Tag Archives: Apple

Apple Announces Logic Pro for iPad

Apple Logic Pro for iPad
Apple Logic Pro for iPad

Cupertino, CA (May 10, 2023)—Apple has launched Logic Pro for iPad, accessible as a subscription for A12 Bionic chip iPad fashions or later which have iPadOS 16.4, beginning Tuesday, May 23 on the App Store.

Apple can also be releasing Final Cut Pro for iPad (suitable with M1 chip iPad fashions or later) on the identical day with the identical pricing plan.

According to Apple, Logic Pro for iPad helps roundtrip capabilities, making it straightforward to maneuver tasks between Logic Pro for Mac and iPad. iPad customers can export their completed songs in quite a lot of audio codecs, in addition to particular person audio observe stems, and may likewise import tasks created in GarageBand for iOS.

Auto-Bounce App Debuts for Logic Pro Users

With Multi-Touch gestures, music creators can play software program devices and work together naturally with controls, in addition to navigate advanced tasks with pinch-to-zoom and swipe-to-scroll, Apple says. Users can seize voice or instrument recordings with the built-in mics on iPad, “and with 5 studio-quality mics on iPad Pro, customers can flip nearly any house right into a recording studio,” in keeping with the announcement.

Logic Pro for iPad’s all-new sound browser shows all accessible instrument patches, audio patches, plug‑in presets, samples and loops in a single location. Users can faucet to audition any sound earlier than loading it right into a mission.

Apple Logic Pro for iPad EQs and Compressors.
Apple Logic Pro for iPad EQs and Compressors.

Over 100 devices and results plug-ins embrace classic EQs, compressors and reverbs. With Multi-Touch, creators can play devices utilizing quite a lot of play surfaces. Logic Pro on iPad comes with a “huge assortment” of realistic-sounding devices and highly effective synths together with Sample Alchemy, a brand new pattern manipulation instrument that may rework any audio pattern with the faucet of a finger, Apple says.

Beat Breaker, a brand new time and pitch-morphing plug-in, lets music creators swipe and pinch to radically reshape and shuffle sounds. Quick Sampler can chop and rework audio samples into solely new playable devices. Step Sequencer lets customers program drum patterns, bass strains, and melodies, and even automate plug‑ins with just some faucets. Drum Machine Designer allows the creation of customized drum kits by making use of samples and distinctive plug‑ins to any drum pad. With Live Loops, customers can seize inspiration and rapidly construct preparations by mixing and matching musical loops.

The app features a full-featured mixer, full with channel strips, quantity faders, pan controls, plug‑ins, sends and exact automation. Multi-Touch allows creators to combine intuitively and transfer a number of faders directly, Apple says, and the mixer meter bridge lets them rapidly navigate an summary of observe ranges, all from iPad.

Users could make precision edits and draw detailed observe automation with Apple Pencil and join a Smart Keyboard Folio or Magic Keyboard to make the most of key instructions.

Auto-Bounce App Debuts for Logic Pro Users

Auto-Bounce by Tom Salta
Auto-Bounce by Tom Salta.

New York, NY (March 27, 2023)—Auto-Bounce by Tom Salta is a brand new utility for Logic Pro customers that automates processing stems, multi-tracks and mixes.

Within Auto-Bounce, which runs alongside Logic Pro, customers can select any mixture of tracks, folder stacks, and summing stacks to bounce. They can bounce out completely different cycle ranges, mute AUX channels for working “dry” stems/mixes, and bypass FX plugins on the Master Out channel. Entire job units of bounces will also be saved for simple recall.

Additional options are deliberate for Auto-Bounce, and Salta plans to quickly introduce the power to “lock” tracks which might be included in each bounce; further methods to inform the person when stems are full; the power to mechanically create click on tracks; and likewise mechanically export to Movie.

Apple Goes Spatial – Part 1: What’s It All Mean?

To create the appliance, ASCAP-winning, BAFTA and MTV VMA-nominated composer/producer Tom Salta (Deathloop, Halo sequence, Tom Clancy Series, Prince Of Persia, Wolfenstein) teamed to develop it with award-winning digital instrument developer and engineer David Molnar (Renegade Soundplay, Moog Music, Line 6).

Auto-Bounce runs on Mac OS 11 (Big Sur) and better and requires Logic Pro model 10.7.4 or increased. Auto Bounce is accessible on the introductory worth of USD $199 and a 14-day free trial is accessible on the app’s web site. A portion of Auto Bounce proceeds will likely be donated to MusiCares, which offers important well being and welfare providers to the music group, together with psychological well being assets.

