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I’ve been testing AnkerWork’s complete M650 wireless mic kit for weeks, and it’s a great value alternative to the DJI Mic 2
5:57 pm | February 14, 2025
Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Comments: Off

AnkerWork M650: one-minute review

The wireless microphone market is a crowded one. Whether you shoot with one of the best camera phones or a dedicated video camera, content creators are spoilt for choice when it comes to upgrading their voiceover audio. Among the best wireless mics at the moment are the Rode Wireless Micro and the DJI Mic 2, both of which are rated highly for their ease of use and sound quality.

It’s into that busy fray that the AnkerWork M650 steps. A two-mic kit shipped with a touchscreen receiver and packaged in a tidy charging case, the M650 promises high-quality audio recording with cross-platform compatibility. In the box come both Lightning and USB-C connectors for hooking the receiver up to your smartphone. It can also slot into a camera’s hot shoe, with a 3.5mm cable included for connecting to a microphone port.

On paper, the AnkerWork M650 offers a feature-packed setup. It promises dual-channel lossless pickup with optional noise cancelling and on-board storage for up to seven hours of uncompressed audio. Transmission range is a useful 200m, while the receiver has a streamlined touchscreen interface with access to a range of settings, including gain adjustments.

In practise, the AnkerWork M650 delivers on almost all fronts. Pre-paired out of the charging case, the kit is foolproof to use. Open the lid and you’ll find the two mics good to go, with a receiver that comes alive in a blink, instantly displaying audio levels on its bright screen. Key controls can all be accessed with just a few swipes of the icon-based interface.

The transmitters themselves are bigger than those of the Rode Wireless Micro and DJI Mic Mini, but their circular design looks subtle enough. Attaching them is a cinch with the built-in clips, which also double-up as magnetic mounts which can be rotated through 90-degree increments. The transmitters are relatively weighty at 30g apiece, but they hold firm however you wear them.

AnkerWork M650 wireless mic kit

(Image credit: Chris Rowlands / Future)

Recording performance impressed me in testing. Dialogue sounds clear and natural by default, with the option to adjust the EQ through the AnkerWork software. Noise reduction is also effective in outdoor environments, although it can be aggressive on its highest setting, giving vocals a processed tone.

Battery life is decent but not exceptional. The transmitters and receiver are rated for six hours on a single charge, with a further nine hours available from the charging case. At a total of 15 hours, the AnkerWork M650 is outgunned by the DJI Mic 2.

Still, with a raft of useful features, I think the AnkerWork M650 strikes an excellent balance of performance and usability. Options such as real-time monitoring will appeal to seasoned creators, while the intuitive setup makes it satisfyingly simple to operate. That includes neat design touches, such as the twist-to-lock smartphone adapters.

There are cheaper, screen-free options available if you only want to record audio to a smartphone. But if you need the flexibility to record quality audio with a range of shooting tools, I think the AnkerWork M650 is a good value alternative to the DJI Mic 2.

AnkerWork M650 wireless mic kit

(Image credit: Chris Rowlands / Future)

AnkerWork M650: price and release date

  • $199.99 / £249.99 / AU$199.98 for the complete kit
  • Includes 2x mics, a receiver and a charging case
  • Available now in black and white with swappable back covers

The AnkerWork M650 wireless mic launched in March 2023. It’s available now, priced at $199.99 / £249.99 / AU$199.98. That makes it quite a bit cheaper than the twin-transmitter DJI Mic 2 Combo, which is arguably its closest like-for-like competitor. Unlike the DJI Mic 2, the M650’s component parts can’t be bought separately: it’s only available as a kit. Luckily, it’s a complete one.

The kit includes a pair of transmitters, a receiver and a charging case. You also get USB-C and Lightning smartphone adapters, as well as USB-C and 3.5mm audio cables, reflecting the universal connectivity of the kit. Adding further value to the bundle is a pair of wind shields, a travel sleeve and two swappable transmitter shells.

It’s available in black or white, with the color scheme reflected across the case, transmitters, receiver and smartphone adapters. The black kit comes with one gold and one green replacement back cover for the transmitters. The white kit includes blue and purple shells.

There are simpler wireless mic kits which can be picked up for significantly less than the AnkerWork M650, including the DJI Mic Mini and the Rode Wireless Micro. Taken together, though, I think the contents of the AnkerWork kit make it excellent value for content creators who are likely to use it with both a smartphone and a camera.

AnkerWork M650 wireless mic kit

(Image credit: Chris Rowlands / Future)

AnkerWork M650: specs

AnkerWork M650 wireless mic kit

(Image credit: Chris Rowlands / Future)

AnkerWork M650: Design

  • Circular transmitters with swappable back plates
  • Built-in clips or magnetic attachment
  • Receiver with levels monitoring and 1.47-inch touchscreen

The AnkerWork M650 follows the same basic formula as most wireless mic kits. You get a pair of transmitters, plus a receiver that connects to your camera or smartphone. These all live inside a charging case. Open it up and everything is automatically paired, ready to go.

There are a few design touches which set the AnkerWork M650 kit apart. Its transmitters are unique among the wireless mics we’ve tested in being circular. Measuring 45.5mm across, they are larger than most and relatively weighty at 30g. Despite their size, the domed shells give them a good dose of subtlety. They look less obviously like microphones than many transmitters. They also have a party trick: the back covers can be swapped for different color shells.

