumble.
Razer
Razer Nommo Chroma Computer Speakers
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These are such cool looking speakers that pack way more of a punch than you’d expect. The Razer Nommo Chroma Computer Speakers are made to bring out the clarity and breadth of the sound of games and movies.
The Custom 3-inch Woven Glass Fiber Drivers and rear-facing bass ports are the sources of all that great sound. And they even have LED lights under their bases for that dash of colour.
Cyber Acoustics
Cyber Acoustics CA-3602FFP 2.1 Speaker Sound System
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Sometimes you just need to feel that bass rumble at your feet, you know? And nothing will deliver that like a dedicated subwoofer. So bring back the noughties, because this three-piece Cyber Acoustics CA-3602FFP 2.1 Speaker Sound System hits hard.
Each speaker has two 2-inch drivers and combined with the 5.25-inch subwoofer, you get 62 watts peak power and 30 watts RMS. And there’s a neat Desktop Control Pod with the controls and a couple of extra AUX inputs.
Sanyun
Sanyun SW102 Computer Speakers
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For a small, unintrusive speaker set, check out the Sanyun SW102 Computer Speakers.
Two 5W drivers power these little cones, and they’re positioned to deliver 3D sound, so don’t worry about which direction they’re pointed.
You’re going to have to like blue lights though because they don’t change colour.
BeBom
BeBomBasics SP20 USB Powered Multimedia Small Desktop Speaker
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The BeBomBasics SP20 USB Powered Multimedia Small Desktop Speakers are something you don’t need to feel precious about.
There are plenty of other super fancy speakers out there that need all the attention just to work properly. but these cheap and cheerful little speakers are a plug-and-play item that requires no thought to use.
TaoTronics
TaoTronics Computer Speakers
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If you don’t want to mess about with individual speakers, then a soundbar design is perfect for you. The TaoTronics Computer Speakers comes in at a very attractive price.
It’s USB powered and has the obligatory AUX headphone jacks, so if you need to stick your headphones on for a while, it’s easy.
The large knob on the side is convenient too – you won’t be searching for it, that’s for sure.
Maboo
Maboo 3.5mm Jack PC Speakers Wired with Subwoofer
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The Maboo 3.5mm Jack PC Speakers Wired with Subwoofer presents a 2.1 speaker system at a very reasonable price. There are two 3W speakers combined with a 2.5W subwoofer to make sure the bass keeps pace.
It’s a straightforward design, and we like the white on black contrast. They’re not large either, so won’t be taking up all the space on your desk.
ZETIY
ZETIY USB Computer Speaker
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The ZETIY USB Computer Speaker is as basic as you get. And that’s a good thing.
It’s USB powered, so no extra cables going into the wall. The USB even takes place of the aux cable too.
And the single speaker means less fuss and space taken up. You can take it wherever you go because it’s small and there’s no worry about cables getting tangled.
Logitech
Logitech Z200 PC Speakers
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We like brands who always deliver the goods while keeping the price in check. Logitech is just one of those brands, and their Z200 PC Speakers are exactly one of those products.
They’re small, but pack a punch, perfect if you don’t have much desk space but want to increase your computer’s audio. Their no-nonsense design is refreshing too.
Writing by Claudio Rebuzzi. Editing by Dan Grabham.
Its ambition is to be applauded, but Deezer falls between the two stools of Spotify and Tidal and struggles to justify itself over either
For
Vast catalogue and device support
CD-quality HiFi tier
Envelope-pushing 3D audio
Against
No hi-res streaming
Spotify does discovery better
Tidal does hi-fi better
Deezer appears to be stuck with a bit of an identity crisis. When we first reviewed the music streaming service in 2015, it clearly saw itself as a Spotify rival, bringing a vast library of music to a mainstream audience as efficiently as possible.
By the time of our re-review, in early 2018, Deezer had begun courting the hi-fi crowd with a comprehensive catalogue of CD-quality tracks and murmurings of hi-res MQA support to come.
In 2020, with hi-res yet to appear on the platform, Deezer hopped into bed with Sony and started offering 360 Reality Audio streaming to subscribers to its HiFi tier.
And now here we are in 2021 and 16-bit/44.1kHz FLAC files (ie. CD quality) is still the pinnacle of Deezer’s HiFi offering. Yes, it is a solid step up from the 128kbps MP3 files of “standard streaming services”, but those are now few and far between. As both Apple (with Apple Music Lossless) and Spotify (with Spotify HiFi) become well and truly embroiled in a hi-res music war and Amazon Music quietly drops its premium tier by £5 per month to just £7.99 if you’re a Prime Member, where does that leave Deezer?
Clearly, the French streaming service is trying its best to find a USP, and that’s to be applauded, but the result is that it falls short of matching Spotify’s mainstream appeal and Tidal’s hi-fi credentials.