Making Waves: Will spatial audio revolutionise the electronic music industry?

Spatial audio is creating waves in the electronic music scene right now, particularly after Apple’s decision to adopt the format for its platform and Logic Pro adding spatial mixing to its list of native plug-ins. However, with Radiohead producer Nigel Godrich recently dismissing the format as “rubbish”, the jury is out on whether spatial audio can transform the scene in revolutionary new ways or whether it is just another gimmick destined to eventually be consigned to the scrapheap of technological fads.

In defining spatial audio we should perhaps make clear that the various guises and names it has gone under over the years are all the same thing. Whether we call it spatial audio, three-dimensional sound, binaural sound or even Dolby Atmos (the latter of which is in actual fact one particular brand’s name for it), we are effectively talking about a move away from traditional stereo recordings and into an immersive three dimensional sound experience that represents more realistically the impression of different instruments in a room or sound coming from different angles. The process essentially revolves around placing ‘objects’ (which we might think of as musical stems) virtually into different positions in the room thus recreating the experience of hearing a band with players in different positions and therefore adding an extra dimension of space.

While this sounds exciting it should be noted that it is not a particularly new concept. The electronic music scene is lagging behind other areas such as gaming where this technology is already widely used. As early as 2004 there were efforts to bring the technology to the scene but for some time it was felt that the sound could not translate to club environments. However, more recently the likes of Yousef and John Monkman have been involved in Dolby Atmos projects in various clubs. Add to this the work of Max Cooper (whose spatial experiments started as early as 2010) and who after releasing his seminal album ‘Emergence’ in Dolby Audio in 2016, has gone on to consistently deliver some of the most innovative live audio-visual and fully immersive sound experiences around. Whilst Cooper has always been on the cutting edge of spatial audio technology, working in collaboration with the Spatial Sound Institute, it is clear that the tide is now turning for the mainstream. Apple’s decision to only accept mixes with an accompanying spatial audio mix is driving change from the bottom up and consumer demand is growing as we seek ever more engaging immersive experiences. This along with healthy competition between companies on the cutting edge of technology has combined to propel the format forward. This progress has seen plug-in manufacturers and monitor makers scrambling to future-proof their systems by jumping on board the spatial audio bandwagon.

Nevertheless, the naysayers remain with some veteran producers dismissing the longevity of the format. To get a deeper insight into just how spatial audio may begin to permeate electronic music and the potential implications for the scene, I spoke to Bedrock producer Paul Nolan who has been working in a consultancy capacity with d&b audiotechnik. The German company have been pushing forward their own flexible spatial audio system targeted at a wide range of live environments and he recently sound tested their Soundscape rig at the Brixton Academy leg of Groove Armada’s recent tour. Having witnessed the impact of the Soundscape system on the audience Nolan is convinced by its potential to create a more engaging experience. “There was not one audience member on their mobile phone”, he grins. Having collaborated with the company since 2018 he says he has seen the technology mature recently as companies like d&b have focussed on making it work practically for music producers and performers.

“It is reminiscent of music production before midi when we have lots of different systems not necessarily speaking a common language” – Paul Nolan

He acknowledges that the tech has been around for some time (with clubs like Ministry having already had Dolby Atmos systems installed for years) but notes that d&b has cut pre-production times down from six weeks to zero making it now possible to just turn up and play a spatial audio gig. This opens up such systems as a tool for maximising emotional impact and dynamics on the dancefloor with the potential to envelope the crowd at certain key moments and play with the spatial mix on the fly. It seems that the spatial audio road test went down a storm with both the audience and DJs PBR Streetgang (who used the system for their set). However, Nolan is quick to point out that we are some way off the format completely taking over. “It is reminiscent of music production before midi when we have lots of different systems not necessarily speaking a common language” but predicts that within five years these issues will be ironed out and that we will see spatial seeping into all aspects of everyday life from music to facetime calls.

Nolan goes on to predict that all streaming platforms will soon follow the likes of Apple, Tidal and Amazon by offering spatial audio streaming and that the ramifications for music producers can already be felt. Plug-in and music tech companies are rapidly launching new product lines and he suggests this will bring “big changes not only in the way we mixdown but also in how we create music as we head towards being able to create music natively in these formats”.

