Content platform Substack just released a spate of new video capabilities, placing it in direct competition with YouTube and Patreon, among others. The video tools include a direct upload option, which is handy, and customizable paywalls for content creators. Before this, users were forced to upload videos to YouTube and embed a link. The upload tool is now readily accessible via the dashboard. It’ll even automatically split the audio and video for podcasters who want to court both audiences.
As for the paywall options, you now get the same level of flexibility available to non-video users. Content creators can select a slice of the video to give away for free, locking the rest behind a paywall. The free preview segment should transition smoothly into a prompt to become a paying subscriber.
There’s also a new AI tool that generates transcripts from videos, for those who like to, gasp, read. The transcript is automatically created alongside the video upload and users can post it to the main feed. Additionally, viewers can click anywhere on the transcript to jump to that section of the video.
Video sharing has gotten a much-needed upgrade. Viewers can create their own custom clips sourced from any video. This creates a shareable link that includes branded visuals at the end featuring the creator’s logo and URL, so there will be no obvious thievery. Obviously, viewers can quickly share links to the entire clip if they want. Users can even directly download videos for publication on services like TikTok and Instagram. Again, that bumper will be there to give credit to the original creator.
The company wrote in a blog post that these new tools, taken together, make it so “the friction in starting a media business based on video has been reduced to almost zero.” To commemorate the launch, Substack is rolling out a number of exclusive video shows. There’s a food culture program with chef Nancy Silverton, a talk show starring actress Amber Tamblyn and a news program anchored by Chris Cuomo, among many others.
This article originally appeared on Engadget at https://www.engadget.com/substack-adds-new-video-tools-to-compete-with-patreon-and-youtube-202025605.html?src=rss
The Breville Smart Oven Air Fryer Pro has dropped to a record low of $320 as part of a Cyber Monday sale that includes significant discounts on many of the company's appliances. The air fryer is typically available for $400. Breville's products tend to be on the pricier side and they don’t go on sale often. So, if you’re a Breville aficionado or haven’t been able to find an entry point into its wares until now, this looks like a good opportunity to snap up a device or two.
This model is our pick for the best multi-purpose air fryer. Sure, it's a capable air fryer, but it's so much more than that. In a pinch, it can act as a second oven, which could be very useful if family and/or friends are coming to your place for the holidays. The appliance has a number of other functions, such as toasting, broiling, baking, pizza baking, dehydration, slow cooking and proofing.
The Breville Smart Oven Air Fryer Pro is large enough to accommodate a 14-pound turkey or a five-quart Dutch oven. There's enough space for a 9 x 13-inch pan too.
On the downside, the "Smart" part of the product's name is a slight misnomer. You can't control or monitor it it using an app. Instead, Breville says the device employs algorithms to distribute power as needed between six independent quartz elements to foster an ideal cooking environment. It uses sensors and temperature control to detect and eliminate cold spots, with the aim of delivering a precise, even cook.
If you'd prefer a model with app integration and voice assistant compatibility, you can opt for Breville's Joule Oven Air Fryer Pro, which is also on sale. It has dropped to $440. With that model, you can opt to receive push notifications when your food is finished cooking. There's a companion app with guided recipes too.
This article originally appeared on Engadget at https://www.engadget.com/cyber-monday-deals-the-breville-smart-oven-air-fryer-pro-is-80-off-at-amazon-153902077.html?src=rss
Black Friday may be over, but many of the best tech deals seem to be carrying over into Cyber Monday 2023. Elgato gear is included in some of the best Cyber Monday gaming deals you can get right now: the company's Stream Deck MK.2 is 20 percent off as part of a Corsair gaming sale at Amazon. Plus, there's an additional $10 coupon you can clip to bring the final price down to $110, which is the best we've seen. The Stream Deck is one of our recommended accessories for streamers. It's also useful for other creators like podcasters, as well as anyone who carries out the same tasks over and over on their desktop system.
The Stream Deck MK.2 (not to be confused with Valve's Steam Deck) is a highly customizable desktop controller. You can set up a Stream Deck to fire up your streaming software, simultaneously start a stream and let social media followers know you're going live, mute your mic and change your lighting. If you enjoy annoying your friends, you could use the device as a soundboard too.
The Stream Deck is useful for other purposes as well. You can, for instance, set up macros with AutoHotkey on Windows and Shortcuts on Mac to boost your productivity across a wide range of apps. Alternatively, you can use the 15 LCD hotkeys to control music playback, set timers for focused work sessions, trigger actions through IFTTT, change your Slack status, jump into your favorite Discord channel or paste in a lengthy phrase of text that you frequently use. The possibilities are almost endless.