Features
(Image credit: Apple / Deezer)
While Spotify held on resolutely to its compressed music streams until its 2021 HiFi tier announcement, Deezer has offered ‘CD quality’ tracks in the 16-bit/44.1kHz FLAC format since 2017.
These tracks are available to those who subscribe to the £14.99 ($14.99) per-month HiFi tier – which used to cost £19.99 until roughly a year ago – and while initially you also needed to own one of a handful of specific devices, they can now be enjoyed on almost any device that supports the core Deezer experience. In fact, Deezer now comes pre-loaded in kit such as Mobee-K’s new smart USB-C headphones while Apple’s own HomePod and HomePod Mini support Deezer voice control, and Deezer tracks can be downloaded to enjoy offline on your Apple watch, too.
It once looked likely that Deezer would add hi-res streaming to its repertoire, but the company has since decided to go down the 360 Reality Audio route. Think of this as a Dolby Atmos rival but specifically for streamed music, and you’ve got the idea.
Deezer was the first music streaming service to offer 360 Reality Audio, but it has since been joined by Tidal, Amazon Music HD and nugs.net (for the uninitiated, that is a streaming service dedicated to live concerts). Back to Deezer and the tracks available in the format are included as part of its HiFi subscription. You will need to download a different app, called 360 by Deezer, if you want to listen to them all, but this extra app also gives access to all of the non-360 tracks of the standard app so you don’t have to constantly switch between the two.
The bad news is that 360 by Deezer is only available on iOS and Android devices. There are eight playlists, including ‘New on 360 by Deezer’ that can be enjoyed on a computer or hi-fi via the desktop app as teasers – but not the full package.
Pricing
(Image credit: Apple / Deezer)
Below Deezer HiFi there are three tiers. Premium (£9.99/$9.99 per month) shares features with HiFi – no ads, unlimited streaming and control on mobile apps, and offline access – but limits sound quality to 320kbps.
Deezer Family (£14.99/$14.99 per month) gets you everything on Premium for up to six profiles. There’s also a free, ad-supported tier with 128kbps streaming and limited mobile app use.
Compatibility
(Image credit: Apple / Deezer)
As well as smartphones and computers, the Deezer app is also available on many other devices: TVs from the likes of Samsung, Sony and LG; wireless speakers by Sonos, Amazon, Bluesound and Bose; and even cars via Android Auto or Apple CarPlay. And that’s far from an exhaustive list.
What’s more, Chromecast and AirPlay allow you to send tunes to yet more devices. Deezer might not quite match Spotify’s ubiquity (it’s missing from Cambridge Audio’s streamers, for example), but it’s close.
Regardless of the device used, subscribers can access a catalogue of over 56 million songs, more than 52 million of which it claims are in the CD-quality FLAC format. It’s an impressive figure, but with all music streaming services making similarly huge claims, the numbers game is rendered a little academic.
What matters is whether the tracks you’re looking for are available and, in our experience, Deezer produces the fewest blanks after Spotify. It’s very rare to find a song in Spotify’s catalogue that isn’t also available in Deezer’s – and usually in that higher-quality format. One nil to Deezer.
We find Deezer stocks pretty much every track of the diverse range we search for, and all in CD quality too. Just be aware that, unlike Apple Music and Tidal, Deezer doesn’t have artist or album window ‘exclusives’, although it does occasionally release its own live sessions with big artists.
Ease of use
(Image credit: Apple / Deezer)
As HiFi subscribers, we mostly use the desktop and iOS mobile apps, and the ability to flick from one to the other is made easy by the fact each platform offers a very similar interface.
Deezer’s appearance is perhaps best described as stripped-back – almost brutally so. The interface is clean and clear, but also a bit bare, particularly on desktop. Music streaming services are generally similar in layout, with a bottom playback bar and a few left-hand side tabs bordering the centralised chunk of content – and Deezer doesn’t stray too far from this template.
Since our last review update, things have been slightly tweaked. ‘Home’ has been replaced by ‘Music’, although it does the same job as before: presenting users with personalised playlists as well as the opportunity to browse music by charts, new releases, popularity and various moods. Radio stations still appear at the bottom of this page, but podcasts now have their own tab.
‘Favorites’ has replaced ‘My music’, but again, the purpose is unchanged: it’s a gateway to your saved playlists and ‘favourite’ tracks, albums and podcasts.
Performance
(Image credit: Apple / Deezer)
We play the What Hi-Fi? January 2021 playlist, and are pleased to hear Deezer HiFi (CD-quality) streams are clear, full-bodied and, perhaps most importantly, an upgrade from the ‘Better’ (320kbps) quality streams. It’s worth noting sound quality can be changed between ‘Standard’ (128kbps), ‘Better’ (320kbps on wi-fi and 128kbps on mobile data), and ‘High Fidelity’ (1411kbps).