“Technology should be seen as a powerful tool in the recovery of the live events industry” – Paul Nolan

While cost may be an issue right now for bedroom producers, the spatial audio wave is cascading across the music industry with venues from the Royal Albert Hall to Pacha already having d&b systems in place and the UK’s first permanent system due to launch in December. Nolan is buzzing about the impact the technology could have on the electronic music scene. He elaborates by saying that “technology should be seen as a powerful tool in the recovery of the live events industry” and that the “immersive experience” is the tonic needed to engage modern audiences. It’s hard to argue with his enthusiasm and whilst the jury may still be out on certain aspects of spatial audio, it seems that it could offer much-needed innovation in a scene that has threatened to stagnate over recent years. With any big change there is inevitably resistance but let’s just hope the format can help reignite the raw visceral experience that dance music once provided and drive people back onto the dancefloor and away from their addictions to mobile devices.

The post Making Waves: Will spatial audio revolutionise the electronic music industry? appeared first on Decoded Magazine.

Der iPod wird 20

Während die ersten MP3-Player, die Ende der 1990er Jahre auf den Markt kamen, mit Flash-Speichern arbeiteten und nur magere Speicherkapazitäten boten, setzte Apple beim iPod auf kompakte Festplatten mit immerhin 5 GB Speicherplatz – genug für rund 1000 Songs in allerdings eher bescheidener MP3-Qualität. „Die komplette Musiksammlung in der Hosentasche“, hieß es damals, und durch die konnte man mit einem Scroll-Rad anhand eines Schwarzweiß-Displays navigieren. Den Durchbruch erlebte der iPod aber erst, als Apple im iTunes-Store Musik als Downloads verkaufte und die iTunes-Software auch für Windows-Nutzer anbot. Ab 2004 folgten kleinere Modelle wie iPod mini und iPod shuffle mit Flash-Speichern, aber bei den „großen“ iPods hielt Apple bis 2007 an der Festplatte fest – dann allerdings mit stolzen 160 GB. Zu dieser Zeit wurde auch die Klangqualität im iTunes Store auf 256 kBit/s erhöht und der Kopierschutz abgeschafft – was dem iTunes/iPod-Kosmos neuen Schub gab. Im selben Jahr 2007 präsentierte Apple aber auch das iPhone und kurz darauf den iPod touch, der de facto ein iPhone ohne Mobilfunk-Modul war. Mit ihm konnte man erstmals via WLAN im Internet surfen und direkt – ohne den PC – Musik im iTunes Store kaufen. Heute ist der iPod touch das letzte noch verbliebene iPod-Modell, und mit Preisen ab 230 Euro (mit 32 GB Flash-Speicher) das günstigste Gerät mit iOS-Betriebssystem.

Mehr zu Apple

Apple Music für 5 Euro im Monat

Es war ja schon immer Apples Strategie, die Nutzer im Goldenen Käfig des Apple-Kosmos zu halten. Nur wer Apple-Produkte miteinander kombiniert und keinen Seitensprung zu Drittherstellern macht, profitiert vom vollen Funktionsumfang. Diese Devise gilt jetzt auch für den Musik-Streaming-Dienst Apple Music: Wer ein Apple-Gerät mit Siri-Sprachassistentin nutzt, kann den Dienst ab Herbst zum halben Preis (5 Euro im Monat) abonnieren. Und das ohne Einschränkungen im Repertoire oder der Klangqualität: Alle 90 Millionen Songs des regulären Abos stehen im klassischen Apple-Tonformat (AAC mit 256 kBit/s) zur Verfügung, und sie lassen sich beliebig oft überspringen. Auch sämtliche Playlists aus dem regulären Apple-Music-Abo sowie personalisierte Playlists werden angeboten. Auf 3D Audio, die Offline-Nutzung und die Lossless-Version sowie auf Songtexte und Musikvideos muss man allerdings verzichten. In der Apple Music App werden Alben, Playlists und Songs zwar angezeigt, aber abrufbar sind sie ausschließlich via Sprachbefehl. Voraussetzung für die Nutzung ist ein Siri-fähiges Apple-Gerät wie der HomePod mini, die AirPods, iPhone, iPad, iPod, Mac, AppleTV, etc. Auch mit CarPlay funktioniert Apple Music Voice. Das reguläre Apple-Music-Abo mit Lossless Audio und Navigation in der App ist nach wie vor für 10 Euro im Monat oder als Familien-Abo für 15 Euro erhältlich. Apropos AirPods: In der dritten Generation hat Apple seine Bluetooth-Kopfhörer deutlich aufgewertet und mit wesentlichen Funktionen der teureren „Pro“-Modelle ausgestattet. Dazu gehört „Adaptive EQ“, das den Klang an den Sitz der AirPods im Ohr des Nutzers anpasst. Außerdem unterstützen die neuen AirPods 3D Audio und dynamisches Head Tracking, so dass der Klang rund um den Nutzer platziert wird. Diese Funktion setzt allerdings ein iPhone mit iOS 15 oder ein iPad mit iPadOS 15 voraus. Wie gesagt: Nur wer im Apple-Kosmos bleibt, kommt in den vollen Genuss. Die neuen AirPods sind ab Ende Oktober für 200 Euro erhältlich. Die  AirPods der 2. Generation gibt’s weiterhin (jetzt für 149 Euro), und die AirPods Pro (279 Euro wie bisher), die zusätzlich Geräuschunterdrückung und Silikonstöpsel in drei Größen bieten, werden ab sofort mit einem MagSafe-Ladecase ausgestattet. Neu bei Apple sind auch drei weitere Farben für den HomePod mini: leuchtendes Gelb, Orange und Blau.

