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Tag: reviews

  • Ceretone’s Core One Over-the-Counter Hearing Aids Are Near Invisible, and Barely Helpful

    Ceretone’s Core One Over-the-Counter Hearing Aids Are Near Invisible, and Barely Helpful

    Indiegogo-backed Ceretone is yet another hearing aid company aimed at people looking for a low-cost, low-complexity way to give their hearing a boost. At $349 for a pair—or $229 for a single ear’s aid—the tiny hearing aids are designed to have only a modest impact on hearing. Fortunately, they also make an equally modest impact on the wallet.

    The first thing you’ll notice about the Core One is how small the hearing aids are. I weighed them at 0.96 grams each (with a small ear tip), which makes them perhaps the smallest aids I’ve tested to date—just a hair lighter than the Sony CRE-C10. The glossy white aids slip entirely into the ear canal, with only the recovery thread sticking out a few millimeters for retrieval. Unless you closely examine your ears, they are functionally invisible.

    Out of the ear, they’re not so unobtrusive. Color-coded, cone-shaped ear tips (one blue, one red) provide a somewhat garish indication of which aid goes where. Only six ear tips, a pair of each in three sizes, are included in the box—although Ceretone also sent some clear tips on the side which I found a bit more comfortable. All of Ceretone’s ear tips are considered “closed” domes, which created a moderately distorted, echolike effect in my testing. At the very least, a broader selection of ear tips, including open domes that are more appropriate for users with mild hearing loss, would help to improve audio fidelity.

    Photograph: Ceretone

    Echo aside, I found the Core One experience to be initially a little rocky, primarily owing to significant, screeching feedback whenever I touched the aids or the recovery thread in the slightest. While the amplification impact was readily apparent, the aids were hampered by this high-pitched interference. This was further exacerbated by problems getting the aids seated in my ears properly. It may not look like it at first, but there is a “right side up” to these aids, as the recovery thread is meant to angle downward out of the ear canal. I found this surprisingly hard to achieve owing in part to the small size of the aids, which resulted in me constantly having to fiddle with them.

    The Core One hearing aids are not tuned to your audiogram, nor are any frequency equalization options available. Like many low-cost hearing aids, the volume boost is across the board, providing a steady but blunt amplification to all sounds in the spectrum. You’ll need the mobile app to control the aids, as there are no onboard hardware controls available (and no way to reach them anyway).

    Even these controls are on the blunt side: Six volume settings and two program modes (standard and restaurant) are available in the app—and each has to be set individually for each aid. Bizarrely, there’s no indication of what the active volume or program setting is in the app. Instead, you have to tap a control button (say, “Volume up”) and listen for beeps to guess whether the audio is loud enough; three beeps mean you are either at minimum or maximum volume. The same goes for the program mode: One beep means you’re in standard mode, and two beeps mean you’re in restaurant mode. Again, visual cues that indicate the live status of these settings seem like a bare minimum to ask for, even in a budget hearing aid product.

    Christopher Null

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  • The Asus Zephyrus G14 Has MacBook Style and Powerhouse Performance

    The Asus Zephyrus G14 Has MacBook Style and Powerhouse Performance

    A beefy graphics card paired with the lovely 14-inch screen size at an affordable price? That’s the Asus ROG Zephyrus G14, and when you add extras like an OLED display and battery life impressive for a gaming laptop, it’s hard for me to not fall in love with this thing.

    The G14 is the smallest model in the Zephyrus line, so it’s extremely portable. You can outfit it with an Nvidia RTX 4060 or 4070 graphics card, depending on whether you want to save some cash or max it out. It feels as comfortable to use as the Macbook Air M1 (2020) that I use for work, but it comes with luxury features that make playing games—and even watching movies—a top-tier experience.

    Work-Life Balance

    The Zephyrus G14 isn’t built to be a powerhouse—consider a laptop like the Asus ROG Strix Scar 18 for that—but what power it does have is well allocated. The Zephyrus is powered by AMD’s Ryzen R9 8945HS, a powerful processor, paired with the RTX 4060 laptop graphics card—it tackles most games with ease and can even run some of the heaviest AAA titles reasonably well.

    Both Starfield and Cyberpunk 2077 managed to maintain a respectable 50 to 60 frames per second on medium graphics settings at the laptop’s full 2,880 x 1,800 resolution. Starfield dipped to around 40 fps in areas like New Atlantis that have famously struggled to get very high frame rates. But this is still reasonably high given that Starfield is capped at 30 fps on the Xbox.

    Photograph: Eric Ravenscraft

    When adjusting the display to 1,080p, I could crank the graphics settings in Cyberpunk and Starfield up to high while maintaining roughly the same 50 to 60 fps. By staying on medium, I got over 60 fps in both games. I prefer the latter approach since smoother gameplay feels better for me than extra foliage detail, but there’s flexibility here to tailor the experience to your desires.

    Like most gaming laptops, you won’t spend much time playing on this machine away from a charger. However, the G14 still impressed by getting nearly two hours of gameplay while running games like Cyberpunk. Overwatch 2 lasted closer to an hour and a half, which makes sense given that in faster-paced competitive games I tend to lean on getting at least 90 fps for a smooth experience.

    When using the laptop for more typical work or casual use, I got closer to 11 hours of battery life, impressive among any Windows laptop. I could easily use the Zephyrus G14 as my daily driver and feel comfortable getting an entire day’s worth of work done on a single charge.

    Eric Ravenscraft

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  • Some Other Critics Didn’t Love Taylor Swift’s New Album Either – Here’s Why! – Perez Hilton

    Some Other Critics Didn’t Love Taylor Swift’s New Album Either – Here’s Why! – Perez Hilton

    Over the past few days we’ve seen some of the ugliest side effects of fans’ devotion to Taylor SwiftPaste magazine literally kept its music critic’s name secret because they were afraid of the danger the poor person might be in for trashing her new album. They didn’t think The Tortured Poets Department was good, now they have to be protected like a juror from Trump’s scary followers? That’s awful.

    The truth is, not everyone is always going to agree on art — and that’s OK! In fact, plenty of reviewers weren’t just gushing about TTPD. Several gave it mixed or even mixed-negative reviews overall.

    Related: Taylor Shouts Out The Most Positive Reviews

    We thought maybe in light of the theoretical response to that one harsh review, we’d take a look at some of the others to prove that point. So what did some critics take issue with? Let’s take a look:

    NME

    NME gave the album 3 out of 5 stars, calling it “a rare misstep” for Tay. Ouch, right?

    Reviewer Laura Molloy calls TTPD “a knottier, if inferior, sequel to Midnights” which is “mostly devoid of any noticeable stylistic shift or evolution.” She writes:

    “It mostly descends into a monochromatic palette, existing in the same Jack Antonoff-branded synth pop as Midnights, yet struggling to capture any of its brightness.”

    Molloy makes a point of praising Taylor’s lyrics generally before says this album bucks the trend and “delivers some of her most cringe-inducing lines yet.” She calls out the title track’s already infamous:

    “You smoked then ate seven bars of chocolate / We declared Charlie Puth should be a bigger artist / I scratch your head, you fall asleep / Like a tattooed golden retriever.”

    She didn’t even like what Taylor was doing with But Daddy I Love Him, singling out the lines:

    “These people only raise you to cage you… God save the most judgemental creeps/Who say they want what’s best for me”

    We imagine those are plenty of fans’ favorites on the whole damn album! Like we said, people are going to disagree on art! As it ever was. And again, that’s OK!

    Pitchfork

    Pitchfork is always hard to please, so 6.6 out of 10 may feel like condemning Taylor as mediocre — but it’s not shocking either. Writer Olivia Horn blames the “burden of expectation” — speculating Tay went ham to fill the “widening gap between Taylor Swift the artist and Taylor Swift the phenomenon” with “a firehose of material.”

