Sorry to interrupt your Saturday, but The Pokemon Company is aware it’s being mocked and Apple isn’t giving up on its dreams of making a car — it just might not be as impressive as first imagined. This week’s YouTube-coated version of TMA covers both of those, we get sad about a moonlander that didn’t really land properly and I try to name our new gaming video show. I tried. I didn’t say I succeeded.
Wired headphones are coming back. Not in an LA-centric retro twist, but in a nerdy high-fidelity-they-actually-sound-better… way. James Trew explains how, with built-in DACs new wired headphone models make any phone Apple Music Hi-Res Lossless ready. And thus much better. If you can tell the difference.
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This article originally appeared on Engadget at https://www.engadget.com/the-morning-after-a-cheaper-tesla-apples-ev-project-140008585.html?src=rss
NAMM is packed to the gills with synths, guitars, saxophones, et cetera. But, I promise you right now, the Dimension Tripper from Casio is the only wireless expression controller on the floor that you operate with your guitar strap.
The concept is simple. It’s an expression pedal. Just, not in pedal form. Now we’ve seen expression controllers in all sorts of shapes and sizes: Faders, rollers, even lasers. The Dimension Tripper does the same thing, except instead of rocking a pedal back and forth with your foot or sliding a fader back and forth with your hand, you pull down on your guitar itself.
There are two parts to the system. The transmitter goes between the end of your strap and the strap button on your guitar. One end of it is retractable and, as you stretch it out it sends information over Bluetooth to the receiver. Under ideal conditions there is about 20ms of lag, but even on the floor at NAMM with all of the interference it was barely noticeable.
The receiver is a relatively standard looking box that sits on your pedalboard and connects to your target pedal. A row of lights in the middle gives you visual feedback as you stretch out the sensor on the transmitter.
Terrence O’Brien / Engadget
The two parts are a bit bulkier than I would have expected, though. The receiver has two foot switches and is basically the size of a standard guitar pedal. The transmitter is nearly 5 inches long and is 1 inch thick. You will notice it when you play, and will need to shorten your strap significantly.
Other than that, it works like any other expression controller. You can use it for energetic wah wah effects, or gentle volume swells or to crank up the weirdness on a ring modulator. It can even be used in place of a foot switch to turn on and off effect. So you could yank down hard at the start of the chorus to kick in an overdrive.
Terrence O’Brien / Engadget
The concept is definitely gimmicky. But I have to admit it’s fun and actually felt kind of natural. Most players move their guitar a bit when anyway, and this just felt like an extension of that. I had to be a little more emphatic and move with more conviction than I might normally, but I adapted pretty quickly. Is it practical? Probably not. But kudos to Casio for trying something different.
What’s not clear is whether or not this will become an actual retail product. Right now Casio is running a crowdfunding campaign where you back the Dimension Tripper for 32,736 yen, or about $221. If the wireless expression controller has a life beyond that however is still up in the air.
This article originally appeared on Engadget at https://www.engadget.com/casios-dimension-tripper-lets-you-control-your-guitar-pedals-with-your-guitar-strap-200039380.html?src=rss
The original Erae Touch was one of the more interesting MPE controllers to come out in the last few years. But it’s been on the market for less than three years. So it was something of a surprise when Embodme showed up to NAMM 2024 with Erae II, the next iteration of its customizable controller with significant upgrades and one unexpected new feature.
Now, it’s important to note that the version of the Erae II I was able to test out was very early prototype. There were a few bugs, the construction definitely had some rough edges. But the company has plenty of time to iron those out. The Kickstarter campaign opens on February 15 with an expect ship date sometime in June.
Terrence O’Brien / Engadget
But the vision is already clear. The main surface is largely the same, a singular smooth expanse with RGB lights underneath it. Those are used to illustrate various layouts that can be customized. It can be a standard keyboard, a grid, faders, a step sequencer, et cetera. The design is definitely more refined, even at this early stage. It also acknowledges that while the customizability of the controller was a big draw, it perhaps relied too much on the desktop app and the playing surface for handling settings.
The updated version has a number of buttons across the top for quickly swapping layouts, controlling the new MIDI looper and accessing other settings. There’s also a small, but high resolution screen tucked in the top righthand corner next to a jog wheel. The viewing angles on the screen were solid and it’s plenty sharp, but its size could pose some challenges. I’m not going to judge it by this very early version of the firmware, but I had to squint pretty hard to make out the tiny text laying out all the MIDI assignments.
The controller itself was very responsive, though. The new sensors (16,000 of them to be specific) were able to track my glides and subtle shifts in pressure with incredible accuracy. The company claims the playing surface has sub-millimeter accuracy. Obviously there’s no way I could truly put that to the test on the show floor but, suffice it to say, it was accurate.
