AIAIAI Unit-4 review: Unique wireless portable studio monitors

I’ve been using the AIAIAI Unit-4 Wireless+ studio monitors for a couple of months now. And initially, I wasn’t sure what to make of them. They’re solid studio monitors with 4-inch woofers and 1-inch silk tweeters. They sound good and look good. But the pitch — the reason these things cost $800 for a pair — is that they’re wireless. And not, “they’re studio monitors that also happen to have Bluetooth” wireless, though they have that as well. They include AIAIAI’s low-latency 2.4Ghz wireless tech that made its debut on the Studio Wireless+ a couple of years back. Plus they have sizable batteries, allowing them to run for up to 20 hours without any cables at all.

I was skeptical of the Studio Wireless+, but was eventually won over by the surprising convenience of not being tethered to my audio interface by a 3-meter long coiled cable. The Unit-4 have a somewhat tougher case to make, though. The cables that keep my current PreSonus monitors tethered to my desk don’t get in the way. I don’t have to unplug them to put on my guitar and I don’t trip over them while grabbing a synth from the shelf. Instead, the Unit-4 are meant to solve a very specific problem: needing studio quality monitors when you’re not in your studio.

As you might imagine, this is not a thing I find myself needing terribly often. I’m sure that someone out there, likely professional musicians who spend significant time on the road, would immediately see the appeal. But for a hobbyist like me, finding a use case is harder.

Before we get too deep into the “why,” let’s talk a little bit about the “what.” Until now AIAIAI has focused exclusively on headphones. A more conservative company might have simply made some bog-standard studio monitors and called it a day. But today you can get bog-standard studio monitors, and pretty decent ones at that, for not much money. So rather than just add more noise to an already saturated market, AIAIAI looked to see what it could do that would be unique.

AIAIAI Unit 4 Wireless+ studio monitor on a picnic blanket in a park.
Terrence O'Brien / Engadget

The somewhat surprising answer it got from some artists was wireless, battery-powered monitors. So it took the low-latency W+ Link technology it had developed for Studio Wireless+ and adapted it for use in a pair of 4-inch studio monitors. Where Bluetooth latency can be all over the map, ranging from around 40ms under ideal conditions with the latest hardware, to well over 100ms, W+ Link is a consistent 16ms. It’s not zero latency, but it’s close enough for a quick recording session or a casual jam.

Because of their size you’re not gonna get a ton of bass out of them. You get a surprising amount more low end just by jumping up to 5-inch woofers. But, it’s not like the Unit-4 lack oomph. They’ve got a decent amount of punch and a reasonably flat frequency response. That said, as with the Studio Wireless+, I find their tone a touch on the dark side.

There is an app for iOS and Android, though, where you can tune the EQ to your liking. I personally scooped the mids and cut the sub bass just a smidge to help brighten up the sound ever so slightly and keep things from getting muddy in my small attic studio. But there are also useful presets in there depending on where you are and what orientation the speakers are in, whether that’s horizontal on your desktop or on a picnic blanket in a park.

AIAIAI Unit-4 Wireless+ Android app screenshots.
Terrence O'Brien / Engadget

While it’s purely subjective and of little practical value, the Unit-4 look great in any orientation or setting. They’re much better looking than most studio monitors. They’re sleek, black and have a stylish metal speaker grill that attaches firmly with the help of a few magnets. A ring of white light glows around the woofer when they’re powered on too. Like I said, it makes no functional difference, but they’re certainly a visual upgrade from my PreSonus Eris E5s.

There are a few design choices that I can quibble with, however, even if I understand the reasoning (usually to shave size and weight). First off, the Unit-4 lack XLR hookups. This isn’t unheard of on portable studio monitors, and they do have balanced TRS connections, but combo XLR / TRS jacks are pretty ubiquitous at this point and wouldn’t have required much more room.

The power bricks for each speaker are also enormous. Obviously, putting those components inside the speaker, along with their sizable 77Wh batteries, would have dramatically increased their size and weight. But it seems odd that, what I believe are, the largest power bricks in my home currently belong to the Unit-4, while none of the other studio monitors or speakers I own have external power supplies at all, just standard AC cables. They weigh more than a pound each, which means that, despite AIAIAI bragging that the Unit-4 only tip the scales at 2.5kg (or about 5.5 pounds), if you were to hit the road with two monitors and the chargers for each you’d be looking at a total weight of close to 14 pounds.

AIAIAI Unit 4 Wireless+ in their carrying case laying on the grass.
Terrence O'Brien / Engadget

That’s hardly unreasonable if your definition of portable is simply that you can move them from place to place — nobody is taking the Unit-4 with them on a whim on the off chance that they might need a studio monitor. Still, I will say that I think AIAIAI should include the carrying case if they’re pitching the portability factor, rather than it being a $70 add-on.

My biggest issue, though, was the decision to remove the battery from the transmitter. The X01 Transmitter that comes with the Studio Wireless+ has a built-in battery. The X02 Transmitter that is packaged with the Unit-4 does not. The perk of this is that, when used as a USB-C audio dongle with a laptop, it’s nice and discrete. The downside is that if you use the minijack output you need to provide your own power, preferably via a powerbank, rather than an AC adapter to minimize opportunity for interference or ground loops.

Part of AIAIAI’s rationale for ditching the battery was that, well, batteries have a tendency to wear out. And this way, you don’t have to chuck the whole transmitter just because it won’t hold a charge anymore. But, the company has figured out how to make practically every part of the studio monitors removable and replaceable (including the battery), so it seems like doing that for the transmitter shouldn’t have been too tough.