There are two easy ways to attach the transmitters to your clothing. The first is to simply latch them to a hem, collar or lapel using the built-in clip. Alternatively, pull on the clip and you’ll find it’s one half of a magnetic mount: put it under a layer of clothing and it can hold the transmitter in place on the other side. This magnetic setup also allows you to rotate the clip through 90-degree steps, so you can always make sure the pick-up is facing your mouth.

On the transmitter itself is just a single button, which can be used to mute the microphone (turning the indicator light red). This also serves as a way to manually power the transmitter off, in the unlikely event that you don’t have the case handy. Each transmitter also has a port which can be used to connect a lavalier mic. This is the same jack used to fix the optional wind shields in place.

The receiver is just as neat. A tidy little brick with a bright 1.47-inch touchscreen, it’s the hub through which audio is relayed to your devices. It also has just a single physical button, which is used to lock the touchscreen. Everything else is controlled via the intuitive, icon-based interface. There’s very little learning curve here: almost every key setting can be accessed with just a couple of swipes – and even for big fingers, the touchscreen is sized just right.

The main screen features two side-by-side graphics which display info from each transmitter in real time, including battery status, signal strength and audio level. Swiping left or right brings up settings for each transmitter, including gain adjustment, which can be boosted or lowered in 3dB increments. Swiping up lets you control the mics in sync, while swiping down lets you adjust the receiver settings, including the degree of noise reduction.

Connecting the receiver is equally straightforward. Your options here are plentiful. The clip underneath doubles up as a hot shoe mount, with USB-C and 3.5mm audio ports on the side for wiring up to a camera. If you’re pairing it with a smartphone, take a bundled Lightning or USB-C adapter, slot it into the mount on the back of the receiver, then twist to lock it in place. From there, the receiver sticks directly into the port on the bottom of your phone. The fit is firm and the position is a natural one for the receiver’s modest dimensions.

That 3.5mm audio port can also be used for real-time monitoring, which is a feature that more experienced content creators will appreciate. Equally, if you need to capture standalone audio, simply hit the record button on the receiver and it can save up to seven hours of lossless audio to its built-in storage. This can be accessed later by dropping the receiver into the case and connecting it to a PC or Mac using a USB-C cable.

AnkerWork M650 wireless mic kit

(Image credit: Chris Rowlands / Future)

AnkerWork M650: Performance

  • Dual-channel pick-up with VoiceShield noise reduction
  • 6 hours battery life (transmitter), 9 extra hours battery life (receiver)
  • Omnidirectional audio and up to 200m range

Each transmitter is equipped with an omnidirectional pick-up that’s capable of capturing 24-bit audio at 48Khz. This isn’t as flexible as the 32-bit float audio support offered by the Mic 2, which can better avoid clipping if volume spikes, but its quality will be more than good enough for most content creators.

It’s worth noting that there’s no equivalent of Rode’s Intelligent GainAssist, which automatically adjusts audio levels to suit the environment. You’ll need to monitor levels using the readout on the receiver and make any necessary gain adjustments manually. In general, though, by keeping the mic a consistent distance from my mouth, I didn’t have any issues with clipping.

Nor did I encounter any problems with pairing, syncing or storing recordings during testing. I didn’t test the claimed 200m transmission range to its limit, but I found the connection stable and reliable even when roaming a fair distance from the receiver.

To assess sound quality, I recorded voiceovers in a range of settings, indoors and out, both quiet and noisy. Overall, I found results clean and natural. Audio captured by the M650 had significantly more clarity and depth than output from the built-in mics on my smartphone and DSLR camera. WAV files saved directly to the receiver were particularly clear.

If your ears are keen enough and you want a slightly warmer tone or more low-end depth to your voiceovers, you can adjust the EQ through the AnkerWork desktop software. That’s also where you can configure the low-pass filter.

Windy conditions are the biggest challenge for any wireless mic and the AnkerWork M650 is no exception. It features two levels of VoiceShield noise reduction which can be enabled using the receiver’s touchscreen. The feature is very effective at isolating vocals, even when there’s a lot of background hubbub. The drawback is that, when the system is battling noise at its highest setting, voices can sound digitally compressed and over-processed.

I found the best balance for recording outdoors was to attach one of the included dead cat wind shields and set the noise reduction level to low. This did allow a little more noise into recordings but not enough to be distracting, while crucially having a less noticeable impact on audio quality.

For content creators who want to upgrade their audio, you can really hear the difference in quality versus a device’s built-in microphone. The lack of Bluetooth connectivity might be a dealbreaker for some, but the added flexibility would likely come at the cost of bit-rate. For most, its reliable 24-bit recording and decent noise-cancelling tech will make the M650 worth the money.

In terms of battery life, the nine-hour boost offered by its charging case is less than some, but you’d need to be using the AnkerWork M650 kit pretty heavily to exhaust its full capacity in a single shoot. In reality, I never once encountered a dead battery. Both the transmitters and the receiver are rated for six hours on a charge, which is plenty. Plus most users are likely have the kit in and out of the case regularly.

