Category: Technology

It’s a sporting spectacle that only happens once every four years. The FIFA Women’s World Cup returns this week as the United States Women’s National Team seeks a historic third-straight title. Will the US be able to repeat the magic it unlocked in 2015 and 2019? Is it finally “coming home” for the Lionesses of England? Will an unexpected contender shock the world? We’ve got all the information you need to know about when and how to stream the entire tournament, starting with the first matches early tomorrow morning Eastern Time (Thursday, July 20th).

When does the Women’s World Cup start?

The 2023 FIFA Women’s World Cup begins Thursday, July 20th at 3AM ET. Why so early? The tournament is being hosted by Australia and New Zealand, which will certainly put a strain on fans in the US wanting to watch the action live. As is tradition, the host plays on the first day and that means there will be two games instead of the typical one since there are two hosts. New Zealand plays Norway first and Australia follows against Ireland at 6AM ET. The US Women’s National Team kicks off its group play schedule Friday, July 21st at 9PM ET versus Vietnam and England steps on the pitch for the first time Saturday, July 22nd with Haiti at 5:30AM ET.

The group stage consists of three matches for each team and continues through Thursday, August 3rd. The Round of 16 begins Saturday, August 5th and ends on Tuesday, August 8th. Quarterfinal matches are scheduled for Thursday through Saturday, August 10th-12th with the two semi-final matches taking place on Tuesday and Wednesday, August 15th and 16th. The third-place game is Saturday, August 19th while the championship final is Sunday, August 20th.

How to stream the 2023 Women’s World Cup

Fox Sports is the broadcaster for the Women’s World Cup in the US and all games will air on either FOX or FS1. The company says the entire tournament will be available for streaming on FOXSports.com and the FOX Sports App, but you’ll need to sign in with your TV provider to watch in those places. Full replays will be available in those two spots as well, which will come in handy if you plan to skip a 3:30AM ET kickoff.

Any live television streaming service that carries FOX networks – like Hulu, Sling or YouTube TV – will also show all of the games as they happen. Most of those services offer cloud-based DVR, so you can record any games you want to sleep through.

Unlike what Turner does for select games of March Madness, there’s no free streaming option for any of the scheduled matches during the Women’s World Cup. In order to watch some of the games without paying, you’ll need an old-fashioned antenna that picks up the main FOX channel in your area. For US fans, all of the United States’ group-stage matches are scheduled to air on FOX and all of the knockout rounds (quarterfinals through the final) will be there as well. Of course, taking this route means you’ll miss a lot of the action that will be broadcast on FS1 (35 games).

For fans in the UK, the BBC is the broadcaster for the Women’s World Cup. It plans to show 33 live games across BBC TV and iPlayer with audio coverage for some matches on BBC Radio 5 Live and BBC Sounds. In terms of streaming, all of those games will be available live on iPlayer and the BBC Sport website and app. The BBC will offer highlights of all 64 matches in the tournament which will be available to watch when each one concludes. The other 31 games will be shown on ITV.

This article originally appeared on Engadget at https://www.engadget.com/how-to-stream-the-fifa-womens-world-cup-2023-190052838.html?src=rss 

Robosen announced a new auto-converting Transformer today. After launching its self-transforming Optimus Prime in 2021, the company set its sights on Grimlock, the Autobot-allied leader of the Dinobots who changes from a robot into a mechanical T-Rex. However, its $1,699 sticker price (a mere $1,499 for pre-orders) also allows it to transform your finances for the worse.

The Grimlock collectible stands 15 inches tall in robot mode and 15.4 inches in dinosaur mode. Robosen describes its auto-transforming as “the epitome of auto-conversion” while calling the product “the world’s first dual-form, bipedal walking robot.” (The Optimus Prime version walks as a robot but drives in truck form.) The manufacturer says Grimlock includes 85 microchips, 34 high-precision intelligent servos while running on “advanced SOC chip technology” and “a comprehensive robot operating system.” In addition, it has six-axis IMU sensors for balance monitoring.

