An anonymous reader shares a report: Microsoft has made OneDrive slightly more annoying for Windows 11 users. Quietly and without any announcement, the company changed Windows 11's initial setup so that it could turn on the automatic folder backup without asking for it. Now, those setting up a new Windows computer the way Microsoft wants them to (in other words, connected to the internet and signed into a Microsoft account) will get to their desktops with OneDrive already syncing stuff from folders like Desktop Pictures, Documents, Music, and Videos.

Depending on how much is stored there, you might end up with a desktop and other folders filled to the brim with shortcuts to various stuff right after finishing a clean Windows installation. Automatic folder backup in OneDrive is a very useful feature when used properly and when the user deliberately enables it. However, Microsoft decided that sending a few notification prompts to enable folder backup was not enough, so it just turned the feature on without asking anybody or even letting users know about it, resulting in a flood of Reddit posts about users complaining about what the hell are those green checkmarks next to files and shortcuts on their desktops.

A group of record labels including the big three -- Universal Music Group (UMG), Sony Music Entertainment, and Warner Records -- are suing two of the top names in generative AI music making, alleging the companies violated their copyright "en masse." From a report: The two AI companies, Suno and Udio, use text prompts to churn out original songs. Both companies have enjoyed a level of success: Suno is available for use in Microsoft Copilot though a partnership with the tech giant. Udio was used to create "BBL Drizzy," one of the more notable examples of AI music going viral.

The case against Suno was filed in Boston federal court, and the Udio case was filed in New York. The labels say artists across genres and eras had their work used without consent. The lawsuits were brought by the Recording Industry Association of America (RIAA), the powerful group representing major players in the music industry, and a group of labels. The RIAA is seeking damages of up to $150,000 per work, along with other fees.

Apple is imposing unfair restrictions on developers of apps for its App Store in violation of a new European Union law meant to encourage competition in the tech industry, regulators in Brussels said on Monday. From a report: The charges further escalated a tussle between Apple, which says its products are designed in the best interest of customers, and E.U. regulators, who say the company is unfairly using its size and considerable resources to stifle competition. Apple is the first company to be charged for violating the Digital Markets Act, a law passed in 2022 that gives European regulators wide authority to force the largest "online gatekeepers" to change their business practices.

After initiating an investigation in March, E.U. regulators said Apple was putting unlawful restrictions on companies that make games, music services and other applications. Under the law, also known as the D.M.A., Apple cannot limit how companies communicate with customers about sales and other offers and content available outside the App Store. The company faces a penalty of 10 percent of global revenue, a fine that could go up to 20 percent for repeat infringements, regulators said. Apple reported $383 billion in revenue last year. "Today is a very important day for the effective enforcement of the D.M.A.," said Margrethe Vestager, the European Commission executive vice president in charge of competition policy. She said Apple's App Store policies make developers more dependent on the company and prevent consumers from being aware of better offers.

OpenAI's 'Media Manager' Mocked, Amid Accusations of Robbing Creative Professionals "Amid the hype surrounding Apple's new deal with OpenAI, one issue has been largely papered over," argues the Executive Director of America's writer's advocacy group, the Authors Guild.

OpenAI's foundational models "are, and have always been, built atop the theft of creative professionals' work." [L]ast month the company quietly announced Media Manager, scheduled for release in 2025. A tool purportedly designed to allow creators and content owners to control how their work is used, Media Manager is really a shameless attempt to evade responsibility for the theft of artists' intellectual property that OpenAI is already profiting from.

OpenAI says this tool would allow creators to identify their work and choose whether to exclude it from AI training processes. But this does nothing to address the fact that the company built its foundational models using authors' and other creators' works without consent, compensation or control over how OpenAI users will be able to imitate the artists' styles to create new works. As it's described, Media Manager puts the burden on creators to protect their work and fails to address the company's past legal and ethical transgressions. This overture is like having your valuables stolen from your home and then hearing the thief say, "Don't worry, I'll give you a chance to opt out of future burglaries ... next year...."