Mehr zu Apple

Apple übernimmt Klassik-Streaming-Dienst Primephonic

Der Streaming-Dienst Primephonic zeichnete sich bisher vor allem durch speziell für klassische Musik optimierten Such- und Browse-Funktionalitäten, Empfehlungen von Experten und Informationen zu Repertoire und Aufnahmen aus.

Durch die Integration von Primephonic in Apple Music will Apple ein verbessertes Erlebnis klassischer Musik für seine Abonnenten bieten, unter anderem mit Primephonic-Playlists und exklusiven Audioinhalten. In den kommenden Monaten sollen auch weitere Funktionen von Primephonic folgen, darunter bessere Browsing- und Suchfunktionen, detaillierte Anzeigen von Metadaten klassischer Musik und mehr.

Mit der Übernahme ist Primephonic in der bisherigen Form am 7. September vom Netz genommen worden, und nicht mehr verfügbar für neue Abonnenten. Bestehende Primephonic-Abonnenten sollen dafür sechs Monate lang kostenlos Apple Music nutzen dürfen. Im nächsten Jahr will Apple Music eine eigene App für klassische Musik herausbringen, die die Benutzeroberfläche von Primephonic mit zusätzlichen Funktionen kombinieren soll. Darüber soll Klassische Musik sowohl in Lossless und hochauflösendem Audio sowie bestimmte Alben in Apple Musics 3D-Audio-Format verfügbar sein.

Apple Music, Amazon Enter 3D, Lossless Streaming Fray

Apple introduced Spatial Audio this morning, bringing support for Dolby Atmos streaming at no extra cost to Apple Music subscribers
Apple introduced Spatial Audio this morning and announced a Logic Pro update that will accommodate the format. Amazon quickly responded.

Los Angeles, CA (May 17, 2021)—Apple introduced Spatial Audio this morning, bringing support for Dolby Atmos streaming at no extra cost to Apple Music subscribers — and less than an hour later, Amazon responding by making its Amazon Music HD catalog, including Dolby Atmos and Sony 360 Reality Audio tracks, available for free to eligible Amazon Music Unlimited subscribers.

Spatial Audio launches with “thousands of tracks” in Dolby Atmos, says Apple, and new songs in Dolby Atmos format will be constantly added to the catalog. According to the company, Apple Music will automatically play Dolby Atmos tracks on all AirPods and Beats headphones with an H1 or W1 chip, as well as on built-in speakers on the latest versions of iPhone, iPad and Mac.

For content creators, Apple is also building immersive music-authoring tools directly into Logic Pro. Later this year, Apple says, it will release an update to Logic Pro that will enable users to create and mix songs for Spatial Audio compatible with Apple Music.

Over at Amazon, the company announced that Amazon Music Unlimited subscribers in the U.S., U.K., Germany, Canada, France, Italy and Spain may now upgrade to Amazon Music HD, previously $5/month to Amazon Music Unlimited subscribers, at no additional charge.

The Amazon Music HD catalog represents over 70 million lossless tracks at CD-quality 44.1/16. Amazon has reportedly added more than five million songs to its Amazon Music Ultra HD catalog — offering tracks at 24 bits, 44.1 kHz to 192 kHz — since launching the streaming tier in 2019, including songs remixed in immersive formats such as Dolby Atmos and Sony 360RA.