This Grimlock is based on the Transformers G1 version, which debuted in 1985. The collectible includes the original toy’s Energon sword, galaxial rocket launcher, and crown accessories. Robosen and Hasbro even brought back the original voice actor from the G1 animated series, the now 72-year-old Gregg Berger, to record “150+ original Generation 1 Transformers audio lines” for the expensive toy. For the uninitiated, the character is known for a simplistic speaking style, including the well-trodden phrase, “Me Grimlock!”

In addition to hearing Grimlock’s classic voice (synchronized with “robotic actions”), you can also control it by speaking to it. The product recognizes 42 voice commands, letting you tell it to transform, walk and perform various “stunning stunts.” You can also create new poses and actions for the Dinobot using four programming modes (block-based, manual, voice and computer-based). And if money truly is no object, you can pair it with the $699 Optimus Prime robot to watch them reenact your favorite classic Transformers battle scenes. This would be wonderful for children, but its pricing mostly limits it to nostalgia-stricken adults with more money than meets the eye.

The Grimlock auto-converting robot is available for pre-order now from Robosen and Hasbro. It’s expected to ship in late fall. Although its pricing may be a tough sell, at least they’re throwing in a limited edition collector’s coin so you can demonstrate that you spent the equivalent of a month’s rent on a robotic T-Rex that speaks about itself in the third person.

This article originally appeared on Engadget at https://www.engadget.com/robosens-auto-transforming-grimlock-will-set-you-back-about-a-mortgage-payment-182443528.html?src=rss 

Being a smartphone startup is hard, particularly when you’re up against tech giants like Apple, Google and Samsung. But after selling more than 500,000Phone 1s last year, Nothing has returned with a sequel: the Phone 2. And while it looks similar to the previous model, it feels like Nothing is finally figuring out its groove. Not only does it have a significantly faster CPU, its cameras have been improved, and we’re finally seeing Nothing’s vision of a more thoughtful and deliberate UI. Even the phone’s most distinctive feature – its Glyph interface – offers enhanced customization and added functionality. But perhaps most importantly, the Phone 2 will officially be available in the US. And while this added sophistication comes at an increased cost, it’s still very affordable at $600. In a sea of Android phones that often blend together, getting an eye-catching device for a reasonable price is definitely something notable.

Design

Compared to most phones that are clad in a blank sheet of glass, the Phone 2 (which is available in white or a new gray color) is a stunner. Its transparent Gorilla Glass back reveals a monotone assortment of components, allowing you to see things like its magnetic charging coil, power cables and more. It’s not messy, though. Everything is buttoned up just enough, and there are human touches like arranging some of the components to look like an elephant. I’ve been told there are other creatures hiding as well, but I haven’t spotted them yet. It’s like having a cyberpunk art installation in your pocket.

Of course, there’s also the Glyph interface which consists of a number of LED strips that pulse, strobe and glow. For this model, Nothing more than doubled the number of lights from five to 11, while also adding support for addressable zones, which allows for gradient effects. Unfortunately, there’s still only one color to choose from: white.

As for the rest of the device, it’s very similar to the Phone 1 including a metal frame with flat boxy sides and an iPhone-like button layout for power and volume. The one big change is that Nothing used 2.5D glass with rounded edges in back which sports curves that sit more naturally in your hand without digging in.

Meanwhile, its 6.7-inch OLED display delivers excellent brightness (with peaks of well over 1,000 nits in my testing), rich colors and a speedy 120Hz refresh rate. You also get an in-screen fingerprint reader for simple and secure biometrics which is both fast and accurate.

Performance

The Phone 2 packs a Qualcomm Snapdragon 8+ Gen 1 processor, 8GB or 12GB of RAM and up to 512GB of storage. Sure, its chip is a year old, but it handled games and editing photos without a hint of lag. When combined with speedy UI animations and a lightweight Android skin, the Phone 2 feels incredibly responsive and snappier than some flagship phones that cost a whole lot more. Additionally, while the phone is only available as an unlocked model, it has been certified to work on both T-Mobile and AT&T’s networks (sorry Verizon folk), so it’s pretty flexible when it comes to bringing it over to your carrier.