    Horn’s evaluation seems to be that Taylor wasn’t precious enough and should have adhered to that old writing rule, kill your darlings. She says TTPD is “conspicuously wanting for an editor”:

    “She piles the metaphors on thick, throws stuff at the wall even after something has stuck, picks up the things that didn’t stick and uses them anyway.”

    Horn seems to feel the album is more miss than hit as a result. She mostly is unimpressed with everything that’s so familiar, especially musically — though she calls out But Daddy I Love Him as fresh and exciting and “reaching flights of fantasy unlike anything else on this album.”

    The New Yorker

    The New Yorker‘s review calls the album “too long and too familiar.” We’re sensing the pattern here.

    Writer Amanda Petrusich calls out the lyrics like NME did, also singling out the Charlie Puth line, calling it “one of the weirdest verses of Swift’s career.” She goes on to say:

    “Even the greatest poets whiff a phrase now and then, but a lot of the language on the record is either incoherent (“I was a functioning alcoholic till nobody noticed my new aesthetic”) or just generally bewildering (“Florida is one hell of a drug”).”

    Petrusich does point out lyrics she loves though, like:

    “Now I’m down bad, crying at the gym / Everything comes out teen-age petulance / F**k it if I can’t have him.”

    That was a line Molloy couldn’t get her head around, either! Like we said, it’s all subjective! Again, THAT IS OK! Honestly, it’s even great! You can’t expect something to 100% hit home with one person without getting a little bit further away from a listener with very different life experiences.

    The New York Times

    The New York Times‘ Lindsay Zoladz says some of TTPD is “a return to form” but as it goes on “Swift’s lyricism starts to feel unrestrained, imprecise and unnecessarily verbose.” She references the art form Taylor has embraced as evidence of why it doesn’t work very well — poetry. She explains:

    Sylvia Plath once called poetry ‘a tyrannical discipline,’ because the poet must ‘go so far and so fast in such a small space; you’ve got to burn away all the peripherals.’ Great poets know how to condense, or at least how to edit. The sharpest moments of The Tortured Poets Department would be even more piercing in the absence of excess, but instead the clutter lingers, while Swift holds an unlit match.”

    It seems overwhelmingly those who didn’t love the album are of a similar way of thinking — in releasing so many tracks, Taylor seemingly didn’t narrow it down to the best she was capable of. It sounds like they think we got something like the assembly cut — the unedited version of a movie with all the footage before it gets tightened up and made to work as a real piece of solid entertainment. They all feel like it’s hit and miss, maybe at too low a quotient. Like a mediocre SNL episode.

    These are all painstakingly well-considered reviews by good writers. But importantly they don’t consistently agree on what the hits and misses are. So again, there’s no need to read these reviews as attacks. Everyone is just giving you their take! So take away what you can from the reviews, let it help solidify your opinion whether in agreement or disagreement. It’s all part of the experience of a new piece of art, y’all! Enjoy!

    [Image via Taylor Swift/YouTube.]

    Perez Hilton

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  • We Tested the BYD Seal—the Car That Explains Why Tesla Just Cut Its Prices

    We Tested the BYD Seal—the Car That Explains Why Tesla Just Cut Its Prices

    A compact, family-size car, the BYD Seal is unapologetically aimed at taking on the Tesla Model 3. That said, it’s bigger than the American in every dimension, most notably in both length (4,800 millimeters versus 4,694 millimeters for the Model 3) and wheelbase (2,920 millimeters versus 2,875 millimeters). The result is a roomier car with interior space similar to that of a vehicle in a class above.

    Sleek, and with a Model 3–beating drag coefficient of just 0.219 Cd, the Seal is the production version of the Ocean-X concept from 2021. That concept is where BYD revealed the eplatform 3.0 that underpins all of its current cars.

    Better Blades

    As we wrote about in our review of the BYD Atto 3, the company’s patented “blade battery” pack design aims to set it apart from other manufacturers. It’s a key component of the Seal’s platform and arranges lithium iron-phosphate (LFP) batteries in a bladelike design.

    BYD claims its use of LFP as the cathode material makes for a safer battery than conventional lithium-ion alternatives. It also boasts of improved thermal stability and a higher energy density than its rivals. The Blade design also means that puncture damage to the battery pack in a collision is less likely to cause thermal runaway and the potential for fire, BYD says.

    Also featured in the Seal is what BYD claims to be the world’s first 8-in-1 electric powertrain system, with an overall efficiency of 89 percent. This combines the drive motor, inverter, transmission, onboard charger, AC/DC, power distribution unit, vehicle control unit, and battery management system. The platform is also capable of 800-volt charging (like Kia and Hyundai), but while in other EVs this often means the possibility for ultrafast DC charging, the Seal is limited to a middling 150 kW.

    There’s also a direct heating and cooling system for the battery, which increases thermal efficiency by up to a claimed 20 percent. BYD also says improved thermal efficiency can mean a 20 percent improvement to range in cold weather, too.

    Interestingly, the Seal’s blade battery forms an integral part of the Seal’s eplatform 3.0 architecture and allows for a cell-to-body (CTB) construction, where the battery pack itself is incorporated within the vehicle structure, improving rigidity.

    CTB means that the batteries are no longer a dead weight in the car, and now form part of the load-bearing structure, with the top of the battery pack effectively being the floor of the car. This means torsional rigidity can be 40,500 Nm/degree, which is about the level of a luxury car.

    Refined Ride

    Low-speed ride quality can be a touch lacking, but once up to speed the Seal is fun to drive.

    PHOTOGRAPH: BYD

    All this translates into good handling with a comfortable, somewhat refined ride at speed. Those fairly conventional but not unattractive looks are somewhat beguiling, since there’s 50/50 weight distribution and double wishbone suspension at the front to give a sporty setup.

    Mark Andrews

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  • Are those online 5-star reviews too good to be true? Here’s what to look for

    Are those online 5-star reviews too good to be true? Here’s what to look for

    ORLANDO, Fla. – A former federal investigator has uncovered a pattern of positive reviews that she is convinced are the product of 5-star fakes for sale.

    Kay Dean has spent the last six years tracking online reviews with emphasis on Google and Yelp to alert consumers to an alleged high-stakes scheme designed to manipulate consumer decisions.

    “I have seen fake reviews across every single profession you can imagine,” Dean told News 6. ”It’s very hard for consumers to determine which reviews are real or fake.”

    Dean contacted News 6 after catching an unusual amount of positive reviews for an Orlando auto business.

    In fact, at one point she found 19 positive reviews in an hour for the same company.

    Dean’s one-woman Fake Review Watch has developed several “tells” consumers need to be aware of.

    [EXCLUSIVE: Become a News 6 Insider (it’s FREE) | PINIT! Share your photos]

    A sudden burst of positive reviews, so-called locked profiles blocking access to the profile behind the reviews and, finally, the same name posting reviews for companies in other states and other countries in a matter of hours or days.

    “These are organized fake review rings,” Dean said. “It is the wild west, the online review space is so saturated with this kind of garbage going on every single day.”

    Dean prepared a spreadsheet for News 6 that provided compelling evidence of reviews for hire.

    Ten people who appeared to have written positive Google reviews for a Florida business also wrote positive reviews for a roofing company in the United Kingdom.

    The same 10 people, writing reviews for companies operating 4,000 miles apart.

    According to Time Magazine, TripAdvisor became the first global review platform to begin putting out a transparency report outlining the steps it takes to fight fraud. In a 2021 report, out of 26,000,000 of the reviews submitted to the site in 2020, 943,205 reviews (roughly 3.6%) were determined to be fakes.

    Experts say one of the first red flags is a review that reads as if it were scripted.

    Also look for vague details that could essentially describe any business and reviewer names that are just random letters and numbers.

    The World Economic Forum reports fake reviews influenced around $152 billion in global spending on lackluster products and services in 2022.

    Dean has launched a series of 90 video reports on a YouTube channel to expose evidence of “fake online reviews.” Dean argues that companies like Google and Yelp need to go on the offensive to screen and shut down these reviews for hire.

