Most of us have either used a ‘selfie stick’ or laughed at them. However, with cameras getting so good on iPhones, they really have their uses: you can raise your smartphone above a crowd or over a barrier to take a picture, and collapsed down, they form a useful handle for steadier video shooting.
IK Multimedia has seen the potential and produced a solid product that works as a selfie stick, should you wish, while offering other features for even more utility. The Pro has a padded clamp that can expand out to quite firmly hold up to an iPhone 6-6s-7 Plus, and the grip-head swivels 360° and in an arc of left to right across 180°. It holds a smartphone at the angle you choose with the turn of a wing-nut so you can get your viewing aspect just right. Collapsed down and in hand, the iKlip Grip Pro extends about 2cms below and 5cms above your fingers, giving you a very solid grip for video shooting, for example – the Pro is larger and more solid than the slimmer, less rugged iKlip Grip (unlike many of IK’s products, the Grip Pro is actually manufactured in Italy).
But that’s only the start — Holding the head and twisting the body one stage anti-clockwise releases one section of the telescoping boom (pull and get an extension of about 10cm) and another turn unlocks those three hand-grips, which then flare out to be extended into a table-top tripod, which you can use at full extension (although it won’t be as stable as a dedicated tripod, it can fulfil a useful function in good light when a slight unsteadiness is unlikely to matter).
There are four telescoping sections in total, giving you a total reach, with all fully extended and locked, of over half-a-metre. The full extension is 62cm/24.4 inches. You soon get fast at this, twisting, pulling a section out, twisting clockwise to lock and so on, and in the reverse order to collapse.
It’s a little unintuitive to unlock the three tripod legs, by the way. With all the sections telescoped in, it feels like the tripod legs can’t extend. You have to twist-unlock and extend the sections and then legs can be flared out. With all the sections collapsed and locked, the grip/tripod legs lock closed as a stable handgrip.
The Grip Pro clamp will hold any smartphone, and also digital cameras including DSLRs up to 1kg in weight, since the clip unscrews to reveal a typical tripod mount. The included cradle can also be mounted on a standard tripod, by the way, thanks to its 1/4-inch thread mount.
Remote — One of the best features is the little button control that comes with the Grip Pro. This is black with two red buttons, and can be stored on the handgrip for thumb control while you’re holding it, for one-handed operation, or taken off and kept in the pocket. It’s cleverly hinged so it can swing up when the legs come out without detaching. Detached, you can remote-click your shutter with, say, your iPhone mounted on the tripod a few paces away. The remote has a little switch on the side to turn it one with, and press both buttons together to put the Bluetooth device into Discovery Mode so you can pair it (it appears on your iPhone as ‘Shutter’). Once paired, the larger, lower button triggers the iPhone’s shutter. While this is Bluetooth and thus prone to the connectivity and other vicissitudes of Bluetooth (different iterations/devices can have different experiences) I found this fast and effective with an iPhone 7.
As for triggering the shutter (or start, then stop recording if your iPhone is in video mode), I even managed it 14 paces away and through two walls (the stated range is 10 metres).
Thanks to the remote shutter, the Grip Pro is great for shooting video, even if you have wet-weather/cold weather clothing and gloves on, which are typically tricky situations to try and shoot in, as it’s so easy to lose purchase and control your iPhone in these situations.
Conclusion — If you’re keen to shoot great images and videos with your iPhone, this is a very handy thing to have in your selection of handy tools, and it’s well built and well designed. Packed down, it’s very light for travelling, yet feels sturdy in use.
What’s great — Sturdy feeling, good solid hand grip, possible to use with gloves etc thanks to the Remote.
What’s not —Bit fiddly working out how to flare out the tripod legs.
Needs — Those serious about their iPhone photography and videography.
This new product from IK Multimedia is a little 3 watt amplifier by IK Multimedia of Italy. It’s designed as both a standalone practice amp, as a battery-powered pre-amp for larger systems or as a compliment to the Amplitube series of iOS guitar amp profile apps and other goodies.
Considering most people wouldn’t consider taking the stage with anything under say 70 watts of power (and that’s modest) you get an idea of how loud a 3 watt amp can go, which can be characterised as ‘not very’. Also, anything this little is going to be severely limited by physical speaker size (7.62cm or 3 inches, in this case), as it’s very difficult to get anything like bass tones from little speaker cones – you may have noticed the ‘tweeter’ (high tone) speakers in cabinets are the little ones of any array.
You can run the Nano into headphones, of course, which typically do reproduce better lower-mid and low tones, but this is only an option when you use it as an interface with an iOS device and not as a standalone amp. It’s possible to run the Nano straight into an external cabinet of up to four 12-inch speakers – although I imagine this would suck the power out of those 3 AA batteries pretty fast.
Physically — The all-black Nano (there’s a white version available with a black highlights that looks pretty cool, plus one with a red frame) has a speaker face as you’d expect on a bigger combo guitar amp, two large rotary knobs on the top for Volume and Gain with a stereo minipin Device out jack in between, and on the opposite end 1/4-inch jacks for guitar in and speaker cab-out in, plus a stereo mini-pin for headphones/earbuds; the side under the iRig logo is blank (this is the bottom) and on the face opposite to this there are two switches: amp/device, and normal/bright. On the back is the battery compartment, and the little rubberised feet mean you can pop out a little stand so you can set it at tilt. Notice no on-off button: plugging an instrument in turns it on, like some effects pedals.
Amp Mode and Device Mode — Amp Mode is pretty self explanatory: plug in a guitar, play. Device mode is a little less obvious. Plug the guitar into the jack as you’d expect, but the Device connector is at the opposite end, between the Volume and Gain knobs. The device (an iPhone or iPad running an app like Amplitube) takes over all the volume, gain and tone functions.
Soundwise —Tinny, in a word. But this would be as you’d expect, as it’s still so far technically impossible to get good lower tones out of little speakers. But you’ll find that if you’re playing the higher register of a guitar or keyboard it’s surprisingly clear, and certainly better than trying to practice without any amplification at all. The combo of volume and gain means you can up one against the other for traditional effects: high-gain low-volume gives you a kind of overdrive or fuzz, which is pretty scratchy, while the reverse gives you a clear tone, just as on a big guitar amp.
Via my iPhone, admittedly with a bass rather than a guitar, but via a bass head in Amplitube (IK Multimedia’s own product) I had more tone control sure (since the Nano has none apart from the switches Bright or Normal, which could really be labelled Bright and Brighter), and also effects, but I could never get the sort of volume to comfortably belt something out.
As an interface into your Mac to record into, say, GarageBand, it’s fine, you can get a clean sound with a bit of helpful signal boost, but it’s also perfectly fine to plug your guitar straight into your Mac’s audio-in port for GarageBand and use the collection of amp profiles and cabs in there – in either case, you need to have the appropriate adapters.
Conclusion — The iRig Nano Amp is little and suffers accordingly: what makes it compact and portable is what makes it sound slight. If I could just plug a guitar into this and play the Nano as a headphone booster, it would be pretty good, but that’s not the case. The headphones only work when it’s a conduit for an app on an iDevice, although I may have been hampered in my case in needing a minipin to Lightning adapter to use it with an iPhone 7.
As a little amp on speaker, sometimes you can get good tones out of it – surprisingly good – especially if you hit just the right combination of Volume/Gain and you’re playing in the upper register, and it’s certainly better than playing an electric without any kind of amplification. But not very much better, I’m afraid.
What’s great — Well, you can actually hear your guitar.
What’s not — Insufficient volume and definitely insufficient bass, but I’ve never heard of anything this small that can do bass any justice, which leads to: limited use as I couldn’t plug my headphones in directly and use it as a headphone amp, which would have sounded better.
Needs — Guitarist who doesn’t mind buying powerful or rechargeable AA batteries in threes, and who desperately needs a little sound out of their electric guitars.
iRig Nano Amp, RRP€49 (NZ price TBA) System — iPhone, iPad, iPod touch & Mac plus Android smartphones and tablets (for Android compatibility, the device must support CTIA/AHJ wiring standard; works best with Samsung Pro Audio devices). More information —IK Multimedia
My now venerable 15-inch MacBook pro of 2012, which has an SSD inside instead of a traditional hard drive, starts up in 21 seconds (when it was new, the startup time was 13 seconds, but there’s a lot more software on it now and it’s been through several major Mac OS updates in that time, all the way to macOS 10.12.1 Sierra).