Cameras

Tuning a phone’s cameras and image processing can be extremely difficult when you don’t have the same level of resources as a trillion-dollar megacorp. And while the Phone 2’s 50MP main cam and 50MP ultra-wide cams are decent, they’re still a tier or two below what you get from a Pixel 7. During the day, the Phone 2 captures images with bright, rich colors and good sharpness. It’s only when you zoom to 100 percent that you notice things like color fringing and worse dynamic range. Nothing has a hard time keeping up with Google’s Night Sight mode in low light too, sometimes struggling when trying to nail white balance while also preserving detail. Still, coming from the Phone 1, it’s a big improvement and if you aren’t an avid photographer, the Phone 2 is still serviceable.

Software

Compared to the previous model, the Phone 2’s software may have the biggest number of improvements. This time instead of a barebones version of stock Android, Nothing has included its Monochrome UI which consists of new widgets, wallpapers, icon packs and more that create a distinctive experience that ties into the phone’s exterior design. Not only does it look great, you can also make all the app icons grayscale and even remove the name of the app entirely. The idea is that, by making apps a touch harder to find, you’re forced to be more deliberate about how and when you use your phone. That’s a refreshing change from just reflexively doom scrolling through social media every time you have a spare minute.

Nothing also added a new tab in the settings menu for its Glyph interface so you can get more granular control over all those LEDs. Features range from simple things like using its rear lights to show battery status or volume to more sophisticated things like what Nothing calls “Essential notifications.” That allows you to set specific apps to activate LEDs on the back of the phone. This way, you can put the phone facedown on a table and really pay attention to the people you’re with. This was convenient for me because since my wife and I seem to be the only people we know that use Google Chat, I set that as my essential notification so I never miss her messages.

And while it’s limited to a single app for now, Nothing is even integrating its Glyph interface with a third-party app in Uber, so you can see a real-time arrival estimate for a car just by looking at the back of the phone. It’s a neat trick that could have a ton of potential. Instead of using a special API, the LEDs are simply getting info from your notifications to update the lights. That makes it easier to develop more custom Glyph integrations without needing to partner with every single app developer. So while third-party app integration is still a work in development, it’s off to an interesting start.

Finally, while it’s not quite as long as what you get from Google or Samsung, Nothing is promising three years of OS updates along with four years of regular security patches.

Battery Life

I wasn’t sure what kind of endurance I was going to get from the Phone 2 between its 4,700 mAh battery and slightly older, less power-efficient chip. But on our video rundown test, Nothing crushed it with a time of 24 hours and 25 minutes. That’s the second longest time we’ve seen in recent history, only behind the Samsung’s Galaxy S23+ (25:02). On top of that you get 15-watt wireless charging, 45-watt wired charging and 5-watt reverse wireless charging.

Wrap-up

In a time when new generations of phones never seem quite as exciting as the last, Nothing has still managed to make the Phone 2 stand out. Its eye-catching design captures some of the best qualities of clear plastic gadgets from the ‘90s, like Gameboys and Nintendo 64’s, but in a much more sophisticated way. Meanwhile, Nothing’s Monochrome UI asks users to be more thoughtful about how they use their device while giving them tools like the Glyph interface that can surface info and notifications in novel ways. And even though its specs don’t jump out at you, it never felt slow and it’s well-equipped with handy features like reverse wireless charging.

That said, for $600, the Pixel 7 is still the better value. It’s got a newer chip along with a much more sophisticated software package which includes features like Call Screener and robust language detection, and its cameras are in a class of their own. But its screen is smaller and its battery life isn’t quite as long. And you know what, that’s totally fine because the Phone 2 isn’t for everyone. It’s a phone that wants you to think differently about how you use your device while giving you the tools to do so. It’s the offbeat choice, and for people who want to be excited by their phone again, it’s definitely an interesting mainstream alternative.