AnkerWork M650 wireless mic kit

(Image credit: Chris Rowlands / Future)

Should I buy the Ankerwork M650?

Buy it if…

You want a complete wireless mic kit

Shipped with two mics and a receiver in a charging case, the AnkerWork M650 also includes USB-C and Lightning smartphone adapters, 3.5mm audio and USB-C cables, plus windshields and two replacement back covers.

You want a mic that’s easy to use

Pre-paired out of the charging case, the M650 offers plug-and-play simplicity. There’s just one button on each transmitter, while the receiver’s icon-based touchscreen interface is intuitive enough for anyone to navigate.

You want premium audio recording

With dual-channel lossless pick-up, the M650 captures clean, natural voiceovers. You have the option of mono or stereo recording, plus the ability to make granular adjustments to the gain level via the receiver.

Don’t buy it if…

You want the best battery life

On-board battery life is par for the course at six hours per charge, but the case only offers a further nine hours. That pales in comparison to the DJI Mic 2’s case (18 hours).

You want a budget smartphone kit

The AnkerWork M650 represents good value for such a feature-heavy wireless mic kit, but there are more affordable options out there for content creators who only need simple smartphone connectivity without a touchscreen receiver.

You want clean, noiseless audio

VoiceShield noise reduction does an impressive job of cancelling wind noise when shooting on location, but it can make voices sound a little processed. The high setting should only be used as a last resort.

AnkerWork M650: also consider

Rode Wireless Micro

If you mainly create content with your smartphone and you’re happy with a screen-free receiver, the Rode Wireless Micro represents excellent value. It’s a tiny, low-fuss option that’s up and running in seconds.

Read our Rode Wireless Micro review

DJI Mic 2

A pro-grade recording kit which is arguably the M650’s closest competitor, the DJI Mic 2 offers a similarly seamless setup for premium audio. It costs more, but includes support for 32-bit float recording.

Read our DJI Mic 2 in-depth review

AnkerWork M650 wireless mic kit

(Image credit: Chris Rowlands / Future)

How I tested the Ankerwork M650

  • Used regularly for several weeks
  • Paired with both cameras and smartphones
  • Tested in a range of recording environments

To fully explore the capabilities of the AnkerWork M650, I tested it regularly over the course of several weeks. I used it to record voiceovers in a range of scenarios, from quiet home environments to noisy outdoor settings.

Paying particular attention to the effectiveness of its noise reduction feature, I used the AnkerWork M650 on a number of windy days. I tested it with VoiceShield switched off, set to low and at its highest setting, both with and without the optional wind shields installed, before comparing the results.

Because the M650 is such a complete kit – and one which content creators are likely to use in a number of different ways – I tested it with both a smartphone and a camera. I attached the receiver to my iPhone 12 via the Lightning adapter. I also used it on the hot shoe of my trusty Nikon D7100, connected via the 3.5mm audio cable. For completeness, I also used the AnkerWork M650 as a standalone solution, recording audio to its on-board storage.

Throughout my tests, I interacted with the wireless mic kit as real users would. That meant monitoring levels in real time on the receiver’s touchscreen and adjusting gain settings. I also tried attaching the transmitters to different items of clothing, used both the clip-on and magnetic solutions, to see how effectively they held.

I’ve played through all three campaigns in Tomb Raider IV-VI Remastered and found them to be full of welcome improvements, and graphical overhauls – but some issues remain
5:00 pm |
Author: admin | Category: Computers Gadgets Gaming | Tags: , | Comments: Off

Aspyr has built an impressive resume of classic action-adventure remasters over the last few years. The masters of the remaster have previously given delightful modern refreshes to the first three Tomb Raider games and delivered a seminal update to two excellent Soul Reaver titles, and now the Texas-based studio has returned its attention to the original Lara Croft timeline.

Review info

Platform reviewed: PC via Steam and PS5
Available on: PC, PS5, PS4, Xbox Series X|S, Xbox One, Nintendo Switch
Release date: February 14, 2025

Tomb Raider IV-VI Remastered brings 1999’s The Last Revelation, 2000’s Chronicles, and 2003’s The Angel of Darkness to PS5, PS4, Xbox Series X, Xbox Series S, Nintendo Switch and PC with a treasure trove of visual enhancements. Cleaning these Core Design developed titles up after twenty-five years and getting them to look this fresh is nothing short of wizardry at this point.

The Last Revelation, for example, charts Lara’s adventures in Egypt as she works to overcome an ancient curse that she accidentally set in motion, and the level of polish and modern graphical flourishes impress throughout. A new lighting engine sees shafts of sunlight penetrating forgotten temples and provides atmospheric warmth and illumination from fire pits and torches.

Character models have increased levels of detail while retaining the charm and personality of the original releases and the various Egyptian tombs benefit from dramatic rejuvenation that begs you to explore them. Simple flat textures have been replaced with detailed geometrically interesting assets in some spots, creating a sense that these environments could actually exist and aren’t just flat painted boxes anymore.