    “They’re not doing nearly enough to self-police, Dean said. “I think if people knew how saturated (the review space) was, they wouldn’t use it.”

    Dean told News 6 recent surveys show more than 90% of consumers consult reviews while making decisions about companies or medical services.

    Last year, Google launched a new algorithm that it claimed allowed the company “to quickly identify the surge in suspicious reviews” thanks to its ability to continuously analyze patterns, like whether an account had previously posted reviews.

    News 6 is working with Kay Dean and Florida Rep. Darren Soto, D-District 9, a member of the Energy and Commerce Committee, to bring potential changes to the online review arena to protect consumers from misleading and false reviews.

    If you have been impacted by a questionable review, email News 6 Investigator Mike Holfeld — mholfeld@wkmg.com.


    Get today’s headlines in minutes with Your Florida Daily:

    Copyright 2024 by WKMG ClickOrlando – All rights reserved.

    Mike Holfeld

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  • These Hearing Aids Are Big and Clunky, but They Help With Mild Hearing Loss

    These Hearing Aids Are Big and Clunky, but They Help With Mild Hearing Loss

    You don’t have to be nearly deaf to use a hearing aid. Many doctors urge patients to get started with the devices early, before hearing loss becomes critical. Olive Union’s Olive Max is the first hearing aid I’ve encountered designed for this specific purpose, built for users with “mild to moderate” hearing loss, which the company defines as 26 to 55 decibels of loss. That’s right in line with my diagnosis, so I figured I’d be a perfect candidate for these new devices.

    Out of the box, you’re likely to say what I—and everyone I’ve been around—immediately said when I first laid eyes on the Olive Max: They sure are big. Like, really big. Each looks like a Bluetooth headset from the early 2000s, except you have to wear two. At least the units, in a two-tone white and gray design, look sporty, including a wrap-around ear hook that helps keep them in place. They also carry an IPX7 water-resistance rating. But at more than 12 grams each, they’re a solid four or five times the weight of a typical over-the-counter hearing aid. A total of eight different ear tips, in three different styles, are included in the kit to ensure you get a good fit.

    Photograph: Olive Union

    As hearing aids, the Olive Max units work roughly as advertised, and casual users can pop them out of the box and into their ears to get started with minimal fuss, though getting them hooked over your ear properly can be tricky, especially if you wear glasses. Controls on the back of each aid handle volume (independently for each ear) and let you select one of four environmental modes (TV, Meeting Room, Outdoor, or Restaurant). You can also use the buttons to toggle “Hear-Thru mode,” which lets you turn off environmental audio processing altogether if you simply want to use the Olive Max as Bluetooth earbuds.

    You can fine-tune your listening experience in the My Olive app—though, bizarrely, the hearing aid manual does not mention that an app exists, or even that you can use the hearing aids as Bluetooth earbuds. (You want the My Olive app (Android, iOS), not the incompatible Olive Smart Ear app.) The app allows you to make the same adjustments as the physical controls, but it also offers a noise-reduction and feedback-cancellation feature (pro tip: max out both of these), and it includes a more detailed graphic equalizer that lets you fine-tune frequency response further.

    You can’t test your hearing directly within the app, although a short questionnaire will hook you up with various “AI-recommended presets” based on your age and a few other basic inputs. If you want anything more refined, you’ll need to delve into the equalizer by hand, but this is mostly a trial-and-error situation. It’s also worth noting that the My Olive app includes an audio therapy system designed to help people with tinnitus. I don’t suffer from tinnitus so I wasn’t qualified to test this feature.

    2 overtheear hearing aids floating beside a mobile device with a screen showing adjustment settings for the hearing aids

    Photograph: Olive Union

    Christopher Null

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  • GE’s Café Specialty Grind and Brew Can’t Make Just One Cup

    GE’s Café Specialty Grind and Brew Can’t Make Just One Cup

    Yet this machine’s unforgivable sin is the lack of dishwasher-friendliness. It comes with a veritable stack of parts, yet none can go in the dishwasher. Of course a thermal carafe can’t go in there, but being able to throw the filter basket, either of the metal filters, and the showerhead in the dee-dub sure would go a long way to tamping down the resentment.

    Looking at the Numbers

    With testing going up and down, I was happy to bring the Café to the lab at Olympia Coffee Roasters in Seattle, where I was eager to get co-owner and award-winning barista Sam Schroeder’s take. Sam noted that combo brewers are simple, but unfortunately if one or the other breaks—the grinder or the brewer—that makes the whole machine useless.

    He immediately went ratio hunting, first weighing out the amount of water it ran through in a coffee-less cycle, followed by the amount of dry grounds it made for the same cycle, and determined it was a 1 to 16 grounds-to-water ratio. That was perfect, actually—exactly what it says to use on the bag of Little Buddy beans we were brewing.

    Using a spectrometer and a coffee-nerd app, Sam verified that it hit its marks with a total dissolved solids score of 1.4, meaning it was the right strength, and the extraction percentage was 19.26, meaning the coffee was balanced. More importantly, it tasted great. A lot of home brewers can’t get the water hot enough, or give the grounds too much or too little time in contact with water. Here, you can press a button and it does well.

    Unfortunately, things started to quickly go downhill. For batch two, it ground 88 grams of coffee instead of 85, an unavoidable flaw with a grinder like this that works based on the amount of time the burrs are spinning, not the weight of the beans it grinds. With batch three, it ran out of beans in the middle of the brew cycle and kept going like nothing was wrong. We lost a bunch of coffee and had to start over, a big downer. When I checked in with a company rep about this, they said it should automatically stop, but that they had realized it wasn’t sensitive enough and were going to update the software, and hopefully that would fix it.

    We also tried the single-cup brewing, which really did not work well. The basket is peculiarly small and metal mesh filter only; using a paper filter really isn’t an option. The small filter basket isn’t even mentioned in some of the literature, making us wonder if it was added on at the last minute. The first cup came out poorly. Subsequent efforts were better, but Sam noted it doesn’t compare to full-pot quality. To put it bluntly, Sam said, “This isn’t a single-cup brewer. I’m not sure it’s able to be good.”

    We were all still impressed with the Café’s full and even half-full carafe brewing capabilities. We liked playing around with the temperature, a rare ability in a coffee machine and a coffee nerd’s delight, and found that while there were only six grind settings, they were enough for a drip machine. We also found its styling to be what you might call “divisive.” No one could go as far as calling the Café “good looking.” That, combined with its size, reminded me of something you might see on a countertop in McMansion Hell. (If you have never visited that website, you’re welcome.)

    If you like coffee, don’t mind an initial bit of tinkering, and want that push-button ability of having a grinder built into your coffee machine, this could work well. It offers fun features to take advantage of, but the app could be souped up a bit. Asking a few questions following a brew—whether the coffee is too strong, weak, sour, or bitter—then making or suggesting changes for the next batch would be incredibly helpful. (Midea’s forthcoming Barista Brew is supposed to do something like that.) In fact, I was feeling kindly about it, until I remembered the lack of dishwasher-able parts and my lack of an aircraft runway to store it. A six it is, then.

    Joe Ray

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  • Kuhn Rikon’s Swiss-Made Cast-Iron Pan Is Smooth and Sustainable

    Kuhn Rikon’s Swiss-Made Cast-Iron Pan Is Smooth and Sustainable

    It’s a niche interest, but I’m always curious about peoples’ relationships with their pans, particularly the weight. Some people like or don’t mind them heavy, and some need them to be light. Recently, I found myself drawn to a heavy honker from Kuhn Rikon, parking it on the right rear burner of my stove while I tried to figure out where to store the pan before realizing it was already in the perfect spot.

    The pan in question is the Swiss manufacturer’s Black Star, a 9-pound skillet in the size I tested, with a 24-centimeter cooking surface that’s 32 centimeters from rim to rim. It’s functional and good-looking, and at just over 9 pounds, it weighs a lot, even compared to the competition. At $250, too, it certainly costs a lot, especially when compared to something like a classic Lodge cast-iron pan, which weighs about a pound less and costs a mere fraction of the import.