The HiFi streams cling more committedly to the textures of the ‘80s-style keys, percussion and synths underpinning Chaka Khan’s Pallion (aka Hot Butterfly), and those of the affected backing track and vocals in Dua Lipa’s Levitating.
However, we find Tidal’s CD-quality streams a little crisper, cleaner and more precise. There’s more fuel driving Tiny Giant’s Draw Me a Line, and greater space around the instrumental and vocal accompaniment. Timing of the drumbeats and underlying cymbal rhythm is noticeably more accurate, too, with Tidal’s version of Donald Fagen’s I.G.Y. springing into life with a touch more bite.
That said, listening through Grado SR325e headphones plugged into a MacBook Air, the differences are admittedly subtle. And it’s only when we up the transparency of our set-up with a Chord Hugo 2 DAC that these discrepancies become really significant, helped by Tidal’s fancy options for taking exclusive control of the DAC and bypassing the MacBook’s audio processing and volume control. Deezer has no such options.
Of course, the ace up Deezer’s sleeve is 360 Reality Audio, which isn’t offered by any other streaming service. 360 Reality Audio offers a 3D sound space by creating multiple virtual speakers and can be listened to via most standard headphones – although the experience has been optimised for Sony’s range.
At its best, it’s really rather impressive, immersing you in the music and surrounding you with spatially distinct instruments in a way not previously experienced. As a technological showcase it’s very effective, and gives you fresh insight into some of your favourite tracks (although the selection is fairly limited at this point).
But whether the 360 version of a track will replace the stereo version in your affections is debatable. For one, even the best tracks sound comparatively lacking in punch and weight when compared to their stereo equivalents, and some other tracks just don’t seem to have made the transition to 3D particularly well, coming across as rather flat and compressed in terms of detail and dynamics.
It’s worth remembering that 360 Reality Audio is still in its infancy and there’s already so much to like. In time it could be absolutely brilliant – it’s just not a hugely persuasive reason to opt for Deezer over Tidal right now.
Verdict
(Image credit: Apple / Deezer)
While we prefer Tidal’s comprehensive layout and slightly superior sound quality, the main chink in Deezer’s armour is its current lack of hi-res audio.
After all, subscribers to Tidal’s HiFi tier get access to over a million (typically 24-bit/96kHz) hi-res Masters in addition to CD-quality streaming – although they have to pay a little more for it at £19.99 ($19.99) per month – and Amazon Music HD delivers hi-res tracks for £7.99 ($7.99) per month for Prime members and £9.99 ($9.99) per month if you don’t have an Amazon Prime account.
Deezer may still have hi-res in its sights, but all has gone quiet on that front since the announcement of its partnership with MQA back in September 2017. And until it comes as part of a competitive package, it doesn’t shine brightly enough to be the leading light in music streaming.
Its core, non-HiFi subscription, meanwhile, falls just a whisker short of Spotify when it comes to ubiquity, discovery and presentation.
But, while Deezer rather falls between the two pillars of Tidal and Spotify right now, the addition of hi-res streams (and some of the hi-fi-focused features of Tidal) could actually one day see it become the best of both worlds.
SCORES
Performance 4
Features 4
Ease of use 4
MORE:
See the best music streaming services 2021: free streams to hi-res audio
Read our Tidal review
Check out the best music streamers 2021: upgrade to a wireless system
(Pocket-lint) – The last Apple TV 4K launched in 2017. At the time it coincided with the start of the movement to embrace the growing trend of 4K content from the likes of Netflix and Amazon Prime.
In 2021 watching TV hasn’t changed that much, but we are doing a lot more of it. Subscription services have boomed, we’ve now got more choice – including Apple’s own TV+ service – and therefore even more content to watch.
But does the 2021 Apple TV 4K set-top box embrace current viewing habits enough to be worth the upgrade – or even a purchase in the first place – especially given the crowded marketplace dominated by a host of other, cheaper options from Amazon, Roku, Google and the likes?
Everything feels the same
Puck-style box design, measures 98 x 98 x 35mm
Supports: 4K HDR, Dolby Vision, Dolby Atmos
32GB / 64GB storage variants available
Bluetooth 5.0 connectivity, AirPlay
The design of the Apple TV box itself hasn’t changed at all for the 2021 model. It’s a squarish box that’s certainly larger than the competition. It features just three inputs on the back: Ethernet, HDMI, and power.
Pocket-lint
You’ll still need a shelf or a wall-mount to put it on, and if you were hoping for a miniaturised stick to put straight into a spare HDMI socket on your telly then, well, you’re out of luck.
As has always been the case there are no buttons on the box itself, so everything is controlled via the included remote. Or you can use your iPhone, iPad, or voice control via Siri.