Terrence O’Brien / Engadget
I can already tell that the Erae requires quite a bit of nuance, though, to get truly expressive results from the aftertouch. The surface doesn’t have a lot of give, so tiny changes in pressure can result in big changes to the sound.
One of the surprising things is that the Erae II will have swappable skins, kind of like the Sensel Morph (RIP) or the Joué Play, but also, not. The unit I played had a silicone cover like the original that the company says is meant for those who want to play the Erae II with drum stick. It will will ship with a white fabric one though, which was specifically meant to improve the feel and responsiveness for those playing with their fingers.
Changing the skins is a little involved, however. Because Embodme sees the Erae not simply as a tool for the studio, but as a live performance device it wanted to make sure the covers would be secure and standup to abuse. So you actually have to unscrew the frame to pop on a new skin. And since the display on the Erae is already customizable, it’s not bothering to have skins with particular layouts, just different materials.
Terrence O’Brien / Engadget
Embodme also added a ton of new connectivity options. The original simply had a USB-C port and a TRS MIDI out. But the Erae II will have two MIDI out ports, a MIDI in jack, two USB ports, with the ability to be either a host or a device, and 24 configurable analog outs that can send gate, trigger and CV to external gear.
Obviously it’s way to early to know for sure how well the Erae II will standup to real world use. But it’s got a promising feature set and an intriguing design. If you want to be among the first to get your hands on one you’ll be able to back it on Kickstarter starting February 15 with early bird prices of $549 or $649, depending on how early you hop on. When it reaches retail later in the year, however, it will be going for $799.
This article originally appeared on Engadget at https://www.engadget.com/embodme-erae-ii-hands-on-a-customizable-mpe-midi-controller-for-your-soft-synths-and-analog-gear-213059410.html?src=rss
A dangerous fungal infection has seeded its spores farther across the United States than previously assumed. Research out this week details evidence that cases of blastomycosis are regularly showing up in Vermont, outside of the established areas of the U.S. where it’s thought to be endemic.
We were so close to finally drifting on the cobblestone streets of Yharnam, but it looks like we’ll have to wait a little longer for Bloodborne Kart. And, it’ll be called something else when it does arrive. Lilith Walther, the developer behind the project, said the team has to “scrub the branding” off of the game and delay its release after Sony intervened. It was supposed to be released on January 31 for PC. The outcome isn’t exactly surprising, but it means the game will take shape a bit differently than planned — in a thread posted on X, Walther said, “This is a fan game no more!”
Bloodborne Kart, a retro-style racing game that started out as a meme, has generated a ton of support from fans who have been yearning for new Bloodborne content. In response to the latest development, many have joked that the whole saga has forced Sony, which owns the IP, to actually acknowledge the title for the first time in years. Walther previously released a free Bloodborne “demake” in the style of a PS1 game.
“So Sony contacted us,” Walther wrote in an update on Friday. “Long story short, we need to scrub the branding off of what was previously known as Bloodborne Kart. We will do this, but that requires a short delay. Don’t worry, the game is still coming out! It’ll just look slightly different.”
The developers planned to feature 12 racers styled after familiar Bloodborne characters, including The Hunter and The Doll from the Hunter’s Dream, with single-player and multiplayer modes. There were to be 16 maps and boss fights, so you could race against the likes of Father Gascoigne. It really sucks that they won’t be able to follow through with the original idea, because it looked awesome, but I have no doubt they’ll spin it into something equally great.
“We were honestly expecting something like this to happen and the idea of having full creative control is kind of exciting!” Walther wrote. There’s no new release date just yet, but in the meantime, you can rewatch the Bloodborne Kart trailer on a loop and dream of what we almost had.
This article originally appeared on Engadget at https://www.engadget.com/fan-made-bloodborne-kart-catches-heat-from-sony-forcing-developers-to-shift-gears-183652390.html?src=rss
Sorry to interrupt your Saturday, but The Pokemon Company is aware it’s being mocked and Apple isn’t giving up on its dreams of making a car — it just might not be as impressive as first imagined. This week’s YouTube-coated version of TMA covers both of those, we get sad about a moonlander that didn’t really land properly and I try to name our new gaming video show. I tried. I didn’t say I succeeded.
Wired headphones are coming back. Not in an LA-centric retro twist, but in a nerdy high-fidelity-they-actually-sound-better… way. James Trew explains how, with built-in DACs new wired headphone models make any phone Apple Music Hi-Res Lossless ready. And thus much better. If you can tell the difference.