AIAIAI Unit 4 Wireless+ studio monitor W+ Link X02 Transmitter sitting next to an SP-404 MKII.
Terrence O'Brien / Engadget

The lack of a battery is a non-issue if you’re primarily using the Unit-4 connected to a computer. But if you’re using a standalone piece of gear like an SP-404, connecting to a mixer for a jam session or out busking it in a park, the extra cable and external power bank become something else to forget at home and kind of undermine the whole “wireless” thing.

I know that seems like a lot of negatives all in a row, but these are honestly pretty minor complaints. And I think that, if you are one of the people who will get a lot of use out of the Unit-4, they probably won’t deter you. The audience here is undoubtedly smaller than with the Studio Wireless+, though. Where almost any bedroom producer could use a solid set of headphones that can be wired or wireless at a moment’s notice, bouncing from low-latency studio mode to Bluetooth at the flip of a switch. The list of musicians that need the same from their desktop studio monitors is probably pretty short.

I can imagine these being super handy on a tour bus but, I am not a touring musician. Instead where I found the wireless feature most useful was for dabbling with new musical toys from anywhere in my house. Rather than hide in my attic, I could bring one of the Unit-4s down into the living room (but not both), connect the transmitter and a powerbank to say, the Gaia 2 and get some work done while also hanging out with my kids.

Back panel and connections of the AIAIAI Unit 4 Wireless+ studio monitor.
Terrence O'Brien / Engadget

Just for the hell of it, I took the Unit-4 to a park to shoot some review photos. I can’t say that’s something I’d want to do terribly often. Lugging them through the park as I looked for a decent enough place to stage my shoot got tiresome pretty quickly. But, I did put their loudness to the test by cranking the speakers all the way with my SP-404 MKII set to top volume. Quite a lot of people stopped and stared at me with open hostility. They still sounded great, with no distortion and the audio remained clear and punchy even from a few dozen feet away. But, like with the Wireless Studio+, the W+ Link does introduce some noise that becomes noticeable as you approach the 75-percent mark on the volume.

They were handy as just regular ol’ Bluetooth speakers. While it’s been a touch too cold to throw parties in my backyard, I’ve set one of the Unit-4s up outside while I’ve raked the leaves. If I really wanted to make my neighbors hate me, I could turn the speakers all the way up and they’d even be audible over my trimmer and leaf blower.

And thanks to their giant batteries they’d easily be able to last through a few hours of yard work, a raucous BBQ, some late night cleanup and then some. AIAIAI claims over 20 hours of battery life, but doesn’t specify if that’s over Bluetooth or W+ Link. I did a battery rundown test where I left the Unit-4 connected over W+, occasionally playing music through them from Ableton Live and djay Pro with the volume set at 75 percent. The first speaker gave up the ghost after 17 hours and 46 minutes, and the second followed 11 minutes later. Considering the Studio Wireless+ last more than four times as long when on Bluetooth versus W+ Link, it’s safe to assume you’d be able to eke quite a bit more playtime out of the Unit-4 if you were using them strictly as Bluetooth speakers. Of course, if you did that you’d be missing out on the whole point of the Unit-4.

AIAIAI Unit 4 Wireless+ studio monitor on a yellow floral picnic blanket in a park with an SP-404 MKII in the foreground in that objectively dope Speak & Spell skin. Shout out to Cremacaffe.
Terrence O'Brien / Engadget

Even though they’re pricey, perhaps the ideal customer would be a busker. The Unit-4 can cover live performances with low enough latency to not be distracting, are reliable monitors for mixing in a studio, and also loud enough fill up an apartment or yard with tunes for a party. The only thing I wouldn’t want to rely on them for is DJing. While you could work around the latency by feeding both the cue and the live mix to a pair of headphones, it’s just a smidge too much if you really want to make sure your transitions are 100-percent on point.

One other thing worth noting is that the amount of latency you experience with the Unit-4 will vary depending on your source (USB-C vs ⅛” TRS) and even whether you’re on Windows or macOS. If you intend to use the Unit-4 with a Windows PC over USB-C you absolutely need to install the ASIO4ALL driver. Built-in Windows audio drivers have improved over the years, but they still can’t hold a candle to Apple’s Core Audio or Steinberg’s ASIO. To be clear, this isn’t an issue with the Unit-4, but with Windows. For the best results and the lowest latency, your best bet is still to use a dedicated Audio interface and to connect the X02 Transmitter to that using a TRS cable. Of course, that also means you’ll have to bring some way to power the transmitter, whether that’s a power bank or a USB-C power adapter.

AIAIAI Unit 4 Wireless+ studio monitors in park on a picnic blanket while I annoys Saturday morning jogger by blasting mediocre beats from an SP-404 MKII.
Terrence O'Brien / Engadget

If you are someone looking for a pair of portable studio monitors that let you (more or less) ditch the cables entirely, the Unit-4 are basically the only game in town. They’re stylish, natural sounding and have a completely unique set of features. But they’re definitely more of a niche product than the Studio Wireless+. While their $350 price tag isn’t cheap, the flexibility and broader appeal make them an easier sell. The Unit-4 on the other hand are both quite expensive at $800, and trying to solve a very specific problem. At least I can say unequivocally, they solve that problem quite well.