The Apple TV 4K’s interface hasn’t changed either, so the focus is about giving you access to all the relevant streaming services – as long as they have a supporting app.
The continued push into a central place to discover more content from supporting streaming services, rather than silo-ing everything in their respective apps, does help you discover content that’s available. However, it’s hard at times to differentiate whether that content is going to cost you above and beyond your current subscriptions. And it’s still missing Netflix within those content recommendations – which is a glaring omission.
As with the 2017 model, you get 4K resolution, high dynamic range (HDR), including Dolby Atmos object-based audio and Dolby Vision HDR support – which is great stuff if your TV and/or AV setup supports it (Apple’s AirPods Pro or AirPods Max still don’t with the Apple TV but do for the iPhone and iPad, for example).
Pocket-lint
The ability to connect game controllers (sold separately) via Bluetooth 5.0 means you can grab one of those spare Xbox or PlayStation controllers to jump in too.
Best Xbox controllers: Get the edge with these third-party and official pads
Best PlayStation controller: Pick up an extra PS4 or PS5 game pad
Apple hasn’t increased the storage options for the 2021 model either. It still comes in 32GB and 64GB capacities, but that’s not really an issue as everything is streamed these days anyway.
New, new, new
High Frame Rate (HFR) support up to 60fps
Apple A12 Bionic processor
Updated Siri remote
HDMI 2.1 port
There are some changes of course. Internally the 4K TV box now comes with a much faster processor – the one previously found in the iPhone XS – and that helps on the gaming side of things via Apple Arcade.
Pocket-lint
Why only the iPhone XS processor and not the iPhone 12 processor or the iPad Pro’s M1? It’s likely to come down to cost and need. After all, this isn’t a Mac mini nor a fully-fledged games console. Most Apple Arcade games are designed to work nicely on the provided processor – we didn’t have any trouble running NBA2K21 or other games, but the loading times could be improved.
The new box also gets better connectivity. There’s Wi-Fi 6 (ax), allowing it to better connect to your Wi-Fi in dual-band (2.4GHz/5GHz) for those high bandwidth streams you’ll be planning. There’s also HDMI 2.1 support to enable a new High Frame Rate mode that allows you to play content up to 60 frames per second (supported by the iPhone 12 Pro, for example) and any future benefits that will come from that port over time.
Apple has also added support for Thread. This fairly new smart home connectivity technology is backed by Apple, Amazon, and Google. Again, you might not find a use for it out of the box on day one, but it’s likely to become much more important in our smart home futures, so having some level of future-proofing is welcomed.
There’s a new colour-balancing mode that’s not exclusive to this model, which uses your iPhone to help ensure the Apple TV is optimised for the best colour balance in your room. It’s clever, but for us made very little difference.
A new, much needed remote
Remote measures: 136 x 35 x 9.25mm
Although you can buy the new remote on its own – which is a way to easily ‘upgrade’ the older box – the new one included in the this box is the biggest and most visible change for the 2021 Apple TV 4K. It’s one feature that removes a lot of the pain barriers (first-world problems, we know) to using the Apple set-top box on a daily basis.
The new remote is considerably bigger than its predecessor, doesn’t sport a design you’ll get the wrong way up, nor a Siri button that you’ll accidentally press by mistake all of the time.
The Menu button has been ditched, there’s a new mute button, and Apple has thankfully shifted the Siri button to the side to emulate other remotes and match the same experience found on the iPhone, iPad, and even Apple Watch.
Swiping is still available, but it’s now via a circular physical touch button d-pad with a dedicated scroll option for scrubbing through shows – reminiscent of using an iPod from days gone by. That said, you can ignore that and still swipe left to right too – which can cause some muddled responses.
Pocket-lint
There’s even a new ‘power’ button that can not only turn off your Apple TV 4K, but also your TV and AV kit. Handy.
What is a surprising omission, however, especially given the recent launch of AirTags, is that the remote doesn’t have a finding option to help you find it down the back of the sofa when lost. No Find My Support, no ‘play a sound’ option. It’s another glaring own goal.
The ecosystem shines through, but you have to pay for it
Third-party app support, including Disney+, Amazon Prime, Netflix, more
Apple TV+, Apple Fitness+, Apple Music, Apple Arcade
Support for catch-up services (including BBC iPlayer)
Against the competition the Apple TV 4K does deliver, but it can also be seen as very expensive for what you get – it’s almost four times as much as the Roku Streaming Stick+, for example. That’s a big premium to pay for just watching movies and getting access to the Apple TV store – something which you might already have if you’ve got the right TV.