AI companies often argue that it would be impossible for them to license all the content that they need and that doing so would bring progress to a grinding halt. This is simply untrue. OpenAI has signed a succession of licensing agreements with publishers large and small. While the exact terms of these agreements are rarely released to the public, the compensation estimates pale in comparison with the vast outlays for computing power and energy that the company readily spends. Payments to authors would have minimal effects on AI companies' war chests, but receiving royalties for AI training use would be a meaningful new revenue stream for a profession that's already suffering...

We cannot trust tech companies that swear their innovations are so important that they do not need to pay for one of the main ingredients — other people's creative works. The "better future" we are being sold by OpenAI and others is, in fact, a dystopia. It's time for creative professionals to stand together, demand what we are owed and determine our own futures.
The Authors Guild (and 17 other plaintiffs) are now in an ongoing lawsuit against OpenAI and Microsoft. And the Guild's executive director also notes that there's also "a class action filed by visual artists against Stability AI, Runway AI, Midjourney and Deviant Art, a lawsuit by music publishers against Anthropic for infringement of song lyrics, and suits in the U.S. and U.K. brought by Getty Images against Stability AI for copyright infringement of photographs."

They conclude that "The best chance for the wider community of artists is to band together."

Universal Music Group has partnered with AI startup SoundLabs to offer voice modeling technology to its artists. The MicDrop feature, launching this summer, will allow UMG artists to create and control their own AI voice models. The tool includes voice-to-instrument functionality and language transposition capabilities. RollingStone adds: AI voice clones have become perhaps the most well-known -- and often the most controversial -- use of artificial intelligence in the music business. Viral tracks with AI vocals have spurred legislation to protect artists' virtual likenesses and rights of publicity.

Last year, an anonymous songwriter named Ghostwriter went viral with his song "Heart On My Sleeve," which featured AI-generated vocals of UMG artists Drake and The Weeknd. The song was pulled from streaming services days later following mounting pressure from the record company. Ironically, Drake got caught in a voice cloning controversy of his own a year later when he used a Tupac voice clone on his Kendrick Lamar diss track "Taylor Made Freestyle." Tupac's estate hit the rapper with a cease-and-desist in April, and the song was subsequently taken down.

Wired visits Chula Vista, California (population: 275,487) — where since 2018 drones have been dispatched by police "teleoperators" monitoring 911 calls. ("Noise complaints, car accidents, overdoses, domestic disputes...") After nearly 20,000 drone flights, it's become the envy of other police departments, according to Wired's article, as other police departments "look to expand their use of unmanned aerial aircraft." The [Chula Vista] department says that its drones provide officers with critical intelligence about incidents they are responding to ahead of initiating in-person contact — which the CVPD says has reduced unnecessary police contacts, decreased response times, and saved lives. But a WIRED investigation paints a complicated picture of the trade-offs between public safety and privacy. In Chula Vista, drone flight paths trace a map of the city's inequality, with poorer residents experiencing far more exposure to the drones' cameras and rotors than their wealthier counterparts, a WIRED analysis of nearly 10,000 drone flight records from July 2021 to September 2023 found. The drones, often dispatched for serious incidents like reports of armed individuals, are also routinely deployed for minor issues such as shoplifting, vandalism, and loud music. [Drones are sent in response to about 1 in every 14 calls.] Early in the Covid-19 pandemic, the city even used drones to broadcast public service announcements to homeless encampments.

Despite the police promoting the benefits of the "Drone as First Responder" program, residents who encounter the technology day-to-day report feeling constantly watched. Some say they are afraid to spend time in their backyards; they fear that the machines are following them down the street, spying on them while they use the public pool or change their clothes. One resident says that he was so worried that the drones were harassing him that he went to the emergency room for severe depression and exhaustion. [A 60-year-old professor told Wired that the sound of drones kept them awake at night.]