This model has eight LCD hotkeys and four dials that offer users more refined control over a variety of functions. You can finely adjust the volume of your headphones or mic, the brightness of connected smart lights or the zoom level of your webcam, for instance. The Stream Deck+ has a touchscreen that displays what each dial does. You can also use this to swipe between different pages of hotkey functions.
This article originally appeared on Engadget at https://www.engadget.com/amazon-black-friday-2023-is-still-going-the-elgato-stream-deck-mk2-is-20-percent-off-right-now-211508546.html?src=rss
Teenage Engineering is a company that follows its own path. It’ll release a $250 toy car one day and a full-featured groovebox/sampler for $300 on the very next day. That’s what happened this week. Teenage Engineering just surprise-launched the EP-133 K.O. II, a portable sampler/groovebox that's feature-rich, looks absolutely stunning and costs just $300. You read that cost right.
The only musical instruments in TE’s lineup that approach this price point is its catalog of Pocket Operator portable synthesizers, so it’s no surprise that this is a direct followup to the best one, the PO-33 KO sampler. The original Pocket Operators were marketed as something of a toy, despite being surprisingly robust, but the EP-133 K.O. II is being advertised as a workstation. This is a fairly large, but still portable, device that more closely resembles an Akai standalone machine. It won’t fit in your pocket, but will fit in your bag.
Let’s go over some specs. The K.O. II boasts 64MB of memory, which isn’t a lot, but TE products typically come with some tradeoff. It’ll be enough for a bunch of samples and a few projects, though, which the company says was intentional. Teenage Engineering co-founder and hardware lead David Eriksson told The Verge that if the sampler had too much storage it would “give the user the option to finish later” instead of completing a song in one-go. Will nobody think of the poor musicians out there who love starting things and hate finishing things? Asking for a friend.
Teenage Engineering
There are 999 slots for samples, as a matter of fact, and an internal microphone for making your own. Though this is, first and foremost, a sampler, it ships pre-filled with drum hits, synths and other sounds so you can get straight to work. It connects via USB-C for loading samples from a computer or MIDI devices. The K.O. II is also portable, running off of four AAA batteries. In other words, there’s no internal rechargeable battery, but that $300 price tag had to come about somehow.
The unit features a traditional 3.5mm headphone jack and the most important buttons and knobs are orange, to help musicians find them during live sets in dark, smoky clubs. That’s a nice touch. The device itself is gorgeous, with a handsome panel of buttons, knobs and connectors. The keys are clicky and, more importantly, velocity sensitive. There’s a rectangular LED screen up top that boasts similar design language to the OP-1 and OP-1 Field portable synthesizers.
Teenage Engineering hopes this product will attract newbies to the world of music-making, so the workflow is designed for simplicity, a trait shared with its forebear. Despite that caveat, this is a powerful instrument that should lure in professionals and amateurs alike. It features 12 mono and 6 stereo voice polyphony, stereo/mono sampling at 46.875 kHz/16-bit, 12 pressure-sensitive pads, 6 built-in FX sends with a punch-in mode, a master compressor and both manual and automatic sample slicing tools. It also looks really cool, like an accounting calculator from the future.
The EP-133 K.O. II is available today and, again, costs $300. The day before Thanksgiving is an odd time to release a new piece of hardware, but Teenage Engineering is based in Sweden, so what does it care? It’s worth noting that this is the first dedicated music-making machine the company has released since last year's OP-1 Field.
This article originally appeared on Engadget at https://www.engadget.com/teenage-engineerings-ko-ii-groovebox-is-feature-rich-and-only-300-164933466.html?src=rss
Bluesky has just crossed 2 million users a year after the service's first ever post was created. While that's nowhere near the numbers Threads has already reached, it's still a big accomplishment for the X rival that only opened the app to users in February and still requires an invite for access. Bluesky hit 1 million users merely a couple of months ago, in September, which could mean that the platform has been sending out more invites recently. In its post announcing the milestone, the Bluesky team has also revealed that it's launching a public web interface around the end of November.
The interface will allow anybody, even those without an account, to view posts on the platform. Its launch could make more potential users aware about the service's existence, and Bluesky believes making its posts more accessible "will be especially useful for real-time commentary and breaking news." In the long run, it could make the service one of people's go-to social networks for news in the same way X users rely on the website to read about current events.