A screenshot from Tomb Raider 4-6 Remastered showing Lara Croft in mid-air firing her guns

(Image credit: Aspyr)

A graphical revelation

Once again making use of the original source code as the framework for these remasters, Tomb Raider IV-VI Remastered enables players to instantly swap between the shiny newness and the classic visuals with the push of a button. The Last Revelation and Chronicles, which both debuted on the original PlayStation, see the biggest leap in overall fidelity, and while The Angel of Darkness still receives a noticeable improvement over its PlayStation 2 origin, its revamp isn’t as impactful.

Tomb Raider IV-VI Remastered isn’t pixel-perfect in its execution, however. Chronicles, which acts as an anthology of sorts for previously untold Croft escapades, suffers from some occasional clipping at the edges and corners of buildings. It’s a minor gripe for sure but one that does pop up throughout Tomb Raider V and does prove distracting whenever it appears.

Likewise, all the original cutscenes are preserved and reused here without any visual enhancements or improvements, but the low-res FMV (full motion video) sequences of yesteryear are brief and have a charm of their own.

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A screenshot from Tomb Raider 4-6 Remastered showing the classic visual option

(Image credit: Aspyr)
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A screenshot from Tomb Raider 4-6 Remastered showing the modern visual option

(Image credit: Aspyr)

Bothersome buttons

Mirroring the remasters of Tomb Raider I-III, Tomb Raider IV-VI Remastered introduces a new modern control scheme for each game aimed to provide an accessible experience for new players unfamiliar with the original games and their classic tank controls. It’s unsurprising then, if not a little disappointing that, just like Tomb Raider I-III Remastered, this latest collection fails to introduce a reliable, modern control scheme.

Before delving into what does and doesn’t work with the modern scheme though, I’d like to take a moment to celebrate the tank controls. Tank controls, the slightly clumpy yet functional feel when you get used to them, and inputs from the original releases, undoubtedly remain my favorite way to experience these games. Classic Tomb Raider always required precise traversal and, while not the most natural method of controlling a character, tank controls allowed just that.

Despite the precision of the original tank controls, players would still occasionally make accidental slip-ups, causing our pony-tailed heroine to plummet to her demise. Aspyr has introduced a couple of new moves for Lara that, while certainly not exciting on paper, do remove some of those frustrating pratfalls of old.

For starters a new slide-to-run animation, a previously cut action from the original games, allows Lara to keep her momentum after disembarking a sloped surface. There are also two new animations for hanging on ledges as well, with the extra actions designed to prevent an untimely death regardless of whether Lara is facing toward or away from a drop.

The aforementioned new animations are available in both tank and modern control schemes, with a brand new ‘turn around in place’ action that is exclusive to the modern scheme and spins Lara a neat 180 degrees on the spot.

A screenshot from Tomb Raider 4-6 Remastered showing Lara Croft in a temple interior

(Image credit: Aspyr)

Entering a new area and flicking between the remastered graphics and the original visuals and appreciating the astonishing work and artistry of the team at Asypr. Far from a simple resolution bump, every decaying tomb, claustrophobic cave, or industrial cityscape has clearly received a lot of love in its modernization.

The new additions are good in theory, even if their implementation into Lara’s ever-increasing moveset leaves a lot to be desired. The turn-around-in-place move, for instance, requires the finger dexterity of a double-jointed gymnast to perform, with the default input requiring two opposing face buttons to be pressed simultaneously. I found myself adopting a claw grip like one might use when playing a fighting game, whenever the situation required a tight turnaround.

It's here that the cracks in the modern control scheme start to show. The default control layout doesn’t mesh well with in-game directions. At the start of The Last Revelation, when an adolescent Lara is navigating a Cambodian temple with mentor Werner Von Croy, Von Croy will often dole out instructions as part of the tutorial level. After diving into a pool, the puffed-up archaeologist suggests we “use ‘Action’ to climb out of the water”, except, with modern controls, Lara does nothing but bobs up and down staring at the edge of the pool. Through much trial and error, I discovered that an entirely different button makes Lara climb out of pools, and even worse, grab ledges mid-fall.

The Action button debacle isn’t an isolated instance either with several context-sensitive inputs not aligning with their in-game instructions. While the modern control scheme does have some perks including fluid horizontal movement, it requires some extensive tinkering and remapping of the controls within the options to make it remotely usable.

Another aspect that could use refinement is the weapon system, although the new on-screen ammo counter is a blessing. Switching between the weapons in Lara’s arsenal requires players to pause the game and scroll through the available armaments. There is a new shortcut system in place, requiring players to hold the touchpad and press one of the face/shoulder buttons to bring up individual weapons but it feels unnecessary and clumsy. A weapon wheel would have been a much simpler refinement and worked well for similarly revamped games such as Grand Theft Auto: The Trilogy: The Definitive Edition.

A screenshot from Tomb Raider 4-6 Remastered's photo mode

(Image credit: Aspyr)

Lights, camera, action

One modern addition I absolutely adore is the returning and expanded photo mode. Tomb Raider IV-VI Remastered builds on the already brilliant photo mode of Tomb Raider I-III Remastered by letting players toy around with Lara’s stances, facial expressions, costumes, and weapons and even moving her freely around the scene.

Aspyr has gone beyond the standard photo mode in Tomb Raider IV-VI Remastered and incorporated a new flyby camera mode, and let me tell you, it’s incredible. The flyby camera mode allows players to position up to twenty different cameras around any scene in The Last Revelation and Chronicles, tweak various settings like field of view and roll, and then press play to witness a cinematic flyby of their custom scene.