Apple Audio Unit Plug-Ins — A Real-World Review

Apple Music additionally announced today that it’s making its 75-million-song catalog available in lossless audio using ALAC (Apple Lossless Audio Codec). Apple Music’s Lossless offerings, playable on any Apple device, are available in resolutions from 44.1 kHz/16-bit through 48 kHz/24-bit. For Hi-Resolution Lossless subscribers, music is available at resolutions up to 192 kHz/24-bit.

Because of the larger bandwidth requirements and file sizes, subscribers will need to opt-in to both Apple Music lossless tiers. Additional D-to-A converters are required for hi-res lossless listening.

Amazon forced competitors such as Deezer and Qobuz to lower the cost of their high-resolution streaming services to $14.99/month to match its new offering when the company launched Amazon Music HD in 2019. Tidal, the first company to get into high-res streaming, remains the exception and still charges subscribers $19.99/month for access to its Tidal HiFi service, which offers tracks in Dolby Atmos and Sony 360RA. Deezer HiFi and Nugs HiFi also offer Sony 360RA streaming.

Spotify, late to the high-res party, only announced in February a new Spotify HiFi tier that will offer “CD-quality, lossless” music. The launch date and monthly subscription cost have not been announced.

Apple • www.apple.com

Amazon • www.amazon.com

Lossless ohne Aufpreis

Für Apple Music ist es wohl der Versuch, ohne Rücksicht auf Verluste zum Marktführer Spotify aufzuschließen. Wer finanziell so gut dasteht wie Apple, kann sich das leisten. Ab Juni werden alle Abonnenten von Apple Music ohne Aufpreis sowohl Musik im 3D-Audio-Format Dolby Atmos abrufen können als auch mehr als 75 Millionen Songs im Lossless-Audioformat ALAC mit 16 Bit und 44,1 kHz Takt oder 24 Bit / 48 kHz. Diese Auflösung wird nativ auf allen Apple-Geräten unterstützt. Wer die Musik über einen externen USB-DAC wiedergibt, kann darüber hinaus HiRes-Streams bis zu 24 Bit / 192 kHz freischalten – auch dies ohne Aufpreis. Kaum hatte Apple die frohe Botschaft verkündet, zog Amazon nach und meldete, dass Amazon Music HD ab sofort für alle Abonnenten von Amazon Music Unlimited ohne zusätzliche Kosten verfügbar ist. Amazons HD-Version bietet ja schon bisher Lossless-Musik mit bis zu 24 Bit /192 kHz, kostete aber dafür 5 Euro Aufpreis im Monat. Für alle aktuellen Abonnenten von Amazon Music HD entfallen diese zusätzlichen Kosten für HD mit dem nächsten Abrechnungszyklus. Sie zahlen dann also nur 10 Euro im Monat oder, als für Prime-Mitglied, 8 Euro. Nun ja, auch bei Amazon trifft es keinen Armen.

www.apple.com/de/apple-music

https://www.amazon.de/music/unlimited/hd

 

1More ANC TWS Review – Slipstream

Pros –

Great ANC with usable modes and minimal artefacts, Stable fit, Well-considered V-shaped signature, Excellent foreground detail retrieval, Wide soundstage, Stable connectivity

Cons –

Larger charging case, Large housings won’t suit those with small ears, App has questionable functionality

Verdict –

The 1More TWS ANC may not best market leaders, but gets very close for considerably less with a more technical sound on top.


Introduction –

1More are a US-based audio company who have built a strong cult following with their triple-driver hybrid in-ears and more well-received products since. The ANC TWS is one of their more coveted products and also one of their most unanimously lauded. It is especially feature packed, offering advanced ANC and a hybrid DD + BA driver setup not commonly seen on this form factor. So, it came as little surprise when 1More announced that their ANC TWS would be the first TWS in-ear to achieve THX certification. What was less obvious to consumers is that there’s more to this than a simple badge on the box; consider the THX certified models – that being manufactured around June 2020 onwards – as V2 hardware. This revision will also features a revised balanced armature driver, similarly, the firmware has been upgraded according to feedback by THX engineers alongside adding support for 1More’s QuietMax technology first introduced on their neckband model. This is a very nice refinement of an already very competitive TWS in-ear.

The 1More TWS ANC is available for $179.99 USD at the time of writing. To read more about it and 1More’s technologies see their product page here. To purchase one for yourself, please see here (affiliate).