The 13-inch MacBook Pro starts up in 12.6 seconds, pretty respectable. This is also running macOS 10.12.1 Sierra. Interestingly, there is no obvious startup button any more, you just hold down the rightmost end of the Touch Bar (it has a slight depression so you can find it with a finger tip) for a couple of seconds. You have to put in your passcode, starting up from off, but hereafter you can use a fingertip on this zone (you set this ability when you first set up your machine from new, like you do with an iPhone/iPad) to wake it.
Connections — OK, I have a fairly grungy setup. I need a laptop as I take it to my day job sometimes, and/or present to groups, and I travel … but at home, I want a desktop setup, so when home my MacBook Pro plugs into a Belkin Thunderbolt Dock, which joins it to wired Ethernet, an additional 24-inch monitor, a wired extended keyboard, a wireless mouse (needs a USB 3 port for its transmitter) plus an audio interface, a Thunderbolt external hard drive and 2x USB 3 external hard drives. And then I need to plug in my iPhone sometimes to get the images off (my preferred method: no cloud, no data, fast and reliable) and various other things. This may not be conventional usage for most MacBook owners, but it works a treat. And this is the setup I’d want to replicate, one way or another, once I buy a new MacBook Pro.
And it looks like it will work just as I wish. The multiport Belkin dock, luckily, works with the 13-inch when it’s plugged into Apple’s USB-C to Thunderbolt adapter. This even cheerfully drove the second monitor (plugged into the dock via a Thunderbolt-to-DVI video adapter). The 2016 MacBook Pro even accepted and drove my old Alesis io2 USB audio input via a USB 3 to USB-C adapter; I’ve had this for years and I really like it for recording guitar and vocals.
So, no problems there, but this does all underscore the fact you’re going to need dongles and adapters for almost anything you want to do beyond quite basic use, until USB-C native devices start to turn up. Good news is, everything I had, I tried and it worked. The other good thing is, I can almost guarantee I’ll try and insert a USB upside-down into a Mac at least two times out of three. I know you can mostly tell the difference, if you look, but still, I do it. The new connectors go in either way up, and this, so far, is my favourite USB-C feature until some devices show up.
Apple’s Extended Keyboard works fine plugged into Apple’s USB-C to USB 3 dongle too, and so did my Logitech wireless mouse (the transponder is in the extended keyboard).
In conclusion, USB-C might be a pain in that, currently, you need adapters, but the fact it can handle almost anything thrown at it, is very fast, can be daisy-chained, supports video, charging and can be plugged in either way up is all very compelling evidence this was a very good decision by Apple, if you ask me. The one thing I did notice is that – at least while this unit is so new – you have to positively push plugs in. A couple of times I plugged cords in and, to my consternation, nothing showed up on the desktop. On closer inspection, I simply hadn’t pushed the USB-C plugs all the way home.
Input: keys, trackpad and Touch Bar — The biggest notable change to the 2016 MacBook Pro is, of course, the Touch Bar. Some people don’t get it, but if you have one of these Macs, you’ll get it pretty quickly, believe me. The Touch Bar allows for direct input, which I think most people will understand. But why? OK, about 75% of my clients still hunt through menus to get anything done. Any serious users learn at least a few commands so that the commonplace things are a super-quick key combo away. As I tell everyone, learning 3-10 commands will change your Mac life (Command P for Print, for example).
The Touch Bar is a sort of intermediate step between key-input and menu mining. Want to change the position of the playhead in GarageBand? It’s right there, just drag it – yet no smears on the monitor you’re looking at. Tap a control’s header in the Touch Bar – for example, in the Classic Electric Piano in GarageBand – and you get Level, Bell, Drive, Treble, Bass, Tremolo, Chorus, Ambience and Reverb (above). So many, the panel actually almost runs out, with the last setting half-hidden, but it’s swipeable: swipe it to the left to see the last setting.
Tapping any one of those headers gives you a slider. Tap anywhere on the slider to set the position there, or drag the slider itself. On the more universal Touch Bar options, like screen brightness or volume, you can also tap the Plus or Minus ends to increment the setting up or down. The surface of the Touch Bar feels like the very lightly textured surface of the trackpad, to the touch.
While some might bemoan the lack of F-Keys, most people simply don’t use them any more. However, tap the ‘fn’ (for Function) button at bottom left of your keypad and they all appear on the Touch Bar, so all you F-Key mavens can rest in peace.
The Touch Bar also lets you wake your Mac, after the first time (on from off still needs your passcode), with a finger touch, which you set up when your first activate your new Mac. I like it, I can really get used to this (especially in Final Cut, being able to locate the playhead on timelines) and I look forward to a plug-in or wifi keyboard being issued with the Touch Bar.
As for the keyboard, as NZ tech blogger Bill Bennett noted in his review of this aspect of the new MacBook Pro, the new keypad on the 2016 models has bigger keys that stick out less and travel less than previous models.
The lower profile allowed a few more points of a millimetre to be shaved off the 2016 MacBook Pro’s thickness when it’s shut, of course, adding to its overall svelte appearance, thus fulfilling Apple’s mantra of ‘slimmer, lighter at any cost’. Despite that lower profile and travel, the keys are physically bigger than on my 2012 MBP. To my measure, they are 17mm across instead of 16mm on the 2012 MBP and just 15 on my extended keyboard. I thought that would be a bit awkward to type on but no, they’re great, apart from they’re a little disconcertingly clicky.
The keys are good and hardly bounce at all, rather they click, but it’s amazing how fast you can type on them without the slight catch you can get sometimes on the more raised keys of other keypads as your fingertips move between them. But I have to wonder how the lack of even the slightest sponginess might make your knuckles feel after extended key-bashing?
The other big change is a very expansive trackpad, allowing more positive gestures and swipes since you don’t have to spend those odd split-seconds locating the ’pad by feel. You tend to just hit the right place, since it’s bigger, and do the right thing, whereas I have long noticed that when I’m concentrating on the screen of my 2012, I will swipe ineffectually and miss.
Speeds — As all pro Mac users know, all of the above is very nice, but what about grunt? Pro users want raw power; the rest is just icing. You may have heard there isn’t much of a speed bump as far as this Skylake series of processors goes – in fact, some models have chips clocked a bit slower than the premium 2015 versions of the MacBook Pro. But these new CPUs do have advantages, since they run colder and don’t get stressed the way previous CPUs do. That means you’ll find your fans spinning up less, resulting in quieter general running and more efficient handling of CPU-heavy tasks.
I managed to run some benchmarks, but note that my comparison machine is my fairly aged (by professional standards, at four years old) 2012 MacBook Pro, although I am still very happy with it as it has the SSD, a solid state chipboard, as main storage instead of a clunky, slow, heavy, hard-to-cool hard drive. (If you find this a baffling concept, SSD is more like the internal storage in an iPhone or iPad as against what is, in effect, a hard drive’s little encased record player with its quick-spinning disk and a read/write head like a tone arm.)
So here’s what my Mac has, internally: 2.6GHz (maxes out at 3.6GHz under load) Intel Core i7 CPU (Ivy Bridge series), 16GB RAM, plus it has internal Intel HD Graphics 4000 for running the screen while on battery power. It also has discrete graphics for running on mains power in the form of the powerful, for its day, NVIDIA GeForce 650M GPU with 1024MB RAM (i.e., 1GB) and internal 512GB SSD storage – I did spec this one up a bit when I ordered it, and I’ve always been a firm believe in more RAM over a slightly faster CPU, as the benefit is much more tangible and better use of your dollar.
By comparison, the 2016 is only a 13-inch so is not fitted with discrete graphics. Its CPU is ‘only’ an i5, but it’s the Skylake series – two series on from the one in my 2012. The late 2016 13-inch uses Intel Iris Graphics 550 which has allocated to it 1536MB RAM. The CPU is a 2.9GHz i5 (Skylake series) that maxes out to 3.3GHz under load – notice the 2012 goes up to 3.6GHz? This slight throttling back of the new series is partly why they run cooler and are more efficient under load. The i5 in this thing is one processor, 2 cores, 4 threads compared to the 4 cores, 8 threads of the i7 – which is the basic difference between the two grades of Intel CPU (5 vs 7). The 13-inch also only has 8GB RAM.