Flyby mode is so simple and so powerful. I was creating dynamic, professional-looking animations immediately. The possibilities are literally endless and if you love Tomb Raider, you’ll definitely get a kick out of exploring each level using flyby mode.

Unfortunately, the feature currently appears to be absent from The Angel of Darkness. The sixth mainline Tomb Raider game, where Lara goes all Jason Bourne around Europe in a supernatural murder mystery, is a notoriously sullen affair so it makes sense that The Angel of Darkness doesn’t currently support the brilliantly fun flyby mode just yet. It’s a shame as The Angel of Darkness looks fantastic here and exploring Paris or Prague with the new Flyby camera would make an entertaining distraction from all of the brooding.

The flyby camera is a mind-blowing toolkit for fans of the series and a feature I hope Aspyr retrofits into Tomb Raider I-III Remastered, and that every 3D game incorporates and iterates on it from here on out.

Should I play Tomb Raider IV-VI Remastered?

Play it if...

You love a thrilling caper
Tomb Raider IV-VI Remastered sees Lara searching for relics, evading traps, and solving implausibly engineered puzzles on three globetrotting adventures. Tomb Raider IV-VI Remastered delivers hours of exciting, pulpy fun in a beautifully presented package for the price of a cinema ticket and a large popcorn.

You have a playful, creative side
As photo modes go, Tomb Raider IV-VI Remastered’s is one of the best around. Creating unique custom shots by harnessing a suite of selectable stances, facial expressions, outfits and the ability to move Lara around in any scene is great fun and the new flyby mode takes that creativity to a whole new level.

Don't play it if...

You have limited patience
Tomb Raider as a series is synonymous with challenging brainteasers, but even for a veteran of the series, the controls can feel like a constant puzzle to understand themselves and the modern control scheme compounds the issue further.

Accessibility

Tomb Raider IV-VI Remastered provides only a few, basic accessibility options for players. Subtitles are enabled by default in all three games and are clear to read with a subtle grey background to them. Controller settings can be tweaked with optional vibrations and adjustable stick sensitivity.

All three titles do a poor job of introducing players to controls with no onscreen button prompts or tutorials. Voice lines and subtitles will occasionally guide players on what to do but the instructions often don’t correlate with the default control schemes, making certain sections impassible without much trial and error.

Quality-of-life improvements such as the inclusion of boss health bars, ammo counters, and cutscene skippers are all welcome additions.

A screenshot from Tomb Raider 4-6 Remastered showing Lara Croft sneaking past lasers

(Image credit: Aspyr)

How I reviewed Tomb Raider IV-VI Remastered

I played through the campaigns of all three titles while regularly switching between modern and tank controls, testing Lara’s newly added animations in each. I spent a couple of hours fiddling around in photo mode throughout my playthrough, taking time to experiment with various poses and outfits and producing fun flyby shots.

I played Tomb Raider IV-VI Remastered on my gaming PC which runs a Nvidia GeForce RTX 3060 Ti on a Dell U2415 Monitor. I used my EasySMX D05 controller and my Sony Gold Wireless Headset. I also tested the collection on PS5 on a 4K Sony Bravia TV, with my DualSense wireless controller and my PS5 Pulse 3D Wireless Headset for the most part, and occasionally through the built-in TV speakers.

Prior to playing Tomb Raider IV-VI Remaster, I also chose to revisit the original games on the original PlayStation and PlayStation 2, enabling me to appreciate the differences in controls, visuals and playability to the new remaster.

First reviewed February 2025

Redmi Note 14 5G gets a new color in India
4:57 pm |
Author: admin | Category: Mobile phones news | Tags: , | Comments: Off

Xiaomi launched the Redmi Note 14 5G in India last year in three colors - Titan Black, Mystique White, and Phantom Purple. Today, the brand introduced the fourth color in the Indian market, called Ivy Green. Redmi Note 14 5G The Redmi Note 14 5G's Ivy Green version comes in three configurations and is priced the same as other models - 6GB/128GB at INR18,999 ($220/€210), 8GB/128GB at INR19,999 ($230/€220), and 8GB/256GB at INR21,999 ($255/€240). It's available through Xiaomi's Indian website, where customers can get an instant INR1,000 ($12/€11) discount if they purchase the...

Redmi Note 14 5G gets a new color in India
4:57 pm |
Author: admin | Category: Mobile phones news | Tags: , | Comments: Off

Xiaomi launched the Redmi Note 14 5G in India last year in three colors - Titan Black, Mystique White, and Phantom Purple. Today, the brand introduced the fourth color in the Indian market, called Ivy Green. Redmi Note 14 5G The Redmi Note 14 5G's Ivy Green version comes in three configurations and is priced the same as other models - 6GB/128GB at INR18,999 ($220/€210), 8GB/128GB at INR19,999 ($230/€220), and 8GB/256GB at INR21,999 ($255/€240). It's available through Xiaomi's Indian website, where customers can get an instant INR1,000 ($12/€11) discount if they purchase the...