And for those waiting for Bluesky to become a more open platform like Mastodon, the team says federation is "timelined for early next year if development continues as planned." To become a federated or a decentralized and distributed social network, the team is currently developing the AT Protocol, which will give users the power to migrate both their identities and their content from one personal data server to another. "This is one of the core features of Bluesky that makes it 'billionaire-proof,' — you’ll always have the freedom to choose (and to exit) instead of being held to the whims of private companies or black box algorithms," the announcement post reads.
This article originally appeared on Engadget at https://www.engadget.com/bluesky-hits-2-million-users-and-will-soon-release-a-public-web-interface-062757340.html?src=rss
Meta has called for legislation that would require app stores to get parental approval before their teens download any app. That would effectively put more onus on parents, as well as Google and Apple, to protect younger users from apps that have the potential to cause harm.
"Parents should approve their teen’s app downloads, and we support federal legislation that requires app stores to get parents’ approval whenever their teens under 16 download apps," Antigone Davis, Meta's global head of safety, wrote. The company is proposing a plan that would see app stores notifying parents when their teen wants to download an app, in a similar way to how they are alerted when a kid wants to makean in-app purchase. The parent would then approve or deny the request.
Meta says its approach would let parents verify their teen's age when they set up a phone, rather than requiring everyone to verify their age multiple times across various apps. The company suggests legislation is needed to make sure all apps that teens use are held to the same standard.
It notes that states are enacting "a patchwork of different laws," some requiring teens to get parental approval for different apps and others mandating age verification. However, "teens move interchangeably between many websites and apps, and social media laws that hold different platforms to different standards in different states will mean teens are inconsistently protected," Davis wrote.
Under current proposals, Meta argues that parents would need to navigate different signup methods and provide "potentially sensitive identification information" for themselves and their teens "to apps with inconsistent security and privacy practices." Indeed, experts say that such age verification practices threaten the privacy of all users.
Utah is enacting legislation that will require social media apps to obtain parental content before a teen can use them. That state and Arkansas both passed social media age verification laws. Following a lawsuit from tech companies, a federal judge struck down the Arkansas legislation a day before it was set to take effect in September. The Utah laws are scheduled to come into force in March.
In its call for federal legislation, this could be seen as a case of Meta trying to pass the buck to parents and app stores. A judge this week rejected attempts by Meta, YouTube parent Google and TikTok owner ByteDance to dismiss lawsuits blaming them for teens' social media addiction. In October, 41 states and the District of Columbia sued Meta for allegedly releasing "harmful features on Instagram and Facebook that addict children and teens to their mental and physical detriment," among other things.
This article originally appeared on Engadget at https://www.engadget.com/meta-calls-for-legislation-to-require-parental-approval-for-teens-app-downloads-171016744.html?src=rss
Instagram is expanding its Close Friends feature from Stories and Notes to feed posts and Reels. As such, you'll be able to share Reels and feed posts with a smaller, perhaps more trusted audience instead of everyone who follows you.
The Instagram team says folks use Close Friends "as a pressure-free space to connect with the people that matter most." By expanding the Close Friends option to Reels and feed posts, the developers hope you'll have "more ways to be your most authentic self on Instagram while having more choices over who sees your content."
Sharing a Reel or feed post only with Close Friends is pretty straightforward. When you're creating one, hit the Audience button, select Close Friends and then tap Share. The post or Reel will have a green star label, so those on your Close Friends list who see it will know they're part of an exclusive club. To highlight the expansion of the feature, you might see the app's plus button turn into a green star icon today.
It's worth noting that the Close Friends list will be the same group of people across all Instagram features. However, Instagram has been looking at other ways for everyone to share things with smaller audiences. Last month, Instagram head Adam Mosseri revealed that his team was experimenting with a way to let users share Stories with different subsets of followers. Facebook users have long been able to set up many different lists of friends and choose which one to share a post with.
This article originally appeared on Engadget at https://www.engadget.com/you-can-now-limit-instagram-posts-and-reels-to-close-friends-181123680.html?src=rss
Last spring, Teenage Engineering announced a curious, tiny mixer. At $1,200 the TX-6 appeared to pair a serious price tag with almost comically small controls. It divided music making forums with naysayers deeming it evidence that the company was squandering its reputation as a maker of spendy-but-delightful products. Importantly, the TX-6 was the first in a new line of “Field” products. It was soon joined by the OP-1 Field synthesizer, but until recently that was it, and a mixer with a synth didn’t feel like much of a “system”.
With the arrival of the TP-7 recorder and the CM-15 microphone, the Field family is complete — although the company hasn’t ruled out adding more products further down the line. And like some sort of heavily designed musical Infinity Stones, all four products feel far more exciting and powerful together than they do individually. Or, forced metaphors aside, it’s easier to see where the company was going with all this now that the family is complete.
