Kalakshar US

Austrian Audio is not exactly a household name. It was formed in 2017 following the closure of AKG’s offices in Vienna. And it’s mostly stuck to higher-end microphones and headphones. Now the company is dipping its toes into more consumer-friendly territory with the $199 MiCreator Studio, a combination condenser microphone and USB-C audio interface in an incredibly portable package. 

At 155 x 60 x 37 mm the MiCreator Studio is quite small, but I’d say a touch shy of pocketable. It’s also surprisingly dense. 13 ounces isn’t exactly heavy, but it’s more than I expected the MiCreator to weigh just by looking at it. The heft makes it feel like a durable and well-made device. The only exception to this is the swappable faceplates. My review sample came with black and red plates, they look nice but feel a little flimsy. And the magnets that attach them to the sides are a little weak and I could see them easily coming off if tossed in bag. At least it comes with a soft pouch you can put it in so everything will stay in one place even if it does get jostled around. 

There are a pair of rubber feet on the bottom that allow the MiCreator to sit comfortably on almost any surface with little concern it’ll get jostled around. And the mic capsule is suspended by rubber shock absorbers, so vibration shouldn’t prove too much of a concern. If the tiltable head doesn’t give you enough flexibility, there is screw mount underneath for attaching to a mic stand.

Controls on the unit itself are relatively spartan. On the front is a switch that changes the mic from high gain, to low gain or mutes it. And there’s a knob for controlling monitoring levels or the balance between two sources when you have something plugged into the 3.5mm in/out jack on the back. Below that dual-purpose jack is a dedicated 3.5mm headphone output, and above it is a switch that allows you to set the input level of the additional input.

The switches for changing the input level are probably my biggest gripe with the MiCreator. The difference between the high and low settings are pretty massive. Yes, obviously you can tweak the levels in your DAW and most people will have no issue doing that. But personally I like getting my levels as close to right as possible without touching the gain in my DAW for maximum flexibility. 

I also found that the high gain setting still required me to get pretty close to the mic while speaking which resulted in a lot of breath and mouth noises. Probably exactly what you want when recording some ASMR videos, but it wasn’t ideal for podcasting. Again, a lot of this is easily rectified with a decent pop filter. But that’s one more thing to carry and slightly undercuts the portability factor.

Those minor nitpicks aside, the mic sounds great. They’re highly directional so, despite the fact that they’re fairly sensitive condenser mics, background noise is rarely a problem. And they capture a healthy amount of midrange and low end. That’s essential for micing up, say, a guitar amp, and it tends to treat my lower vocal register well. But many will want to toss a low cut on their voice in post production.

That lack of tweakability on the gain is an issue again when you plug an instrument directly into the second input. Something like a synth with a master volume that doesn’t alter tone is fine. But going direct in with my guitar was a little hit or miss. The most reliable way was to go through my pedal board and one of UA’s amp sim pedals to give me better control over volume and tone, rather than relying on amp plugins in a DAW. Austrian Audio gets a ton of credit though for including an instrument cable in the box though that’s standard 1/4-inch TS on one side and 3.5mm TRRS on the other side for plugging into the MiCreator. It might seem like a small thing, but it saves you from having to track down and order a rather unusual cable on your own.

The company also sent over one of its MiCreator Satellites. This is a second mic, without an interface, designed to pair with the MiCreator. It costs $99 but adds a lot of flexibility. For one, it’s the exact same mic as the MiCreator, so you can use them as a stereo pair or for two people in a simplified podcast setup. But the included cable is also long enough for you to put one mic right up against an amp while capturing some room tone with the other. Or, you could mic an acoustic guitar with one and sing into the other. And the Satellite is truly tiny. This is one of, if not the, smallest full-fledged podcast studio you can can get. 

If there’s one feature I would have loved to see, it’s a standalone operating mode. If the MiCreator had a small battery and a microSD card slot so it could double as a field recorder, or capture an interview when hooking up your laptop or iPad is not really feasible, I could see it carving out a permanent spot in my day bag.