The police drones, equipped with cameras and zoom lenses powerful enough to capture faces clearly and constantly recording while in flight, have amassed hundreds of hours of video footage of the city's residents. Their flight paths routinely take them over backyards and above public pools, high schools, hospitals, churches, mosques, immigration law firms, and even the city's Planned Parenthood facility. Privacy advocates argue that the extensive footage captured by the drones makes it difficult to distinguish between flights responding to specific incidents and mass surveillance from the sky. Department secrecy around the recordings remains the subject of ongoing litigation... At the time of our analysis, approximately one in 10 drone flights listed on the department's transparency portal lacked a stated purpose and could not be connected to any relevant 911 call.

An anonymous reader quotes a report from Ars Technica: As we're currently seeing with AI, when a new technology becomes buzzy, companies will do almost anything to cram that tech into their products. Trends fade, however, and corporate priorities shift -- resulting in bricked gadgets and buyer's remorse. That's what's happening to some who bought into Oral-B toothbrushes with Amazon Alexa built in. Oral-B released the Guide for $230 in August 2020 but bricked the ability to set up or reconfigure Alexa on the product this February. As of this writing, the Guide is still available through a third-party Amazon seller.

The Guide toothbrush's charging base was able to connect to the Internet and work like an Alexa speaker that you could speak to and from which Alexa could respond. Owners could "ask to play music, hear the news, check weather, control smart home devices, and even order more brush heads by saying, 'Alexa, order Oral-B brush head replacements,'" per Procter & Gamble's 2020 announcement. Oral-B also bragged at the time that, in partnering with Alexa, the Guide ushered in "the truly connected bathroom."

On February 15, Oral-B bricked the Guide's ability to set up Alexa by discontinuing the Oral-B Connect app required to complete the process. Guide owners can still use the Oral-B App for other features; however, the ability to use the charging base like an Alexa smart speaker -- a big draw in the product's announcement and advertising -- is seriously limited. The device should still work with Alexa if users set it up before Oral-B shuttered Connect, but setting up a new Wi-Fi connection or reestablishing a lost one doesn't work without Connect. Oral-B owner, Proctor & Gamble, said in a statement: "The Oral-B Connect app was originally developed to support Oral-B Guide and Oral-B Sense electric toothbrushes, which were discontinued ... While some features are no longer supported on these brushes, the Oral-B app does remain compatible with both devices. Consumers are invited to contact Oral-B customer service where they can get additional support for these brushes."

Meanwhile, an Amazon spokesperson told Ars: "The Oral-B Guide still has Alexa built-in and customers can keep using the Alexa experience on devices that were set up through the Oral-B Connect app. The Oral-B Guide is currently sold by an independent seller on Amazon.com. Please contact Oral-B for any further questions about their app."

An anonymous reader quotes a report from CBC News: Online streaming services operating in Canada will be required to contribute five percent of their Canadian revenues to support the domestic broadcasting system, the country's telecoms regulator said on Tuesday. The money will be used to boost funding for local and Indigenous broadcasting, officials from the Canadian Radio-television and Telecommunications Commission (CRTC) said in a briefing. "Today's decision will help ensure that online streaming services make meaningful contributions to Canadian and Indigenous content," wrote CRTC chief executive and chair Vicky Eatrides in a statement.

The measure was introduced under the auspices of a law passed last year designed to make sure that companies like Netflix make a more significant contribution to Canadian culture. The government says the legislation will ensure that online streaming services promote Canadian music and stories, and support Canadian jobs. Funding will also be directed to French-language content and content created by official language minority communities, as well as content created by equity-deserving groups and Canadians of diverse backgrounds. The release also said that online streaming services will "have some flexibility" to send their revenues to support Canadian television directly. [...]