This article originally appeared on Engadget at https://www.engadget.com/aiaiai-unit-4-review-unique-wireless-portable-studio-monitors-130048854.html?src=rss

AIAIAI Unit-4 review: Unique wireless portable studio monitors

I’ve been using the AIAIAI Unit-4 Wireless+ studio monitors for a couple of months now. And initially, I wasn’t sure what to make of them. They’re solid studio monitors with 4-inch woofers and 1-inch silk tweeters. They sound good and look good. But the pitch — the reason these things cost $800 for a pair — is that they’re wireless. And not, “they’re studio monitors that also happen to have Bluetooth” wireless, though they have that as well. They include AIAIAI’s low-latency 2.4Ghz wireless tech that made its debut on the Studio Wireless+ a couple of years back. Plus they have sizable batteries, allowing them to run for up to 20 hours without any cables at all.

I was skeptical of the Studio Wireless+, but was eventually won over by the surprising convenience of not being tethered to my audio interface by a 3-meter long coiled cable. The Unit-4 have a somewhat tougher case to make, though. The cables that keep my current PreSonus monitors tethered to my desk don’t get in the way. I don’t have to unplug them to put on my guitar and I don’t trip over them while grabbing a synth from the shelf. Instead, the Unit-4 are meant to solve a very specific problem: needing studio quality monitors when you’re not in your studio.

As you might imagine, this is not a thing I find myself needing terribly often. I’m sure that someone out there, likely professional musicians who spend significant time on the road, would immediately see the appeal. But for a hobbyist like me, finding a use case is harder.

Before we get too deep into the “why,” let’s talk a little bit about the “what.” Until now AIAIAI has focused exclusively on headphones. A more conservative company might have simply made some bog-standard studio monitors and called it a day. But today you can get bog-standard studio monitors, and pretty decent ones at that, for not much money. So rather than just add more noise to an already saturated market, AIAIAI looked to see what it could do that would be unique.

AIAIAI Unit 4 Wireless+ studio monitor on a picnic blanket in a park.
Terrence O'Brien / Engadget

The somewhat surprising answer it got from some artists was wireless, battery-powered monitors. So it took the low-latency W+ Link technology it had developed for Studio Wireless+ and adapted it for use in a pair of 4-inch studio monitors. Where Bluetooth latency can be all over the map, ranging from around 40ms under ideal conditions with the latest hardware, to well over 100ms, W+ Link is a consistent 16ms. It’s not zero latency, but it’s close enough for a quick recording session or a casual jam.

Because of their size you’re not gonna get a ton of bass out of them. You get a surprising amount more low end just by jumping up to 5-inch woofers. But, it’s not like the Unit-4 lack oomph. They’ve got a decent amount of punch and a reasonably flat frequency response. That said, as with the Studio Wireless+, I find their tone a touch on the dark side.

There is an app for iOS and Android, though, where you can tune the EQ to your liking. I personally scooped the mids and cut the sub bass just a smidge to help brighten up the sound ever so slightly and keep things from getting muddy in my small attic studio. But there are also useful presets in there depending on where you are and what orientation the speakers are in, whether that’s horizontal on your desktop or on a picnic blanket in a park.

AIAIAI Unit-4 Wireless+ Android app screenshots.
Terrence O'Brien / Engadget

While it’s purely subjective and of little practical value, the Unit-4 look great in any orientation or setting. They’re much better looking than most studio monitors. They’re sleek, black and have a stylish metal speaker grill that attaches firmly with the help of a few magnets. A ring of white light glows around the woofer when they’re powered on too. Like I said, it makes no functional difference, but they’re certainly a visual upgrade from my PreSonus Eris E5s.

There are a few design choices that I can quibble with, however, even if I understand the reasoning (usually to shave size and weight). First off, the Unit-4 lack XLR hookups. This isn’t unheard of on portable studio monitors, and they do have balanced TRS connections, but combo XLR / TRS jacks are pretty ubiquitous at this point and wouldn’t have required much more room.

The power bricks for each speaker are also enormous. Obviously, putting those components inside the speaker, along with their sizable 77Wh batteries, would have dramatically increased their size and weight. But it seems odd that, what I believe are, the largest power bricks in my home currently belong to the Unit-4, while none of the other studio monitors or speakers I own have external power supplies at all, just standard AC cables. They weigh more than a pound each, which means that, despite AIAIAI bragging that the Unit-4 only tip the scales at 2.5kg (or about 5.5 pounds), if you were to hit the road with two monitors and the chargers for each you’d be looking at a total weight of close to 14 pounds.

AIAIAI Unit 4 Wireless+ in their carrying case laying on the grass.
Terrence O'Brien / Engadget

That’s hardly unreasonable if your definition of portable is simply that you can move them from place to place — nobody is taking the Unit-4 with them on a whim on the off chance that they might need a studio monitor. Still, I will say that I think AIAIAI should include the carrying case if they’re pitching the portability factor, rather than it being a $70 add-on.

My biggest issue, though, was the decision to remove the battery from the transmitter. The X01 Transmitter that comes with the Studio Wireless+ has a built-in battery. The X02 Transmitter that is packaged with the Unit-4 does not. The perk of this is that, when used as a USB-C audio dongle with a laptop, it’s nice and discrete. The downside is that if you use the minijack output you need to provide your own power, preferably via a powerbank, rather than an AC adapter to minimize opportunity for interference or ground loops.

Part of AIAIAI’s rationale for ditching the battery was that, well, batteries have a tendency to wear out. And this way, you don’t have to chuck the whole transmitter just because it won’t hold a charge anymore. But, the company has figured out how to make practically every part of the studio monitors removable and replaceable (including the battery), so it seems like doing that for the transmitter shouldn’t have been too tough.