    Smooth Operator

    I should state here that while I love cooking with cast-iron pans, including my Lodge skillet, I don’t treat them as fetish objects. Their level of seasoning comes and goes, but I rarely run into issues with sticking. I wash them with soap and water, which often frightens those fetish people. At least they can relax knowing I’m not an animal who runs mine through the dishwasher.

    For example, some pan manufacturers recommend a break-in process, where you sizzle up potato peels with salt, in oil that has a high smoke point. This removes a layer of corrosion protection and begins to season the bottom of the pan, and then you’re on your way.

    I did not do that. One key difference between the Lodge and the Kuhn Rikon is the incredibly smooth cooking surface on the Black Star. I’ve read that with use, the more nubbly surface of classic Lodge pans becomes seasoned enough that there’s little difference between its nonstick-ness and that of smoother models. That said, smoother always feels cleaner and more luxurious to me, and the Black Star was smoother on the day it arrived then my Lodge has become after years. Right out of the box, I stuck it over a burner and scanned the surface with a thermal camera. Everything looked nice and even as the pan heated, with no notable hot or cool spots.

    One change from what I’m used to was using a model with two helper handles, Dutch-oven style, instead of the more classic cast-iron skillet style with one helper and one “regular” handle. This freed up a little space on the stove and made it more tidy. Once I got used to it, I didn’t miss it. (At this size and weight, the regular handle on the Lodge isn’t terribly useful, anyway.) I came to enjoy the Kuhn Rikon’s flared sidewalls, which made it a bit easier to access or flip the pan’s contents with a spatula. They also gave it a sort of extra cooking surface where I could lean food—bit of a cheat, but not an option at all with a more vertical wall.

    Best Practices

    Leaving a pan on the stove even when they’re not in use has probably been a thing since the invention of pans, stoves, and laziness, but doing it with this good-looking, high-performing pan had a great side effect, which is that I cooked more.

    On my induction stove, the pan, which also comes in a slightly smaller size, handled the way all induction pans feel to me on there, like a sports car or precision instrument—fast to heat up, stable, and predictable. The combination works so well that it almost feels futuristic. The only improvement I could think of has to do with the stove, not the pans. It would be nice if the burners went all the way out to the edge of pans this large.

    Something I enjoyed noticing was how little I used my traditional nonstick pans while I had this one in for months of testing. With that smooth bottom and a slick of butter or oil, I didn’t really need a nonstick. Yes, there are recipes where nonstick is the best option, but not that many, and that industry is in tumult. Teflon is on the outs, and ceramic tends not to work as well and wears out fast. On the Kuhn Rikon, if the scramble (or anything) I was cooking stuck a little, I could lean on my thin-bladed metal spatula and scrape the bottom clean without worrying about harming the surface. Easy peasy, no PFAS-zy.

    Joe Ray

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  • Review: Milo Action Communicator

    Review: Milo Action Communicator

    As a group, we were all of similar ability and speeds, so range rarely became an issue while skiing. When someone did fall back from the group, stop for a couple of minutes, or even turn a particularly big, rocky corner, we would get a “Jeremy is out of range” alert. The Milos work best with a straight line of sight, and for our resort riding needs were more than capable. They didn’t always work from the resort bar though, which meant drinks orders were missed, but we’re not blaming Milo for this. Not much, anyway.

    We were also impressed by Milo’s Proximity Mute, which turns down the microphones when you’re close enough for a normal volume conversation. This worked well, with anyone not close enough still able to communicate through the speakers to the gathered group.

    Recent software updates have also added some voice commands to Milo, with more expected soon. We weren’t able to test these, but they include one-on-one side chats, allowing you to talk to individuals in the group with a simple “OK Milo, speak with Chris” prompt.

    Milo founder and CEO Peter Celinski also told WIRED they’re about to launch a Long Range Messaging Mode that will allow you to use voice commands to record and send messages to specific individuals in your group. You get a confirmation when your message has been received and recipients can play back messages at their leisure, including multiple times. This will be a handy extra, and another reason to keep your phone safely in your pocket.

    Hardest Button to Button

    Milo is intuitive and, once you appreciate its limitations, extremely useful. But it’s not without issues. With the exception of the massive main mute/unmute button, the rubber controls are bafflingly difficult to use wearing gloves, especially considering skiing is cited by the company as a prime activity for Milos (alongside kayaking, surfing, hiking, and surfing).

    Using the main button also requires accuracy—we estimated an 70 percent first time hit rate, although this did improve with practice. It’s very irritating, too, that the volume of each Milo gets reset to low when powered down.

    Curiously, Milo doesn’t give a specific battery life duration, but, for the most part, our devices survived a long day on the slopes, though that did require each person to power down their units at lunch to make it through to the last lift.

    In a group, the Milos create a secure mesh network so comms are more stable.

    Photograph: Wired

    A maximum of six Milos can be linked in a group, which seems a little limited, but given the high price of buying multiple units it might be a blessing. At $249 a pop, can you persuade your mates to invest? Milo does offer group deals—great for families—with four units plus armband and action clips costing $925 instead of $1,120.

    We’ve not tested Milo on bikes or water, but in the mountains we quickly learned to appreciate how useful they can be. Chatting as you ski, sharing tips, and generally enthusing about being in the mountains is fun—and being able to keep tabs on a group and help as necessary is a real bonus. And, remember, the free alternative of phone communication isn’t possible when surfing and the like.

    If you’ve got cash to spend, we’re happy to recommend Milo, especially as the brand rolls out more voice- and AI-based features. If the price were a little lower, the battery life a little longer, and the fiddly volume buttons a little bigger, Milo’s modern take on walkie-talkies would be a clear win.

    Chris Haslam

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  • Samsung’s Galaxy Book4 Ultra Is the Laptop to Beat When It Comes to Power

    Samsung’s Galaxy Book4 Ultra Is the Laptop to Beat When It Comes to Power

    It’s been a long time since I’ve used a laptop with a screen larger than 13 or 14 inches for any length of time. It’s so refreshing to have the room to spread my apps out … even if the machine no longer fits in my backpack. Maybe being able to fit your bag under the seat in front of you is overrated.

    Compared to the cavalcade of 13- and 14-inch laptops that cross my desk, the Samsung Galaxy Book4 Ultra, with its 16-inch touchscreen (2,880 x 1,800 pixels), is a behemoth. Weighing in at 3.9 pounds (but only 19 mm thick), it has a heft that’s backed up by its top-shelf specs, which include 32 GB of RAM, a 1-terabyte SSD, and an Nvidia GeForce RTX 4070 graphics card. The centerpiece is the new Intel Core Ultra 9 185H processor, the current top-of-the-line processor in Intel’s Core Ultra CPU lineup.

    Photograph: Samsung

    As benchmarks go, the Galaxy Book4 ran rings around all the other Core Ultra laptops I’ve tested in the last few weeks since the new chips launched, though none of those had an Ultra 9 or a discrete graphics processor. On some CPU-based tests, the system doubled up on the performance of the Lenovo X1 Carbon, and on graphics-based tests, I was regularly able to get three to five times the frame rates I saw on machines that used the Core Ultra integrated graphics processor. The Book4 is certainly credible for use as a gaming rig if desired. Plus with 12 hours and 43 minutes of battery life, as tested via my full-screen YouTube rundown test, you need not fret about being away from an outlet all day.

    The larger chassis gives Samsung room to squeeze a numeric keypad into the picture, though I longed for full-size arrow keys when working with the device. The responsive keyboard is paired with one of the largest touchpads I’ve ever seen on a laptop. At 6 x 4 inches, it’s considerably bigger than a standard passport—arguably too big, as there’s barely room on the left side of the touchpad for your palms to rest. I generally disliked working with this touchpad, as I found it both missed clicks and inadvertently registered unintended taps much too often.

