Beats79100

Beats Solo 4

Beats made significant updates to audio quality and battery life on the Solo 4, but the design is in need of a refresh.

ProsOver 50 hours of battery lifeImproved sound qualityUSB-CNo price increaseConsOverly familiar designNot the most comfortable for big headsNo multipoint Bluetooth on iOSNo automatic pausing$200 at WalmartExplore More Buying Options$199 at Amazon$200 at Adorama

What’s new on the Beats Solo 4?

Beats says it re-engineered the audio on the Solo 4 for “incredible, high-fidelity acoustics.” This includes new, custom-built 40mm transducers that it says offer “extraordinary clarity and range” due to minimal latency and distortion. The company explained that the change also led to improved high-frequency response compared to the Solo 3. Beats says the Solo 4 is its only passively-tuned headphone, so you’ll get the same audio quality when listening wirelessly as you do when your battery dies and you have to employ the 3.5mm jack.

Spatial Audio was available on the Solo 3, but Beats took things a step further on the Solo 4 by adding Personalized Spatial Audio with dynamic head tracking. This is the process Apple developed for its AirPods that uses your iPhone’s camera to create a custom audio profile tailored to the shape of your ears. The effectiveness of head tracking in enhancing Spatial Audio might depend on your personal preferences and the content, but the addition brings the Solo 4 up to date with other Beats (and Apple) audio products.

Another big upgrade is battery life. The Solo 3 already offered 40 hours of play time on a charge, but Beats managed to squeeze another 10 hours out of the Solo 4. Of course, that’s with a volume level of about 50 percent with Spatial Audio off (45 hours with it on). The quick-charge feature, Fast Fuel, now gives you up to five hours of use in 10 minutes. That’s two hours more than the Solo 3.

Like Apple has done with most of its products, Beats made the switch to USB-C for charging on the Solo 4. That wired connection also delivers lossless audio, so long as you’re listening to compatible content with a supported device. Similar to other recent Beats products, the Solo 4 swaps Apple’s chips for the company’s own platform. In this case, the W1 on the Solo 3 has been replaced, but there’s still deep integration with iOS, macOS and iPadOS. And the company’s recent efforts to better cater to Android users continues on the Solo 4.

Beats upgraded the microphones on the Solo 4, though they’re used solely for calls since there’s no active noise cancellation (ANC) here. Specifically, the company says it swapped out analog mics for digital, beam-forming MEMS ones, leading to increased quality when it comes to voice capture across various environments. Beats also added a noise-learning algorithm that can target your voice while combating background roar and wind.

What’s good

The steps Beats took to improve the sound quality on the Solo 4 truly delivered. The company has employed a more even-handed tuning for several years now, ditching the overly bass-heavy EQ that dominated the sound on its early headphones. I can also hear the added clarity in tracks like Justice’s “Neverender,” where details like synth sounds had brought an atmospheric texture that enhanced the song. This is most prominent when you have Spatial Audio activated, and in my experience, the Solo 4 were at their best with Dolby Atmos content in Apple Music.

The 50-hour battery life claim seems to be a conservative estimate from Beats. With Spatial Audio on, I eeked out 63 hours on a charge — 18 more than the company says you should get listening to that type of content. During my test, I was streaming spatial Dolby Atmos content from Apple Music on a MacBook Pro. If you translate that to the 50-hour number Beats says you can get with Spatial Audio off, you’re looking at nearly 80 hours or use on a charge.

Beats says the Solo 4 has the same memory foam ear pads as the over-ear Studio Pro headphones, but with a new cover material for that component to further boost comfort. I do feel like there’s less of a vice-like pressure when I’m wearing the Solo 4, but after a couple of hours, each passing minute felt more laborious.