Anyway, how does it fare? Really pretty good, considering it’s not up to the class of CPU and GPU I am used to.
The Multi-Core score is understandable considering the older MacBook Pro has an i7 CPU – this has more cores and supports hyper-threading, unlike the i5.
OpenCL takes the power of graphics processors and makes it available for general-purpose computing, so that OpenCL score is pretty impressive, especially considering the 2016 only has integrated graphics rather than a card to drive the monitor. OpenCL makes it possible for software to access and use the graphics processor and any dedicated video memory for purposes other than just graphics. It’s driving a beautiful built-in Retina display, too, albeit only a 13-inch. Notice also that the 2016 i5 beats the 2012 i7 in Single Core.
The model I got to look at only had 250GB internal storage – I barely cope with 512GB in my own machine, spinning off various large items into various other external hard drives when I’m at home. Take note, people: you can’t store much on these faster SSD drives. But while they typically cost an arm and a leg for a reasonable amount of storage space, the speed benefits of SSD make far more difference than these increasingly slight iterations of CPU boosts.
Cinebench refused to run on the latest macOS I had installed on both machines, unfortunately. That would be a more detailed test of video graphics.
But I could test the speed of the internal storage thanks to the BlackMagic utility. Gosh, SSDs have clearly come a long way in just four years.
The model inside my 2012 doesn’t handle Cinema write speeds (above) or support DNG RAW at over 2160p30, or 10 Bit YUV 04 4.2.2 at resolutions over 2K DCI25 … but the 2016 does (below). And it does so at stonking speeds too, as it’s nearly 4 times faster on write speeds (1288.6 write speeds compared to just 340.1 on the 2012).
Reading is fast too (above): 2000 MB/s (maybe faster actually, as my BlackMagic utility tops out at 2000) compared to 445.4MB/s on the 2012. And do note, the 2012 still feels really quick to me, especially compared to traditional hard drives, which feel like they’re extracting files through a straw sucking treacle.
In other features — The speakers in this thing are great, really surprisingly loud and with a definite improvement in bottom end, better mid-tone definition and more trebles. This is possibly the first Mac I’ve ever cranked up in sound and not winced at the tone of the built-in speakers – and this is really saying something, because it’s no mean feat to get decent-sounding speakers in a MacBook so slim and light.
The monitor is simply wonderful: Apple claims the Retina display on the new MacBook Pro throws 500 nits of brightness, which is 67% brighter than the previous generation, with 67% more contrast. It looks fantastic. It’s the first Mac notebook display to support ‘wide colour’ which, to the eye, means more detailed palettes of, especially, greens and blues – this is a designer and photographer’s delight. The screen also has more power-efficient LEDs, uses power-saving technologies including a larger pixel aperture and variable refresh rate. As a result, the display consumes 30% less energy than before, for around the same if not slightly better battery life than the outgoing model.
And boy, is this thing light! I put it in my bag the night before to take somewhere. Halfway there the next morning, I decided I’d forgotten it as my bag was so light. But I checked and I hadn’t.
Conclusion — I am impressed, and I need a new Mac myself, but I have decided to try and wait for a MacBook Pro with Kaby Lake CPUs as they do represent quite an important jump. I hope that won’t be too far into 2017 before that’s available, as my 2012 is starting to creak. It’s had a full and interesting life … but time to move on. I look forward to the larger trackpad and the Touch Bar, and the slightly less size and weight (for the 15-inch, in my case).
What’s Great — It may not be a world beater, but it’s a damn fine MacBook Pro if you need a new one. The Touch Bar is actually pretty nifty and I confidently predict everyone will grow to love it. What’s Not — The newer generation of Intel Kaby Lake processors would have been cool. Needs —Anyone who needs a great MacBook Pro right now.
13-inch MacBook ProThe 13-inch MacBook Pro with Touch Bar and Touch ID starts at RRP NZD $2999 inc GST, and features a 2.9GHz dual-core Intel Core i5 processor with Turbo Boost speeds up to 3.3 GHz, 8GB of memory and 256GB of flash storage. Ship time is estimated to be two to three weeks.
Skip the Touch Bar and you can get a 2.0GHz dual-core Intel Core i5 processor with Turbo Boost speeds up to 3.1GHz, 8GB of memory and 256GB of flash storage for NZ$2499 (shipping now). The 15-inch MacBook Pro with Touch Bar starts at RRP NZD $3999. This features a 2.6GHz quad-core Intel Core i7 processor with Turbo Boost speeds up to 3.5GHz, 16GB of memory and 256GB of flash storage (estimated ship time: two to three weeks).
• Additional technical specifications, configure-to-order options and accessories are available online.
MacPhun seems to have been making Mac image apps for ages, and had a real success with last year’s Aurora HD (which was recently updated in an excellent new version for 2017, available now; I have already reviewed this) but is also known for the very handy Snapheal cloning tool – it has powerful erasing and healing tools for removing things you don’t want in images, as well as standard editing tools.
In the CreativeKit, MacPhun bundles six handy photo apps, including Snapheal and FX Studio Pro … this company knows what it’s doing. (Luminar pretty much has all of these in the one place, though.)
Luminar will be available soon,as it just went on presale, is a non-destructive RAW photo editor, built from the ground up around two things: simplicity and creativity. I’ve been trying software like this for a while, as I resent Adobe’s new subscription policy. If I thought I could replace it with a standalone app that did what I use Photoshop for, I’d get it. So, will this be the one ..?
Luminar is designed to be usable right out of the (virtual) box, without a steep learning curve, but to then adapt as your use becomes more sophisticated to offer more capabilities. Luminar’s user interface adjust to your skill level and preferences: you can use a one-click fix (like the magic wand in Photos) or you can develop away with 35 filters, all with their own settings faders, plus tools, layers, blend modes, brushes, masking and more. Add to that Layers, Custom Textures, Brushes, Masking (including automatic Luminosity, Gradient and Radial Masks), Noise Reduction, a Healing tool, Crop & Transform, History Panel, Selective Top & Bottom adjustments, plug-in support
I used to really like Aperture until Apple killed it off, as its non-destructive tools were excellent. It was better than Photoshop at fixing up scans of old photographs, of which I have quite a collection. And I tried Adobe’s Lightroom but I found it deeply irksome that it followed a darkroom of old as a sort of digital workflow method. This might sound weird coming from a former darkroom technician, but I’d fully embraced digital and I didn’t see the point of going through ‘stages’ of a process artificially to get where I wanted.
Luminar has perhaps the best of both worlds as it it uses workspaces you can tailor to your preference. They can be set up to feature only the tools most suitable for your type of photography, saved into sets of different filters. The defaults are Portrait, Black & White, Landscape and Street. You can add different filters to these workspaces or build your own.
Interface — This looks a lot like Aurora in that the image loads into the large space in the middle to the left edge, with features down the right edge and presets along the bottom. The presets are Clarity Booster, Classic B&W, Detailed, Fix Dark Photo, Foggy Day (adds fog), Foreground Brightener, Gloomy Morning, Image Enhancer, Mid Image Enhancer, Sharp & Crisp, Sky Enhancer, Soft & Airy, Vivid, 60s B&W, Center of Attention (sic), Cold Morning, Enhanced Reality, Noble, Only Yellow, Peruvian desert, Subway, Abandoned Place, Auto Smart Sharpener, Bright Day, Colors of the Fall (sic), Daydreams, Fix Dark Landscape, Misty Land, B&W Fashion Magazine, Enhanced Portrait, Glamour, Mysterious Girl, Noble Beauty, Portrait Soft Glow, Smooth Portrait, Dark Moon, Dull No More, Explore Dark Alleys, Final Frontier, Ghost Ship, Happy Memories, Impressive, Marco Polo, New Discovery, Silver Crystals, Sleepy Valley, Vivid Dreams, Warm Sunset, Artistic Copper Strong, Bloody Mary, Cold Mood, Dramatic Grungy, Dramatic Look, Enigmatic Vision, Film Noir, Lost Soul, Mood Enhancer, Tears in the Rain and Vintage Look. I count 56!