Disclaimer –

I would like to thank Ari very much for his quick communication and for providing me with the 1More ANC TWS for the purpose of review. All words are my own and there is no monetary incentive for a positive review. Despite receiving the earphones free of cost, I will attempt to be as objective as possible in my evaluation.

Specifications –

  • Weight: 7.9g (single earbud), 63.2g (case), 79g (total)
  • Dimensions: 38 x 18 x 28.5 mm (earbud), 81.32 x 30 x 38.5 mm (case)
  • Bluetooth Version: 5.0, 10m range, apt-X and AAC supported
  • Battery: 55 mAh (earbuds), 410 mAh (case), 5v 1A charging
  • Runtime (50% vol): 6hrs (ANC off), 5hrs (ANC on), 22hrs total (incl. case ANC off)
  • Impedance: 32 ohms

The Pitch –

QuietMax

The ANC TWS’ design opens up several avenues for enhanced ANC performance. QuietMax consists of dual-band ANC, intelligent wind reduction and methods to reduce wearing pressure. On traditional single-driver earphones, ANC diminishes sound quality as the driver must handle two duties. With the ANC TWS, 1More attempt to circumvent this by delegating the DD to ANC duties and allowing the BA driver to cover a wider frequency range with ANC on. 1More are also utilising two mics to offer feedforward and feedback ANC so it can detect noises within the ear canals in addition to ambient, offering additional attenuation.

The dual mic system is also handy for wind noise reduction, as the earphones are able to reduce the sensitivity of the ambient noise feedforward mic and rely more on the in-ear feedback mic to mitigate artefacts. There are also two ANC modes that vary not in intensity, but bandwidth. One is a wide-band attenuation to cancel a wide range of sounds including voices, the other focusing more on lower wearing pressure and the cancellation of explicitly more constant low-frequency background noise. Overall, this is a very intelligent approach to ANC with clear benefits to real world performance. This technology is further explain here.

Upgraded Firmware

When the TWS ANC first launched, it was slammed for sounding very different when ANC was activated, becoming overly bass heavy. This has since been remediated to some degree with firmware updates, now creating a more consistent sound profile – the more balanced one offered with ANC off is now mostly retained with ANC on. Furthermore, the V2 hardware units have also been updated with ANC and audio tweaks based on feedback from THX engineers. 1More explains THX certification and how to identify your hardware version on their website here.

Unboxing –

1More always provide a stunning unboxing experience and the TWS ANC is no different. The box looks premium with high-quality print and renders. There’s a brushed metal tab on the magnetic tab that opens to reveal the earphones and case within a foam inlet. A separate box contains the remaining accessories. There are 3 sizes of retentive loops, 1More’s interpretation of stabiliser wings, in addition to 3 pair of soft silicone tips and 3 pairs of harder silicone tips. I found it especially important to find the right combination of both due to the size and shape of the ANC TWS. Also take note that the tips are directional, try rotating them 180 degrees if you can’t get a good seal.

Design –

If you’re familiar with 1More’s other TWS designs, you’ll find a similar experience with the ANC TWS. A key differentiator from the lower-end models is the all-black colour scheme with slick carbon-fibre faceplates and red accented grills. It gives the earphone a seriously sporty aesthetic that’s reminiscent of automotive design and also very distinct. They are one of the largest TWS in-ears I’ve tested personally, but are very lightweight, being mostly plastic in terms of construction. In turn, they don’t feel especially dense or high-quality in the hand, but the positive trade-off is a more stable and less obtrusive fit; you feel the size much less in wearing. They have no official IP rating, but 1More claim the design is suitable for workouts and light moisture if not any kind of submersion.

The majority of the housing sits outside the ear while the portion that sits in the ear is compact and covered by a silicone cover. The user is able to choose between 3 sizes of silicone rings, the smallest having no retention for those with smaller ears. The experience can be likened to that provided by Master & Dynamic’s MW07 earphones; they feel soft in the ear and achieve a nice, locked-in sensation once tilted appropriately. This works in tandem with angled nozzles and oval ear tips, though do take note that users will be limited to the stock ear tips since the nozzles are also oval and elongated which can affect purchase with third party tips. Infrared sensors are also apparent to auto-pause when removed from the ear.