What’s bad

While we’re on the topic of comfort, I’ve never been a fan of the on-ear style of headphones. Most of them, the Beats Solo included, feel like they’re clamping down on my head. GrantedI have a large dome; I take my New Era caps in 7 ⅝. But I can appreciate that this design is very popular, so this is less of a con and more of an observation for my fellow large-domed homies. The slight changes to the ear pads definitely help make it more comfortable, but it’s still too snug a fit for me.Clearly, though, the Solo line is a hit: Beats says it has sold over 40 million pairs of these on-ear cans.

I also wish the company did a bit more with the Solo 4’s design. I understand “if it ain’t broke” and all that, but this feels like a missed opportunity. Beats opted to keep almost entirely the same look from the Solo 3, except that the “Solo” branding on the headband is now just a “4.” The company changed things up a bit on the Solo Pro, but that model isn’t around anymore, so a design update on the non-ANC Solo headphones would’ve been a welcome change.

While there are some obvious updates to the audio profile, the Solo 4 sounds a bit thin at times. When listening on an iPhone, audio performance is consistent across genres, but there’s a noticeable difference when listening to the same songs on Apple Music on a Mac. That Justice album, Hyperdrama, doesn’t have the same oomph streaming from my MacBook Pro as it does from my iPhone.

The Solo 4 is also missing multipoint Bluetooth support on iOS. It isn’t the first Beats audio device that lacks this, but that doesn’t make it any less frustrating. The ability to automatically switch between your computer and your phone when you get a call is a handy feature most headphones offer these days. And if you’re used to having it, it’s something you’ll miss on the Solo 4.

Wrap-up

There’s no denying the updates Beats made on the Solo 4 in terms of sound quality and battery life. The company also made tweaks to modernize it, including the switch to USB-C. Small changes to the ear pads make the Solo 4 more comfortable for those of us with big heads, but the fit is still far from ideal. And overall, the familiar design could use a refresh, especially now that we’re nearly eight years on from the Solo 3. Still, the Solo 4 is a clear upgrade from the Solo 3, but it’s likely not significant enough to entice more than the Beats faithful.

The Beats Solo 4 is available today for $200 from Apple. The headphones come in black, blue (pictured) and pink color options.

1 / 10

Beats Solo 4 review

Beats Solo 4 headphones from the side, showing the “b” logo.

Update May 6 2024, 10:39AM ET: This review has been updated with the results of a full battery test. Due to the better than anticipated battery performance, we’ve bumped the review score one point.

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The Solo Buds have the longest battery life on a set of Beats earbuds ever. 18 hours is way more than you'll probably ever use in one go, but there's a catch. The Solo Buds case doesn't have a battery, so the earbuds won't top up when you're not using them. The case is essentially a dock and will only charge the buds when it's plugged in with a USB-C cable. You'll be able to charge it with your phone, laptop or tablet though, and Beats' Fast Fuel feature gives your an hour of use in five minutes. The upside to the non-charging case is that accessory is significantly smaller since it doesn't hold a battery.

Beats has designed the Solo Buds to be worn for long periods of time. More specifically, ergonomic acoustic nozzles and vents assist with audio performance while relieving pressure. Four sizes of ear tips are included in the box so you can find the best option for your ears in terms of both comfort and passive noise isolation. There's no active noise cancellation (ANC) here, so a secure fit will be your only defense against environmental distractions.

Inside, dual-layer transducers are designed to reduce distortion across the frequency curve which should lead to "uncompromising clarity and detail," according to Beats. The company describes call quality as "exceptional," thanks to the combination of a custom-designed mic and a noise-learning algorithm. Onboard controls are customizable, putting music, call and voice assistant functions a press or multiple presses away. Beats also includes the option for volume controls on the Solo Buds with an optional press-and-hold action.

Native compatibility in Android and iOS delivers one-touch pairing, automatic setup and support for Find My and Find My Device. Everything you'll need on iPhone is built into iOS while Beats offers a standalone app on Android for things like onboard control customization.

The Solo Buds will be available in June in black, gray, purple and transparent red color options for $80.