AIAIAI Unit 4 Wireless+ studio monitor W+ Link X02 Transmitter sitting next to an SP-404 MKII.
Terrence O'Brien / Engadget

The lack of a battery is a non-issue if you’re primarily using the Unit-4 connected to a computer. But if you’re using a standalone piece of gear like an SP-404, connecting to a mixer for a jam session or out busking it in a park, the extra cable and external power bank become something else to forget at home and kind of undermine the whole “wireless” thing.

I know that seems like a lot of negatives all in a row, but these are honestly pretty minor complaints. And I think that, if you are one of the people who will get a lot of use out of the Unit-4, they probably won’t deter you. The audience here is undoubtedly smaller than with the Studio Wireless+, though. Where almost any bedroom producer could use a solid set of headphones that can be wired or wireless at a moment’s notice, bouncing from low-latency studio mode to Bluetooth at the flip of a switch. The list of musicians that need the same from their desktop studio monitors is probably pretty short.

I can imagine these being super handy on a tour bus but, I am not a touring musician. Instead where I found the wireless feature most useful was for dabbling with new musical toys from anywhere in my house. Rather than hide in my attic, I could bring one of the Unit-4s down into the living room (but not both), connect the transmitter and a powerbank to say, the Gaia 2 and get some work done while also hanging out with my kids.

Back panel and connections of the AIAIAI Unit 4 Wireless+ studio monitor.
Terrence O'Brien / Engadget

Just for the hell of it, I took the Unit-4 to a park to shoot some review photos. I can’t say that’s something I’d want to do terribly often. Lugging them through the park as I looked for a decent enough place to stage my shoot got tiresome pretty quickly. But, I did put their loudness to the test by cranking the speakers all the way with my SP-404 MKII set to top volume. Quite a lot of people stopped and stared at me with open hostility. They still sounded great, with no distortion and the audio remained clear and punchy even from a few dozen feet away. But, like with the Wireless Studio+, the W+ Link does introduce some noise that becomes noticeable as you approach the 75-percent mark on the volume.

They were handy as just regular ol’ Bluetooth speakers. While it’s been a touch too cold to throw parties in my backyard, I’ve set one of the Unit-4s up outside while I’ve raked the leaves. If I really wanted to make my neighbors hate me, I could turn the speakers all the way up and they’d even be audible over my trimmer and leaf blower.

And thanks to their giant batteries they’d easily be able to last through a few hours of yard work, a raucous BBQ, some late night cleanup and then some. AIAIAI claims over 20 hours of battery life, but doesn’t specify if that’s over Bluetooth or W+ Link. I did a battery rundown test where I left the Unit-4 connected over W+, occasionally playing music through them from Ableton Live and djay Pro with the volume set at 75 percent. The first speaker gave up the ghost after 17 hours and 46 minutes, and the second followed 11 minutes later. Considering the Studio Wireless+ last more than four times as long when on Bluetooth versus W+ Link, it’s safe to assume you’d be able to eke quite a bit more playtime out of the Unit-4 if you were using them strictly as Bluetooth speakers. Of course, if you did that you’d be missing out on the whole point of the Unit-4.

AIAIAI Unit 4 Wireless+ studio monitor on a yellow floral picnic blanket in a park with an SP-404 MKII in the foreground in that objectively dope Speak & Spell skin. Shout out to Cremacaffe.
Terrence O'Brien / Engadget

Even though they’re pricey, perhaps the ideal customer would be a busker. The Unit-4 can cover live performances with low enough latency to not be distracting, are reliable monitors for mixing in a studio, and also loud enough fill up an apartment or yard with tunes for a party. The only thing I wouldn’t want to rely on them for is DJing. While you could work around the latency by feeding both the cue and the live mix to a pair of headphones, it’s just a smidge too much if you really want to make sure your transitions are 100-percent on point.

One other thing worth noting is that the amount of latency you experience with the Unit-4 will vary depending on your source (USB-C vs ⅛” TRS) and even whether you’re on Windows or macOS. If you intend to use the Unit-4 with a Windows PC over USB-C you absolutely need to install the ASIO4ALL driver. Built-in Windows audio drivers have improved over the years, but they still can’t hold a candle to Apple’s Core Audio or Steinberg’s ASIO. To be clear, this isn’t an issue with the Unit-4, but with Windows. For the best results and the lowest latency, your best bet is still to use a dedicated Audio interface and to connect the X02 Transmitter to that using a TRS cable. Of course, that also means you’ll have to bring some way to power the transmitter, whether that’s a power bank or a USB-C power adapter.

AIAIAI Unit 4 Wireless+ studio monitors in park on a picnic blanket while I annoys Saturday morning jogger by blasting mediocre beats from an SP-404 MKII.
Terrence O'Brien / Engadget

If you are someone looking for a pair of portable studio monitors that let you (more or less) ditch the cables entirely, the Unit-4 are basically the only game in town. They’re stylish, natural sounding and have a completely unique set of features. But they’re definitely more of a niche product than the Studio Wireless+. While their $350 price tag isn’t cheap, the flexibility and broader appeal make them an easier sell. The Unit-4 on the other hand are both quite expensive at $800, and trying to solve a very specific problem. At least I can say unequivocally, they solve that problem quite well.