Pocket-lint
Where Apple is hoping to convince you though is that the benefits to be found in being part of the Apple ecosystem. Getting started is incredibly easy thanks to a simple setup process using your iPhone. Apple Fitness+ users benefit with connectivity to the Apple Watch, and Apple Arcade subscribers get a wealth of games to play too – but that’s a lot of extra cash for features that not everyone might want or have the need to use.
Verdict
There is no denying that the 2021 Apple TV 4K delivers what it sets out to do: packaging streaming services and Apple services all in the one place. It’s the extras like Apple Arcade and Apple Fitness+ that make this a nicely rounded package that will cater for the TV viewer as well as the casual gamer and fitness fan.
Despite this, we can’t help feeling that there are better and cheaper ways to get streaming content like Disney+, Netflix, or even Apple TV+ on your television from the likes of Roku and others.
The Apple TV has always come at a premium, but the 2021 model doesn’t move things on enough to justify either an upgrade or a recommendation over the competition – unless you really believe you’ll be able to maximise on all the additional Apple services and features it offers. And if you’re a current Apple TV 4K owner then you can simply buy the updated Siri remote on its own.
If you’re looking for an inclusive package that has potential to grow over the coming years and possibly adapt to how you use your TV or enjoy content in the home, then that’s one angle. The trouble for many with the 2021 box is that you’ll have to take the hit and pay for all that potential up front – whether it’s ever fully realised or not.
Also consider
Pocket-lint
Roku Streaming Stick+
Roku is s big name in streaming, offering access to all the major services in a slim device that supports the latest 4K HDR formats. A simple remote makes it easy to control, while its asking price undercuts the majority of the competition.
Read our review
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Pocket-lint
Amazon Fire Stick 4K
Amazon’s media streamers keep getting smaller and more affordable, with features like Alexa voice control via the remote making it a no-brainer for many. Although it leans towards Amazon’s content, it does also cover all services – including Netflix – and supports 4K HDR formats and Dolby Atmos object-based audio too.
With freedom ever-nearing and summer in sight, the arrival of Bang & Olufsen’s new outdoor Bluetooth speaker is a timely one. The B&O Beosound Explore is built to withstand the elements – it’s IP67 waterproof and dustproof (meaning it’s completely dust-tight and can withstand immersion in up to a metre of water for up to 30 minutes) and has a scratch-resistant, twice-anodised aluminium chassis that flies the flag for durability.
It also has an aluminium carabiner to hang it from your rucksack during hikes, along with an integrated strap. And at just 631g, it shouldn’t weigh you down.
Despite all this ruggedness, the Beosound Explore promises to deliver the signature B&O sound through dual 1.8-inch drivers. The grill is cut in 360-degree lines to offer omnidirectional sound, so everyone around the campfire should get a face full of music.
(Image credit: B&O)
Its design is apparently “reminiscent of forests, glaciers and fjords typically found in Scandinavian landscapes”, and the speaker comes in Black Anthracite, Green or Grey Mist finishes. We think it looks rather swish. Handily, its top-mounted controls are also easily usable when wearing gloves.
With up to 27 hours of playing time from a single charge, too, it should last the length of your whole excursion, from the early excitement right through to the “why did I ever agree to this?” stage.
The Black Anthracite and Green finishes are available now, while the Grey Mist model is coming this summer. It costs £169 (€199).
Will it earn a spot in our list of best Bluetooth speakers? Stay tuned to find out…
MORE:
Check out the best B&O speakers and best outdoor speakers around
Time to take cinema outdoors? Here’s how to set up an outdoor projector in your garden
Apple’s wireless audio tech explained: Apple AirPlay 2: compatible devices, features and how to use it
The Epos H3 gaming headset thumps out crystal-clear, bassy audio with excellent range. However, the microphone makes an annoying, persistent hissing noise.
For
+ Lightweight
+ Excellent audio reproduction and thump
+ Soft earcups
Against
– Not a lot of features for the price
– No software
Editor’s Note: This review was originally published on April 20, 2021 and was updated on May 19, 2021. We retested the microphone after learning it was originally tested with a faulty 3.5mm jack.
The Epos H3 is a solid choice for those seeking the best gaming headset for their rig. They’re also cross-platform compatible with Mac, PlayStation 5 (PS5), PS4, Xbox and Nintendo Switch, allowing you to have one pair of headphones for all your gaming needs.
Combining comfort with affectionately loud drivers boasting thunderous bass and crystal-clear audio worthy of praise, it’s money well spent at $119. The H3 also features passive noise canceling, raising the bar another level; although, you may still wish for a better microphone and roomier fit.