This article originally appeared on Engadget at https://www.engadget.com/nothing-phone-2-review-an-offbeat-alternative-to-boring-midrange-phones-specs-price-160002218.html?src=rss 

Amid the pending takeover of Activision Blizzard by Microsoft, the former has laid off around 50 employees from its esports division. The company is also preparing for some potential huge changes to the Overwatch League (OWL), which may bring an end to its city-based franchise format.

Employees were informed of the layoffs on Tuesday, according to The Verge. One now-former member of the team told the publication that the layoffs came out of nowhere and suggested that a skeleton crew could close out the OWL and World Series of Warzone seasons. However, they added that “in my eyes, they are completely unequipped to internally support anything esports after that.” Activision Blizzard also laid off around 50 people from its esports teams in March 2021.

The company noted in an earnings report released today that it modified its agreements with Overwatch League team owners last quarter. “According to the amended terms, following the conclusion of the current Overwatch League season, the teams will vote on an updated operating agreement,” the report reads. “If the teams do not vote to continue under an updated operating agreement, a termination fee of $6 million will be payable to each participating team entity.” The company added that OWL’s total revenue accounts for under one percent of its consolidated net revenues. 

Reports recently suggested that the Overwatch League waived its remaining franchise fees, with teams still owning between $6 million and $7.5 million after payments were deferred due to the COVID-19 pandemic. A spot in the league was originally said to cost $20 million, and that reportedly jumped to over $30 million for expansion teams that joined in the second season in 2019.

Although it got off to a strong start, OWL has been on shaky ground for some time. In its first two seasons, many matches aired on ESPN and other networks and the season-ending Grand Finals were shown on ABC. After two seasons of OWL hosting almost every match from a television studio, the third season was supposed to be when the ambitious grand vision of OWL came together, with players competing in each team’s city every week.

However, that was in 2020 and the format only lasted a few weeks before the COVID-19 pandemic shut everything down. The forced change to an online-only format in 2020 closed off a key and long-promised revenue stream to OWL team owners, as they were unable to generate income from live events. Live events gradually started returning in 2021.

There have been many other hiccups. When OWL moved from Twitch to YouTube in 2020, viewership dropped substantially. While there have been some significant peaks in viewership over the last few years, the league still appears to be struggling to attract eyeballs. Sponsors such as Coca-Cola, T-Mobile and Kellogg’s fled the ship in 2021 following a lawsuit that included allegations of widespread sexual harassment and discrimination at Activision Blizzard.

China has been one of the strongest markets for OWL viewership over the last few years. However, Overwatch 2 and most other Blizzard games are not currently available in the country after a partnership with NetEase, which published the games there, came to an end. That could have impacted interest in the Overwatch ecosystem in the country overall. (In its earnings statement, Activision Blizzard noted that “engagement and player investment in Overwatch 2 declined sequentially” in the second quarter of the year, but hopes a soft relaunch with a major update next month will bring players back.)

Blizzard tried to bolster excitement around OWL this year by opening a pathway for teams from the second-tier Contenders division to compete in the highest level of Overwatch esports for the first time. In June, after failing to field a team in the first half of the season, it emerged that the Chengdu Hunters became the first franchise to leave the Overwatch League for good.

OWL team owners have long claimed that they’re not making enough money from the league. Earlier this year, esports journalist Jacob Wolf reported that OWL teams brought in a law firm to negotiate with Activision Blizzard for some kind of economic relief “after years of high operating costs and continually missed promises on revenue.” Sports Business Journalnoted that teams receive around $1 million from OWL but it costs between $3 million and $5 million a year to run a competitive team, meaning that most are running at a loss.

Given the financial implications, it would not be surprising if OWL teams vote to end their agreement with the league. While that would certainly end the Overwatch League in its current format, Activision Blizzard is still planning to support Overwatch esports.