The measure, which will start in the 2024-2025 broadcasting year, would raise roughly $200 million annually, CRTC officials said. It will only apply to services that are not already affiliated with Canadian broadcasters. The CMPA was among 20 screen organizations from around the world that signed a statement in January asking governments to impose stronger regulations on streaming companies operating in local markets. One of the demands was a measure that would force companies profiting from their presence in those markets to contribute financially to the creation of new local content."We are disappointed by today's decision and concerned by the negative impact it will have on Canadian consumers. We are assessing the decision in full, but this onerous and inflexible financial levy will be harmful to consumer choice," a spokesperson for Prime Video wrote to CBC News in a statement.

Lawmakers in New York have reached a tentative agreement to "prohibit social-media companies from using algorithms to steer content to children without parental consent (source paywalled; alternative source)," according to the Wall Street Journal. "The legislation is aimed at preventing social-media companies from serving automated feeds to minors. The bill, which is still being completed but expected to be voted on this week, also would prohibit platforms from sending minors notifications during overnight hours without parental consent."

Meanwhile, the results of New York's first mental health report were released today, finding that depression and anxiety are rampant among NYC's teenagers, "with nearly half of them experiencing symptoms from one of both in recent years," reports NBC New York. "In a recent survey conducted last year, 48% of teenagers reported feeling depressive symptoms ranging from mild to severe. The vast majority, however, reported feeling high levels of resilience. Frequent coping mechanisms include listening to music and using social media."

TorrentFreak's Ernesto Van der Sar recalls the rise and fall of Napster, the file-sharing empire that kickstarted a global piracy frenzy 25 years ago. Here's an excerpt from his report: At the end of the nineties, technology and the Internet were a playground for young engineers and 'hackers'. Some of them regularly gathered in the w00w00 IRC chatroom on the EFnet network. This tech-think-tank had many notable members, including WhatsApp founder Jan Koum and Shawn Fanning, who logged on with the nickname Napster. In 1998, 17-year-old Fanning shared an idea with the group. 'Napster' wanted to create a network of computers that could share files with each other. More specifically, a central music database that everyone in the world could access.

This idea never left the mind of the young developer. Fanning stopped going to school and flanked by his friend Sean Parker, devoted the following months to making his vision a reality. That moment came on June 1, 1999, when the first public release of Napster was released online. Soon after, the software went viral. Napster was quickly embraced by millions of users, who saw the software as something magical. It was a gateway for musical exploration, one that dwarfed even the largest record stores in town. And all for free. It sounds mundane today, but some equated it to pure technological sorcery. For many top players in the music industry, Napster's sorcery was pure witchcraft. At the time, manufacturing CDs with high profit margins felt like printing money and Napster's appearance threatened to ruin the party. [...]

At the start of 2001, Napster's user base reached a peak of more than 26.4 million worldwide. Yet, despite huge growth and backing from investors, the small file-sharing empire couldn't overcome the legal challenges. The RIAA lawsuit resulted in an injunction from the Ninth Circuit Court, which ordered the network to shut down. This happened during July 2001, little more than two years after Napster launched. By September that year, the case had been settled for millions of dollars. While the Napster craze was over, file-sharing had mesmerized the masses and the genie was out of the bottle. Grokster, KaZaa, Morpheus, LimeWire, and many others popped up and provided sharing alternatives, for as long as they lasted. Meanwhile, BitTorrent was also knocking on the door. "Napster paved the way for Apple's iTunes store, to serve the demand that was clearly there," notes Ernesto. "This music streaming landscape was largely pioneered by a Napster 'fan' from Sweden, Daniel Ek."

"Like many others, Ek was fascinated by the 'all you can play' experience offered by file-sharing software, and that planted the seeds for the music streaming startup Spotify, where he still serves as CEO today. In fact, Spotify itself used file-sharing technology under the hood to ensure swift playback."