A quick glance at the H3’s specs sheet, and you might suspect that these are bulky, heavy cans. At 1.4 pounds, they’re weightier than many other wired gaming headsets, such as the MSI Immerse GH61 (0.6 pounds) and Roccat Elo X (0.7 pounds). However, Epos managed to distribute the weight and minimize pressure in such a way that the H3 actually feels lightweight. This is partially due to the memory foam and soft leatherette included on the headband and ears for comfort that cradles the head and ears without being overbearingly cushy. The unit is so lightweight that my only concern was them getting hot, like many other over-the-ear units using leatherette that I have reviewed, but, thankfully, I was able to wear them for over 2 hours at a time without ever even getting warm.
The H3’s earcups connect to the steel headband via a dual-axis hinge and are also designed to mold to the shape of human ears. But because I’m a huge person with an obnoxiously large head and substantial, malformed ears, I initially had issues getting the H3 to sound as expected. Here, I learned of the sturdiness of the steel headband. Adjustments were easy, and I was able to get the H3 so I could listen to The Best of Johann Sebastion Bach in pure comfort.
The Epos H3’s are stylishly elegant in Onyx Black as tested but are also available in Ghost White. Each ear cup holds an Epos logo, and the right ear cup has a built-in volume control knob that is responsive and with smooth controls easily activated by my thumb. On the left ear cup is the 3.5mm audio connection jack. The microphone is also on the left ear cup and pulls down nicely into place with a solid click to let you know it’s in place and ready to go. Lifting it back up conveniently mutes the microphone, so there are no embarrassments.
Overall, with its lightweight, but quality, plastics, and steel headband, the H3 is sleek and sturdy with the feel of a much more expensive gaming headset. They also lack the sometimes gaudy RGB lighting of other gaming headsets, which is great for when you simply want to game and not also put on a light show. The plastic keeps the headset trim at 0.6 pounds overall which adds to the comfort level I mentioned previously.
Audio Performance
Epos H3 uses closed drivers that deliver satisfactory audio as soon as you plug them in, which is good news since there’s no software available with the H3. The H3 gaming headset is truly plug-and-play, coming with a 3.5mm audio cable and a 3.5mm splitter cable, should your device require a separate mic input to record audio.
I fired up Borderlands 2, and as I was following the annoying robot Claptrap around, I could discern when one of the crazy characters tried to slide up on my right and start beating on me. I side-stepped and shot him dead with my weapons, and the gunshots were wonderfully reproduced and sounded realistic. When I threw a grenade at a couple of post-apocalyptic-looking gents, the explosions were rich, full, and crisp, making for a thoroughly enjoyable battle.
While playing Batman: Arkham Knight, I could easily trace the sounds of fire shots as they petered out into the distance. They sounded just as realistic as the gunshots I heard while playing Borderlands 2. The bone-crunching sound of Batman’s punches landing on the jaws of enemies I vanquished were exquisitely reproduced in my ear. When using the jet turbine in the Batmobile to launch from one roof to another, the thunderous roar was gratifying and clear with zero distortion.
Overall, gaming with the H3 ensured I could hear moving footsteps coming from different directions, or gunfire in the distance, and I didn’t find myself missing virtual surround sound or the ability to tweak audio performance with a dedicated app. These cans are lovingly loud, so it’s a good thing the H3’s volume knob is so responsive and easy to find with a blind thumb.
To test out the cans’ music prowess I turned to Busta Rhymes’ “Dangerous”. As soon as the baseline started pumping, I was thrilled, as the H3’s delivered the bombastic bassline with lust and passion few can compete with. At a typical listening volume, I heard sweetly produced highs and mid-range tones. And when I pumped the volume to the max, they delivered the same thump and clarity.
Microphone
(Image credit: Tom’s Hardware)
I originally published this review reporting an audible hiss with the headset’s microphone, but since then I’ve learned that this was caused by a faulty 3.5mm jack in my PC. With that issue remedied, I retested the microphone, and the hissing issue disappeared. Now, the bidirectional mic is able to catch the full range of my deep throaty voice. In recordings I could hear my voice’s natural depth and timbre beautifully and without any distracting background noise, thanks to the mic’s effective noise-cancelling.
Note that the H3 doesn’t have its own software, so microphone performance adjustments aren’t readily available. However, I didn’t miss it too much because my recordings were still very clear and of premium quality worthy of some podcasting.
Epos specs the H3’s mic as covering a frequency range of 10-18,000 Hz.
Features and Software
Although Epos does have a gaming software suite, the H3 does not work with it. But the audio quality is so good, I did not miss having software assistance.
One of my favorite features of the Epos H’3 is the responsive audio knob that is built-in to the right ear cup. It makes adjusting the volume quick and easy. Also, you will need to adjust the volume as these cans can get very loud, which I love.
Bottom Line
(Image credit: Tom’s Hardware)
At $119, the Epos H3’s audio quality is equal to its price tag; however some may find it steep when you compare it to units that come with gaming-ready features, like RGB lighting, software for tweaking and the option for virtual surround sound. If you’re someone who doesn’t need many extras, the H3 also earns its price with strong build quality and comfort, (especially for those with smaller heads, who won’t have to fuss with adjustments).