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Inside the SoundLink Max, three transducers and two passive radiators power “a spacious stereo experience” that includes bass performance that sounds like an even larger speaker, according to Bose. The company says this portable unit employs tech typically used in its soundbars and pairs that with digital signal processing to reduce distortion for “full, natural sound” across genres. Bose is promising that you’ll be able to hear every aspect of a song clearly, no matter the musical style and no matter where the speaker is located. You’ll also be able to adjust lows, mids and highs via the Bose app if the stock tuning doesn’t suit your preferences.

Bose opted for a powder-coated, silicone-wrapped steel enclosure for the SoundLink Max, which the company says offers a more refined look. The speaker is also IP67 rated, so dust, water, rust and dropping it shouldn’t be an issue. This all makes the Max well-suited for outdoor use, and when you do take it on the go, you won’t have to worry about recharging often. Bose says the SoundLink Max will last up to 20 hours, plus it can juice up your phone via a USB-C cable if needed. A removable rope handle will assist with transport, but Bose also makes a carrying strap if you prefer over-the-shoulder hauling.

The SoundLink Max is equipped with Snapdragon Sound, which offers more consistent connectivity with recent Android devices, and aptX Adaptive that provides improved audio quality over Bluetooth. The speaker also supports Google Fast Pair and Bluetooth 5.3.

Pre-orders for the SoundLink Max start today from Bose, and the speaker is schedule to ship on May 16. In addition to being the company’s largest portable Bluetooth unit, it also ties the Bose Portable Smart Speaker for being the most expensive at $399. If you’re looking for something smaller, the SoundLink Micro ($99), SoundLink Flex ($119) and SoundLink Mini II ($149) are also available from Bose.

Bose SoundLink Max

$399 at Bose

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Inside, the S95TR houses 17 speakers, including five up-firing drivers. LG says this soundbar is the first to feature a center-positioned, up-firing speaker, which enhances dimensional audio and helps with dialog clarity. LG explains that it also upgraded the tweeters in the S95TR and it integrated passive radiators. This combo keeps high frequencies clear while also delivering 120Hz low-frequency response in a 9.1.5-channel setup.

The company’s Wowcast tech allows the S95TR to connect to compatible LG TVs wirelessly, including the transmission of Dolby Atmos and DTS:X without a cable. Wow Orchestra can utilize the speakers of an LG TV with the soundbar for “a harmonious fusion of audio channels.” There’s also the company’s 3D Spatial Sound Technology that analyzes audio channels with a three-dimensional engine to make things as immersive as possible. AI Room Calibration is here as well, which will include the rear surround speakers in its room tuning for the first time this year.

LG S95TR soundbar

$1,497 at Amazon

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At the top of the list sits the Bravia Theater Bar 9. This is Sony’s new flagship soundbar, but the company says it’s 36-percent smaller than the former premium model, the HT-A7000. Inside, a 13-speaker setup includes three tweeters, four woofers, two beam tweeters, two up-firing and two side-firing drivers. The slightly smaller Bravia Theater Bar 8 houses 11 total speakers, lacking the the two beam tweeters from the Bar 9. Sony says the Bar 8 is 30-percent smaller than the unit it replaces, the HT-A5000.

Both soundbars feature very similar spec sheets, including support for Dolby Atmos, DTS:X, 360 Reality Audio and Hi-Res audio content. The pair will also gain IMAX Enhanced capabilities with a pending update, but that feature will require additional wireless rear speakers and a subwoofer. Connectivity is the same on both models with one HDMI input and one HDMI output (eARC). HDMI 2.1 is supported, so you can expect 4K/120 passthrough and all the other perks that standard affords.