The New York Times, owner of the once-viral, word game Wordle, is suing a geography-based spinoff called Worldle, accusing its similar name of "creating confusion" and attempting to capitalize on "the enormous goodwill" associated with its own brand. Worldle's creator, Kory McDonald, vows to fight back. The BBC reports: "There's a whole industry of [dot]LE games," he told the BBC. "Wordle is about words, Worldle is about the world, Flaggle is about flags," he pointed out. The New York Times disagrees. Worldle is "nearly identical in appearance, sound, meaning, and imparts the same commercial impression to... Wordle," it says in its legal document. The paper told the BBC it had no further comment to make beyond the contents of its legal submission.

British inventor Josh Wardle developed Wordle in 2021 as a side project to keep his girlfriend entertained. But since then it has become a behemoth, reaching millions of people worldwide. By contrast, around 100,000 people play Worldle every month, according to Mr McDonald, who is based in Seattle. It is not available as an app and can only be played via a web browser. It contains ads, with an option to play ad-free for 10 pounds per year but Mr McDonald says that most of the money he makes from the game goes to Google because he uses Google Street View images, which players have to try to identify. Other popular [dot]LE games include:
- Quordle, a set of four words to guess at the same time
- Nerdle, a maths-based challenge
- Heardle, which is based on identifying music

"There's even another game called Worldle, which involves identifying countries by their outlines," notes the BBC. "The New York Times declined to say whether it intended to pursue them as well."

An anonymous reader shares a report: The sound of the 1990s still resonates in the German capital. Like techno music, the fax machine remains on trend. According to the latest figures from Germany's digital industry association, four out of five companies in Europe's largest economy continue to use fax machines and a third do so frequently or very frequently. Much as Germany's reputation for efficiency is regularly undermined by slow internet connections and a reliance on paper and rubber stamps, fax machines are at odds with a world embracing artificial intelligence.

But progress is on the horizon in the Bundestag -- the lower house of parliament -- where lawmakers have been instructed by the parliamentary budget committee to ditch their trusty fax machines by the end of June, and rely on email instead for official communication. Torsten Herbst, parliamentary whip of the pro-business Free Democrats, points out one fax machine after the other as he walks through the Bundestag. He says the public sector is particularly fond of faxing and that joining parliament was like going back in time.

If you contact Spotify's customer service with a valid receipt, the company will refund your Car Thing purchase. That's the latest development reported by Engadget. When Spotify first announced that it would brick every Car Thing device on December 9, 2024, it said that it wouldn't offer owners any subscription credit or automatic refund. From the report: Spotify has taken some heat for its announcement last week that it will brick every Car Thing device on December 9, 2024. The company described its decision as "part of our ongoing efforts to streamline our product offerings" (read: cut costs) and that it lets Spotify "focus on developing new features and enhancements that will ultimately provide a better experience to all Spotify users."

TechCrunch reports that Gen Z users on TikTok have expressed their frustration in videos, while others have complained directed toward Spotify in DMs on X (Twitter) and directly through customer support. Some users claimed Spotify's customer service agents only offered several months of free Premium access, while others were told nobody was receiving refunds. It isn't clear if any of them contacted them after last Friday when it shifted gears on refunds.

Others went much further. Billboard first reported on a class-action lawsuit filed in the US District Court for the Southern District of New York on May 28. The suit accuses Spotify of misleading Car Thing customers by selling a $90 product that would soon be obsolete without offering refunds, which sounds like a fair enough point. It's worth noting that, according to Spotify, it began offering the refunds last week, while the lawsuit was only filed on Tuesday. If the company's statement about refunds starting on May 24 is accurate, the refunds aren't a direct response to the legal action. (Although it's possible the company began offering them in anticipation of lawsuits.) Editor's note: As a disgruntled Car Thing owner myself, I can confirm that Spotify is approving refund requests. You'll just have to play the waiting game to get through to a Spotify Advisor and their "team" that approves these requests. You may have better luck emailing customer service directly at support@spotify.com.

The Atlantic argued this week that OpenAI "just gave away the entire game... The Johansson scandal is merely a reminder of AI's manifest-destiny philosophy: This is happening, whether you like it or not."