The downside comes from the microphone, which records really clear audio but also adds a hissing noise that I couldn’t eradicate no matter what adjustments I tried or software I used. Overall the mic performance is solid but not the best in its class and certainly not a replacement for the best USB gaming microphones.
But if you’re interested in a gaming headset that sounds amazing right out of the box and can put up with the ok microphone, these are for you.
When Tidal began offering hi-res audio streaming in 2017, becoming only the second streaming service to do so after Qobuz broke that ground the year before, we didn’t expect hi-res streaming to be a two-player game for quite so long.
Now though, not only have their rivals caught up but they are attempting to leapfrog the established players. And this could change the game significantly.
Higher audio quality, lower subscription prices
Apple Music has just embraced hi-res streaming with open arms – and isn’t asking people to pay a penny more for it. Its all-encompassing individual subscription plan is sticking at £10 ($10, AU$12) per month, significantly cheaper than the monthly hi-res tiers from Tidal (£20, $20, AU$24) and Qobuz (£15, $15, AU$25).
In response to Apple, Amazon has now bundled its Music HD hi-res tier, which arrived in 2019, into its standard plans rather than asking a £5 ($5) premium. That means the monthly subscription has dropped from £13 ($13) to £8 ($8) for Prime customers, and from £15 ($15) to £10 ($10) for everyone else.
Meanwhile, Deezer offers CD-quality for £15 ($15, AU$20) per month, and Spotify plans to begin offering CD-quality – no mention of hi-res so far – later this year for a fee expected to be equal to or perhaps even higher than its current £10 ($10, AU$12) per month asking price.
Maybe Apple’s bold move means that Spotify won’t ask a premium price or shun hi-res audio for its imminent Spotify HiFi tier. Realistically, Spotify’s popularity and class-leading usability mean it can probably afford not to match or undercut its rivals and still remain competitive. Even ‘only’ CD quality may be enough to keep its loyal subscribers onboard.
The wider adoption of hi-res audio streaming by big players such as Apple and Amazon has brought better sound quality into the mainstream. The fact you can have unlimited access to it for as little as £8 ($8) per month is great news for those who care for sound quality.
With Apple offering hi-res at no extra charge, and Amazon readjusting its offering accordingly, the streaming service competition has reached a crossroads, with all ways potentially pointing to tier simplicity and affordability.
Do USPs justify premium prices?
So how will the competition justify charging extra – in Tidal’s case, double? Perhaps rivals will now have to reconsider their current monthly fees, and if they don’t, hope that their unique selling points are enough.
Tidal, for example, uses MQA to power its hi-res audio streams. It’s a technology that arrived as a handy enabler for hi-res streaming back when; a method of efficiently packaging and transporting high-resolution (and therefore large) files without lossy compression.
Now that Amazon and Apple have used other methods to do this (Amazon doesn’t disclose specifics, while Apple uses its ALAC format), MQA isn’t quite as fundamental to hi-res streaming as it once seemed. However, as it is now licensed to many hi-fi brands, MQA-powered Tidal Masters tracks can be played through an increasing amount of audio hardware, via app support or Tidal Connect. If you own a compatible device that doesn’t play ball with Amazon Music HD or Apple Music, you may well be swayed to stick with Tidal.
Naturally, device support will play a part in people’s subscription decisions. While desktop and mobile apps are par for the course as far as lossless support is concerned, some services also have their own quirks. For example, Qobuz has recently become the first to bring 24-bit hi-res streaming to Sonos speakers, and its vast hi-res catalogue is also accessible via the widely supported Chromecast (which supports transmission up to 24-bit/96kHz).
Apple Music is only an attractive proposition for owners of Apple devices – and even then, its hi-res implementation isn’t without its frustrations. We wonder whether Apple Music’s hi-res streaming will be supported by AirPlay 2 (or 3!) in the future to open up the device ecosystem, or even by some new Apple-developed Bluetooth codec for inter-Apple device wireless transmission.
You can bet that Spotify HiFi will have almost universal support upon, or soon after, launch, too.
Tidal also has a burgeoning catalogue of immersive 3D tracks, thanks to its support for Dolby Atmos Music and Sony 360 Reality Audio. That said, Amazon Music HD also supports these two formats, Deezer supports the latter, and Apple will have its Dolby Atmos-powered Spatial Audio catalogue. Who knows whether Spotify has any immersive audio plans up its sleeve for its HiFi tier?
Qobuz is the audiophile’s choice for its hi-res catalogue, as well as the fact its most premium tier (Sublime) also includes discounts on hi-res downloads. But it has a comparatively limited catalogue and has long been a more niche option compared to its rivals.