That’s if the $5,900 entry fee for the full set doesn’t make you balk. But let’s ignore the economics for now, as that’s an accepted part of the Teenage Engineering experience at this point. What we have here is a compact, creativity-inducing system that’s like no other and this off-beat, playful approach to product design is something I wish we saw more of (and ideally in a more accessible way).
We’ve already covered the TX-6 mixer and the OP-1 Field synthesizer and how they interact with each other. But as the two new arrivals bring their own set of skills to the Field system, most of which is laid out below. I say most, as every time I tinker with them, it occurs to me to try something new. Similarly, revisiting the online guide seems to have an uncanny ability to throw up things you missed last time, further unlocking ideas or features.
CM-15
Teenage Engineering’s first studio microphone is nothing if not beautiful. The Field aesthetic of small, rectangular CNC aluminum makes the most sense here out of all the products. The CM15 could really just be another fancy microphone. The CM15 is also the one where the price is most inconspicuous, given high-end microphones tend to start around the $1,200 that you’ll need to spend to add this to your collection.
The CM15 is a large diaphragm condenser microphone which is the type preferred in studios and tends to be a lot more sensitive than something like the podcaster’s favorite Shure SM7b. This microphone doesn’t have elaborate features like internal storage or any type of sound modification tools, but it’s not without some interesting details. For one, the CM15 has three output options — mini XLR, USB and 3.5mm — which makes it compatible with a wide range of devices. Specifically, as the CM15 has its own battery, it plays nice with more USB devices than rival condensers that may require more juice than your phone can deliver.
A switch around the back offers three levels of gain adjustment (neutral and +/- 18dB) which is handy given the variety of things you can plug this into. The gain is analog and in testing sounds pretty clean, with only a marginal effect on the noise floor. I found being able to quickly adjust the gain directly on the mic for different situations made this mic feel like a really good all-rounder, both at home or on the go.
With regard to the Field range, and the intercompatibility thereof, there’s less here than other devices in the family. When you plug the CM15 into the TP-7 recorder over USB it recognizes it as the CM15 and presents you a cute mini icon of it. When the mic is detected you’ll also have the option to add an additional 12dB of digital gain — something that’s not an option when plugging in a phone, for example. The CM15 is also the only mic I tried that worked with the USB port of the TX-6 mixer. This allows you to add effects and, of course, mix it with other instruments, but also this frees up an analog input if needed (though the mic will share channel six with anything else on that input).
Teenage Engineering states the CM15 can also be used as an audio interface, but when tested this didn’t work for Windows, MacOS or iOS. Though it will work as a USB mic for all those operating systems.
As for sound, the CM15 is a very “close” sounding condenser microphone. By that, I mean it never seemed to pick up a lot of the room which can often be the case with condensers, especially those with larger diaphragms. This is due to the supercardioid polar pattern but the result is perfect for mobile applications where you may find yourself in different environments and the CM15 will deliver fairly consistent sound. For my voice, I might appreciate the option to bump the mid-high frequencies a touch, but for most everything else, including foley and instruments, the CM15 sounds bright and clear.
TP-7
I’ll say it straight up front, the $1,499 TP-7 is my favorite of the four Field devices. The OP-1 Field is the flagship, but for pure portability to functionality balance, the TP-7 wins. Described as a “Field recorder” the TP-7 takes the idea of a portable cassette recorder and brings it up to date for the 21st century. There’s a built-in microphone, 128GB of storage and three stereo inputs (that can also be outputs). It can record multitrack podcasts, has tactile scrubbing controls and a thumb rocker and can even become a tiny turntable complete with scratching and physical pitch control.
First and foremost though, the TP-7 is a capable recorder. Press and hold the side button, even when the device is off, and it’ll spring to life and start recording via the internal mic. This feature is more about recording short notes and ideas which you can then have transcribed via a companion app. The app connects over Bluetooth or USB, works offline and will even identify different speakers. It’s not as fully featured as a paid service like Trint or Otter but it’s really cool extra functionality. I even tried loading an old interview I had on my PC onto the TP-7 and the app happily transcribed that, too. The only restriction seemingly being that you have a TP-7 (you can’t load an audio up from your phone within the app, for example).
Beyond memo recording is more general recording of the TP-7’s various inputs. As with the TX-6 mixer, your main inputs are 3.5mm ports which isn’t ideal but most things with a line signal can be wrangled into 3.5mm easily enough. You can also record audio into and out of your phone via USB-C (including the iPhone 15) or directly from the CM15 digitally and over 3.5mm analog at the same time, if you wanted.