“I want to be clear on one thing in particular, that Overwatch remains committed to a competitive ecosystem in 2024 and beyond,” OWL commissioner Sean Miller told The Verge. “And we’re building toward a revitalized global scene that prioritizes players and fans.” Miller noted that Blizzard was looking at various options for the future of Overwatch esports and added he was very optimistic: “We are doing all we can to make the player experience and the fan experience one that people want to return to, want to be a part of and get excited about to turn on.”

All the same, the Overwatch esports ecosystem could look very different next year. This year’s Grand Finals in Toronto could be the end of OWL as we know it.

This article originally appeared on Engadget at https://www.engadget.com/activision-blizzard-lays-off-around-50-esports-staff-amid-a-potential-overwatch-league-overhaul-152039688.html?src=rss 

After almost six years, Beats is back with new over-ear, noise-canceling headphones. A significant update from the Studio 3 Wireless, the new Studio Pro is a familiar formula that’s been reconfigured from the inside out. A second-generation version of Beats’ own audio chip powers this new model, delivering improvements to active noise cancellation (ANC), spatial audio with dynamic head tracking and wired audio modes via USB-C connection. Small design tweaks and slightly better battery life are also on the spec sheet, while the price remains $350 for Beats’ flagship headphones.

Design

To refresh the aesthetics, Beats enlisted the help of Samuel Ross, a fashion and product designer who has worked with Hublot, Nike, Oakley and others. The result is an updated look with new colors, materials, packaging and branding. While the tweaks are subtle and the folding design remains the same overall, there are a few notable changes to point out. First, Studio Pro is available in four new colors and even the black option now has a matte finish. Where the headband hinge used to have a contrasting color for most of the variants, that’s now a tone-on-tone finish and the model name has been removed. The iconic lowercase “b” logo remains on both sides, though.

Another key change is to the earpads. Beats and Ross opted for a seamless design here, with cushions made of a new UltraPlush memory foam, though they’re still wrapped in leather. Beats is clear the clamping force from previous Beats models remains the same, unfortunately and the weight hasn’t changed. Indeed, the new ear pads help to a degree, but after about an hour of use, I start to feel the pressure that’s been an issue with Beats headphones for years.

Since Beats headphones first debuted, the company’s models have become mainstays for gym goers and pro athletes. You won’t catch warm-ups for many professional sports events without at least one person wearing Beats headphones. Still, the company hasn’t issued a proper IP rating for sweat and water resistance. Beats says it’s confident the Studio Pro will be just fine for workouts, but it’s also clear that earpad replacements won’t be available through the company. You’ll need to find a third-party supplier should they get too grimey.

Physical on-board controls are back on the Studio Pro. On the outside of the left ear cup, a multi-function button in the center handles single, double and triple taps to control music and calls. A long press here will activate your voice assistant, even though the headphones support hands-free Siri on Apple devices. Above and below this center button are the volume controls, while the noise modes are toggled with a double press of the power button on the right ear cup. If you’re in USB-C audio mode, two taps of that button will cycle between three EQ presets specifically designed for wired use (Signature, Entertainment and Conversation). A line of five LEDs below the power control blinks when you’re in pairing mode and gives you a battery life estimate with a single press when the headphones are powered on.

Software and features

Beats continues its move away from Apple’s audio chips with the Studio Pro. These headphones contain the company’s own second-gen platform instead, but a lot of the features that Apple silicon offers are still here. Hands-free Siri, one-touch pairing, iCloud pairing, Apple Watch hand-off and Find My compatibility are all baked into iOS. Multipoint pairing and automatic switching between devices isn’t available on iOS, iPad and Mac right now, but Beats says it may arrive later. There’s no need to download a separate app on iOS to access the settings though, they’re also available in the Control Center. For Android users, the Beats app offers one-touch pairing via Google Fast Pair, automatic connection to Android or Chrome devices through your Google account, seamless device transitions, Find My Device, customization and widgets.