Still, for $199, or $299 when bundled with a Satellite, the MiCreator offers a surprising amount of value. Frankly it’s better than it has any right being at that price. It’s an excellent condenser USB microphone and a solid (if simple) audio interface in a small, rugged package. It can be a high-quality go-anywhere podcast studio. Or be the primary way a band records new material while they’re out on tour. 

This article originally appeared on Engadget at https://www.engadget.com/micreator-studio-hands-on-a-199-portable-recording-studio-worth-more-than-its-price-tag-180021292.html?src=rss 

In a study from Oxford University, researchers found that by using a combination of wearable sensor data and machine learning algorithms the progression of Parkinson’s disease can be monitored more accurately than in traditional clinical observation. Monitoring movement data collected by sensor technology may not only improve predictions about disease progression but also allows for more precise diagnoses.

Parkinson’s disease is a neurological condition that affects motor control and movement. Although there is currently no cure, early intervention can help delay the progression of the disease in patients. Diagnosing and tracking the progression of Parkinson’s disease currently involves a neurologist using the Movement Disorder Society-Unified Parkinson’s Disease Rating Scale (MDS-UPDRS) to assess the patient’s motor symptoms by assigning scores to the performance of specific movements. However, because this is a subjective, human analysis, classification can be inaccurate.

In the Oxford study, 74 patients with Parkinson’s were monitored for disease progression over a period of 18 months. The participants wore wearables with sensors in different regions of the body: on the chest, at the base of the spine and on each wrist and foot. These sensors — which had gyroscopic and accelerometric capabilities — kept tabs on 122 different physiological measurements, and tracked the patients during walking and postural sway tests. Kinetic data was then analyzed by custom software programs using machine learning.

The sensor data collected by the wearables were compared to standard MDS-UPDRS assessments, which are considered the gold standard in current practice. That traditional test, in this study’s patients “did not capture any change” while the sensor-based analysis “detected a statistically significant progression of the motor symptoms” according to the researchers.

Having more precise data on the progression of Parkinson’s isn’t a cure, of course. But the incorporation of metrics from wearables could help researchers confirm the efficacy of novel treatment options.

This article originally appeared on Engadget at https://www.engadget.com/study-wearable-sensors-more-accurately-track-parkinsons-disease-progression-than-traditional-observation-171132495.html?src=rss 

If you have a pair of in-ear headphones, there’s a good chance they are using a technology that’s several decades old. Despite attempts to introduce different, exotic-sounding systems like planar magnetic, electrostatic and even bone conduction, most IEMs or in-ear headphones still use either balanced armature or dynamic drivers. But there’s another contender, promising high fidelity, low power consumption and a tiny physical footprint. The twist is, it’s a technology that’s been in your pocket for the last ten years already.

We’re talking about micro-electromechanical systems (MEMS), and it’s a technology that’s been used in almost every microphone in every cell phone since the 2010s. When applied to headphone drivers (the inverse of a microphone) the benefits are many. But until recently, the technology wasn’t mature enough for mainstream headphones. California-based xMEMS is one company pushing the technology and consumer products featuring its solid-state MEMS drivers are finally coming to market. We tested the high-end Oni from Singularity, but Creative has also confirmed a set of TWS headphones with xMEMS drivers will be available in time for the holidays.

Where conventional speakers and drivers typically use magnets and coils, MEMS uses piezos and silicon. The result, if the hype is to be believed, is something that’s more responsive, more durable and with consistent fidelity. And unlike balanced-armature or dynamic, MEMS drivers can be built on a production line with minimal-to-no need for calibration or driver matching, streamlining their production. xMEMS, for example, has partnered with TSMC, one of the largest producers of microprocessors for its manufacturing process.

Of course, MEMS drivers lend themselves to any wearable that produces sound from AR glasses to VR goggles and hearing aids. For most of us, though, it’s headphones where we’re going to see the biggest impact. Not least because the potential consistency and precision of MEMS should marry perfectly with related technologies such as spatial audio where fast response times and perfect phase matching (two headphones being perfectly calibrated to each other) is essential.