Fit & Comfort –

The earphones are clearly on the larger side, most apparent when looking at photos of the inner face as shown below. Accordingly, they protrude noticeably from the ear, so a far cry from svelte competitors such as the Airpod Pros and Pixel Buds though roughly on par with something like the WF-1000XM3. In turn, they aren’t suitable for sleeping on and do pick up a little more wind noise than the smaller aforementioned designs. In addition, they are not the best choice for those with smaller ears as I found them very unstable without the stabiliser rings attached. Due to their larger design, finding the right sized stabilisation rings and eartips is imperative. With the large rings and stock medium tips, I was able to achieve a consistent seal and stable fit for my ears.

I was able to run and skip without requiring adjustment, a surprisingly good result given that the medium rings installed out of the box were very awkward for me. I do also personally find the rings more comfortable than wing style stabilisers and even the small fins on the MW07 earphones. They form no hotspots and spread the force evenly over a large area, where the fins and wings tended to push on certain parts of my ears harder causing mild discomfort over time. If you have average sized ears and above, the 1More ANC TWS will provide a very comfortable and stable fit.

Case –

Though not nearly as compact as the Airpods case or even the Pixel Buds case, the 1More charging case has well-considered dimensions that make it more pocketable than most. It’s long but also slim and narrow, so it slides into the pocket comfortably next to a wallet or phone. The case feels great to handle, high-quality and solidly built with a gunmetal anodized exterior and silicone base that keeps it steady when placed on a table. Of course, I wouldn’t recommend repeating this, but the case is bottom heavy so it tends to fall towards the rubber base when dropped, offering some shock protection. The hinge feels solid as well, not the smoothest and the reverse lock feels stiff, but it works reliably and hasn’t popped out or caused other issues during testing.

The magnets that hold the lid closed are strong so you don’t have to worry about losing the earbuds when dropped or placed in a bag. Similarly, the earbuds seat themselves very snugly into the case and there is plenty of room for large tips and rings. The case charges via Type-C and supports Qi wireless charging. There’s a status LED on the front and a pairing button inside. Of note, the case will power the earphones off even if completely discharged, but it will not power them back on when removed requiring the user to hold the MFB on the earphones to power on manually. The case offers around 3 full charges and I found it to match that figure comfortably during testing. Fast charge is also available, offering 2 hours of listening time with 15 minutes of charging.

Usability –

Connectivity

If you’re able to operate any other TWS earphone, you’ll have few troubles here. The 1More’s are easy to use with intuitive controls. Upon opening the case, they enter pairing mode or automatically reconnect to previously paired devices. Pairing can also be manually initiated with the button inside the case. Auto pairing was quick and reliable on my Pixel 4. Once setup, I was also very impressed with the connectivity. They offer among the best range of any TWS earphone I have on hand, able to traverse around 3 rooms with double brick wall before becoming intermittent, but even then, they held onto audio most of the time. With my phone on person, I experienced no issues with cut-out or interference, even in busy areas such as the CBD or public transport. Connected over apt-X, latency was also a strong performer with minimal lip sync making them suitable for videos, movies and some gaming.

Controls

Here I am experiencing a mixed bag, the physical controls work well, and the touch controls are among the better performers I’ve tried. I appreciate the use of touch for more complex actions such as ANC mode, and more reliable physical controls for volume, skip track and call accept/reject functionality. However, there are a few caveats that irk during daily use. For one, there is no ability to customize the control scheme, aggravating as I can’t set a dedicated button for instant pass-through mode. The touch controls also have a noticeable latency but have voice feedback announcing the ANC mode, passthrough, etc. Meanwhile, the physical controls lack any kind of auditory feedback, aggravating since skipping tracks requires a 2s hold, but only initiates once the button has been released. So, if you hold the button for too long, the earpiece powers off, too short and it only changes the volume; an unreliable control that I struggled to acclimatise to during my testing. You can’t palm the touch-sensitive faceplates like the Sennheiser MTW2 so they’re a bit difficult to tap when running per say, they are also nowhere near as responsive as the class-leading Google Pixel Buds with capacitive touch panel. That said, the touch controls are reliable enough, hitting about 95% accuracy during daily use.

1More Music App  

It’s good to see some app integration here as it permits some functions that other more audio-centric earphones lack. That said, the experience is quite limited which seems like wasted potential here. The app is limited to basic controls of the features available. There’s a slider that adjusts the ANC mode between the 3 settings and a pass-through toggle just below. You can also adjust whether the IR sensors auto-pause music or both pause and play, however, you cannot disable this feature. OTA firmware upgrades are available alongside a quick guide for fit and controls. There is no eQ or other sound mode setting and no ability to change audio feedback. There is an addition 1More app available, however, this essentially only offers firmware updates and automatic burn-in for those wanting to extract maximum performance from their earphones out of the box.