Beats has added Transparency Mode to the Studio Pro, giving its over-ear headphones a very useful tool that was missing from the Studio 3. The company’s audio chip also powers Spatial Audio with dynamic head tracking. While the previous model supported immersive sound, it didn’t offer head tracking or the ability to personalize audio, the latter of which Apple debuted last year.

For the first time, Beats has enabled USB-C wired audio on the Studio Pro. In addition to listening to high-resolution and lossless tunes, you can also take calls while the headphones are actively charging. The Studio Pro has a built-in digital-to-analog converter (DAC) that can accommodate sample rates up to 24-bit/48kHz. That’s enough to handle the high-res streaming from Apple Music, Amazon Music HD and Tidal. Beats has also included three USB-C sounds profiles for wired listening: Signature, Entertainment and Conversation. As the names suggest, each one is tailored to music, movies/TV shows and calls, adjusting the frequency curve for what the company thinks is the best in each scenario. And yes, there’s still 3.5mm playback, which can be used with ANC and Transparency Mode as needed.

Sound quality

Inside, Beats swapped out the drivers for new 40mm units. A two-layer diaphragm combines with micro vents and fine acoustic mesh to streamline the airflow and minimize distortion. The company says the new drivers can provide “near-zero” distortion even at high volumes, which is an up to 80 percent improvement from the Studio 3. That claim holds true as the Studio Pro doesn’t distort when you crank it up to the eye-watering full volume. However, what the new components have done to improve clarity while providing a more balanced sound profile is more impressive.

In its early days, Beats had a reputation for being too heavy-handed with the bass. While that hasn’t been the case for a while, the company still has a propensity to highlight low-end. For the Studio Pro, there’s still ample bass when a track calls for it, but that boom doesn’t come at the sacrifice of mids and highs – or more importantly detail. Even the driving thump of the kick drum on TesseracT’s “War of Being” has noticeable texture throughout the song. It’s not just a repetitive boom.

Overall, the attention to clarity and the even-handed tuning across the EQ curve gives the Studio Pro quite immersive sound out of the box. Everything seems open and airy, with even the instruments in chaotic metal tracks remaining perfectly discernible. Turn on something softer like Charles Wesley Godwin’s Live From The Church or Nickel Creek’s Celebrants (country and bluegrass, respectively), and you immediately hear the layers of acoustic instruments and finer detail unique to each. Those records can sound like you’re in the room while they’re being recorded on the best-sounding headphones, and there’s a sense of that on the Studio Pro. As you might expect, this latest Beats model excels with hip-hop tracks. The droning bass lines on albums like Killer Mike’s MICHAEL lay a thick foundation for the rest of the song to be built.

While Spatial Audio returns, chances are it won’t sway your buying decision. The integration is similar to previous Beats and Apple earbuds and headphones, with Personalized Spatial Audio added in this time around. The technology still simulates the sound of 64 speakers, capable of moving with you if you have head tracking enabled. If you’ve experienced Spatial Audio before, you know exactly what to expect: slightly louder, more airy tunes where the technology’s immersive nature can vary from album to album and genre to genre. When it hits though, like on Pearl Jam’s “Even Flow,” older tracks have new life. With boygenius’ The Record though, I can’t tell the difference when Spatial Audio is on. I’m also less sold on the dynamic head tracking Beats added on the Studio Pro.

Then there are the new USB-C EQ profiles. When you’re connected to a computer or other compatible device, ANC and Transparency mode are disabled. Instead, the power button on the Studio Pro cycles through wired presets for music, entertainment and calls. That 5-LED array below the power control indicates which profile you’re on and will be essential until you memorize the audible tones for each one. Signature and Conversation work best for music and calls respectively, while I’m less impressed by the Entertainment setting. All three are fine, but those two are the ones I found myself coming back to in wired mode. Like Spatial Audio content in Dolby Atmos, mileage can vary listening to lossless tunes via Apple Music. Some albums are noticeably better with wired USB-C, while others sound nearly identical to streaming over Bluetooth.