There’s also a host of Sony-specific features on both soundbars. That list includes Sound Field Optimization for room calibration and 360 Spatial Sound that places virtual speakers around a space for more immersive audio via virtualization. Acoustic Center Sync combines the speakers of a Bravia TV with either of these soundbars for a more realistic cinema experience where it sounds like the audio is coming directly from the screen. The soundbars also support Voice Zoom 3 from Sony’s Bravia TVs, a tool that uses AI to recognize human voices and amplifies them so it’s always heard clearly.

The Bravia Theater Bar 9 and Bravia Theater Bar 8 are compatible with Sony’s current rear satellite speakers and subwoofers. Those include the SA-RS5 and SA-RS3S speakers and the SA-SW5 and SA-SW3 subs. Unfortunately, there’s no bundle option, so on top of a $1,400 (Bar 9) or a $1,000 (Bar 8) soundbar, you’ll have to shell out hundreds more for a better setup. At the very least, you’ll want a subwoofer, which will currently cost you either $350 (SW3) or $620 (SW5).

And then there’s the Bravia Theater Quad. This four-speaker set replaces the HT-A9 that Sony introduced in 2021. Instead of four cylindrical units, the company opted for flat, square designs this time, which will allow you to mount them on a wall more easily. Like the A9, there’s a separate box that holds all of the necessary connections. You’ll get HDMI 2.1 here too, with one input and one output (eARC).

Inside of each speaker, there are four drivers: one tweeter, one mid-range, one woofer and one up-firing unit. That’s a total of 16 across the set, and Sony says you can add on either the SW3 or the SW5 subwoofer for more low-end thump. The Sony-developed features from the new Bravia Theater Bars are here as well, including 360 Spatial Sound, Sound Field Optimization, Acoustic Center Sync and Voice Zoom 3. Dolby Atmos, DTS:X, 360 Reality Audio and Hi-Res tunes are in the mix too, and IMAX Enhanced will arrive later via an update (you’ll need a sub to use it). The Bravia Theater Quad is the priciest of the bunch, setting you back $2,500 for the initial set without a bundled subwoofer.

Lastly, Sony has a new neckband speaker for “open-air yet personal listening.” The Bravia Theater U ($300) supports Dolby Atmos when paired with a compatible Bravia TV. Two of the company’s X-balanced speakers power the device, which supports 360 Reality Audio on its own. There’s also 12-hour battery life, multipoint Bluetooth and a built-in mic for calls.

Sony says the Bravia Theater Bar 9 and Bar 8 will be available for preorder this spring from Amazon and other retailers. Ditto for the Bravia Theater U. The Bravia Theater Quad is available for preorder now.

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The ULT line of audio gear is replacing the Extra Bass brand Sony has used for several years. Described as the “ultimate step into the evolution” of its portable audio devices, ULT Power Sound is an improved progression of the low-end boost the Extra Bass products offered. ULT breaks down even further into Tower (large party speakers), Field (smaller, portable Bluetooth speakers) and Wear (headphones). I’ll concede that Field is a bit obscure at first glance, but at least Tower and Wear accurately describe the products bearing those labels. All three are a massive upgrade from SRS-XV900, SRS-XG300 or WH-CH720N, three model names that were used for previous versions of three similar models.

Sony is also revising the names for both home audio and TV products, employing its existing Bravia moniker here. The company’s new TVs are the Bravia 9 (mini LED), Bravia 8 (OLED), Bravia 7 (mini LED) and Bravia 3 (LED) instead of older names like XR-65A95L. For soundbars and speakers, the company will use the Bravia Theater name along with much more descriptive terms. For example, the new soundbars are Bravia Theater Bar 9 and Bravia Theater Bar 8, while a new four-speaker setup is the Bravia Theater Quad. Previously, comparable models had names like HT-A7000, HT-A5000 and HT-A9. I’ll admit I’m not entirely sure how Sony will distinguish the next-gen models from these. Maybe it will add “second-gen,” or perhaps a different number. Either way, sticking with Bravia for its living room devices and adding “theater,” “bar” or even a single digit is much better than the previous jumble of letters and numbers.