Like email more than video? Subscribe right here for daily reports, direct to your inbox.
This article originally appeared on Engadget at https://www.engadget.com/the-morning-after-a-cheaper-tesla-apples-ev-project-140008585.html?src=rss
With a healthy dose of heart and whimsy, the Sundance documentary Seeking Mavis Beacon follows two young Black women who are devoted to finding the original model for Mavis Beacon Teaches Typing. If you touched a computer during the ’80s or ’90s, there’s a good chance that Mavis helped you get comfortable with a keyboard. Or at the very least, you might remember her from the program’s original 1987 cover: a smiling, elegant Black woman dressed in a cream-colored outfit. She embodied style and professional poise — it was as if you could be just as capable as her if you bought that program.
It’s no spoiler to say that “Mavis Beacon” didn’t really exist – she was a marketing idea crafted by a group of white dudes from Silicon Valley. But the program’s cover star was real: Her name was Renee L’Esperance, a Haitian model who was discovered while working at Saks Fifth Avenue in Los Angeles. After her image helped make Mavis Beacon Teaches Typing a success, she retreated from the spotlight, reportedly heading back to retire in the Caribbean.
Seeking Mavis Beacon
The documentary’s director and writer, Jazmin Jones, as well as her collaborator, Olivia McKayla Ross, start with those basic details and set out to find L’Esperance like a pair of digital detectives. From a home base in a rundown Bay Area office – surrounded by tech ephemera, a variety of art pieces and images of influential black women – they lay out L’Esperance’s reported timeline, follow leads and even host a spiritual ceremony to try and connect with the model.
I won’t say if the pair actually end up finding L’Esperance because it’s the journey that makes Seeking Mavis Beacon such a joy to watch. Jones and Ross both grew up with the typing program and felt a kinship toward the character of Mavis Beacon. It was the first program to prominently feature a Black woman on the cover (a move that reportedly caused some suppliers to cut their orders), so it made the technology world seem like somewhere young Black women could actually fit in. Beacon’s digital hands also appear on-screen, as if she’s gently guiding your fingers to the correct letters and positioning.
To help uncover more details about the whereabouts of Mavis Beacon, Jones and Ross set up a hotline and website for anyone to submit clues. Some of those calls are featured in the film, and they make it clear that her digital presence inspired many people. The film opens with references to Beacon throughout culture, including one of my favorite bits from Abbott Elementary, where Quinta Brunson’s over-achieving teacher is far too excited to spot the typing icon in a school crowd. I was reminded of my own childhood experience with Mavis Beacon Teaches Typing, spending free periods at school and idle time at home trying to get my typing speed up. By middle school, typing felt as natural as breathing. And yes, I would also have freaked out if I saw the real Beacon in person.
While the documentary doesn’t seem out of place at Sundance, which is known for innovative projects, it also sometimes feels like a piece of experimental media meant for YouTube or an art show filled with impossibly cool twenty-somethings. (At one point, Ross attends a farewell ceremony for one of her friends’ dead laptops, which was hosted in an art space filled with people dressed in white. That’s the sort of hip weirdness that will either turn you off of this film, or endear you to it more.)
Jones shows us screen recordings of her own desktop, where she may be watching a TikTok alongside her notes. Instead of a full-screen video chat with another person, sometimes we just see a FaceTime window (and occasionally that reflects Jones’ own image looking at the screen). Finding Mavis Beacon tells its story in a way that digital natives will find natural, without locking itself exclusively into screens like the film Searching.
As is true for many first features, the film could use some narrative tightening. Jones and Ross’s investigation stalls at several points, and we’re often just left adrift as they ponder their next steps. The pair also occasionally appear too close to the story, or at least, that’s how it seems when we see Jones tearing up while pleading to meet with L’Esperance.
But I’d argue that’s also part of the charm of Seeking Mavis Beacon. Jones and Ross aren’t some true crime podcast hosts looking to create content out of controversy. They’re young women who found comfort in one of the few faces in tech that looked like them. With this film, Jones and Ross could be similarly inspirational for a new generation of underrepresented techies.
This article originally appeared on Engadget at https://www.engadget.com/seeking-mavis-beacon-review-sundance-documentary-140049830.html?src=rss
After months of fighting with two stubborn fasteners, NASA scientists finally cracked open the canister containing precious pieces of an ancient asteroid. Click through for our top science stories from this week.
This year, at least some countries will have to say goodbye to the Netflix Basic subscription tier, the last cheap(ish) way to watch Netflix without ads. While the streaming giant had already severed the $12 Basic subscription tier for new or returning subscribers, anybody who chose to keep paying their monthly tithe…
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