    Side view of partially opened laptop

    Photograph: Samsung

    Christopher Null

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  • The poo-stained humanity of Sasquatch Sunset

    The poo-stained humanity of Sasquatch Sunset

    Gross-out humor reached its apex in 2010’s Jackass 3D, when the boys slingshotted a ripened port-a-potty 100 feet into the air, and a bungee-cord bounce sent fecal matter splattering all over Steve-O — in glorious 3D, no less! That was it. There was nowhere else to go. Or so I believed.

    Sasquatch Sunset has upended comedic history.

    The new comedy from filmmaker brothers David and Nathan Zellner stars Jesse Eisenberg and Riley Keough, though you wouldn’t know it without seeing their names on the poster; they’re both outfitted in cryptid costumes that conceal everything but their eyes. It’s really them, movie stars, roaming the woods in big hairy prosthetics. Like the apes in 2001: A Space Odyssey, the movie’s small pack of four sasquatches is on the verge of a new phase of evolution as they unlock the possibilities of the world and their own bodies. This leads them to defecate without restraint, make feral love in the open, and occasionally fondle their dongs. No bodily function goes untapped in Sasquatch Sunset, which happens to be a meditative communion with North America’s glorious woodland.

    Sasquatch Sunset is extreme even for the Zellners, who are experts in thwarting expectations and upending movie tropes. Kumiko, the Treasure Hunter, their biggest breakout, stars Rinko Kikuchi as a Tokyo office drone drawn to Minnesota, supposedly in search of the bag of money buried in the snow by the characters in the Coen brothers’ neo-noir Fargo. Twisting urban legend into fantastical docudrama, the film earned indie cult status by threading quirk through tragedy to spin up a genre-defying odyssey. Their follow-up, 2018’s Damsel, let Robert Pattinson, Mia Wasikowska, and a tiny horse go ham on the Western genre. While less successful as commentary, the romp was pure Zellners — wicked funny, experimental, and eye-catching. Sasquatch Sunset continues the arc, as the brothers both broaden their humor and find a way to be even less accessible.

    There is no dialogue in Sasquatch Sunset, and little plot. More National Geographic documentary than Harry and the Hendersons, the film follows the four Bigfoots over a year as their senses blossom and urges take hold. Eisenberg and Keough’s sasquatches already have a son (Christophe Zajac-Denek of Twin Peaks: The Return), but the pack’s alpha male (Nathan Zellner) is randy. Through grunts and howls, the humanoids negotiate their societal norms, paving the way for Keough and Zellner’s sasquatches to graphically, as the Bloodhound Gang would put it, “do it like they do on the Discovery Channel.” Keough’s sasquatch winds up pregnant, Zellner’s has a sexual awakening, and Eisenberg ends up introspective, ruminating in silence as his companions bang, and staring off into the trees as if wondering whether there are any more of them out there.

    Cinematographer Mike Gioulakis breathes life into Sasquatch Sunset’s quiet stillness with his sun-soaked landscapes — the California redwoods are as much of a far out, man spectacle as the infinity of the night sky. And as an examination of the dawn of man that still brushes up against the existence of modern(-ish) mankind, Sasquatch Sunset occasionally connects with something profound about how we became the violent, vulgar, curious, loving beings we should all admit we are.

    Where viewers’ mileage will vary is in the aggressive punctuation of introspective moments with absolutely profane humor. I will never unsee Eisenberg’s sasquatch having an explosive diarrhea episode all over a street after eating the wrong kind of berries. Or watching Keough go ape on her dangling breasts to firehose milk in every direction. Or a sasquatch live birth. The practical effects in Sasquatch Sunset are… astounding.

    Image: Bleecker Street

    There is a point to all of this. While the Bigfoots live off the land, they know little about their surroundings. Everything is a “first” in the wild, and the Zellners want us to feel it. How do you eat a fish if you’ve never seen one before? The sasquatches pop a few like water balloons. How do you care for a baby without any instruction? Smack it until it burps. What the hell is a mountain lion? A sex object, at least at first. The Zellners are right to imagine their sasquatches’ quest for survival as complete chaos, walkouts be damned.

    Reactions to Sasquatch Sunset’s Sundance Film Festival premiere called it everything from a masterpiece to an utter misfire. I can’t imagine the Zellners would want it any other way; their vision is clear, and zero concessions were made to tame the backwoods journey into a whimsical, Disney Plus-ready drama. No, this is how it would really be, and the laughs (horrors?) within might even make Steve-O squint.

    Is Sasquatch Sunset a good movie? A bad one? I will say I approve of it. I wanted to vomit three or four times before the credits rolled, but in an era where even indie films can feel like four-quadrant efforts on the cheap, what a relief that something so aggressively sick and sweet exists.

    Sasquatch Sunset opens in a few major cities on April 12, and expands to a nationwide release on April 19.

    Matt Patches

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  • Review: Range Rover Evoque Plug-In Hybrid

    Review: Range Rover Evoque Plug-In Hybrid

    The Range Rover Evoque changed Land Rover forever. Before its launch in 2012, the 4×4 maker’s SUVs were attractive, but in a functional, boxy sort of way. After it, the British brand was as much about the latest trends and fashion as off-roading and country estates.

    Speaking at the launch event in 2012, Victoria Beckham spoke about her hand in creating it. “I’ve designed a car that I want to drive,” she said at the time. Since then, however, chief creative officer Gerry McGovern has corrected matters somewhat, stating that Posh Spice exaggerated her role in the creation of the Evoque.

    Still, by 2016, more than half a million Evoques have been sold globally in more than 180 countries, with Land Rover describing it as its “greatest sales success story.”

    It’s hardly surprising, then, considering the model’s history, that the designers of the latest Evoque opted to take an evolutionary approach in terms of technology to the urban-orientated SUV.

    This iteration comes in four different models; Range Rover Evoque S, Dynamic SE, Dynamic HSE, and finally Autobiography, all of which have a plug-in hybrid option. WIRED got its hands on the top-end Autobiography model on a brand-hosted drive in the Champagne wine region in the northeast of France. But will it be a vintage year for JLR?

    On the surface the changes are subtle; inside is where the overhaul has really happened. That said, the Evoque’s exterior presence is enhanced by a new grille and revised super-slim Pixel LED headlights with signature DRL (daytime running lights), which deliver a technical, jewel-like appearance. New exterior accents also complement the characteristic “floating roof” that defines Range Rover’s design DNA.

    The new super-slim Pixel LED headlights aren’t just for show, either—they house JLR’s new advanced headlight tech. Each light has 26 individual LED segments, which switch on or off automatically to supposedly provide the most effective forward beam at all times. These segments are also home to sensors, which scan the roads ahead and at each side. When another vehicle is in sight, the LEDs within the section it’s covering shut off, ensuring that you are not blinding any oncoming vehicle.

    Speed-capturing cameras placed within the headlights pick up speed warning signs, instantly letting you know what speed you should be going on any given road. However, when driving down the freeway, the cameras would occasionally pick up side road signs, and in doing so show an incorrect reading on the dash.

    All About the Inside

    Photograph: Land Rover

    The interior is where we see the big changes. The Evoque does channel its big brother, the flagship Range Rover to good effect inside, with comfortable seats, high-end materials, and a slick touchscreen infotainment system that’s consumed all the tech around it from previous examples. More on that in a bit.

    Oliver Hazelwood

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  • Sennheiser’s Momentum True Wireless 4 Boast Brilliant Sound in a Familiar Package

    Sennheiser’s Momentum True Wireless 4 Boast Brilliant Sound in a Familiar Package

    How much is great sound worth to you? Sennheiser’s top wireless earbuds ask that question in more ways than one. The previous version, the True Wireless 3, was praised by reviewers, but some users raised issues like battery drain and connection glitches. The Momentum True Wireless 4 set out to address these complaints with an all-new battery system among “over a dozen major upgrades,” according to Sennheiser.