For now, MEMS is best suited to earbuds, IEMS and TWS-style headphones but xMEMS hopes to change that. “The North Star of the company was to reinvent loudspeakers,” Mike Householder, Marketing & Business Development at the company told Engadget. “But to generate that full bandwidth audio in free air is a little bit more of a development challenge that’s going to take some more time. The easier lift for us was to get into personal audio and that’s the product that we have today.”

To look at, the first IEM to feature xMEMS’ solid-state drivers, Singularity’s Oni, seem like regular, stylish high-end in-ear monitors. Once the music started to flow, though, there was a very clear difference. Electronic genres sounded crisp and impactful in a way that feld more . The MEMS drivers’ fast transient response evidenced in the sharp, punch percussion of RJD2’s “Ghostwriter” and the Chemical Brothers’ “Live Again.” The latter’s mid- and high-end sections in particular shone through with remarkable clarity. Bass response was good, especially in the lower-mids, but perhaps not the strong point of the experience.

When I tried Metallica’s “For Whom the Bell Tolls,” I immediately noticed the hi-hats pushing through in a way I’d never heard before. The only way I can describe it is “splashy.” It didn’t sound weird, just noticeable. I asked Householder about this and he wasn’t as surprised. “Yeah, the hi-hats, cymbals and percussion, you’re gonna hear it with a new level of detail that you’re really not accustomed to.” He said, adding that some of this will be the tuning of the supplied headphone amplifier (made by iFi) so it’s partly the EQ of that, mixed with the improved clarity of high frequencies from the MEMS drivers.

There was another surprise with the supplied amp/DAC also — it had a specific “xMEMS” mode. I originally planned to use my own, but it turns out that I needed this specific DAC as the MEMS drivers require a 10-volt bias to work. I asked Householder if all headphones would require a DAC (effectively ending their chances of mainstream adoption), but apparently xMEMS has developed its own amp “chip” that can both drive the speakers and supply the 10-volt bias. The forthcoming True Wireless buds from Creative, for example, obviously won’t need any additional hardware.

This is where things get interesting. While we don’t know the price for Creative’s TWS buds with xMEMS drivers, we can be sure that they will be a lot cheaper than Singularity’s IEMs which retail for $1,500. “You know, they’re appealing to a certain consumer, but you could just very easily put that same speaker into a plastic shell, and retail it for 150 bucks,” Householder told Engadget. The idea that xMEMS can democratize personal audio at every price point is a bold one. Not least because most audiophiles aren’t used to seeing the exact same technology in their IEMs also in sub $200 wireless products. Until we have another set to test, though, we can’t comment on the individual character each manufacturer can imbue on them.

One possible differentiating factor for higher-end products (and competing MEMS-based products) is something xMEMS is calling “Skyline.” Householder described it as a dynamic “vent” that can be opened and closed depending on the listener’s needs. Similar to how open-back headphones are favored by some for their acoustic qualities, xMEMS-powered IEMs could include Skyline that would open and close to prevent occlusion, improve passive noise canceling and other acoustic qualities such as “transparency” mode where you want to temporarily let external, environmental noises come through.

For those who prefer on-ear or over-ear headphones, MEMS technology will likely be paired with legacy dynamic drivers, at least initially. “The first step that we’re taking into headphone is actually a two way approach,” Householder said. The idea being that a smaller dynamic driver can handle the low frequencies, while MEMS drivers currently don’t scale up so well. “It’s really the perfect pairing. The dynamic for the low end, let it do what it does best, and then we’ve got the far superior high frequency response [from MEMS],” he said. “But the long term vision is to eventually fully replace that dynamic driver.”

The ultimate goal would of course be a set of solid-state desktop speakers, but we’re a little way out on that it seems. For now though, there’s a tantalizing promise that MEMS-based in-ears could modernize and maybe even democratize consumer audio, at least around a certain price point. Not to mention that xMEMS isn’t the only company in the game. Austrian startup, Usound, already showed its own reference-design earphone last year and Sonic Edge has developed its own MEMS “speaker-in-chip” technology. With some competition in the market, there’s hope that the number of products featuring it will increase and improve steadily over the next year or so.

This article originally appeared on Engadget at https://www.engadget.com/could-mems-be-the-next-big-leap-in-headphone-technology-173034402.html?src=rss