ANC Performance

Given 1More’s bold claims with the introduction of QuietMax, I was very curious to try their technology for myself – especially, since impressions online vary wildly. Of course, effectiveness will vary greatly based on seal, so ensure you have the best setup of tips and rings, I do personally get a very good seal with these. I also have not tried the non-THX V1 earphone so these will be purely impressions based on the newest revision.

Well, if my prior comments had you concerned about 1More’s ability to deliver on claims, the ANC performance will surely redeem them, it is superb. I found them almost on par with market leaders such as the Airpods Pros and Sony WF-1000XM3, which is to say, very effective and instantly noticeable. Those models cancel out just a little more midrange, so voices sound a bit more muted on both, however, low-frequency noises were similarly attenuated to near silence on the 1More’s, if not a little more so. The only downside is that high-frequencies are a little more apparent when ANC is on than these models, with a noticeable whoosh. That said, the 1More’s are also less susceptible to artefacts. A common area where I experience difficulties with the other models was chains rattling in the gym, the change in pressure when doors close on the train and a pop when the rope strikes the ground during skipping. The 1More’s had no issues with any of these noises where the Sony’s and Airpods would pop and clip noticeably.

ANC Modes

As mentioned in my rundown of QuietMax, the ANC TWS offers two modes of ANC; one wideband, one low-frequencies and less aggressive in general. They are very useable with well-defined use cases for each – if somewhat inconvenient to toggle between. It should be noted that wind noise is still noticeable on these earphones, but was better controlled than competitors even on the more aggressive ANC setting (mode 1), and it was roughly halved in volume on the low-frequency ANC setting (mode 2). The worst performer here was the Sennheiser MTW2 that almost amplified wind noise despite being by far the least aggressive in terms of actual noise cancellation. The first mode does a sensational job at silencing background hums and drones, think road and traffic noise, AC, computer fans and distant chatter, in addition to a good job at lowering the intensity of voices and keyboard noise. Meanwhile, setting 2 cancels those hums and drones at about 80% of the effectiveness of the first mode, while leaving voices less attenuated. However, the 2nd mode also vastly lowers artefacts and there is almost zero wearing pressure, where some becomes apparent on the 1st mode when in louder environments.

I think this is a good trade-off and a very useful addition for frequent flyers who may prioritise long-term comfort over the best ANC performance possible. For reference, the level of pressure on the Apple and Sony competitors is similar to the 1st mode and only the Sony’s offer the ability to adjust ANC intensity. However, as aforementioned, it is a pain to cycle through each setting, of which there are 4 – ANC Mode 1, ANC Mode 2, Pass through (aware mode), ANC Off. Most notably, reaching pass through takes a good 5 seconds or so as there is an accompanying voice chime between each setting paired with a second delay, presumably adjusting the dual-driver duties. This means it is essentially useless for catching quick conversation and announcements as it simply takes too long to cycle around to this mode. You can manually select each within the app, however, you’d need to keep it open in the background as there is no quick-setting toggle or slider in the notification shade.

Pass-through Mode

Despite being more inconvenient than most to access, the actual effectiveness here is very good. It doesn’t amplify sounds like the Sennheiser’s but passes ambient noises in a very natural manner akin to the Airpod Pros. They don’t clip on louder ambient sounds and don’t sound thin, sharp or shouty either as some do – for instance, the Sennheiser’s would amplify high-frequencies excessively to the extent that jingling keys would deafen. The 1More’s sounded almost open, not super clear once again, but a natural effect that leaves speech easy to distinguish even with music playing – so long as it is at a reasonable volume. Overall, if you’re looking for an earphone with effective and adjustable ANC and a very sound pass-through when you need spatial awareness, you won’t be disappointed with the 1More’s.

Call Quality

With an extensive microphone setup, call quality is easily good enough for day to day use but still clearly a setup below market leaders. That said, I would only recommend these other models over the 1More if the buyer were using them primarily as a headset as I find the ANC TWS to offer a fairly well-rounded experience with good performance elsewhere. Recipients noted my voice was immediate and discernible in noisy environments with good ambient noise cancellation albeit could be a little clearer. There is no pass through/sidetone during calls and also no ANC during calls as the Huawei Freebuds 3 are able to retain. However, other competitors do not offer this functionality either.

Next Page: Sound, Comparisons & Verdict

The post 1More ANC TWS Review – Slipstream first appeared on The Headphone List.

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