Although they may seem random, there was a method to Sony’s madness. To my knowledge, the company never released any type of key to its alpha-numeric mess, but some of the terminology was easy to figure out. “HT” in home theater product names is pretty straightforward, while “WF” in true wireless models likely stood for “wire free” and the “WH” for headphones was probably “wireless headphones.” What followed after the hyphens was a creation from the minds at Sony, but thankfully things like “1000X” became mainstays over the last several years. That consistency certainly helped keep track of things.

Speaking of the 1000X lineup, that’s where some of the biggest confusion in Sony’s naming scheme resides. The company’s flagship headphones, the WH-1000XM5, are literally one letter different from its flagship earbuds, the WF-1000XM5. You likely won’t encounter any issues if you’re searching for “1000XM5 headphones” or “1000XM5 earbuds,” but in situations where both are being discussed, you’ll have to pay careful attention.

For audio gear, the two letters before the dash describe the type of product. Immediately following the dash, you get an indication of the product family or brand, whether that be “XB” for Extra Bass or “1000X” for the flagship earbuds and headphones. Then, you’d get a model or generation number like “910” or “M5.” Unless you’re keeping track of Sony's product news, it can be a chore to decipher these. And even if you are paying close attention, it can be difficult to recall exact names accurately. I’d wager there has even been confusion among Sony’s own employees. It’s a terrible naming scheme that causes massive headaches.

“The main reason for Sony’s new naming convention is to expand recognition by adopting a more memorable and understandable name for customers,” a Sony spokesperson told Engadget. The company didn’t offer any more detail about the timing of the change or if it will rename other product lines as new models are introduced. Maybe the company transferred the task of naming products from the engineers to the marketing department. Sony has already been using the LinkBuds name for a few true wireless models. So, if the company continues what it started with the ULT and Bravia series, we could be in for easily distinguishable names instead of the (presumably upcoming) WH-1000XM6 and WF-1000XM6.

Let’s hope that happens.

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The premise is similar to Clubhouse, the audio app that had a viral moment at the height of the pandemic in 2021 and inspired copycat features in Facebook, Twitter, LinkedIn and Reddit before gradually fading into obscurity. But unlike the original version of Clubhouse, Airchat isn’t built around live audio streams that require users to all tune it at once. It’s more like Twitter or Threads, except posts can only be shared as voice notes.

The app uses a timeline format, and automatically plays audio clips as you scroll your feed. You do have the ability to pause the playback and read text instead — each post is accompanied by an AI-generated transcript — but posts and replies can only be shared by recording an audio clip. There don’t seem to be any time constraints on how long individual clips can be, I found at least one post where a user spoke for a full hour just to see if it would work (it did).

It sounds a bit gimmicky (because it is), but the app has all the hallmarks of the kind of social apps that briefly go viral among a certain segment of extremely-online Silicon Valley nerds. It’s led by a pair of well-connected tech founders: AngelList co-founder Naval Ravikant and former Tinder exec Brian Norgard. It’s invitation-only and has drawn a number of well-known tech personalities among its early users: Y Combinator CEO and San Francisco political provocateur Gary Tan, Spotify CEO Daniel Ek, OpenAI founder Sam Altman, VC and Elon Musk confidant Jason Calacanis.

Over on X, Airchat’s high-profile user base is building hype and creating FOMO for those who haven’t been able to score an invite. (The app had to briefly shut off invites over the weekend due to “an influx of new users,” according to Ravikant, Airchat’s CEO.)

It’s not clear exactly how many users Airchat has just yet, but it seems to be in the low tens of thousands. The app has been downloaded close to 50,000 times, research firm Appfigures told Engadget, but it’s likely some of those downloads have come from people who don’t yet have an invite. Ravikant, who seems to be one of the most-followed users, currently has just over 11,000 followers in the app.