This article originally appeared on Engadget at https://www.engadget.com/aiaiai-unit-4-review-unique-wireless-portable-studio-monitors-130048854.html?src=rss

The UwU Virtual Pet Buffer is a Tamagotchi in a guitar pedal

I'm not gonna pretend I've figured you, the Engadget reader, out. Trying to predict what is gonna get your little nerd hearts all a flutter is kind of a crapshoot. But, I'm pretty confident that a Tamagotchi in a guitar pedal is right up your alley. Ground Control Audio showed up to NAMM 2024 with the UwU virtual pet buffer pedal.

Now buffer pedals are about the least exciting piece of gear you can buy for your pedal board. Probably even less so than a tuner. But, if you've got a particularly large board or long cables, a buffer can dramatically improve your tone. Basically all it does is take the signal coming in and give it a little boost so you don't lose precious high end to tone suck. Like I said, not exciting.

What UwU does is no different, except that it has a Tamagotchi-style virtual pet and a handful of mini-games built in. As you play, your new pedalboard buddy dances and gains experience points. As the little cat like creature gains experience it evolves over 30 levels with unique animations. As for what happens once you cross that 30 level threshold, well, the company hasn't decided just yet. But there is still time to decide that since the pedal isn't set to start shipping until March. 

If simply having a new little virtual friend on your board isn't enough whimsy for you, the UwU also has three mini-games built in. There's Long Cat (a snake clone), Fishy Blox (vaguely Tetris-like) and Neko Invader. The tiny monochrome OLED and small buttons aren't exactly ideal for playing games (and neither is hunching over a pedalboard I might add), but it feels true to its inspiration in old cellphone games.

The Ground Control Audio UwU virtual pet buffer pedal playing 'Fishy Blocks' at NAMM 2024.
Terrence O'Brien / Engadget

If you're sitting there wondering, "why?" Well, first off, why not? Secondly, to keep you playing, obviously. Finding the time and drive to play or practice guitar can be tough. Especially if you're teen with a hectic life of extra curriculars or, like me, a busy dad of two with a demanding day job. The UwU gives you a reason to play beyond just knowing you should. Carving out a few minutes every day to play will keep your adorable little UwU happy and healthy. Frankly, if I had one of these when I was younger and stubbornly clinging to my belief that I didn't need to know music theory or technique, maybe I'd be a more proficient guitarist.

Of course none this would matter if the UwU was a crappy buffer. But it's got 18v headroom and doesn't color your tone at all. It's even super tiny, so finding room for it on even the most crowded of pedalboards shouldn't be too difficult. 

The UwU virtual pet buffer is available now for preorder directly from Ground Control Audio for $139.

The Ground Control Audio UwU virtual pet buffer pedal on a pedalboard next to the Ground Control Audio Bread Oath Overdrive.
Terrence O'Brien / Engadget

This article originally appeared on Engadget at https://www.engadget.com/the-uwu-virtual-pet-buffer-is-a-tamagotchi-in-a-guitar-pedal-193633790.html?src=rss

Embodme Erae II hands-on: A customizable MPE MIDI controller for your soft synths and analog gear

The original Erae Touch was one of the more interesting MPE controllers to come out in the last few years. But it's been on the market for less than three years. So it was something of a surprise when Embodme showed up to NAMM 2024 with Erae II, the next iteration of its customizable controller with significant upgrades and one unexpected new feature.

Now, it's important to note that the version of the Erae II I was able to test out was very early prototype. There were a few bugs, the construction definitely had some rough edges. But the company has plenty of time to iron those out. The Kickstarter campaign opens on February 15 with an expect ship date sometime in June. 

The Embodme Erae II at NAMM 2024.
Terrence O'Brien / Engadget

But the vision is already clear. The main surface is largely the same, a singular smooth expanse with RGB lights underneath it. Those are used to illustrate various layouts that can be customized. It can be a standard keyboard, a grid, faders, a step sequencer, et cetera. The design is definitely more refined, even at this early stage. It also acknowledges that while the customizability of the controller was a big draw, it perhaps relied too much on the desktop app and the playing surface for handling settings. 

The updated version has a number of buttons across the top for quickly swapping layouts, controlling the new MIDI looper and accessing other settings. There's also a small, but high resolution screen tucked in the top righthand corner next to a jog wheel. The viewing angles on the screen were solid and it's plenty sharp, but its size could pose some challenges. I'm not going to judge it by this very early version of the firmware, but I had to squint pretty hard to make out the tiny text laying out all the MIDI assignments.

The controller itself was very responsive, though. The new sensors (16,000 of them to be specific) were able to track my glides and subtle shifts in pressure with incredible accuracy. The company claims the playing surface has sub-millimeter accuracy. Obviously there's no way I could truly put that to the test on the show floor but, suffice it to say, it was accurate. 

Close up of the screen and jog wheen on the Embodme Erae II at NAMM 2024.
Terrence O'Brien / Engadget

I can already tell that the Erae requires quite a bit of nuance, though, to get truly expressive results from the aftertouch. The surface doesn't have a lot of give, so tiny changes in pressure can result in big changes to the sound. 

One of the surprising things is that the Erae II will have swappable skins, kind of like the Sensel Morph (RIP) or the Joué Play, but also, not. The unit I played had a silicone cover like the original that the company says is meant for those who want to play the Erae II with drum stick. It will will ship with a white fabric one though, which was specifically meant to improve the feel and responsiveness for those playing with their fingers. 

Changing the skins is a little involved, however. Because Embodme sees the Erae not simply as a tool for the studio, but as a live performance device it wanted to make sure the covers would be secure and standup to abuse. So you actually have to unscrew the frame to pop on a new skin. And since the display on the Erae is already customizable, it's not bothering to have skins with particular layouts, just different materials.