But the Washington Post reports that OpenAI "didn't copy Scarlett Johansson's voice for ChatGPT, records show." [W]hile many hear an eerie resemblance between [ChatGPT voice] "Sky" and Johansson's "Her" character, an actress was hired in June to create the Sky voice, months before Altman contacted Johansson, according to documents, recordings, casting directors and the actress's agent. The agent, who spoke on the condition of anonymity, citing the safety of her client, said the actress confirmed that neither Johansson nor the movie "Her" were ever mentioned by OpenAI. The actress's natural voice sounds identical to the AI-generated Sky voice, based on brief recordings of her initial voice test reviewed by The Post...

[Joanne Jang, who leads AI model behavior for OpenAI], said she "kept a tight tent" around the AI voices project, making Chief Technology Officer Mira Murati the sole decision-maker to preserve the artistic choices of the director and the casting office. Altman was on his world tour during much of the casting process and not intimately involved, she said.... To Jang, who spent countless hours listening to the actress and keeps in touch with the human actors behind the voices, Sky sounds nothing like Johansson, although the two share a breathiness and huskiness. In a statement from the Sky actress provided by her agent, she wrote that at times the backlash "feels personal being that it's just my natural voice and I've never been compared to her by the people who do know me closely."
More from Northeastern University's news service: "The voice of Sky is not Scarlett Johansson's, and it was never intended to resemble hers," Altman said in a statement. "We cast the voice actor behind Sky's voice before any outreach to Ms. Johansson. Out of respect for Ms. Johansson, we have paused using Sky's voice in our products. We are sorry to Ms. Johansson that we didn't communicate better..."

[Alexandra Roberts, a Northeastern University law and media professor] says she believes things will settle down and Johansson will probably not sue OpenAI since the company is no longer using the "Sky" voice. "If they stopped using it, and they promised her they're not going to use it, then she probably doesn't have a case," she says. "She probably doesn't have anything to sue on anymore, and since it was just a demo, and it wasn't a full release to the general public that offers the full range of services they plan to offer, it would be really hard for her to show any damages."
Maybe it's analgous to something Sam Altman said earlier this month on the All-In podcast. "Let's say we paid 10,000 musicians to create a bunch of music, just to make a great training set, where the music model could learn everything about song structure and what makes a good, catchy beat and everything else, and only trained on that... I was posing that as a thought experiment to musicians, and they were like, 'Well, I can't object to that on any principle basis at that point — and yet there's still something I don't like about it.'"

Altman added "Now, that's not a reason not to do it, um, necessarily, but..." and then talked about Apple's "Crush" ad and the importance of preserving human creativity. He concluded by saying that OpenAI has "currently made the decision not to do music, and partly because exactly these questions of where you draw the lines..."

Apple once designed a Tetris clone that has been found on a prototype version of the third-generation iPod, indicating the company was experimenting with releasing the game on the music player. From a report: It's called Stacker and, obviously, is controlled via the iPod's scroll wheel. The software was spotted by X user AppleDemoYT, who is known for finding rare prototype devices. The prototype iPod is a "DVT" device, meaning it was a mid-stage device that was still in "Design Validation Testing." It has a model number of A1023, which is not a known model number of any iPod version.

The device runs a prototype version of iPodOS 2.0, which is where Stacker comes from. The pieces are moved from left to right using the scroll wheel and they fall when the middle button is pressed. The goal is to clear lines and score points. You know the deal. It's Tetris. It's not the only game found on the prototype iPod. There's something called Block0, which is likely an early version of Brick. The device also features a game called Klondike, which is likely an early version of Solitaire. The music player did eventually get some games, including the aforementioned Solitaire and Brick. AppleDemoYT asked former Apple VP Tony Fadell why Stacker was never released and he said it was because games didn't show up until a "later software release."