Samsung resurrects Galaxy A25 5G as a dual-camera version for Japan
4:01 pm |
Author: admin | Category: Mobile phones news | Tags: | Comments: Off

Samsung Japan just announced the Galaxy A25 5G for the country. Interestingly, it's the namesake of the Galaxy A25 5G which launched way back in December of 2023, but it isn't the same phone. There are a few differences, starting with the cameras. Japanese customers get a dual rear camera - 50MP + 2MP - and a 5MP selfie. The global unit has a 50MP + 8MP ultrawide + 2MP macro - and a 13MP selfie camera. The other difference is the SoC - the global model runs a 5nm Exynos 1280 with 4GB, 6GB, or 8GB of RAM. The Japanese model uses a 6nm Dimensity 6300+ with 4GB of RAM. Built-in storage...

Google rolls out Android 16 Beta 2
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Author: admin | Category: Mobile phones news | Comments: Off

Google is now pushing its second Android 16 public beta to eligible Pixel devices. This update brings several additions to the first beta release, including media and camera enhancements, accessibility improvements and performance and compatibility tweaks. The new beta is available for Pixel 6 and newer smartphones, the Pixel Tablet and Android Emulator. If you were previously enrolled in the Android Beta Program, the new updates should arrive as an OTA download. The new camera additions include hybrid auto exposure, precise color temperature and tint adjustments, motion photo...

Huawei Watch GT 5 and GT 5 Pro get new update with health and payment features
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Huawei has released the HarmonyOS 5.0.0.159 update for the Watch GT 5 and Watch GT 5 Pro, which brings new health and payment features to the smartwatches. [#InlinePriceWidget,13350,1#] The update comes with new exercise fitness classes, with the exercise list now supporting automatic sorting. Additionally, the down key on these watches can now be used to start an exercise quickly. Huawei Watch GT 5 Pro The update, which requires a download of about 50MB, also brings some optimizations to the Huawei Watch GT 5 series. You can read the changelog below for more details. New...

I reviewed the Bowers & Wilkins Zeppelin Pro wireless speaker, and this beauty is the best one-box wireless speaker you can get for this price
2:00 pm |
Author: admin | Category: Audio Computers Gadgets Hi-Fi Speakers | Comments: Off

Bowers & Wilkins Zeppelin Pro Edition: Two-minute review

The Bowers & Wilkins Zeppelin Pro Edition is part of a great lineage. It’s been almost 20 years since the first Bowers & Wilkins Zeppelin launched – back then it was an iPod dock with a 30-pin connector. It’s moved with the times, of course, so now this version offers aptX Adaptive Bluetooth codec compatibility and the ability to host numerous music streaming and internet radio services within the ‘Music’ control app it has in common with other Bowers & Wilkins wireless audio products.

The look of the Zeppelin Pro is, of course, the look. The Zeppelin line is very much its own thing, and build quality and the standard of finish are predictably good. And when it comes to business, the Pro Edition features a reworked tweeter array and uses the titanium dome unit found in the class-leading B&W 600 S3 series of passive speakers. That's along with a couple of mid-range drivers and a relatively large (150mm) bass driver, plus 240 watts of power to drive them; the on-paper specification is promising to say the least.

And in practice, the Zeppelin Pro Edition makes good on that paper promise. It’s simple and quick to get it up and running, and once the listening starts in earnest there’s next-to-nothing to take issue with.

It’s a detailed, spacious and vigorous listen, able to tease out the finest details yet hit with real determination at the same time. The tonal balance is convincing, the frequency range is integrated smoothly, and there’s an openness to the presentation that’s far superior to any other one-box option among the best wireless speakers at this budget. It’s not the last word in dynamic expression, true – but nevertheless, the ‘plus’ column is far, far longer than the ‘minus’ where sound quality is concerned.

Bowers & Wilkins Zeppelin Pro Edition review: Price and release date

  • Costs $799 / £699 / AU$1,349
  • Launched in late 2024

The Bowers & Wilkins Zeppelin Pro Edition is on sale now, and in the United Kingdom it costs £699. American customers will have to part with $799, while in Australia it’s more like AU$1,349.

You’re not short of choice where wireless speakers at this sort of money are concerned, of course. The excellent Naim Muso Qb Gen 2 is down to this sort of money nowadays, and things like JBL’s Authentics 500 are well worth considering too…

Bowers & Wilkins Zeppelin Pro Edition review: Features

A close up of the Bowers & Wilkins Zeppelin Pro Edition wireless speaker and the B&W logo

(Image credit: Future)
  • Bluetooth 5.0 with aptX Adaptive codec compatibility
  • 240 watts powering a five-driver array
  • 35Hz - 24kHz frequency response

In most respects, the Zeppelin Pro shares a feature-set with the 2021 incarnation of the Zeppelin. Bluetooth 5.0 with aptX adaptive codec compatibility, 240 watts of Class D grunt powering a five-driver array, compatibility with the exemplary Bowers & Wilkins ‘Music’ control app, a claimed frequency response of 35Hz - 24kHz… so far, nothing has changed.

In fact, the only major difference where features are concerned is regarding 40 percent of the driver array. The Zeppelin Pro uses the same 150mm low-frequency driver and the same pair of 90mm ‘FST’ (fixed suspension transducer) mid-range drivers as the 2021 model – although the mid-range drivers have had their cone damping upgraded in an effort to minimize cone break-up.