Clicking on any preset resets all the sliders in the tool strip from scratch, and each preset area has its own intensity slider so you can choose how much of the combination of controls you apply. A second or two and the effects are applied to the image so you can see it full screen. Rolling the mouse or stroking your trackpad over the main image zooms it in and out. You can click a little star at lower right of each preset to make it a favourite, which might be a good way to start working out what you’ll want in a customised workspace.
The tools — The tools down the right side have group buttons on the right-most edge: Hand, Brush, Gradient, Radiant Mask, Rectangular Marquee tool, Stamp (clicking on this initiates a 3-second ‘Preparing’ operation), Eraser, Denoise (which immediately zooms in so you can inspect the effect) and Crop (with rule-of-thirds grid). The first four keep the sliders in the rest of the right vertical strip visible, but the next batch of five don’t.
To the left of these, but still in the right vertical strip, there’s Levels at the top, Layers, Filters (click to make a menu appear with 35 filters in it), the Workspace menu (Custom, Clear, Default, B&W, Landscape, Portrait and Street) and then there are different sliders that appear below this section depending on the workspace you choose – for example, under Street there are Colour Temperature sliders and below that Tone (Exposure, Contrast, Smart Tone, Highlights, Shadows, Whites, Blacks) and beneath that in turn, Saturation/Vibrance sliders, Clarity, Structure, Soft Focus, Curves, Cross Processing, Texture Overlay, Vignette and Grain. And then, in case that’s not enough, an Add Filter button that shows those above-mentioned 35 filters. Other of these include Bi-Color Toning, Channel Mixer, Foliage Enhancer, and Orton Effect … So do you have plenty of variations available? Goodness yes.
The feature of customisable workspaces means that if you find yourself using specific filters on particular types of photos, you can create a custom Workspace for them. For instance, for landscapes you may want to always use Clarity, Saturation (or Vibrance), Polarizing Filter, Brightness and Contrast.
But wait, there’s more — There are also options along the top of the work space: from left to right, there’s a folder icon for Open, then Share; plus, minus and the zoom amount is displayed; Quick Preview (click and hold to see the ‘Before’ state of the image); the cool Wiper tool found in Aurora (shown above, where you can also see the intensity slider on the preset itself – click the image for a larger view). With the wiper, turn it on with the upper central button then then drag the vertical line on the image to see Before and After states side by side.
Then there’s Undo, Redo, History, buttons to flip on the Layers vertical right-hand toolbar or the Filters one, and buttons to turn on or off the Prestes strip along the bottom and/or the Tools strip on the right hand side.
A lot of this may strike you as familiar to Aurora, but Luminar is a single-exposure editor and not an HDR editor (like Aurora). Luminar does not have the ability to merge exposure brackets to HDR and then flexibly control those ranges.
Luminar also has Layers, Custom Textures, Brushes and Masking (including automatic Luminosity, Gradient and Radial Masks), Noise Reduction, a Healing tool, a History Panel, Selective Top & Bottom adjustments, supports plug-ins and more. The only thing really missing is the ability to make selections and paths, and that’s a shame, because they’re the only tools I keep having to go back to Photoshop for.
What’s great — The workspaces are all fine, but what’s really great are the image controls which are full featured, very variable and very comprehensive. It’s pretty great you can use it as a plugin for Lightroom, which it installs by default, but I suspect most users will want to add this to Photos. Here’s how: install Luminar (and/or Aurora), open Photos, select an image, click the Adjustment button at top right (it looks like three sliders), find Extensions at the bottom of the list of adjustment controls (under Retouch), click it’s three dots in a circle icon, choose More then tick Luminar (and/or Aurora). Awesome! Now you can use the magic right from within Photos when its own tools prove insufficient by going into this area (above) to improve a photo. What’s not —It’s a bit clunky getting though the presets at the bottom as the keyboard arrows don’t do it, there’s no left and right arrow. You can swipe left and right using the trackpad (and some mice) but with some mice, the only way is to grab the little scrollbar at the bottom and drag it left and right. I also had a strange glitch in my pre-release version that let you roll the scroll-wheel to zoom in, but when I hit max zoom, the same motion zoomed out. I really wish there were selection tools like Paths and Feather. Needs —Anyone for whom Aurora is too specific; also works well as a companion to Aurora.
Luminar pre-order from November 2nd; launch is scheduled for November 17th; US$59 (about NZ$83). If you already own a Macphun app for Mac, you pay only US$49 (about NZ$69) to get Luminar along with some exclusive bonuses.
System — Intel Core 2 Duo from late 2009 or newer; minimum 4GB RAM; OS X 10.10.5 or newer; 2GB free space on hard drive; display resolution 1280 x 800 or higher (Retina displays supported).
The first thing you notice abut the iPhone 7 is that you can easily mistake it for an iPhone 6/6s. They share a form factor, hand-feel and (very similar) weights of 143 grams or 192 grams (for iPhone 6s and 6s Plus respectively) compared to the slightly svelter 7’s 138 grams/188. Other dimensions are the same: 138.3mmx67.1 by 7.1mm thick for the 6s/7, and 158.2×77.9 by 7.3mm thick for the 6s Plus and 7 Plus. Both have the same screen dimensions too: 4.7 inches diagonally, and 5.5 inches diagonally for the Plus.
So what’s new?Quite a lot. In fact, as soon as you click the Home button, your 7 will feel different, for it’s not a mechanical (press in and bounce back) button at all, but a pressure-sensitive solid disk that, thanks to ‘haptic feedback, feels as if it ’clicks’. This is typical of Apple – a solid button is less prone to breakdown and easier to keep waterproof, but engineers and designers clearly decided the feel of a click was important enough to retain somehow. So if you’re wondering what Apple was thinking, leaving off the headphone jack, it’s this little trembling motor that explains it, for this bigger ‘Taptic Engine’ overlaps the space where the jack entered the 6 and 6s body. (Yes, the iPhone 6s has a Taptic Engine too; it’s smaller and the new version is more advanced). also, the removal of the jack allowed for a slightly bigger battery.
For further under the hood, Apple has been very busy indeed. For a start, iPhone 7 is the first water resistant iPhone – not full-immersion proof, but rather shower proof. This will lengthen its life while removing some worry from yours.
The Taptic Engine gives feedback for far more than just that faux-click Home Button. In games, tap a blaster and feel its kick. Pistols can have rapid-fire pulses you can feel; strings you play in, say, GarageBand for iOS make the iPhone subtly thrum in your hand. My cheap and cheesy favourite is rolling the onscreen Timer or Alarm time-setting dial in the Clock app, which also triggers an audio ‘click’ to further enhance the feeling. But it also reacts to the 3D Touch feature introduced with iPhone 6s: the harder-press you can do for messages that arrive on the Lock screen to reply, for example, or the press-on attributes of Apps on the Home screen. Expect more apps to take these capabilities on board.
Sight — So at first sight, this might look the same as iPhone 6 and 6s, but it feels different in new and clever ways. It also looks different once you start experiencing this screen. On the 7, the screen is still 1334×750 pixels at the ‘Retina’ resolution of 326ppi (1920×1080 and 401ppi on the Plus) and both have the same contrast ratios of 1400:1 and 1300:1. ‘Retina Display’ means you can’t discern the actual pixels like you can with the naked eye – and believe me, if you never knew you could, look at an iPhone 3 screen or an early iPad. Ouch.
But it’s brighter: maximum brightness is 625cd/m2 compared to 500 cd/m2, and it shows a wider colour gamut. In use, this looks great – it’s slightly warmer, with intense tones and great detail.
Actually, while we’re talking about the way things look, some of the iPhone 7s do stand out at a glance from the 6 range: there are new colour options since there are two black models: the striking, glossy Jet Black (main picture, above) as well as a regular matte Black, joining the existing metallic silver, gold and pink.
Shootin’ match — So the screens are brighter, but the cameras are also higher resolution. The front-facing camera is 12 megapixels; same as for the 6s but the 6 was 8 megapixels. But in the 6s, only the 6s Plus has optical image stabilisation whereas both models of the 7 has it. Be warned that the camera is slightly closer to the outer edge, meaning the camera cut-outs in cases for the 6 range will impede the lens. But the camera is more complex too, with a six-element lens compared to 5, and this 28mm camera has a wider aperture, which means it captures images better in lower light (it’s f1.8 instead of 2.2).