The three 3.5mm ports can be configured for line-level or headset/TRRS input or flipped into outputs. Line level will cover most instruments and active electronics with audio output, while headset mode is for anything with a lower output signal such as, well, headsets, but also some other unpowered microphones like lavaliers. I even had some success recording an SM7b via an XLR to TRRS adapter. You can add up to 45dB of gain to the 3.5mm inputs, and with about 35dB the output from Shure’s gain-hungry mic was quiet, but clean and usable. Other XLR dynamic mics were much louder and usable.
With three microphones connected this way, the TP-7 will spit out a multitrack WAV file with each one recorded on its own channel making this a capable podcast recording tool or mini studio recorder that you can mix properly after the fact.
Connect a phone to the TP-7 over USB-C and you can record any sound directly, so you could grab the audio from a video and transcribe it with the app, or load up a beat and then sing or rhyme over it for an on the go demo whenever inspiration strikes. When playing back on the TP-7 the main front disk rotates and you can speed it up, slow it down or even do some rudimentary scratching. This could be used for effect when feeding the output into the TX-6 mixer for recording onto another device.
Multitrack also works for playback. So if you have a WAV file that has drums, vocals, synth and bass as different tracks, you can play it on the TP-7 into the TX-6 over USB and you can mix and add effects to each part of the track separately. In this way, you can use the pair as an effective performance tool, creating an intro with just the beat, adding in the bassline and so on.
Taking this concept even further, with two TP-7s and the TX-6 mixer you effectively have a pair of tiny turntables, with actual turning platters, that can be pitched up or down in real time into the mixer. It’s a classic analog DJ setup but the size of a paperback. I tried it, and mixing this way is really hard as using the jog wheel to alter pitch is a bit heavy handed. You can adjust the pitch more gently by holding the side button and then using the jog wheel, but if, like me, you haven’t mixed this way in 20 years, it takes a little getting used to. It’s also a little OTT to be fair.
What’s much more reasonable, is using the TP-7 as a general audio player. You can load files onto it, and then play them back either on the internal speaker or (preferably) via headphones. You can use the side rocker or the main wheel to control the playback, too. Currently you can only play .wav and .flac file extensions, which is fine, but the lack of mp3 feels like an obvious omission (Teenage Engineering confirmed support is incoming).
The flexibility of the TP-7 doesn’t stop out in the field. Connect it to your PC and it’ll become an audio interface, too. Or at least, that’s the idea. Right now on Windows I only had it working briefly and not in full. On macOS it was marginally better, but not usable. Bear in mind the TX-6 also offers this functionality, and after months that still doesn’t work with Windows at all and is still not flawless on macOS. It’s a shame, as at this price point you’d hope it works at launch and across both systems.
There’s really a lot more you can do with the TP-7, especially in combination with the TX-6. There’s Bluetooth MIDI functionality, for one. The two really make a great team, but the above cover much of the main functionality. Everything else starts to get a little bit niche. Fun, but niche. I’m also certain that functionality will continue to grow as Teenage Engineering is generally pretty good about adding features, often based on user feedback.
Putting it all together
After spending days plugging different things into the TP-7 and the TX-6 and trying out various scenarios and ideas, it sometimes felt like that was often half the fun. Wondering what will happen if you do X and connect to Y. Like musical lego. Much of this will be true for many combinations of audio gear, but the Field line does lend itself particularly well to this playful experimentation.
That said, there are some bugs that you might not expect at this price point. The most obvious one I encountered was the audio interface functionality. At launch I would expect Windows and macOS support and for both to be fairly seamless. Other curiosities were less important but still confusing. Sometimes the CM15 wouldn’t be recognized over USB until a restart, or simply using the analog/3.5mm output would sporadically give crunchy audio when recording into one thing, but clear audio on the TP-7. This could well be down to cables, adapters and so on, but when the same scenario works just fine on a product a third of the price it’s harder to justify.
Take the Tula mic, for example. It’s actually a device that’s already quite popular with Teenage Engineering fans. It has a more classic design, but offers similar functionality to both the TP-7 and the CM15 combined. The mic on it maybe isn’t as good as Teenage Engineering’s, and the recorder functionality doesn’t have the fancy rocker and jog wheel controls, but it’s a good mic and a good recorder all in one and it only costs $259 — less than a tenth of the TP-7 and CM15 together.
But as I said up top, this is less about the price. Teenage Engineering fans are aware of the expense that comes with the products. Many consider it worth it just for that extra dash of playfulness that you don’t find elsewhere. (Other fans are, to be clear, still not really okay with the pricing.) That’s perhaps a conundrum that good old market forces can decide. If, after all these years, the company is still chugging along, it suggests there are plenty of people that consider it a premium worth paying.