Using Airchat is, well, noisy and a bit confusing. Upon joining, the app asks to tap your contacts list to find friends who are already on the app, but finding people to follow beyond that can be challenging. The app doesn’t have the equivalent of a “for you” feed with recommended content so your only options are to manually search for users or lurk in conversations that do appear in your feed and check out other users’ posts and follows.

When I signed up, there were four people from my contacts in the app, only two of whom are actual friends. I followed them and the app’s founders and a couple other familiar names. I then began randomly following other users as conversations began to appear in my feed. This was a terrible strategy as my feed was quickly dominated by the voices of a few especially active (but not terribly interesting) posters. With so many new users all joining at the same time, at one point my feed was just a bunch of people talking about Airchat.

It’s also somewhat jarring to actually hear the voices of people you’ve followed on social media for ages but haven’t interacted with IRL. The app defaults to playing back audio at 2x speed, which tends to make people’s speaking voices sound a bit unnatural, but is also kind of necessary for long-winded posts.

The bigger issue, though, is that it’s not entirely clear what Airchat is for. There are a handful of “channels,” smaller groups dedicated to chatting about specific topics like coffee or astrology or AI or war, but conversations are disjointed and hard to follow. There seem to be some corners with spirited discussion. The “coffee” channel has 755 members and has lots of earnest discussion of pour-over techniques and photos of latte art. The channel is also “moderated heavily,” according to Ravikant (Airchat’s moderation policy is “self moderation,” which means they expect you to make good use of blocking and muting features, though an FAQ states they will remove users for “harassment, impersonation, foul behavior, and illegal content.)

More creative users are also finding ways to play with the audio-centric format. I found an ASMR group that consisted mainly of people speaking in breathy whispers that kind of gave me the ick (one person did post a nice clip of their cat purring). I listened to a few poetry readings in the “poetry” channel, but didn’t have the patience, even at 2x speed. There’s also a lot of talk of in-app karaoke, though I have yet to see it actually happen.

Some might see these kinds of gimmicks as the start of some new paradigm, where people use their voices to unlock new ways of interacting. But all I can think about is how Clubhouse, at its peak, had similar gimmicks: in-app game shows, open mic nights and (very NSFW) “moan rooms.” It was new and interesting at a time when most people were stuck at home with nothing to do, but the novelty wore off quickly.

While Clubhouse’s initial success sparked copycat features from almost every other major social media company, many of those have since shut down due to lack of interest. Even Clubhouse itself is a shell of what it once was. While the app still exists, it’s an entirely different service than the one that briefly captured the attention of bored tech workers. The company laid off half its staff in 2023 and has since pivoted to audio-centric group chats.

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Dolby explains that FlexConnect “intelligently optimizes the sound” based on the layout of the room and location of any speakers. The company says the technology will free users from the sonic limitations of room size, furniture positioning or the location power outlets. FlexConnect will allow speakers to be placed anywhere in a room and calibrate each of them to the TV speakers. This creates a customized Dolby Atmos sound profile unique to each user’s home.

Dolby says setup is quick and easy as acoustic mapping is done using microphones inside the TV. Those components locate each speaker before performing the aforementioned audio calibration. The company explains that the result should be more consistent immersive sound no matter where you’re sitting in the room.

FlexConnect isn’t just boosting the center channel either. Instead, the feature is adjusting the sound for each speaker, even the ones inside the TV. If the system notices that a pair of speakers are at the front of the room, for example, it can tweak the audio so that the TV handles the bulk of the dialog and the speakers take on the rest of the front soundstage. If there are two speakers near the back of the room, the TV then handles dialog and those sounds that need to come from the front of the room.

One item that could play a key role with Dolby Atmos FlexConnect is interoperability. Samsung’s Q-Symphony and Sony’s Acoustic Center Sync both require you to have a compatible soundbar and TV made by those companies. LG’s Wow Orchestra works the same way. If this new technology is open to manufacturers to integrate in their products like Dolby Atmos as a whole, it would great if users could pair a TCL TV with a Sennheiser soundbar — just as one example. As you might expect, TCL plans to debut wireless speakers to accompany its upcoming FlexConnect-compatible TVs.