The bigger 7s has two front-facing cameras: a wide-angle and a telephoto (56mm, f/2.8). Both have digital zoom up to 10 times (the 6s only goes to 5x) but the Plus has Optical Zoom up to 2x, so rather than enlarging the pixels (yes, it looks pretty awful pretty quickly) the 7 Plus actually has moving lens elements to do the first stage of the zoom at full quality, and both models have optical image stabilisation for smoother video recording, and even smoother Live Photos (I still think this is a silly gimmick, but whatever). Also, the lesser camera above the screen, for selfies, FaceTime/Skype etc is 7 megapixels as against 5 for the 6s. And don’t worry, the 7 still uses ‘Backside Illumination’, which is not for that kind of selfie: it’s a built-in digital image sensor that increases the amount of light captured to improve low-light performance. The 7 does do better in low light.
Sounds good — Another thing you’ll notice is that the 7 sounds better. The on-board (internal) speakers are louder and clearer. It also acts in stereo now, if you hold the phone in landscape mode, you should be able to hear separation between the channels since it’s using the top ear-piece speaker (for phone calls) for one channel and the bottom speaker for the other, but they’re so physically close together on iPhone 7 I could barely distinguish any difference except when I created a track in Garageband and panned it hard to one side or the other – maybe it’s more noticeable on the bigger-bodied Plus, but either way, it’s still going to be way better via earbuds or headphones. But what about the lack of headphone jack?
You have three ways to listen to music: via a pair of Lightning-compatible headphones (a pair of Lightning EarPods are included in the box), or use a pair of 3.5mm headphones with the included adapter (I find it hard to substitute my snug-fitting Apple In Ear Speakers) or wireless headphones connecting via Bluetooth – Apple’s own version of these will be available soon (left, picture from Apple Inc).
OK, some of you may be able to hear the difference between over-wire and over-the-air audio, but I sure as hell can’t, but I never have been good at hearing what those pro audio people swear is ‘better’, even when my ears were a lot younger. If I get good bass, some definition and some overtones, I’m happy. But if you’re not like me, or at least you like to think you are not like me in this regard, you’ll prefer a physical connection for your audio.
So I’m no authority here – audio sounds fine to me via my In Ear Speakers and the jack to Lightning adapter which Apple includes in the box. In fact, audio site what Hi Fi thinks this solution actually sounds better than the jack of the 6.)
Chips —iPhone 7 has the new 64-bit A10 Fusion chip with an embedded M10 motion coprocessor compared to the 6s A9 with embedded M9 motion coprocessor. This A10 is a quad-core processor with two high-performance cores with two high efficiency cores. This makes the A10 more efficient, delivering the same perceived performance as the A9 while using less power, but able to unleash high-performance cores when pushed. This low-power ability can lead to a full two hours more battery life than the iPhone 6s, and I didn’t test that with a stopwatch but I’m definitely charging it a less than I had to with my trusty old 6.
Mind you, this surprised me – startup speeds: from off to the lock screen, my iPhone 6 took 42 seconds – the iPhone 7 only 16.
Oddly, perhaps, the handy 64GB model is definitely gone from Apple’s options – you can get the 7 in 32, 128 or the pretty massive 256GB, whereas the 6s was 32GB or 128GB.
Conclusion — In use, to be brutally honest, the 7 feels like an incremental change rather than a new model. Just as the 6s is demonstrably better than the 6, this feels like, well, a ‘6ss’. It is definitely better, but it doesn’t feel like a full model change. The rumour mill says Apple will pull out the stops with the 8 (or will it be called the 10?) Since this model, should it appear in 2017 in place of a ‘7s’ will mark the 10th anniversary of the iPhone’s introduction.
I’m not trying to sell it short – it’s a fine phone. If you were going to buy an iPhone tomorrow, you’d be mad to prioritise a 6s over a 7 unless that extra couple of hundred is just too hard to justify.
What’s great — Water resistance; faster; expanded, more sophisticated Haptics for better feel and response. Great cameras, beautiful screen
What’s not — I could say the lack of jack, but it doesn’t bother me in the slightest. But it might bother you.
Needs — Developers to get on board with the possibilities of that Taptic Engine and Apple’s clever, more powerful A10 processor.
iPhone 7, 32GB, 128GB or 256GB only, starting at NZ$1199 for the 32GB 7, $1399 for the 128GB and $1599 for the 256GB. The 7 Plus is $1429 for the 32GB, $1629 for the 128GB and $1829 for the 256GB. (iPhone 6s starts at NZ$999; $1199 for the 6s Plus).
With the demise of QuickTime Pro (some people still have it, but if you lose it, it’s pretty hard to rediscover) and the migration of QuickTime into ‘just’ a video Player with a few extras like clips copying and pasting (after you choose Show Clips from the View menu) , third parties have come up with other media players for Mac that offer more features.
One of the best of these is Elmedia Player. This multifunctional free media player for Mac supports a wide range of common (AVI, MOV, MP4, MP3, MPG ) those for Flash (FLV and SWF) plus Windows media (WMV) and not-so-common audio and video formats like DAT, FLAC, M4V, MKV and more.
Playback — For HD (high definition) video, Elmedia Player has hardware accelerated decoding which helps to avoid video slowdown and sound-sync problems. Like QuickTime, the online controls disappear for clutter-free viewing until you put your cursor back over the video (but you can turn this function on and off). You can drag this control around too, for better viewing. An AirPlay icon (Pro version only) lets you direct the video immediately to Apple TV, and Open Online Video lets you watch YouTube videos in player without ads; these abilities are enhanced further in the Pro version (see below).
Extra tools — Elmedia Player also offers quick aspect ratio change and allows adjusting the speed of playback. The usual controls are there (play, pause, volume) but you can also flip or rotate video, which can be quite a mission in iMovie and even Final Cut. This is available from the View menu.
The Pro version —Paying US$19.95 (about NZ$28) gets you the more sophisticated version which lets you save videos, including RTMP streams, and external resources required by SWF animations.
You can download videos and soundtracks from YouTube, too – Elmedia Player Pro has a built-in web-browser and Open URL option to allow you to watch online videos from within the Player’s app window.
The Open Online Video option lets you access YouTube, Vimeo and Dailymotion videos directly from the app, meaning you can avoid the ads that plague YouTube these days – just find the video in YouTube (or wherever), copy the link and paste it into the Open Online Video option from the File menu (the shortcut is Command U). Elmedia checks the link and seconds later, the Open button becomes active and the video appears in the Player window. This also bypasses the option of paying for a YouTube Red subscription, which also lets you play videos without ads. There is no obvious way to ‘save’ videos you find online to your Mac, but Elmedia adds them to your Playlist and it stays available here; it’s a sort of transparent saving. To download and keep a video, select the file you want to download from the list under the video, then click Download.
Elmedia can download a video with its subtitles, but it also lets you set up encoding, font, size, font colour, and border colour for them. In case subtitles are not in perfect sync with the video, you can use Increase/Decrease Subtitles Delay. You can load the subtitles file automatically (.srt, .ass, .smil, etc.) or manually with Elmedia, a feature that might be very handy, for example, to educators.
You can grab a still from a video or make a set of images (your Mac has this anyway, of course, with Command-Shift-4) and convert Projector EXE files into SWF format. It has AirPlay support so you can stream music and videos from Elmedia Player to other devices with AirPlay support and vice versa, and extra Playback options including A-B loop, 10-band audio equalizer with presets (in the Window menu, strangely, rather than the Audio menu), and video and image layout adjustments.
You can run this player in English, Dutch, German, French, Spanish, Czech, Chinese and Russian.
Conclusion — The free Elmedia Player is an attractive, capable video player with some great features, and that’s even in the Free version. For those wanting more, the Pro version gives you extra conversion features making wither one a handy jack of all video trades. It’s also a robust player that runs on most Macs, and it can play most if not all of those weird video formats that strange PC people sometimes send you, or that you find with Eltima’s Folx software that lets you find those things (not strictly legally, sometimes, so don’t take this as an endorsement!).
What’s Great — Even the free version gives you a lot. Nice, smooth, high-definition playback of good-quality video.