Over to you, Spotify et al
Right now, Apple Music appears to offer the best-value hi-res streaming proposition for iOS users, while Amazon Music HD does that for everyone else, especially Prime members. It’s the service we’d pick right now for mobile and desktop listening.
Spotify could, of course, outdo all of them with an excellent value, hi-res HiFi tier, but even if it doesn’t, the likes of Tidal, Deezer and Qobuz are still being significantly undercut by their competition.
So will the latest moves by the streaming giants be nails in their coffins or a necessary force for change? We very much hope it’s the latter.
MORE:
Our pick of the best music streaming services
The lowdown on Spotify HiFi: quality, price, release date, and latest news
10 of the best hi-res albums on Tidal Masters
Apple Music lossless: which devices will (and won’t) play lossless, Spatial Audio
An early look at the next game from Dishonored developer Arkane Studios
Deathloop is a game about, well, death loops.
The next release from Dishonored developer Arkane Studios, Deathloop puts you in the role of a man named Colt who wakes up in a strange-yet-stylish 1960s-inspired place called Blackreef. Like the studio’s past work, the game is a first-person action / adventure where players can use different weapons and supernatural skills in order to tackle problems — which usually involve murder — in different ways. But there’s a twist when Colt discovers he’s stuck in a time loop. As soon as he dies, he goes right back to the start of the same day. In order to break that cycle, he’s told, Colt must kill eight characters called “visionaries” before the day is over.
It’s an interesting premise, but also one that raises a few questions. Namely: how do the loops actually work in practice?
Dinga Bakaba, the game director on Deathloop, provided some insight during a recent hands-off demo. The main thing, it seems, is that this is a game all about player freedom. Early on, players will be guided through the world and story — there are even on-screen prompts representing Colt’s memories, which serve as a tutorial of sorts — but eventually, things open up. Players will explore four different districts, and there are also different time periods that change what’s going on; one area might be very different in the morning versus the evening, for instance.
“Now you have this moment where you can choose between the four districts,” Bakaba says of when the game opens up. “And then you go into a district, you do something and you get out, and then time moves to the next period. At this moment, so that you’re not lost, you end this opening section with a pair of leads, like an investigation. All of these leads have steps; it could be something like go to Aleksis’ space and go through her stuff to know more about Egor, or something like that. Those are your goals. That’s how you progress. You can also do those steps in the order that you want.”
He adds that “You’re very free with your progression. It’s not a game where a day is something that you do from beginning to end, and when you die, you have to restart the whole game over and over. That’s definitely not the case here. It’s about what you are doing in the world that keeps resetting itself.”
This also means that Deathloop has a unique approach to time. Once you’re in a district, there’s no time limit. You can spend as much or as little time there as you need inside of it. But as soon as you exit to go somewhere else, time will move forward. Here’s how Bakaba explains it:
When you start the day, you start the day in the morning, and you can choose where you want to go. When you’re inside the district, you can take however long you want, and it’s when you exit that we move from the morning period to the noon period. And same thing, you can choose where you go. Basically time advances each time you exit one area. If you die and you’re out of rewinds, you’ll go back to the beginning of the day. And you can choose to skip a time period to go directly where you need to be, or where you want to explore.
This might make Deathloop sound a bit like a roguelike, a genre most recently popularized by games like Hades and Returnal where players explore procedurally generated worlds but have to restart once they die. (Bakaba notes that “Returnal is a really great game, I’m having a blast with it.”) Arkane even has some experience with the genre through Mooncrash, a roguelike expansion for Prey. But Bakaba believes that there are some fundamental differences that make Deathloop different from more traditional roguelikes.
“My belief as a designer is that it’s not [a roguelike],” he explains. “There are a number of reasons for that. First of all, I think a good roguelike is about overcoming challenge, it’s going through these areas that are familiar but not the same. So you go through the first biome, and then you get to the next biome that’s even more difficult, and then you get to the ending and you’re super happy because that was super, super hard to get there, and you had to be both very skilled and lucky to get there. Which feels really nice, and lends itself to replaying. Spelunky is probably my favorite roguelike.
“But here with Deathloop it’s a bit different because getting to the end of the day isn’t an objective at all. It’s not even a milestone for the player. So there is no increasing difficulty, and there is no repetition. It’s weird to say that about a time loop, but there’s no forced repetition in the sense that if you don’t want to do the morning section, you can just jump to the night. It’s your choice. You’re really free to use the space and use the time to your liking… You get to this point where you’re basically a superhero in this world. At this point it’s not about difficulty. It’s about having this feeling of mastery, which for us is very important in this time loop fiction.”
It all sounds very cool, but it’ll be some time before we get to experience those loops (and deaths) for ourselves. Deathloop is slated to launch on September 14th on PC and the PS5.
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