Close up of the shortcut buttons on the Embodme Erae II at NAMM 2024.
Terrence O'Brien / Engadget

Embodme also added a ton of new connectivity options. The original simply had a USB-C port and a TRS MIDI out. But the Erae II will have two MIDI out ports, a MIDI in jack, two USB ports, with the ability to be either a host or a device, and 24 configurable analog outs that can send gate, trigger and CV to external gear. 

Obviously it's way to early to know for sure how well the Erae II will standup to real world use. But it's got a promising feature set and an intriguing design. If you want to be among the first to get your hands on one you'll be able to back it on Kickstarter starting February 15 with early bird prices of $549 or $649, depending on how early you hop on. When it reaches retail later in the year, however, it will be going for $799.

This article originally appeared on Engadget at https://www.engadget.com/embodme-erae-ii-hands-on-a-customizable-mpe-midi-controller-for-your-soft-synths-and-analog-gear-213059410.html?src=rss

Embodme Erae II hands-on: A customizable MPE MIDI controller for your soft synths and analog gear

The original Erae Touch was one of the more interesting MPE controllers to come out in the last few years. But it's been on the market for less than three years. So it was something of a surprise when Embodme showed up to NAMM 2024 with Erae II, the next iteration of its customizable controller with significant upgrades and one unexpected new feature.

Now, it's important to note that the version of the Erae II I was able to test out was very early prototype. There were a few bugs, the construction definitely had some rough edges. But the company has plenty of time to iron those out. The Kickstarter campaign opens on February 15 with an expect ship date sometime in June. 

The Embodme Erae II at NAMM 2024.
Terrence O'Brien / Engadget

But the vision is already clear. The main surface is largely the same, a singular smooth expanse with RGB lights underneath it. Those are used to illustrate various layouts that can be customized. It can be a standard keyboard, a grid, faders, a step sequencer, et cetera. The design is definitely more refined, even at this early stage. It also acknowledges that while the customizability of the controller was a big draw, it perhaps relied too much on the desktop app and the playing surface for handling settings. 

The updated version has a number of buttons across the top for quickly swapping layouts, controlling the new MIDI looper and accessing other settings. There's also a small, but high resolution screen tucked in the top righthand corner next to a jog wheel. The viewing angles on the screen were solid and it's plenty sharp, but its size could pose some challenges. I'm not going to judge it by this very early version of the firmware, but I had to squint pretty hard to make out the tiny text laying out all the MIDI assignments.

The controller itself was very responsive, though. The new sensors (16,000 of them to be specific) were able to track my glides and subtle shifts in pressure with incredible accuracy. The company claims the playing surface has sub-millimeter accuracy. Obviously there's no way I could truly put that to the test on the show floor but, suffice it to say, it was accurate. 

Close up of the screen and jog wheen on the Embodme Erae II at NAMM 2024.
Terrence O'Brien / Engadget

I can already tell that the Erae requires quite a bit of nuance, though, to get truly expressive results from the aftertouch. The surface doesn't have a lot of give, so tiny changes in pressure can result in big changes to the sound. 

One of the surprising things is that the Erae II will have swappable skins, kind of like the Sensel Morph (RIP) or the Joué Play, but also, not. The unit I played had a silicone cover like the original that the company says is meant for those who want to play the Erae II with drum stick. It will will ship with a white fabric one though, which was specifically meant to improve the feel and responsiveness for those playing with their fingers. 

Changing the skins is a little involved, however. Because Embodme sees the Erae not simply as a tool for the studio, but as a live performance device it wanted to make sure the covers would be secure and standup to abuse. So you actually have to unscrew the frame to pop on a new skin. And since the display on the Erae is already customizable, it's not bothering to have skins with particular layouts, just different materials.

Close up of the shortcut buttons on the Embodme Erae II at NAMM 2024.
Terrence O'Brien / Engadget

Embodme also added a ton of new connectivity options. The original simply had a USB-C port and a TRS MIDI out. But the Erae II will have two MIDI out ports, a MIDI in jack, two USB ports, with the ability to be either a host or a device, and 24 configurable analog outs that can send gate, trigger and CV to external gear. 

Obviously it's way to early to know for sure how well the Erae II will standup to real world use. But it's got a promising feature set and an intriguing design. If you want to be among the first to get your hands on one you'll be able to back it on Kickstarter starting February 15 with early bird prices of $549 or $649, depending on how early you hop on. When it reaches retail later in the year, however, it will be going for $799.

This article originally appeared on Engadget at https://www.engadget.com/embodme-erae-ii-hands-on-a-customizable-mpe-midi-controller-for-your-soft-synths-and-analog-gear-213059410.html?src=rss

Casio’s Dimension Tripper lets you control your guitar pedals with your guitar strap

NAMM is packed to the gills with synths, guitars, saxophones, et cetera. But, I promise you right now, the Dimension Tripper from Casio is the only wireless expression controller on the floor that you operate with your guitar strap. 

The concept is simple. It's an expression pedal. Just, not in pedal form. Now we've seen expression controllers in all sorts of shapes and sizes: Faders, rollers, even lasers. The Dimension Tripper does the same thing, except instead of rocking a pedal back and forth with your foot or sliding a fader back and forth with your hand, you pull down on your guitar itself.

There are two parts to the system. The transmitter goes between the end of your strap and the strap button on your guitar. One end of it is retractable and, as you stretch it out it sends information over Bluetooth to the receiver. Under ideal conditions there is about 20ms of lag, but even on the floor at NAMM with all of the interference it was barely noticeable.