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First, the good news. Three minutes is huge. The previous version of the software maxed out at 90 seconds. Just imagine the fake birthday song you could make in the style of that one Rob Thomas/Santana track. Another boon? The tool is free and publicly available through the company’s website, so have at it.

It primarily works via text prompt, but there’s an option to upload an audio clip. The system will analyze the clip and produce something similar. All uploaded audio must be copyright-free, so this isn’t for the purposes of mimicking something that already exists. Rather, it could be useful for, say, humming a drum part or extending a 20 second clip into something longer.

Now, the bad news. This is still AI-generated music. It’s cool as a conversation piece and as an emblem of a possible future that’s great for tinkerers and bad for musicians, but that’s about it. The songs can actually sound nifty, at first, until the seams start showing. Then things get a bit creepy.

For instance, the system loves adding vocals, but not in any known human language. I guess it’s in whatever language that makes up the text in AI-generated images. The vocals sort of sound like actual people, and other times they sound Gregorian chanters filtered through outer space. It’s right smack dab in the middle of that uncanny valley. The Verge called the vocals “soulless and weird," comparing them to whale sounds. That tracks.

Stable Audio 2.0 makes the same weird little mistakes that all of these systems make, no matter the output type. Parts can vanish into thin air, replaced with something else. Sometimes melodic elements will double out of nowhere, like an audio version of those extra fingers in AI-generated images.

There’s also the, well, boring-ness of it all. This is music in name only. Without a human connection, what’s the point? I listen to music to get inside the head of another person or group of people. There’s no head to get inside of here, despite constant proclamations that artificial general intelligence (AGI) is only months away.

So, this tech is an absolute gift for those making silly birthday videos or bank hold music. For everyone else? Shrug. One thing I can say from personal experience: It’s pretty fast. The system concocted an absolutely terrifying big band song about my cat in around a minute.

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The original Rodecaster Pro was the first mixing desk specifically designed for podcasters to really catch people’s attention. The build-quality, price, ease of use and simple workflow struck a chord with pros and amateurs alike. The Rodecaster Pro II ($699) went in a slightly different direction, introducing the ability to route different audio sources to different places, an essential tool for game streamers. The pads were upgraded from simple audio triggers to multi-purpose smart pads that can be used for MIDI, vocal effects and more. The second version also came in with a smaller footprint, removing two physical faders and making them “virtual.”

The Rodecaster Duo ($499) is arguably just the Rodcaster Pro II “mini.” The functionality is identical to its bigger sibling, but it comes with four physical faders (down from six); six pads (down from eight) and two XLR ports for microphones or instruments (down from four). You actually have control over seven mixing channels at any one time, but adjusting three of them is done via virtual faders. Importantly, you get to configure which inputs remain on physical faders and which are assigned to virtual controls in the companion software.

Two other small changes include the removal of the “record” button, which is now virtual/on the display, and there’s also a headphone port on the front edge. This last change solves one of my main nitpicks with Rodecaster Pro II, which only had headphone ports around the back. The port on the front is 3.5mm rather than 1/4 -inch and is compatible with headset/TRRS mics, adding another input effectively — one that’s particularly handy for game streamers.

One of the biggest upgrades from the original Rodecaster Pro is the addition of a second USB-C port around the back which can connect to a second PC. This is a massive boon for streamers who want to keep their gaming rig separate from their streaming one, and the new routing table allows you to send whatever inputs you like to either USB connection. This same port also can be used for connecting a phone, which is perfect for introducing callers or for streaming via mobile apps. You could always connect a phone via Bluetooth on the original model, which was handy but now you have multiple options (and via cable is much better quality).