What is less contested is that Teenage Engineering does something unique enough to earn it enough fans for there to even be an argument. Or an article like this one. The Field system, in my opinion, exemplifies what the company does best. Interesting tools that have a practical core and a less practical fun side. Individually all four field items will solve a basic problem, like most products do. Together they become a little bit more than the sum of their parts. If you believe creativity lives in that space between functionality and possibility then the Field range creates enough room here for the right kind of creator that the price
This article originally appeared on Engadget at https://www.engadget.com/teenage-engineering-tp7-cm15-field-series-review-170052292.html?src=rss
Last spring, Teenage Engineering announced a curious, tiny mixer. At $1,200 the TX-6 appeared to pair a serious price tag with almost comically small controls. It divided music making forums with naysayers deeming it evidence that the company was squandering its reputation as a maker of spendy-but-delightful products. Importantly, the TX-6 was the first in a new line of “Field” products. It was soon joined by the OP-1 Field synthesizer, but until recently that was it, and a mixer with a synth didn’t feel like much of a “system”.
With the arrival of the TP-7 recorder and the CM-15 microphone, the Field family is complete — although the company hasn’t ruled out adding more products further down the line. And like some sort of heavily designed musical Infinity Stones, all four products feel far more exciting and powerful together than they do individually. Or, forced metaphors aside, it’s easier to see where the company was going with all this now that the family is complete.
That’s if the $5,900 entry fee for the full set doesn’t make you balk. But let’s ignore the economics for now, as that’s an accepted part of the Teenage Engineering experience at this point. What we have here is a compact, creativity-inducing system that’s like no other and this off-beat, playful approach to product design is something I wish we saw more of (and ideally in a more accessible way).
We’ve already covered the TX-6 mixer and the OP-1 Field synthesizer and how they interact with each other. But as the two new arrivals bring their own set of skills to the Field system, most of which is laid out below. I say most, as every time I tinker with them, it occurs to me to try something new. Similarly, revisiting the online guide seems to have an uncanny ability to throw up things you missed last time, further unlocking ideas or features.
CM-15
Teenage Engineering’s first studio microphone is nothing if not beautiful. The Field aesthetic of small, rectangular CNC aluminum makes the most sense here out of all the products. The CM15 could really just be another fancy microphone. The CM15 is also the one where the price is most inconspicuous, given high-end microphones tend to start around the $1,200 that you’ll need to spend to add this to your collection.
The CM15 is a large diaphragm condenser microphone which is the type preferred in studios and tends to be a lot more sensitive than something like the podcaster’s favorite Shure SM7b. This microphone doesn’t have elaborate features like internal storage or any type of sound modification tools, but it’s not without some interesting details. For one, the CM15 has three output options — mini XLR, USB and 3.5mm — which makes it compatible with a wide range of devices. Specifically, as the CM15 has its own battery, it plays nice with more USB devices than rival condensers that may require more juice than your phone can deliver.
A switch around the back offers three levels of gain adjustment (neutral and +/- 18dB) which is handy given the variety of things you can plug this into. The gain is analog and in testing sounds pretty clean, with only a marginal effect on the noise floor. I found being able to quickly adjust the gain directly on the mic for different situations made this mic feel like a really good all-rounder, both at home or on the go.
With regard to the Field range, and the intercompatibility thereof, there’s less here than other devices in the family. When you plug the CM15 into the TP-7 recorder over USB it recognizes it as the CM15 and presents you a cute mini icon of it. When the mic is detected you’ll also have the option to add an additional 12dB of digital gain — something that’s not an option when plugging in a phone, for example. The CM15 is also the only mic I tried that worked with the USB port of the TX-6 mixer. This allows you to add effects and, of course, mix it with other instruments, but also this frees up an analog input if needed (though the mic will share channel six with anything else on that input).
Teenage Engineering states the CM15 can also be used as an audio interface, but when tested this didn’t work for Windows, MacOS or iOS. Though it will work as a USB mic for all those operating systems.
As for sound, the CM15 is a very “close” sounding condenser microphone. By that, I mean it never seemed to pick up a lot of the room which can often be the case with condensers, especially those with larger diaphragms. This is due to the supercardioid polar pattern but the result is perfect for mobile applications where you may find yourself in different environments and the CM15 will deliver fairly consistent sound. For my voice, I might appreciate the option to bump the mid-high frequencies a touch, but for most everything else, including foley and instruments, the CM15 sounds bright and clear.