    Within this context, the two earbud dropouts I experienced in my first few days of testing the MTW4 stood out more than the usual new bud jitters. Especially since the latest pair sports the exact same exterior design as the MTW3, which is, in 2024, looking downright chunky compared to the competition. Size aside, a firmware update seems to have fixed those connection woes, and I’ve experienced no other dropouts over multiple days of testing.

    One thing that’s never been in question with Sennheiser is sound quality. Even given their superb sonic pedigree, the Momentum 4 caught me off guard with their clarity, their sensitivity, and the sheer sweetness and delicacy with which they render every tone. They pair that with competitive noise canceling and a solid app. The result is a package that’s worthy of a little faith—especially for those who put great sound first.

    Not-So-Spyware

    If you’re at all familiar with Sennheiser’s long-running Momentum line, you’ll be feeling dé​jà vu with the fourth-gen version. The buds arrive nestled in what looks like the same boxy case from the original 2019 Momentum. It feels downright massive when compared to cases from Apple, Sony, and others. Still, you have to admire Sennheiser’s style, cloaking it with sleek fabric straight out of the James Bond Corduroy Collection.

    The buds have morphed over time, but Sennheiser made no exterior changes from 2022’s MTW3 to maintain their “timeless aesthetic.” They certainly look premium with their angled, smoked-chrome housings but, timeless or not, I would have appreciated some ergonomic updates.

    The buds barely wedge into my medium-size ears with the default band that flexes around the main housing, but swapping it for the smaller of two spares made them stable and relatively comfy for a few hours at a clip. They still feel bulgy and somewhat invasive, and at 6 grams per side, they don’t quite pull the disappearing trick of Apple’s AirPods Pro (9/10, WIRED Recommends) or other favorites. Four ear tip sizes let you further customize the fit, but those with smaller ears may want to try before you buy.

    Plenty of Goodies

    Photograph: Ryan Waniata

    Beneath their enameled shells, the MTW4 have undergone a relatively thorough makeover, from their new battery system (and firmware to optimize it) to support for the latest Bluetooth 5.4 protocol and a new low-latency mode for gaming. They’ve also now got dust protection, with an IP54 rating.

    The battery is arguably the most important upgrade, which includes a new provider to ensure improved reliability. Playback is rated at a respectable 7.5 hours per charge, and 30 hours total with the charging case. This matched my testing, with the buds keeping pace at around seven to eight hours per charge with noise canceling on.

    Call quality has been upgraded, with AI optimization designed to offer advanced clarity via the buds’ new Qualcomm Snapdragon chip. I didn’t notice anything special on my end, but I also never received major complaints from others, even while talking outdoors.

    Ryan Waniata

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  • Review: What the ‘Cities: Skylines II’ flop tells us about urban planning

    Review: What the ‘Cities: Skylines II’ flop tells us about urban planning

    In the years since its 2015 release, Cities: Skylines set a new standard for city-building simulators. The game’s mundane tasks of laying out street grids, zoning neighborhoods, designing bus networks, and siting garbage dumps were made immersive and fun by a realistic, detailed game engine and by graphics that made you feel like the city you were tinkering with was a living, breathing thing.

    Hopes were therefore high that the sequel, Cities: Skylines II,would build on the success of the first game. Instead, it has been universally considered a gigantic flop. Only the most souped-up gaming computers were able to handle its processing demands. Even then, the gameplay was buggy and graphics disappointing. As Ars Technica put it, the second Skylines “has a rough-draft look when compared to its predecessor, which has accumulated eight years of fixes…and mods to cover a dizzying array of ideas.”

    Disappointing as its launch might be for players, Cities: Skylines II does provide a teachable moment about the game’s subject: Urban planning is hard, even in digital form. The best laid plans start to unravel once they come into contact with the ceaseless dynamism of actual urban areas.

    The first Skylines benefited from simpler starting ambitions supplemented by fixes and updates over time. The second game tried to launch a bigger, more ambitious simulator all at once and failed miserably. In real life as well, small fixes and updates are better for a city than one big plan.

    This article originally appeared in print under the headline “Cities: Skylines II.”

    Christian Britschgi

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  • Haute Board mini Review – A Fantastic Budget Keyboard Controller from Haute42 – TouchArcade

    Haute Board mini Review – A Fantastic Budget Keyboard Controller from Haute42 – TouchArcade

    Ever since I bought my first 8BitDo Arcade Stick, I’ve gotten a bit obsessed with different sticks, controllers, and more for arcade games, fighters, shmups, retro games, and more. If you’ve read any of our fighting game reviews or shmup articles, you’ve likely seen the ones I use on a daily basis like my Hori SF6 edition stick or the leverless controllers I have like the Razer Kitsune and more-recently, Haute42 models. I took a chance on the Haute42 Board mini because it was very cheap, and also would be a new style of controllers for me with it basically using full keyboard keys. After spending a few weeks with the controller across multiple platforms, I’m glad I gave it a shot, because it has been eye opening in many ways, but it isn’t perfect.

    Haute Board mini – the cheapest keyboard controller

    So what makes the Haute Board mini worth covering? It is the cheapest keyboard style controller, and was very interesting to use in fighting games and shmups since I bought it. Instead of a d-pad or a stick like in traditional controllers for movement, the Haute Board mini has movement done via four keyboard keys that act as WASD on the keyboard. Aside from movement, the four main buttons act as A B X Y LB RB LT and RT. There are secondary buttons for home, back, start, left stick press, right stick press, and turbo as well.

    Haute Board mini – what’s in the box

    Well, the Haute Board mini doesn’t actually ship in a box, but a padded envelope. This includes the Haute Board mini, a USB cable (A to C), accessories (LEOBOG Graywood V4 switch, keycap puller, a switch puller, two 6mm button caps, six anti-slip pads), and a small instruction manual. Given the low asking price of the package, I didn’t expect a fantastic USB cable, but I recommend getting a good one like one of these.

    Haute Board mini compatibility

    The Haute Board mini works on Windows, Steam Deck, PS3, PS4, Raspberry Pi, Android, iOS (in my testing), and more as has been detailed on the official website. I’ve been using it mainly on iPhone, iPad, Switch, and Steam Deck. I also tested it on PS5 with an adapter that I’ll get to in a bit.

    Haute Board mini performance and feel

    Despite its low asking price, the Haute Board mini feels very sturdy and the major input buttons all feel great. It has one USB C port for plugging into other devices and a USB A extension port. The Haute Board mini is a wired-only controller. When using it to play games like Street Fighter 6, Tekken 8, G-Darius HD, Dariusburst, and more, I had no trouble with inputs. I did take a few minutes to get used to the Haute Board mini when I initially got it though. I’ve also used it for some rhythm games with no trouble since.

    Haute Board mini on iOS

    I didn’t see any mention of iOS for the Haute Board mini when I bought it from Amazon, but I saw the official website listed iPadOS as compatible in keyboard mode. I can confirm it does work in PS4 mode (you can change mode when you plug it in by holding a specific button listed on the controller backside) in the few games I’ve been playing with controller support like Streets of Rage 4 and Puyo Puyo Puzzle Pop.

    Haute Board mini on Switch and Steam Deck

    The Haute Board mini works flawlessly wired on both Switch and Steam Deck out of the box. There is nothing else required aside from plugging it in with the correct button held (indicated on the backside). On Switch, I use the Haute Board mini with retro games, shmups, and fighters. On Steam Deck, barring those, I also use it for some older platformers. Anything you control with an arcade stick will work fine here, as long as you are comfortable with the keys of course. Doing 360 and 720 motions on the Haute Board mini is difficult for me.

    Haute Board mini on PS5 and Xbox

    To get the Haute Board mini working on PS5, you need an extra dongle. I use the Brook Wingman FGC converter, but this only works for some fighting games and shmups. It will not work in many native PS5 games. The converter doesn’t work in Dragon Ball FighterZ’s PS5 version apparently as well. It does work in Tekken 8, Street Fighter, Guilty Gear Strive, and others though. On Xbox though, the Brook converter I had been using before doesn’t reliably work because Microsoft keeps pushing out updates to block it. I do not recommend getting this for use on your Xbox Series X.