The fact that there are only two XLR combo jacks speaks strongly to who this is for. While the Rodecaster Pro and its sequel were originally built for in-person, multi-guest, podcasts, it’s also a very capable tool for solo creators which has helped fuel its popularity. And with an increasing number of tools like Zencastr or Adobe Podcast, the need to host fellow flesh-sacks in the same room is no longer required for high-quality audio from all speakers. As such, the Rodecaster Duo makes a lot of sense for a broad stroke of creators from podcasters to streamers and even music producers and video editors (both the Duo and the II Pro are MIDI enabled).

Be under no illusions, the Duo — and its bigger sibling — are just as “pro” friendly as the first Rodecaster, but they both lean into the creator space a bit more than the original. This point is made most clearly by the very existence of the Duo. The smaller footprint is a clear admission that this was made to live on a desk full time alongside your other daily tools.

The Rodecaster II Pro was already a bit more manageable than the first model, but after a few weeks with the Duo, the difference is stark. It can remain nested under my monitor and easily moved into position when I go live. Before the Duo, I had the Pro II on my desk in a similar setup, but I was frequently moving it out of the way to make space for other things that it became a bit of a burden and I ended up unplugging it until show time. With the Duo it’s clear this can be a daily driver with little-to-no need to organize around it.

The number of tools for creators and streamers is expanding exponentially, and with that are more direct rivals to the Rodecaster series. In fact, just days after the Rodecaster Duo was announced, Boss unveiled its own take on the category with the Gigcaster 8 ($699) and Gigcaster 5 ($459). Both offer very similar features to Rode’s products in a generally smaller footprint. The Gigcaster 8 is a near 1:1 in terms of functionality to the Pro II, while the Gigcaster 5 sacrifices the physical trigger pads to make way for two more physical faders — six total — over the Duo’s four to create an even smaller footprint. Though it has a slight focus on musicians via some sound presets and effects, and doesn’t quite match the overall build quality and polish as the Rode.

Rode’s audio chops are also not to be underestimated. The pre-amps and headphone outputs on the Duo are capital-L loud and squeaky clean with a very low noise floor. When the products were announced, Rode went out of its way to show how well it could power the notoriously quiet (and insanely popular) SM7B microphone. When you’re giving a shout out to a rival company’s product to demonstrate a feature, you better be confident that the feature you’re touting does the goods. And surely it does. The amount of clean gain to drive microphones such as the aforementioned Shure classic is impressive and a step up from the already-decent Rodecaster Pro before it.

In short, the Rodecaster Duo feels like a product that Rode maybe didn’t initially think was the main event. It’s the smaller, more affordable version of its flagship mixer after all. It turns out that this is likely the one that most solo creators will actually want. Even pros might want to consider the Duo over the Pro II if they don’t absolutely need the capacity to run four microphones in tandem.

It’s worth mentioning that if you’re considering moving over to the Duo from something like the GoXLR or the Razer Audio Mixer know that Rode’s take on a routing table is a little different to what you might be used to. The Duo’s companion software is generally pretty good, but it doesn’t use the conventional “table” format many streamers will be used to. Instead it’s a little bit convoluted, but once you get the hang of it, it’s quite powerful. This is particularly handy if you’re in the business of recording audio from multiple sources. I often just use the routing options so I can record either one or both sides of a phone call or online meeting depending on my needs, but it’s also good for feeding PC audio — including Zoom calls or YouTube videos etc. — into, well, wherever you want it to go, including your phone.

If you do any kind of live audio production or recording, especially podcasts, the Rodecaster Duo is an easy sell. For streamers, it’s also a very capable device, one that’s also easy to recommend, but with a small asterisk. Streaming setups and their associated platforms are often a little more to their host’s tastes and preferences. As such, the Duo’s suitability will depend on what you’re used to and the specifics of what you want to do. But for most creators, the Duo is the better option over the Pro II at the very least.

Rose Rodecaster Duo

$499 at Amazon

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