TP-7
I’ll say it straight up front, the $1,499 TP-7 is my favorite of the four Field devices. The OP-1 Field is the flagship, but for pure portability to functionality balance, the TP-7 wins. Described as a “Field recorder” the TP-7 takes the idea of a portable cassette recorder and brings it up to date for the 21st century. There’s a built-in microphone, 128GB of storage and three stereo inputs (that can also be outputs). It can record multitrack podcasts, has tactile scrubbing controls and a thumb rocker and can even become a tiny turntable complete with scratching and physical pitch control.
First and foremost though, the TP-7 is a capable recorder. Press and hold the side button, even when the device is off, and it’ll spring to life and start recording via the internal mic. This feature is more about recording short notes and ideas which you can then have transcribed via a companion app. The app connects over Bluetooth or USB, works offline and will even identify different speakers. It’s not as fully featured as a paid service like Trint or Otter but it’s really cool extra functionality. I even tried loading an old interview I had on my PC onto the TP-7 and the app happily transcribed that, too. The only restriction seemingly being that you have a TP-7 (you can’t load an audio up from your phone within the app, for example).
Beyond memo recording is more general recording of the TP-7’s various inputs. As with the TX-6 mixer, your main inputs are 3.5mm ports which isn’t ideal but most things with a line signal can be wrangled into 3.5mm easily enough. You can also record audio into and out of your phone via USB-C (including the iPhone 15) or directly from the CM15 digitally and over 3.5mm analog at the same time, if you wanted.
The three 3.5mm ports can be configured for line-level or headset/TRRS input or flipped into outputs. Line level will cover most instruments and active electronics with audio output, while headset mode is for anything with a lower output signal such as, well, headsets, but also some other unpowered microphones like lavaliers. I even had some success recording an SM7b via an XLR to TRRS adapter. You can add up to 45dB of gain to the 3.5mm inputs, and with about 35dB the output from Shure’s gain-hungry mic was quiet, but clean and usable. Other XLR dynamic mics were much louder and usable.
With three microphones connected this way, the TP-7 will spit out a multitrack WAV file with each one recorded on its own channel making this a capable podcast recording tool or mini studio recorder that you can mix properly after the fact.
Connect a phone to the TP-7 over USB-C and you can record any sound directly, so you could grab the audio from a video and transcribe it with the app, or load up a beat and then sing or rhyme over it for an on the go demo whenever inspiration strikes. When playing back on the TP-7 the main front disk rotates and you can speed it up, slow it down or even do some rudimentary scratching. This could be used for effect when feeding the output into the TX-6 mixer for recording onto another device.
Multitrack also works for playback. So if you have a WAV file that has drums, vocals, synth and bass as different tracks, you can play it on the TP-7 into the TX-6 over USB and you can mix and add effects to each part of the track separately. In this way, you can use the pair as an effective performance tool, creating an intro with just the beat, adding in the bassline and so on.
Taking this concept even further, with two TP-7s and the TX-6 mixer you effectively have a pair of tiny turntables, with actual turning platters, that can be pitched up or down in real time into the mixer. It’s a classic analog DJ setup but the size of a paperback. I tried it, and mixing this way is really hard as using the jog wheel to alter pitch is a bit heavy handed. You can adjust the pitch more gently by holding the side button and then using the jog wheel, but if, like me, you haven’t mixed this way in 20 years, it takes a little getting used to. It’s also a little OTT to be fair.
What’s much more reasonable, is using the TP-7 as a general audio player. You can load files onto it, and then play them back either on the internal speaker or (preferably) via headphones. You can use the side rocker or the main wheel to control the playback, too. Currently you can only play .wav and .flac file extensions, which is fine, but the lack of mp3 feels like an obvious omission (Teenage Engineering confirmed support is incoming).
The flexibility of the TP-7 doesn’t stop out in the field. Connect it to your PC and it’ll become an audio interface, too. Or at least, that’s the idea. Right now on Windows I only had it working briefly and not in full. On macOS it was marginally better, but not usable. Bear in mind the TX-6 also offers this functionality, and after months that still doesn’t work with Windows at all and is still not flawless on macOS. It’s a shame, as at this price point you’d hope it works at launch and across both systems.
There’s really a lot more you can do with the TP-7, especially in combination with the TX-6. There’s Bluetooth MIDI functionality, for one. The two really make a great team, but the above cover much of the main functionality. Everything else starts to get a little bit niche. Fun, but niche. I’m also certain that functionality will continue to grow as Teenage Engineering is generally pretty good about adding features, often based on user feedback.