    Haute Board mini software and features

    The Haute Board mini uses GP2040-CE and it is very easy to update, manage, and customize (software wise). The board itself doesn’t have

    Haute Board mini – customization

    It is easy to change the main buttons and switches on the Haute Board mini. If you’re up to it, you can even order a DIY kit from Haute42’s web store. Speaking of customization, I have two complaints with the Haute Board mini right now. The first is the secondary buttons are hard to press or differentiate while playing without looking down. You might get used to this, but I would’ve liked having one or two of them bigger than the others so I could press them easier. The second complaint is a minor one, but is customization related. Getting your own art on this is quite hard without a good quality sticker print. Haute42 has a template, but it isn’t as easy as working with art for their other controllers.

    Haute Board mini – should you buy it

    As my first keyboard button style arcade controller, the Haute Board mini has been amazing. Aside from the two issues I mentioned above, I have no hesitation in recommending this if you’re curious about the keyboard style controller options available. This is affordable and the compatibility is excellent. Just factor in the additional dongle purchase if you want to use this on PlayStation.

    If you’d like to grab it, the Haute Board mini keyboard controller is available for $40 (or so) on Amazon here. A new Haute Board mini plus AKA the B16 is also available, but I’ll be covering that when the controller I bought recently arrives. If you do end up buying it or already own one, I’d love to know what you think about it. Let us know in the comments below, and also if you’d like to see any specific controller reviewed.

    If you buy the controllers or items listed and linked above through our links on Amazon, it helps TouchArcade in a small way.

    Mikhail Madnani

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  • Arturia’s AstroLab Puts Over 30 World-Class Virtual Synths in a Luxurious Keyboard

    Arturia’s AstroLab Puts Over 30 World-Class Virtual Synths in a Luxurious Keyboard

    But perhaps AstroLab’s best trick for finding what you need is playlists and songs. These are grouped presets that you’re able to bounce between with the push of a button. So if you need a quiet pad from an Ensoniq SQ-80 for the verse and a razor-sharp lead from an MS-20 for the chorus, you can group them into a song, which turns the instrument type buttons into direct shortcuts to specific presets. Songs are then further organized into playlists. You just press the arrow buttons below the screen encoder to jump to the next track in your set and load up another batch of presets.

    If you can’t find what you need among the factory sounds or any of the countless sound packs available from Arturia, you can always design a patch from scratch in one of the instruments as part of the V Collection. Then you can save it as a preset and load it on the keyboard. Granted, this requires shelling out for V Collection, but it frequently goes on sale, and if you already own Analog Lab Pro, which is included with AstroLab, you get an even steeper discount.

    World-Class Soft Synths

    I’m halfway into this review, and I haven’t talked about the sound at all. This is partly because, well, it’s Analog Lab. It’s an industry staple and sounds fantastic. If you’re not familiar though, rest assured you’re getting some of the finest emulations of vintage instruments available. When you compare the price to even one of the iconic keyboards it’s recreating, the value is undeniable.

    The Rhodes, Wurlitzer, and Hammond B3 compare favorably with what you’d find on a Nord stage keyboard, but for almost half the price. It convincingly delivers that percussive dizzying effect you’d get from an organ running through a Leslie and the smooth chime of a Fender Rhodes.

    In addition, you get rather faithful versions of basically unobtainable synth gems like a Moog Modular, a Yamaha CS-80, or a Fairlight CMI II. Not to mention mass-market classics like the Yamaha DX7 and Casio CZ-101. Plus Arturia’s Pigments and Augmented lineup, which marry orchestral, piano, and vocal samples with a robust synth engine. You’ve got access to everything from crunchy lo-fi piano and EDM bass wubs to soaring string pads perfect for scoring a sci-fi thriller.

    The only real weak spot is the acoustic pianos. They’re not terrible and have definitely improved over the years, but they still feel a touch thin and flat compared to the real thing. The chances that anyone would complain about them at your next gig, though, are slim to none.

    It’s worth noting that this is currently the only way to get Arturia’s Pigments in hardware form. That’s something that gets me personally really excited. I think it’s the best softsynth on the market, and it can easily go toe-to-toe with other giants in the space like Massive and Serum.

    Some will speak of things being a VST but built into a MIDI controller derisively. But that feels reductive here. For one thing, this isn’t just some bare-bones digital synth. And the hardware it’s crammed into is luxurious. The semi-weighted keys feel incredible, and they have aftertouch (though sadly not polyphonic). The pitch and mod wheels are solid pieces of aluminum, and the screen, while small, is bright and colorful. There are even some handsome wooden cheeks on the side. This looks and feels like a high-quality piece of gear.

    Terrence O’Brien

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  • Review: BYD Atto 3

    Review: BYD Atto 3

    BYD also isn’t chasing straight-line performance goals, with the Atto 3 accelerating to 62 mph (100 km/h) in 7.2 seconds. Leisurely by today’s EV standards, but perfectly quick enough for a car like this. Remember, it’s supposed to be a good-value family car designed to slot into your everyday life; too many EVs have the sort of rocketship performance that your passengers, dog, and groceries simply won’t stand for. The Atto 3’s acceleration is adequate, and we’re here for it.

    Range, of course, is far more important. BYD’s claim of 260 miles (WLTP) is 25 short of the Kia Niro EV and 23 behind the £45,000/$44,000 Tesla Model Y, but 11 ahead of the similarly-priced Škoda Enyaq. Take driving style and temperature into account, and you should expect a real-world range closer to 220 miles. Not bad, but you’ll still long for faster charging every time you plug in.

    The brakes are fine, although the pedal is spongy, and the switch from regenerative braking to using the discs and pads is nicely judged. There are two strengths of regeneration to pick from, via a toggle switch on the center console or by diving into the touchscreen, but neither is particularly strong and, sadly, one-pedal driving isn’t an option.

    This being a new car built to comply with Europe’s latest safety standards means the usual frustrations are all present and correct. You are told off every time you exceed the speed limit, even by just 2 mph, and because the road sign recognition system makes mistakes, you’ll sometimes be scolded by the car’s voice assistant when it has misread a sign. Bafflingly, sometimes the navigation screen and the driver display disagree on what the speed limit is; other times they don’t show a limit at all.

    There’s no Tesla Autopilot-style hands-off driving, but the Atto 3 still has lane-keep assist among other driver assistance systems. It usually issues a bit of gentle feedback if you stray over a lane marking, but on two occasions during our 90-minute drive the car grabbed the wheel like a panicked driving instructor. The first time it happened was a real shock, as the steering wheel was tugged at for no obvious reason, and, as with these systems on almost all new cars, the first intervention plants a seed of doubt that never really goes away. As ever, it’s best to turn these systems down to their least invasive setting.

    Taste of Things to Come

    What to make of the BYD Atto 3? The question could equally be, what to make of the approaching flood of electric cars built by Chinese firms who are giants at home but unheard of in the West?

    This is not a car for driving enthusiasts, clearly. And while also not groundbreaking, the Atto 3 is perfectly good at being an electric car. It has a fun, spacious, and nicely designed interior that’s packed as standard with kit often hiding in the options lists of pricier German cars.

    The touchscreen software needs some work, and permanent climate controls are a must in our book. Performance and range are both fine, and ride quality is decent, but we wish all that battery expertise had resulted in faster charging.

    Ultimately, the Atto 3 does little to stand out from what is quickly becoming a crowded segment of the EV market. It feels well made and represents good value, but while that glittering Mayfair showroom promises a lot, the unknown badge asks buyers to take a leap of faith.

    Alistair Charlton

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  • Keyboard Nerds Won’t Love Cherry’s New MX2A Switch, and That’s OK

    Keyboard Nerds Won’t Love Cherry’s New MX2A Switch, and That’s OK

    The Cherry MX switch is, arguably, one of the most important mechanical keyboard switches of all time. Some might argue it’s one of the best mechanical switches ever. No other switch has quite the same legacy. It’s been around for decades and is one of the few switches that run the whole gamut of keyboards. You can find it in everything from point-of-sale systems, office cubicles, and police cars to gaming setups and even premium, limited-run custom keyboards.