Although Beats doesn’t quantify with a number, it says ANC performance is improved on the Studio Pro when compared to the Studio 3. Fully adaptive active noise cancellation uses outward facing mics to monitor your environment while inward pointing units catch any sounds that might sneak through due to fit. The company explains that the ANC boost is also partially due to updated microphones all around as they have higher sensitivity and a better signal-to-noise ratio. While the Studio Pro doesn’t beat the noise-blocking powers of Bose or Sony, the ANC on the Studio Pro is noticeably better than the Studio 3 – especially for things like television noise and human voices. And similar to the previous model, the latest Beats headphones analyze audio up to 48,000 times per second to maintain pristine clarity.

Lastly, let’s discuss Transparency Mode. While I welcome the inclusion here over not offering ambient sound at all, I did have higher hopes. It works fine, but lacks the natural clarity of Apple’s AirPods Max or AirPods Pro. I thought Beats might come close since it works closely with Apple on several aspects of its products, but that’s not the case. Apple remains truly unmatched when it comes to Transparency Mode. It often sounds like you’re not even wearing headphones at all, mostly due to how natural your own voice sounds fed back through those devices.

Call quality

Beats says you can expect up to 27 percent better voice clarity than the Studio 3 Wireless, thanks to voice-targeting microphones and a machine-learning algorithm. The company explains that it trained the system on over 7,000 hours of “real-world environments” in order to create a setup that can “precisely hone in” on your voice. Those are lofty claims for sure, and part of them hold true.

The Studio Pro is great at cutting out constant background noise, like a fan or A/C unit. Neither of those came through on calls when I was sitting right underneath one or the other. It’s better than the speakerphone-like quality most headphones and earbuds offer, but it isn’t pristine.

Battery life

When it comes to battery life, Beats says you can expect up to 40 hours with ANC off. That’s the same figure it promised on the Studio 3. However, with noise cancellation or Transparency Mode enabled, the company offers two hours more than the previous model at 24 hours. There’s still a quick-charge feature here, dubbed Fast Fuel, that gives you up to four hours of use in just 10 minutes.

During my tests with the Studio Pro, I still had 23 percent battery left after 25 hours of use with either ANC or ambient sound active. That’s also doing a mix of music, podcasts, streaming TV and taking calls. I powered the headphones completely off several times during that span as well and I plugged them in via USB-C for a few minutes to test those modes.

The competition

When it comes to flagship headphones at this price, Beats’ biggest competition remains Sony and Bose. Sony’s 1000X line has been our top pick for best wireless headphones for years, as the company’s mix of stellar sound, powerful noise cancellation and a literal truckload of handy features is unmatched. With the latest version, the $400 WH-1000XM5, the company simply packs so much into their headphones that many others can’t compete. The Bose 700 is that company’s best option, which is currently available for about $10 less than Sony’s 1000XM5. Bose doesn’t come close to Sony in terms of features, but it does do slightly better when it comes to ANC performance. If blocking out distractions is your primary goal, the 700 is worth a look.

Wrap-up

While Beats didn’t completely redesign its over-ear headphones for the Studio Pro, its latest model is a significant update. The company did well to incorporate features and technology other companies have introduced over the last five years, and its relationship with Apple continues to enhance its products. The improvements to ANC and sound quality alone are good, but the fact that the company was also able to add in a wired USB-C audio, upgrades to Spatial Audio and better voice performance while keeping the price the same is notable. There’s no doubt these are still premium headphones, but the Studio Pro positions Beats to better compete with the likes of Sony and Bose in a number of areas where it used to fall short.

Beats Studio Pro is available to order today in black, brown, navy and Sandstone color options for $350. The headphones will be available at Apple retail stores and other resellers starting tomorrow, July 20th.

This article originally appeared on Engadget at https://www.engadget.com/beats-studio-pro-review-upgraded-sound-makes-all-the-difference-140058369.html?src=rss