The tweeters in the Zeppelin Pro, though, are 25mm versions of the titanium dome design that’s currently in use all across the company’s 600 S3 range of full-size passive loudspeakers. This, it’s fair to say, is an upgrade on the double-dome tweeters fitted to 2021’s Zeppelin. Revised digital sound processing is deployed to take account of the new and improved tweeter line-up.

As with previous Zeppelins, the Pro features built-in multi-room functionality - it can be paired with other Zeppelins or members of Bowers & Wilkins’ ‘Formation’ range of wireless speakers (in case anyone remembers them). The Pro can also be used in conjunction with any of the company’s current (and excellent) line-up of wireless headphones and earbuds.

And as with previous Zeppelins, the Pro is only part-smart. Bluetooth connectivity is all well and good, of course, and the fact that it can sit on your home network and access your favourite streaming services (or, at least, some of them) is good news too – but there’s no DLNA or UPnP compatibility, so network connectivity only takes you so far, and the speaker has no truck with voice assistants either.

  • Features score: 4.5 / 5

The Bowers & Wilkins Zeppelin Pro Edition from above on a wooden shelf

(Image credit: Future)

Bowers & Wilkins Zeppelin Pro Edition review: Sound quality

  • Wide and organized presentation
  • Punchy and detailed in equal measure
  • Dynamic, but not to the extent separate speakers

Everything’s relative, of course, but while the idea that the Zeppelin Pro creates a true sense of stereo separation is hard to get behind, there’s no denying it generates a wider and more spacious sound that pretty much any other price-comparable single-unit wireless speaker is capable of.

It’s this openness that’s the most immediately striking thing about the way the Bowers & Wilkins performs. You’d never confuse it for the sound of two stereo speakers, of course, but whether it’s playing a 16bit/44.1kHz file of The Wedding Present’s Dalliance or a 24bit/96kHz equivalent of Summon the Fire by The Comet Is Coming, the Zeppelin Pro musters a big, well-organised and entirely convincing soundstage on which a recording can fully express itself.

There’s a gratifying amount of attention paid to the spaces between instruments and voices, and the amount of elbow-room each element of a recording enjoys makes for a coherent and easy-to-follow presentation.

Low-frequency impact is significant, and there’s good control of the attack of bass sounds at the same time – so the low end doesn’t blur, and rhythms are confidently described. The mid-range benefits a great deal from the overall spaciousness – vocalists of all types and all competences get the chance to properly communicate, for better or for worse.

And at the top of the frequency range, the reworked tweeter arrangement allows for plenty of substance to accompany the top-end bite and attack the Zeppelin Pro can muster. Integration of the frequency range is smooth and unobtrusive, despite the numerousness of the drivers here.

The Pro maintains a nicely neutral tonality throughout, and manages to invest every part of the frequency range with plenty of broad and fine detail. It does good work with high-frequency transients, and gives the bottom end lots of texture and variation where lesser speakers can just thump along monotonally. And the mid-range is absolutely alive with personality – there’s an eloquence to the way the Bowers & Wilkins hands over a voice that is never less than engaging.

Only a slight inhibition during the bigger dynamic shifts in volume and/or intensity prevent the Zeppelin Pro from scoring full marks here. If ever a band indulged in the ‘quiet/LOUD/REALLY DAMN LOUD’ dynamic, it’s The Wedding Present – but when the angst really gets into full swing the Bowers & Wilkins just can’t quite breathe deeply enough to give it the fullest expression.

It’s not that everything happens at a fixed level of attack, you understand – it’s just that there’s greater distance between the most contemplative and most fierce moments in the recording than the Zeppelin Pro is able to describe.

  • Sound quality score: 4.5 / 5

Bowers & Wilkins Zeppelin Pro Edition review: Design

A close up of the Bowers & Wilkins Zeppelin Pro Edition

(Image credit: Future)
  • Choice of two new finishes
  • Choice of 15 (!) downlight colors
  • Still looks like a Zeppelin

If you’ve seen one Bowers & Wilkins Zeppelin, you’ve seen 'em all – which is not meant to be any kind of a put-down. In one guise or another, it’s a product that’s been in production for almost two decades, and it’s rapidly approaching ‘classic’ status – and the way it looks hasn’t done any harm in this respect.

So the Zeppelin Pro is recognizably a Zeppelin, and at 210 x 650 x 194mm it’s the same dimensions as the 2021 model. You’ll need a decently sized surface to stand it on, although at 6.6kg it’s hardly a burden where weight is concerned.

The speaker wears its relative bulk quite lightly, though, and this is helped in no small way by the two finishes – both new – in which it’s available. My review sample is in ‘solar gold’, and ‘space gray’ is also available. And within the stable, logical and extensive control app, there are no fewer than 15 different ‘ambient light’ colors with which to illuminate the speaker’s foot (and, if you’re anything like me, expose exactly how long it’s been since anyone did any dusting around here). Or you can turn it off altogether, of course.