What’s Not — A few interface quirks include having some of the audio controls, like the EQ, in the Window menu instead of in the Audio menu.
Needs — Those a bit miffed by the limits of Apple’s gratis QuickTime Player and who want something to dive into fast (i.e., not iMovie) do carry out some quick, effective video tasks.
File purgatory — Disk Drill 3 is the kind of software that can almost literally save your life if you have deleted files, or something went wrong with computer and files have disappeared. Macs typically don’t actually delete the file itself. The usual process is that when you Empty Trash, the links to the files are obliterated, but the files themselves are there, hidden. The space they occupy then becomes listed as free space and if you need to save a new file, or install a, large app, import a movie etc and it needs that space, the file will ‘overwrite’ that space, making whatever file existed there before irretrievable.
For this reason, various software (or the ‘Secure Empty Trash option on Mac that still have non SD hard drives) will write zeroes over where files were to make them irretrievable.
You can do this in Disk Utility, for example, the Apple ute that sits in the Utilities folder in Applications. In this case, depending on what kind of hard drive your Mac has as its main drive and what software integration you are on, you can either choose Erase and then click Security Options to write the zeroes, and older versions of the utility let you write zeroes over empty space without erasing the entire HD, although my version no longer allows this.
You should always do this before you pass your Mac on to someone else or sell it, for example, so they can’t reconstruct all those spreadsheets showing there you have spirited away those millions … Erase the Hard Drive with Security options, reinstall the OS from scratch and then sell it or otherwise pass it on.
Anyway, software like Disk Drill can rebuild links to files that have not yet been overwritten. It’s a free download from Clever Files and this is clever indeed – with the free version, initiate a scan to see if those files you lost are retrievable. Once upon a time, you then had to upgrade to Pro (for US$89) to actually retrieve them, which is better than buying the software to then discover the files aren’t retrievable. But boy, does Clever Files have a deal for you … because this free version does recovery as well.
Disk Drill 3 for Mac (I reviewed the previous version in November 2015) can recover not just from your internal hard drive but from almost anything that plugs into your Mac: backup drives, other storage external drives, USB ‘thumb drives’, many camera cards and even, with this latest version, from iOS devices. This will get back photos, videos, texts, contacts and messages. It can even scan and recover from Kindle and Android devices you plug into your Mac.
Additionally, there are various disk management abilities that come with it, which let you find duplicates, monitor the health of all those drives and to instil some level of protection. These tools, all free as well, include Disk Health, Mac Cleanup, Duplicate Finder, Recovery Drive, Data Protection and Data Backup. It would be worth the price of Disk Drill 3 for these anyway … oh yeah, but it’s free. So that’s a no-brainer.
In operation, install Disk Drill 3, select the drive to recover from, click Recover next to it, wait for the scan to conclude (this can take a long time depending on how big, full or fast that media is) and then tick the files you wish to retrieve from purgatory, and click Recover again. A cogwheel icon next to Recover lets you further configure how deep you wan this operation to go (main picture, above).
Last time I reviewed it, I said it looked like a port from a PC app – in other words, it looked (and felt a little like) it had been developed for PC and then ported over and modified into a Mac app. This version is better: it feels faster, looks slicker and its features are easier to find and use. It can recover files from different types of media too – formatted for Apple’s Mac OS Extended, the default, of course, but also HFS+, NTFS, FAT (Windows’s usual format) and more, and if you scroll downwards at this link, there are several sorts of recovery methods covered for you.
The Pro version — As I said, this is one hell of a deal considering it does so much, well, and with an improved more Apple-like interface. But you can further should you wish, but paying for the Pro version. That’s US$89 for a single user or US$399 for Enterprise with full support for everyone in your company. This version offers free lifetime upgrades (you can pay another US$29 as an add-on to get that with the Pro version). Both have two levels of scanning (normal plus Deep, for a greater level or recovery) and they can rebuild a lost HFS+ catalogue, search deleted partitions and handle even more media types with more configurable searches. Upgrades from previous pro versions are $50 off, and there’s even a competitive upgrade (from another company’s product) for US$50 off (Education, Non Profit and Government copies have a $20 discount).
Conclusion — This is a fantastic new version that will make you feel more secure in almost every way about your precious hard drives and other media.
What’s great — The free version does almost everything now, and has additional tools to scan and recovery, including disk protection and duplicate finding, plus cleaning of all those annoying sludge files that gum up your system (and other) drives. And it’s better looking and easier to use. For documents and photos, this is very effective.
What’s not — Not as good at recovering video and music files.
Needs —Anyone who likes free software that’s really well written and effective.
Disk Drill 3 — The standard Free already does a lot and includes scan and recovery plus handy disk management utilities; US$89 for Pro adds features and US$399 gets you the Enterprise version for a whole company’s Macs with lifetime free upgrades.
Aurora’s imaging software, which creates High Dynamic Range (HDR) images from standard, has been released in a new ‘2017’ version. Once it’s in HDR, you can tweak a quite staggering array of parameters to really get the image you dreamt about when you first focused a camera on something, adding a wealth of detail and/or striking drama should you wish.
When you open Aurora HDR 2017, as with the earlier Aurora, you get a dialogue prompting you to load an image or images. Drag-and-drop something onto this, and Aurora generates a high dynamic range (HDR) image from it.
What is HDR?Just to reiterate, HDR was something that professionals started doing with digital photographs. Basically, you’d shoot preferably three of the same scene: one perfect (which really means right for all the midtones), one to get more data in the highlights (overexposed) and another (underexposed) to pick up that detail in the shadows. Then, with a bit of technical wizardry not to mention Photoshop skills, you’d sandwich these three together into one image to get perfect exposure across all light ranges and a highly-detailed, ‘super-real’ image.
Your iPhone can do this, on the DHR setting, rapidly taking two (I think) photos and putting them together for you (which is why the shutter fires more slowly and it takes longer to process, plus the file’s bigger) and/or you can then power up your Mac and Aurora so it’s you directing where all this magic happens, and just how much.
HDR 2017 —To convert a 2.4MB JPEG into an HDR takes 5 seconds, which definitely seems faster than the previous version, and indeed Macphun claims Aurora HDR 2017 is at least 50% faster. Once you’ve run some effects, it takes about the same amount of time to output a JPEG.
I’ve been using Aurora to add snap to images taken with an iPhone 6 in Europe for a book project. Although the iPhone 6 camera is only 8 megapixels, it was clearly outperforming my 12MP Canon compact so I stopped using that almost immediately; besides, I always had the iPhone on me. With Aurora on board, the images from the iPhone really snap and crackle thanks to Aurora.
An instant difference is a very handy Amount slider on the preset thumbnails along the bottom, meaning you can click the divider comparison tool (a really cool draggable slider that lets you compare before and after directly on the image). Just slide to see how much of the preset works for you.
A new Polarize Tool enhances the sky, making colours more vivid while removing glare. I was a big fan of the polarising filter back in the old analogue slide film days so this is nice. I’m impressed it doesn’t go too crazy at the 100% end, stopping at giving you definite improvement rather than crazy-time.
Other new features — Aurora HDR 2017 now automatically groups batch-processed images, helping you to apply effects and settings. Once you have a good preset for a shoot, this saves considerable time, since a shoot will often be in very similar lighting conditions.
Noise in lower-light images is always a thing with digital shots, and iPhone 7, for example, promises great advances in this area, but where there is dark, there will be noise. Subtle and effective noise reduction is therefore a boon, and it’s better in HDR 2017. New smart technology automatically removes low-light colour noise even while merging batch brackets.
Other changes include a redesigned tool for top and bottom adjustments, Luminosity Masking (for making advanced selections within an HDR photo based on the Zone System – click one or more zones and dramatically enhance the part of your image without brushes or complicated selections).
Highlight the sun, a face or anything else on your photo with the new Radial Masking tool. The mask can be reshaped and adjusted for density, feathering and other settings.
Conclusion — All in all, Aurora HDR 2017 delivers less noise and better details, the interface is clearer, you can paint with layer masks, it has additional presets, ‘washed’ highlight recovery, has extended RAW support plus supports the Digital Negative standard (DNG), you can sharpen and resize on export (very handy for my book pictures) and it improves a lot on what was already a first class product and a big seller for Macphun. Check out the FAQ for more product detail and comparisons to previous versions.