    Until recently, nearly every mechanical gaming keyboard shipped with MX Reds, Browns, or Blues. For a long time, Cherry’s switches were the best option—mechanical switch or otherwise—for building a keyboard, and they had a reputation for their outstanding typing feel and longevity when compared to their rubber dome and scissor-switch contemporaries.

    I have a love for the original Cherry MX switches. They still have a personality and charm no other switch has been able to replicate. I type on them regularly, almost every day, and always find them a treat to use, despite their shortcomings. So it came as a surprise when Cherry announced a successor with the MX2A. How could one of the most beloved and long-lasting mechanical switches suddenly change so drastically? Could these changes make the MX better?

    Photograph: Henri Robbins

    Cherry’s Legacy

    The Cherry MX Black is the mechanical switch. It’s a fairly heavy linear switch made entirely of Cherry’s proprietary blend of plastics and has been in production since 1983 with only minimal changes until now. Cherry rates its MX switches for 100 million keypresses, and it’s not unheard of for MX Blacks to be in operation even after two decades of near-constant use. They eventually became a signifier of quality: If you saw a keyboard with MX switches, you could be pretty sure that it would be both reliable and enjoyable to type on.

    As the custom keyboard scene started to form in the early 2000s, people realized something interesting—the longer you used MX switches, the smoother they were to type on. This was true for all of them but most noticeably for MX Blacks. They were the most common in high-use office and point-of-sale systems and had a heavier spring that required more force to be pushed down, resulting in the plastics seeing large amounts of wear.

    These “vintage” MX Blacks—which had to be desoldered from older keyboards—became incredibly sought out by enthusiasts for their smoothness, and their scarcity increased demand even further. At the time, Vintage MX Blacks were the best switches possible for a custom-built keyboard kit.

    It’s worth noting that these worn-in switches are fairly scratchy by today’s standards. Modern switches, made from higher-end materials and lubed from the factory, are leagues ahead of MX switches in smoothness. However, many keyboard hobbyists today see the MX Black as having a “good” scratch compared to the scratchiness of other switches. It’s consistent, subtle, and rather charming as long as you don’t expect perfection. There are no sudden bumps or catches, but instead a consistent friction that feels more “real” and satisfying than something engineered for perfect smoothness.

    Open clear plastic box with mechanical pieces from keyboard keys spilling out

    Photograph: Henri Robbins

    Henri Robbins

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  • The Fender Tone Master Pro Is an All-in-One Guitar Studio

    The Fender Tone Master Pro Is an All-in-One Guitar Studio

    While enthusiasts are still fussing over tube amps and drooling over effects pedal collections, gigging musicians are in the midst of a digital revolution. Offerings from brands like Kemper, Line 6, Fractal Audio, and Neural DSP all allow musicians to model tube amps digitally, with results that come astonishingly close to the real deal.

    These new digital modeling amps are easy to set up, reliable, and much lighter and more compact than previous rigs. These days, the sounds are also remarkable. Unless they’re in the studio, many modern musicians are using digital options for their sounds, and many of those options are making their way onto hit tracks.

    Fender has competed in the digital amp space for decades, but its new $1,700 Tone Master Pro, which launched late last year, is the first truly pro-tier option that we’ve seen from the brand in recent memory. It’s also one of the most intuitive I’ve ever laid eyes on. With classic models of iconic amps and effects, a touchscreen, excellent onboard controls, and a shocking amount of digital processing power, it’s essentially a portable guitar studio. It also has a four-channel audio interface and hundreds of microphone modeling and cabinet modeling options that easily compete with the real deal—even in the studio. It’s even pretty awesome for karaoke.

    If I were shopping for an all-in-one guitar solution that works both in my bedroom and on stage, especially if I didn’t want to fuss around in menu screens forever, this is the one I’d pick.

    Photograph: Parker Hall

    The New Black Box

    The Tone Master Pro looks nearly identical to most of the other all-in-one amp/pedalboard solutions I’ve seen. Essentially, it’s a black slab that is supposed to sit in front of you while you play, either on the floor or on a desk. A 7-inch touchscreen sits between two silver knobs on the top of the device, flanked at the bottom by 10 pedal switches and associated LED screens. It’s all very clean and modern, easy to hide while you play on stage.

    One quirky and familiar thing I love is that Fender included its classic red power light on the back of the device, so you can easily tell it is on like a “normal” Fender amp. The rest of the rear of the Tone Master is a smorgasbord of inputs and outputs the likes of which I’ve never seen on a guitar amp.

    There are stereo outputs in both quarter inch and XLR; four separate effects sends and returns (two stereo) for using outboard pedals and effects with the device; two expression pedal outlets; a mic/line and instrument input; as well as a foot switch control, 3.5-mm aux in, headphone output, MIDI in and out, USB-C, and MicroSD. And also, Bluetooth. If you need more, you probably need a mixing board or a patch bay.

    Backside of digital amp displaying the ports outlets and knobs

    Photograph: Parker Hall

    Parker Hall

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  • Review: Teenage Engineering TP-7 Field Recorder

    Review: Teenage Engineering TP-7 Field Recorder

    Recorders, generally speaking, are meant to sit in the background, quietly absorbing sound without contributing to it. They’re a neutral, inconspicuous product type almost by necessity. If you’re recording field audio, like trying to capture the perfect loon call out in the wild, you’d be better served by a proper shotgun mic to pinpoint the sound. Audio recorded directly in a studio sounds great on the TP-7, but again, you can handle that with some far less expensive yet still really good microphones.

    The device can also be tricky to navigate, with some menu diving required to access certain features that won’t feel intuitive right away. There’s also some kinks you’ll find if you’re coming from another type of recorder.

    As one example, I tried to feed music from Spotify through the TP-7 to test the line-in functions, with a pair of headphones plugged into the output jack so I could monitor the sound. At the time, I didn’t realize that by default the audio still played through both the plugged-in headphones and the on-device speakers. That is, until my girlfriend came in from the other room, laptop in hand, to tap me on the shoulder and say, “I’m getting on a call with my boss. Can you please stop blasting that song.”

    I was able to solve this little problem, along with a few similar snafus, by sifting through the thick little flip-book that is the instruction manual. But sometimes there wasn’t exactly an intuitive way of figuring that out without manual diving. And some interactions take a bit to get the hang of.

    Leaving the recorder running, for instance, takes two button presses—one tap of the red Record button, then a separate press of the Play button right next to it. On similar devices from other brands, you usually just tap the Record button once and it starts taping. These little idiosyncrasies are the price you pay for something like this. (Besides, you know, the actual price you pay for it.)

    Girls Just Wanna Have Fun

    Viewing the TP-7 from some kind of hoity-toity professional standpoint is perhaps a little disingenuous. Because the TP-7 is just a good time. It’s far more fun than you’d expect a recorder to be. After all, you’ll recall that the whole front disc spins while you’re recording, and the thing just feels great in your hand, with all its clicky-clacky buttons and smooth switches.

    There’s also clever, well-thought-out functions that make recording more interesting. If you press the Play button a second time while playback is going, the disk will reverse its spin and play the audio backward. It’s a fun little option that could be great for music producers fiddling a sample or anyone checking their recordings for any secret satanic messages.

    Also the ability to mix and match inputs and outputs with the plugs at the top offers a great deal of flexibility for combining with other audio gizmos. I paired the TP-7 with another of Teenage Engineering’s creations: the EP-133 K.O.2, a remarkably affordable (for Teenage Engineering) sampling device. By mixing and matching the input and output cables between the devices, I could record from the sampler into the TP-7, then manipulate the sound there and port it back over to the sampler, with the DJ scratch sounds fully intact.

    Boone Ashworth

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