The receiver is a relatively standard looking box that sits on your pedalboard and connects to your target pedal. A row of lights in the middle gives you visual feedback as you stretch out the sensor on the transmitter. 

Casio Dimension Tripper
Terrence O'Brien / Engadget

The two parts are a bit bulkier than I would have expected, though. The receiver has two foot switches and is basically the size of a standard guitar pedal. The transmitter is nearly 5 inches long and is 1 inch thick. You will notice it when you play, and will need to shorten your strap significantly.

Other than that, it works like any other expression controller. You can use it for energetic wah wah effects, or gentle volume swells or to crank up the weirdness on a ring modulator. It can even be used in place of a foot switch to turn on and off effect. So you could yank down hard at the start of the chorus to kick in an overdrive.

Casio Dimension Tripper
Terrence O'Brien / Engadget

The concept is definitely gimmicky. But I have to admit it's fun and actually felt kind of natural. Most players move their guitar a bit when anyway, and this just felt like an extension of that. I had to be a little more emphatic and move with more conviction than I might normally, but I adapted pretty quickly. Is it practical? Probably not. But kudos to Casio for trying something different.

What's not clear is whether or not this will become an actual retail product. Right now Casio is running a crowdfunding campaign where you back the Dimension Tripper for 32,736 yen, or about $221. If the wireless expression controller has a life beyond that however is still up in the air. 

This article originally appeared on Engadget at https://www.engadget.com/casios-dimension-tripper-lets-you-control-your-guitar-pedals-with-your-guitar-strap-200039380.html?src=rss

The MicroKorg 2 hands-on: A stylish update to an iconic digital synthesizer

The MicroKorg 2 has some big britches to fill. The original MicroKorg is one of, if not the best selling synthesizer of all time. It's also probably the longest continuously manufactured synth, having hit the market in 2002. Of course, technology has advanced quite a lot in the last 22 years and it was time to give what is arguably the first classic synth of the 21st century an update.

The new version that Korg announced just ahead of NAMM 2024 stays largely true to the original design. It's small, but solidly built. The mini keys might bother those with sausage fingers, but my slightly smaller than average hands didn't have much issue. I did occasionally miss my mark slightly, but that has as much to do with my terrible keyboard skills as it does the compact keybed. The keybed itself is fine. Nothing to write home about, that's for sure. But it's also not worth getting up in arms about. I've played plenty worse.

The knobs and buttons, even on this prototype felt solid. And the big rotary knob, which is kind of what gives a MicroKorg its visual identity, has very satisfying detents as you change the genre of your patch selection. While there are big signs in the Korg booth proclaiming that the MicroKorg 2 is still a prototype, the hardware already feels quite refined.

Even the interface seems like its at least nearly complete. The screen itself is bright and colorful with decent viewing angles. It did get a little washed out at extreme angles under the glare of the Anaheim Convention Center's lights, but it's unlikely to cause an issue in regular use. 

The screen and UI of the Korg MicroKorg 2 at NAMM 2024.
Terrence O'Brien / Engadget

The UI is already looking pretty nice, with some stylish animations as you change parameters. And changing parameters is a lot easier than it was on the original MicroKorg, which had two edit selection knobs and a table you needed to look up what the five knobs across the top were controlling. On the MicroKorg 2 things are much quicker. For example, pressing the button below the second knob cycles through the settings for oscillator one, two, three and the noise source. And the screen tells you what parameters are assigned to those knobs, depending on the page you've selected. 

It's hardly knob per function but it could be much worse.

The genre knob on the Korg MicroKorg 2 at NAMM 2024.
Terrence O'Brien / Engadget

The one area where it was obvious that the MicroKorg 2 was still in prototype stage was in the presets. There were only eight preprogrammed into the unit I tried. And the NAMM show floor wasn't exactly the ideal environment to do deep sound design. 

I did kick the tires on it a bit though, and was pretty quickly able to throw together a couple of decent sounding patches. And the handful of presets that Korg did have ready to go were bright and loaded with character. They were decidedly digital but didn't feel clinical. Unfortunately the convention hall was even less conducive to testing out the vocoder and harmonizer features. It was just impossible to get a clean enough signal with all the cacophony going on around me.

The logo on a black Korg MicroKorg 2 at NAMM 2024.
Terrence O'Brien / Engadget

In general the eight-voice (or four-voice in bi-timbral mode), three-oscillator synth engine seems like a big upgrade from the original. It's got not just your standard virtual analog waves, but a selection of single cycle waveforms and even samples that can be combined to create relatively complex sounding patches. 

The one thing that the original has over its successor though is price. Where you can still go pick up a MicroKorg from most music retailers for $430, the MicroKorg 2 will set you back $699 when it goes on sale later this year.

This article originally appeared on Engadget at https://www.engadget.com/the-microkorg-2-hands-on-a-stylish-update-to-an-iconic-digital-synthesizer-173034308.html?src=rss

Aviate Audio Multiverse Player Edition is a $349 ‘pedal store in a stomp box’

Last year Aviate Audio launched the Developer Edition of its Multiverse pedal — basically a plug-in host in guitar pedal format. Now, just in time for NAMM 2024, the company has announced the Player Edition of the Multiverse. The pedal is, for all intents and purposes, unchanged. Same basic design, same processor under the hood (a 600MHz Cortex M7), it's just cheaper now at $349, and presumably won't have access to some of the developer focused tools.