Putting it all together
After spending days plugging different things into the TP-7 and the TX-6 and trying out various scenarios and ideas, it sometimes felt like that was often half the fun. Wondering what will happen if you do X and connect to Y. Like musical lego. Much of this will be true for many combinations of audio gear, but the Field line does lend itself particularly well to this playful experimentation.
That said, there are some bugs that you might not expect at this price point. The most obvious one I encountered was the audio interface functionality. At launch I would expect Windows and macOS support and for both to be fairly seamless. Other curiosities were less important but still confusing. Sometimes the CM15 wouldn’t be recognized over USB until a restart, or simply using the analog/3.5mm output would sporadically give crunchy audio when recording into one thing, but clear audio on the TP-7. This could well be down to cables, adapters and so on, but when the same scenario works just fine on a product a third of the price it’s harder to justify.
Take the Tula mic, for example. It’s actually a device that’s already quite popular with Teenage Engineering fans. It has a more classic design, but offers similar functionality to both the TP-7 and the CM15 combined. The mic on it maybe isn’t as good as Teenage Engineering’s, and the recorder functionality doesn’t have the fancy rocker and jog wheel controls, but it’s a good mic and a good recorder all in one and it only costs $259 — less than a tenth of the TP-7 and CM15 together.
But as I said up top, this is less about the price. Teenage Engineering fans are aware of the expense that comes with the products. Many consider it worth it just for that extra dash of playfulness that you don’t find elsewhere. (Other fans are, to be clear, still not really okay with the pricing.) That’s perhaps a conundrum that good old market forces can decide. If, after all these years, the company is still chugging along, it suggests there are plenty of people that consider it a premium worth paying.
What is less contested is that Teenage Engineering does something unique enough to earn it enough fans for there to even be an argument. Or an article like this one. The Field system, in my opinion, exemplifies what the company does best. Interesting tools that have a practical core and a less practical fun side. Individually all four field items will solve a basic problem, like most products do. Together they become a little bit more than the sum of their parts. If you believe creativity lives in that space between functionality and possibility then the Field range creates enough room here for the right kind of creator that the price
This article originally appeared on Engadget at https://www.engadget.com/teenage-engineering-tp7-cm15-field-series-review-170052292.html?src=rss
Google's Search Generative Experience (SGE), which currently provides generative AI summaries at the top of the search results page for select users, is about to be much more available. Just six months after its debut at I/O 2023, the company announced Wednesday that SGE is expanding to Search Labs users in 120 countries and territories, gaining support for four additional languages and receiving a handful of helpful new features.
Unlike its frenetic rollout of the Bard chatbot in March, Google has taken a slightly more measured tone in distributing its AI search assistant. The company began with English language searches in the US in May, expanded to English-language users in India and Japan in August and on to teen users in September. As of Wednesday, users from Brazil to Bhutan can give the feature a try. In addition to English, SGE now supports Spanish, Portuguese, Korean and Indonesian (in addition to the existing English, Hindi and Japanese) so you'll be able to search and converse with the assistant in natural language, whichever form it might take. These features arrive on Chrome desktop Wednesday with the Search Labs for Android app versions slowly rolling out over the coming week.
Among SGE's new features is an improved follow-up function where users can ask additional questions of the assistant directly on the search results page. Like a mini-Bard window tucked into the generated summary, the new feature enables users to drill down on a subject without leaving the results page or even needing to type their queries out. Google will reportedly restrict ads to specific, denoted, areas of the page so as to avoid confusion between them and the generated content. Users can expect follow-ups to start showing up in the coming weeks. They're only for English language users in the US to start but will likely expand as Google continues to iterate the technology.
SGE will start helping with clarifying ambiguous translation terms as well. For example, if you're trying to translate "Is there a tie?" into Spanish, both the output, the gender and speaker's intention are going to change if you're talking about a tie, as in a draw between two competitors (e.g. "un empate") and for the tie you wear around your neck ("una corbata"). This new feature will automatically recognize such words and highlight them for you to click on, which pops up a window asking you to pick between the two versions. This is going to be super helpful with languages that, say, think of cars as boys but bicycles as girls, and you need to specify the version you're intending. Luckily, Spanish is one of those languages and this capability is coming first to US users for English-to-Spanish translations.
Finally, Google plans to expand its interactive definitions normally found in the generated summaries for educational topics like science, history or economics to coding and health related searches as well. This update should arrive within the next month, again, first for English language users in the US before spreading to more territories in the coming months.
This article originally appeared on Engadget at https://www.engadget.com/googles-ai-powered-search-feature-goes-global-with-a-120-country-expansion-180028037.html?src=rss