What’s great —Faster; nice new features; well-considered improvements to an already excellent package. Definitely make presets of your own if you’ve modified anything extensively, it’s a real help. What’s not — It took me three attempts to get the pre-release review copy to work properly. When it was finally good, it did crash once, but I had the notoriously-buggy Blitzkrieg game running in the background, so I’ll put it down to that and assume all’s good in the final market version (Macphun’s support was most helpful). Likes a big screen: this powerful software has a lot going on and requires scrolling-down for more and more sliders, so a big screen is a definite advantage. Needs —Aurora does a lot Photoshop doesn’t do, at least obviously, leaving out a lot of Photoshop features hardly anyone uses anyway. So this is for anyone who likes powerful photographs who doesn’t need to re-composite and paint on images.
These wireless earbuds are designed with active people in mind. You sure get a lot for your money. In the box there is a cable with earbuds at each end and a control pod near the right ’bud, then various types of earbuds, a charge dongle, weird wingy-things … OK, I’d better use the proper terms. There are three pairs of silicone ear fins (does that help?), three pairs of silicone ear tips (small, medium large), three pairs of ‘comply memory foam sport ear tips’ (small, medium, large), a micro USB charging cable, two cord management clips, a cord clip, a charging clip for charging and extra battery power, and for good reason there’s even a cute little bag included to keep all this clobber together.
The first thing to do is charge. When you turn the buds on, they announce their average battery level, and pressing the volume plus or minus button on the control pod without music playing triggers this announcement, so you can check level any time.
To charge — the charging clip presses onto the back of the control pod, then insert the micro USB cable into the pod and the other end into a 5 volt, 500mA charger (5V-1A works too, but nothing above 5.5 volts will damage the buds and void the warranty – in my case, inspecting the small grey print on my iPhone charger revealed it was 5.1 volts 2.1 amps so I decided the USB port on my MacBook Pro was a safer bet, at 5V 900mA).
This charges the buds and the clip at the same time – the clip can be charged separately and carried as a portable battery pack: clip it to the pod for some extra juice. The LED on the clip and pod is red while charging, and green when charged. To remove the control pod from the clip, you lever it apart at the end nearest the earbud – don’t pull on the cord itself. Each component carries a four-hour charge, so you can have eight in total. It takes 2.5 hours to charge both to full capacity; a 20-minute charge gets you about an hour of play.
Pairing — Enable Bluetooth is enabled on your iPhone (or iPad or Mac) and position the buds within a metre of the device you want to pair with. Press and hold the middle button on the controller for at least four seconds. In my case, with my iPhone 6, the pairing worked immediately, but if a passcode is called for, it’s 0-0-0-0 (four zeroes). You can actually pair with two devices at once, like a Mac and your iPhone, so you can listen to music on your Mac but still hear an incoming call from the iPhone. You can also share with another pair of Jaybird buds so two people can listen to the same music at the same quality, played on one device. This is accessed via the Share feature of the Freedom app.
I found that if I walked out of range of my iPhone, they just reconnected (and told me ‘headphones connected’ in a bright and cheery voice) once I was back in the zone.
Watch — You can sync music to a smartwatch and sync that in turn to the Jaybirds and listen to music that way (I didn’t have a smartwatch to try this with). Actually, the Jaybirds remember up to eight devices, so you can use these as your primary listening devices in all modes you listen to stuff, providing they are Bluetooth-equipped.
Wear — Well, we haven’t even tried these on yet. Back to that bewildering array of thingies. Jaybird clearly wants you to have the best possible fit – there are two ways of wearing the buds, and then all those various cushion-tips, not to mention those silicone wingie thingies. This is very sensible, at least compared to the Spanish Inquisition solution of one large tip size and an awl to enlarge your own ear passage to make ’em fit. I can tell you as a dedicated historian, iPhone listening during the Spanish Inquisition is quite different to iPhone listening now!
The under-ear fit option is where those wingie thingies come in. The comply Memory Phone tips are applied to the bud-ends by pushing them on (Jaybird recommends starting with the mediums) and then you roll the foam sideways between your fingertips before popping them into your ear-holes. You hold them in your ear-holes (there’s probably a better term for these) for 30 seconds and the foam expands to form a custom fit which always fits, and creates a seal excluding outside sounds.
I like the way the medium-size Comply MF tips are colour coded to your earbud colour (the large are grey, the small white). All this choice is good – I know a couple of people with different-sized lug-oles so they could have a medium in one and a small in the other.
If you don’t like this memory foam stuff, though, you can always use the standard silicone tips – they also exclude external sound to some extent.
The controller pod is a little heavy. If you’re active, it’s mostly likely this bouncing up and down that will upset you, rather than the cord. The cord should be set snug across the back of your head. If it’s not, it can bounce and this sound of the cord hitting your body can transfer as a bump through the earbuds.
Those wingie thingies — This is for an even more secure fit, to ensure your earbuds never pop out (my Apple In-Ear Speaker silicone tips always work their way out when I’m cycling). These are what Jaybird calls the Patented Secure Fit Ear Fins, so I’m going to stick with my term. Each fin is marked L for left, R for right, plus M, S, L or XL for Medium, Small, Large and Extra Large.
They certainly worked, but I found them unnecessary. Possibly if I was snowboarding or paragliding … Here’s a tip though: get someone to help you fit them the first time.
The buds themselves are worn around the back of the head, but they can be fitted over or under-ear, depending on your preference. Over the ear, it means the controller sits behind the right ear instead of beneath it, so I guess it depends if you wear a hat, helmet or other headgear.
To get the cable to the right length – at least, to shorten it – the two clips let you wind cable through in an S pattern or a loop – using both clips lets you get it even shorter – a snug fit is important for the active. The alligator-style clip is for securing cable to your collar, should you wish.
If all of this sounds daunting, Jaybird have produced excellent – indeed, indispensable – tutorials on the company’s site.
Controls —Volume up and volume down do as you’d thing. The middle button turns your earbuds on if they’ve powered down – hold it in for one second. This button, with a short press, simply stops and starts music and podcasts. Disconcertingly, a double-press doesn’t advance to the next track as it does on most controllers, but redials the last person you phoned! If a call does come in, this button answers and there’s a mic in the controller so you can just talk. If no music is playing, a click-and-hold on the middle button activates Siri. Holding the middle button in for four seconds turns the buds off. To advance a track, you press and hold the volume up button for a second and to go back one, the volume down. Pressing and holding the minus button for a second mutes a call. It doesn’t take long to get used to all this.
Sound — Unfortunately, flat, the buds sound a little scritchy to me. There was enough bass but the overloading of high ends was not pleasant to my ears. Luckily there’s a free app called Jaybird Mysound. You simply have to get this. It turns just-acceptable sounding buds into excellent-sounding buds. With Bluetooth enabled on your iPhone (or whatever device) and the buds connected, you open the Mysound app and your buds will show you they are pairing with your device – you can also check charge in this app.
This is a clever app as it actually saves the profile to the buds themselves, so they sound good whatever you pair them with. There had to be a good reason for that weight in the controller, right? There must be some circuitry in here. Whatever profile you select in the app is loaded into the buds, and you can customise profiles that come as presets, just use them, or start from scratch, dragging around the easy-to-understand EQ handles in the touch interface.
The frequency range is 20Hz–20kHz, pretty standard for earbuds and I’d prefer more in the bass end (Apple’s In-Ear Speakers go down to 12Hz) , so tweaking the bass end up will be preferred by most people, and it makes a big difference.
Conclusion — Having no cord dangling down and flapping around (I normally have to route mine under my shirt and through a belt look when I’m cycling) is a boon. Sound is not really good enough until you set an EQ profile with the app, but this is an excellent, and required, feature. Good on Jaybird for making the app very good, and very free. There’s a lot of fiddly setup and a lot of fiddly bits and pieces to deal with, but once you have done so, you have a tailored, customised device that won’t fall out of your ears. What more could you ask for?
The earbud ends, by the way, are magnetic. I don’t really know why, as the tips are plastic and slip-fit.
What’s great — wireless freedom. Great fit. Great sound once you use the app to set a sound profile. Lots of cool extra features like sharing and multiple device connectivity.