The pedal itself has a small 1.3-inch OLED screen to navigate the UI. There are four programable push encoders, plus two programable foot switches. There's stereo 1/4-inch TRS ins and outs, an 1/8-inch TRS midi input on the side, two expression jacks and a USB-C port. While the Multiverse can be used with a standard AC adapter, it can also be powered over USB-C, which is pretty handy when loading new effects or testing out a patch.

To celebrate the launch of the Player Edition Multiverse, Aviate Audio is also announcing version 1.3 of its Multiverse Designer software, which will add support for impulse responses (IR) for speaker emulation. If you shell out the $349 to grab one of these customizable multi-effects pedals, you'll have access to a small, but growing library of effect plugins through the Multiverse shop (21 of them by my count). 

They cover most of the basic effects you'd need on a pedal board, fuzz, delay, reverb, et cetera. There's even an emulation of a Klon Centaur, that's cheekily marked as being on sale for $0 with an original price of $7,999. Most of the effects currently in the Aviate shop are free, but there are a few that ask you to pay $5 or $10 for them. The set up isn't terribly different from what Mod Devices tried to do with its Duo line. Clearly Aviate Audio feels it can succeed where Mod struggled.

This article originally appeared on Engadget at https://www.engadget.com/aviate-audio-multiverse-player-edition-is-a-349-pedal-store-in-a-stomp-box-212133895.html?src=rss

Aviate Audio Multiverse Player Edition is a $349 ‘pedal store in a stomp box’

Last year Aviate Audio launched the Developer Edition of its Multiverse pedal — basically a plug-in host in guitar pedal format. Now, just in time for NAMM 2024, the company has announced the Player Edition of the Multiverse. The pedal is, for all intents and purposes, unchanged. Same basic design, same processor under the hood (a 600MHz Cortex M7), it's just cheaper now at $349, and presumably won't have access to some of the developer focused tools.

The pedal itself has a small 1.3-inch OLED screen to navigate the UI. There are four programable push encoders, plus two programable foot switches. There's stereo 1/4-inch TRS ins and outs, an 1/8-inch TRS midi input on the side, two expression jacks and a USB-C port. While the Multiverse can be used with a standard AC adapter, it can also be powered over USB-C, which is pretty handy when loading new effects or testing out a patch.

To celebrate the launch of the Player Edition Multiverse, Aviate Audio is also announcing version 1.3 of its Multiverse Designer software, which will add support for impulse responses (IR) for speaker emulation. If you shell out the $349 to grab one of these customizable multi-effects pedals, you'll have access to a small, but growing library of effect plugins through the Multiverse shop (21 of them by my count). 

They cover most of the basic effects you'd need on a pedal board, fuzz, delay, reverb, et cetera. There's even an emulation of a Klon Centaur, that's cheekily marked as being on sale for $0 with an original price of $7,999. Most of the effects currently in the Aviate shop are free, but there are a few that ask you to pay $5 or $10 for them. The set up isn't terribly different from what Mod Devices tried to do with its Duo line. Clearly Aviate Audio feels it can succeed where Mod struggled.

This article originally appeared on Engadget at https://www.engadget.com/aviate-audio-multiverse-player-edition-is-a-349-pedal-store-in-a-stomp-box-212133895.html?src=rss

Positive Grid Spark Live is a 4-channel all-in-one PA and guitar amp

Positive Grid has already proven its aptitude for guitar amps with increasingly small entries in its Spark line. But for NAMM 2024 its going big with the Spark Live, a 150 watt portable PA system with four speakers and four channels of audio inputs. Rather than quiet solo practice, the Spark Live is meant for band practices or small gigs. 

The first channel is dedicated to guitar and has pretty much the full power of Positive Grid's modeling technology at its disposal. There are 33 amp models and 43 effect builtin that can be combined into eight different presets that are easily accessible from the main control panel. 

Channel two has a combo 1/4-inch / XLR input and has presets and effects customized for bass, vocals and acoustic guitar. There are preamp models as well as new effects unique to the Spark Live. Channel three and four are a stereo pair of direct ins. There are amp models or effects here, but you can run straight in from a synth, a amp simulator pedal or even just a backing track from a computer. 

There's also a sensor inside that allows it to dynamically change its EQ based on position. When vertical the Live has a more direct and punchier tone. But when laid on its side, it delivers a wider, softer stereo field. There's even a built in tilt stand so you can direct the sound where necessary. It can also adjust volume automatically based on incoming signals. There's even an option battery pack for $79 that can power the Spark Live for up to eight hours.

In addition to the Live, Positive Grid also announced the Spark Control X, a Bluetooth foot controller for its Spark line of amps. It can connect to the Spark Live all the way down to the minuscule Spark Go. It has six customizable foot switches, MIDI support, an expression pedal jack and a builtin rechargeable battery. Positive Grid even includes three clear overlays that you can write on with a dry erase marker so you know what each switch does. 

To round out it deluge of announcements for NAMM 2024, Positive Grid also unveiled the Spark Link wireless guitar system. Wireless guitar transmission systems are nothing new, but Positive Grid undercuts other players in the field with a price of $129. And it claims the Link has a range of 70 feet, 20 feet more than most. 

All of Positive Grid's new products are available for pre-order direct from the company. Spark Live will retail for $549, but there's a $50 off coupon available during the pre-order period. The Spark Control X and Spark Link can be preordered for $149 and $129, respectively.

This article originally appeared on Engadget at https://www.engadget.com/positive-grid-spark-live-is-a-4-channel-all-in-one-pa-and-guitar-amp-231741696.html?src=rss