  • Design score: 5 / 5

Bowers & Wilkins Zeppelin Pro Edition review: Usability and setup

A close up of the Bowers & Wilkins Zeppelin Pro Edition controls

(Image credit: Future)
  • Bowers & Wilkins ‘Music’ control app
  • Some physical controls
  • Swift and stable wireless pairing

The Zeppelin Pro is ‘just’ a wireless speaker, and as such it doesn’t take long to set up – unpack it, plug it in, let the ‘Music’ control app (free for iOS and Android) discover it, connect it to your local network, and you’re in business.

The control app is fairly thoroughly specified. As well as Bowers & Wilkins’ curated content, it’s also able to let you integrate your favourite music streaming service(s) – as long as they’re Amazon Music, Deezer, NTS, Qobuz, SoundCloud or TIDAL. Spotify Connect and AirPlay 2 provide alternative ways of getting music over to it. Internet radio is available via Last.fm and TuneIn.

EQ adjustment (or, more accurately, bass and treble adjustment) is available, and the app also lets you update firmware as and when, and for some reason has a switch to allow aptX Adaptive reception to be switched on or off.

There are a few physical controls at top of the rear of the speaker, too. ‘Bluetooth pairing’, ‘volume up/down’, ‘play/pause’ and ‘power on/off’ are all available.

  • Usability and setup score: 5 / 5

Bowers & Wilkins Zeppelin Pro Edition review: Value

  • Bowers & Wilkins devices are always of a very high standard
  • Not as pricey as some B&W devices, but just as impressive
  • Excellent specs and sound

If you know Bowers & Wilkins, you know there’s seldom any issue regarding the standard of build and finish of any of its products – and that’s as true of the Zeppelin Pro Edition as it is of a pair of its passive speakers costing tens of thousands of pounds.

Add in thorough specification, nicely executed control options and an intangible, but definite, pride of ownership and we’re well on the way to calling this wireless speaker ‘very decent value for money’. The way it sounds simply confirms things.

  • Value score: 4 / 5

Should you buy the Bowers & Wilkins Zeppelin Pro Edition?

Buy it if...

You know an icon when you see (and hear) one
There aren’t all that many current audio products around that can genuinely be referred to as ‘classic’. The Bowers & Wilkins Zeppelin is one.View Deal

You enjoy spacious, detailed and lively sound
By the standards of speakers in a single enclosure, the Zeppelin Pro sounds gratifyingly open – and it’s a perky, informative listen at the same time.View Deal

You think synesthesia is pretty cool
You won’t see colors because of the sound the Zeppelin Pro makes, but you get a choice of colors to accompany it.View Deal

Don't buy it if...

You don’t have significant shelf space
The Bowers & Wilkins Zeppelin Pro Edition remains one of the larger wireless speakers around, and it needs a correspondingly large shelf space in which to operate.View Deal

You want a fully smart speaker
The lack of wider networking compatibility, voice-assistant interaction and so on means the Zeppelin Pro Edition is not quite PhD ‘smart’.View Deal

You want to hear every bit of dynamic variation in a recording
The Pro Edition is a strong performer, but it lacks the lung capacity to give complete expression to the biggest shifts in intensity and/or volume.View Deal

Bowers & Wilkins Zeppelin Pro Edition: Also consider

Naim Mu-so Qb 2nd Gen
The closest smaller equivalent to the Zeppelin Pro, also made by a hi-fi legend. Far more compact, still a hugely impressive performer with tons of connectivity options. Here's our full Naim Mu-so Qb 2nd Gen review.View Deal

Cambridge Audio Evo One
A magnficient speaker that's also pretty wide, like the Zeppelin Pro – but it has a flatter and more traditional design that may suit some people. The screen on the front is nice too, and the built-in phono stage makes it well-suited to turntables.View Deal

How I tested the Bowers & Wilkins Zeppelin Pro Edition

I positioned my review sample on the top shelf of my Blok Stax 2G equipment rack, and then because it was preventing my turntable from sitting there I also positioned it on a necessarily large bookshelf.

I used my Qobuz and TIDAL accounts to stream music of many different varieties and file sizes, and I also checked out some favorite internet radio stations using TuneIn.

I can’t pretend it was any kind of hardship to do this for well over a week…

  • First reviewed: February 2025
Samsung Galaxy A15 gets One UI 7.0 via RTL
1:35 pm |
Author: admin | Category: Mobile phones news | Comments: Off

Some Samsung Galaxy A15 users are reporting that One UI 7.0, based on Android 15, is available through the Remote Test Lab program. This means that the update isn't available to regular users yet, and the software is still in its pre-release stage. However, its appearance there suggests it is about to hit the wider public very soon. Little is known about the update itself except for some reports from users who have tried it. One says the new version of the OS improves animations and the whole experience feels smoother than before. Then again, that's hard to conclude in a Remote Test...

Samsung Galaxy A15 gets One UI 7.0 via RTL
1:35 pm |
Author: admin | Category: Mobile phones news | Comments: Off

Some Samsung Galaxy A15 users are reporting that One UI 7.0, based on Android 15, is available through the Remote Test Lab program. This means that the update isn't available to regular users yet, and the software is still in its pre-release stage. However, its appearance there suggests it is about to hit the wider public very soon. Little is known about the update itself except for some reports from users who have tried it. One says the new version of the OS improves animations and the whole experience feels smoother than before. Then again, that's hard to conclude in a Remote Test...

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