What’s not — Fiddly to set up and get right, but you won’t regret it.
Needs —Active people who love good sound.
Jaybird Freedom wireless earbuds, NZ$299/Australian $244.95/$US$199.95 in black, red, gold and white and ‘ocean’ (as pictured, above)
System — In-ear 16-bit Stereo with 6mm drivers. Impedance 16 Ohm, speaker sensitivity: 96+-3dB at 1KHz, output 5mW nominal, 10mW max, Total Harmonic Distortion <3% (1KHz, 1mW), Codecs AAC, SBC, Modified SBC. Response Bandwidth 20Hz–20kHz
Bluetooth Version: 4.1, Multi-point, 2.4 GHz with profiles Handsfree , Headset , A2DP , AVCRP and SPP.
Freedom is compatible with any Bluetooth device including iPhone (3, 3S, 4, 4S, 5, 5C, 5S, 6, 6 Plus), Apple Watch, iPod Touch, iPad, iPad mini, the new iPod nano (and Android, Windows, Blackberry, Android Wear Smartwatches, PC, and with Macs and gaming devices.)
MySound App Compatibility: iOS 9+ (except iPad 2), Android 4.4+
Available from — Selected tech and electronics retailers
New software for Mac helps you learn tunes like nothing ever helped you before.
Visually Anytune is something like the music playing part of of Tunes but it has extra features to help you learn existing songs. Now the Mac version is here (some of you may be familiar with Anytune Pro Plus for iPad) and it’s a little like the longstanding – and much simpler – Amazing Slow Downer updated for 2016 with many improvements.
Get a track in — You can import a music file by dragging and dropping it onto Anytune in the Dock, or let Anytune access iTunes to access your iTunes library and playlists directly.
To do this, you need to quit Anytune, open iTunes, open iTunes’ Preferences. Click the Advanced tab, and turn on the option to Share iTunes Library XML with other applications. If it is already clicked, you need to turn it off and on again, launch Anytune and a confirmation will check that you want to give Anytune permission to open these files.
Double-click a song from the iTunes media (or, if you’ve drag-and-dropped a track from elsewhere, this will display the same) and a wave form view appears in Anytune’s main window. There’s a Play button at bottom centre (the Spacebar start/stop from iTunes, GarageBand, QuickTime etc also works to do this) and the song starts to play. A square button at top right (it has a musical note in it) lets you hide or reveal this waveform view – hiding it shows the iTunes lists and playlists again.
Load up a few songs to learn, and then you can work on them as a playlist, one after another. You can flick through these at top left. Anytune picks up the Beats Per Minute (BPM) value that’s recorded with iTunes – if no value is recorded there, Anytune works it out.
Interface — AnyTune is for serious users, and the developers recommend you learn some of the keyboard shortcuts to help you learn songs more easily. These are listed in the Help Menu, luckily. They open in Preview so you can print them out, which is a thoughtful touch.
Above the central transport controls at the bottom there are two little panels with plus and minus signs either side of them (above). The one on the left is for speed faster and slower, and the one on the right is for pitch, which means you can adjust a song to suit your tuning, the key you sing in or whatever. The value it lands on is displayed in the centre of this little panel, and you can Control- or right-click on this to choose a value yourself, or select Set Tempo and type in the value you want; this functionality works the same for Pitch. Any value you set here is remembered next time you open AnyTune with that song.
At top right there are three view buttons with choices Wave (which shows a zoomed-in section of the song), EQ and Lyrics.
Along the bottom, there are controls for marks you set to help you navigate, volume, transport controls and a cluster for controlling looping. Between these controls and the main view is a bar which shows the playhead’s position in the song, and on the left is displayed the time position of the playhead, and on the right, the time remaining. There are also semi-transparent A and B sliders which you can use to define the section of the song you want to work on, and/or loop. You can side-scroll with your cursor in the main window, of click-and-drag in this smaller, full-song view below. You can also just double-click anywhere in the full-song view to jump the playhead to that position. The transport control lets you also click to move forwards or backwards either side of there the current playhead is at.
Marks and jumps — There are two types of marks you can set: Audio and Loop. To set a mark, just tap the M key on your keyboard at any time (as the music plays), or click the Mark button to the left of the central transport control. Marking adds a vertical blue line onto the track with a large number tab at its top, which you can drag for more precision. The Marks List button at top left (shown above-left) lets you display all the marks you have set, and you can click on the names of the entries in this list to change them and give them names (Intro, Verse etc) as you wish. Rather than type the section name yourself, a pull-down menu appears under a disclosure triangle with suggestions (and you can edit these in Preferences). You can add text notes to these marks too, in the Marks list part.
The Mark-jump button to the right of the main Play button at bottom centre lets you jump mark to mark, or you can double-click entries in the Marks list, if you have it displayed, to jump your playhead to that position. The marks are saved automatically, and even backed up to iCloud, and can be shared with other Anytune users.
Loops — Anyone who has ever learnt someone else’s song by listening knows you have to listen to it over and over again. With Anytune, you can get those tricky sections repeating. Just drag the A on the left and B on the right sliders (they’re brown, with draggable tabs at the bottom) to the section you want, and click the Loop button; you can also click the Loop Play button without any section marked to just have the whole song playing repeatedly. There are all sorts of extra loop controls to nudge the loop section, extend it slightly, wipe the loop and more. To set Loop Marks, press the Loop Mark button or, more easily, the S key on your keyboard.
Once you have a loop section defined, try the ‘Step-It-Up Trainer (I kid you not, that’s what it’s called – it is as above). You can choose this from the Loop menu or, quicker, hit Command-U. This has its own settings to, for example, start slow and speed up on successive plays by increments that work for you. Get to this settings pane from the item just below the above mentioned: Step-It-Up Settings and set it up to suit the speed at which you learn.
Handy features — Ever tapped Play and by the time you have your fingers on your guitar, the song’s already past that critical point? Shift-spacebar gives you a few seconds grace before Anytune starts playing.
Autoloop (it’s in the Marks List View) lets you tag any marks you have set to automatically create loop sections between them.
You can decide whether to copy the song files into Anytune or let it play them from iTunes, which will save space on, say, a MacBook Air.
You can adjust the gain, balance and pan of any track right within anytune, and turn on Enable Livemix from the Livemix button to track music through a live input through Anytune. The balances of these can be controls with rotary knobs at left and right below the main window, above the transport controls.
You can re-EQ tracks too, in the EQ view, to compensate for bad recordings or to help accentuate the part you need to learn (bass, lead guitar, vocals etc) by boosting the relevant frequencies or cutting those of parts that make hearing your part harder. You can create presets for these: for example, one that accentuates vocals, to use with other songs; any EQ setting you make is stored with the song in Anytune (not on the original track – that remains pristine.)
In Lyric view, any lyrics stored in the song file are displayed, or you can add your own. You can even set ascii tabs for these so they scroll with the song (tap the little gearwheel icon at the left of the transport display) and set what colour the type is displayed in, and its font and size.
Say you have Anytune but your student doesn’t? You can export half and 3/4-speed versions of songs for them.
In use — You can set up playlists to hold songs you want to learn, or songs your teacher wants you to learn. You could rank songs in the order you are going to play them in, say for a live set – of course, since you can use this as a practice setup for original music, assuming you have your own songs recorded, you can drag and drop them into Anytune as well, and practice to your heart’s content at home, with or without headphones. Check out the Anytune video, which is great both for an overview and also as a sort of Quick Start manual once you have the program, and there’s a free 30-day trial available at the website.
Conclusion — Anytune works really well to help you learn any song, and with the looping, pitch control and EQm it’s easier than ever to really decipher those tricky parts of those weird songs you want to learn. with its ease of importing and impressive feature set, it’s sure to answer practically all your music learning needs whether you’re working out some classical piano or some shredding metal guitar.
What’s great — Works as promised: slowing music down really helps nut out those important bits that have been defying you. It’s also great for practicing solo.
What’s not — Quite a learning curve, but the astute will appreciate the power, flexibility and control this gives them.
Needs — anyone who can’t read, or find, music for tracks they want to play.
Anytune for Mac NZ44.99 (US$29.99) from the Mac App Store. System — macOS 10.9 or higher, 64-bit processor Contact —Anytune.