Spotify is about to render its Car Thing dashboard accessory inoperable on December 9th. Not only is the company refusing to open-source the device, it won't offer owners any subscription credit or automatic refund. "Rather, it's just canning the project and telling people to (responsibly) dispose of Car Thing," reports The Verge. From the report: "We're discontinuing Car Thing as part of our ongoing efforts to streamline our product offerings," Spotify wrote in an FAQ on its website. "We understand it may be disappointing, but this decision allows us to focus on developing new features and enhancements that will ultimately provide a better experience to all Spotify users."

The company is recommending that customers do a factory reset on the product and find some way of responsibly recycling the hardware. Spotify is also being direct and confirming that there's little reason to ever expect a sequel. "As of now, there are no plans to release a replacement or new version of Car Thing," the FAQ reads. Car Thing went on sale to the public in early 2022 for $90. Spotify halted production several months later "based on several factors, including product demand and supply chain issues."

At the time, the company said: "Existing devices will perform as intended."

UPDATE 5/30/24: Spotify Says It Will Refund Car Thing Purchases

Android Authority's Mishaal Rahman reports that the group speaker volume controls feature is back in Android 15 Beta 2. "Google intentionally disabled this functionality on Pixel phones back in late 2021 due to a legal dispute with Sonos," reports Rahman. "In late 2023, Google announced it would bring back several features they had to remove, following a judge's overturning of a jury verdict that was in favor of Sonos." From the report: When you create a speaker group consisting of one or more Assistant-enabled devices in the Google Home app, you're able to cast audio to that group from your phone using a Cast-enabled app. For example, let's say I make a speaker group named "Nest Hubs" that consists of my bedroom Nest Hub and my living room Nest Hub. If I open the YouTube Music app, start playing a song, and then tap the cast icon, I can select "Nest Hubs" to start playback on both my Nest Hubs simultaneously.

If I keep the YouTube Music app open, I can control the volume of my speaker group by pressing the volume keys on my phone. This functionality is available no matter what device I use. However, if I open another app while YouTube Music is casting, whether I'm able to still control the volume of my speaker group using my phone's volume keys depends on what phone I'm using and what software version it's running. If I'm using a Pixel phone that's running a software version before Android 15 Beta 2, then I'm unable to control the volume of my speaker group unless I re-open the YouTube Music app. If I'm using a phone from any other manufacturer, then I won't have any issues controlling the volume of my speaker group.

The reason for this weird discrepancy is that Google intentionally blocked Pixel devices from being able to control the volume of Google Home speaker groups while casting. Google did this out of an abundance of caution while they were fighting a legal dispute. [...] With the release of last week's Android 15 Beta 2, we can confirm that Google finally restored this functionality.

After being rumored for years, Sonos has officially entered the headphones market with its new Ace headphones. "The Sonos Ace wireless over-ear active noise-canceling headphones are specified to go toe-to-toe with the established market leaders from the likes of Apple and Bose, and they're priced to match at $449," reports Wired. From the report: Visually, you get an elegant and notably slim pair of over-ear headphones in either a black or "soft" white matte finish. Thanks to a light 312-gram weight, and with some very well-judged clamping force and a clever hanger arrangement that conceals the hinged yoke inside the body of the ear cups, it means all-day comfort. The combination of memory foam, vegan leather, and stainless steel is equally beneficial where comfort and aesthetics are concerned. Branding is restricted to one ear cup, and it's laser-etched, so it manages to be understated while still catching the eye. Where the Apple AirPods Max shout "look at ME!," the Sonos Ace enunciate it quietly and precisely.

As far as performance is concerned, you get all the bells and whistles you'd expect. Wireless connectivity is via Bluetooth 5.4, and they have SBC and AAC codecs, allowing the Ace to be compatible with ALAC and Qualcomm Snapdragon Sound aptX Lossless. Sound is delivered by a pair of custom-designed 40-mm dynamic drivers. Sonos is characteristically coy about frequency response, but from my brief listen at a recent press event in London, they were full-range enough for real bass. Ported acoustic architecture allows for optimum low-frequency extension. Spatial audio is available via those streaming services that support Dolby Atmos and/or Sony 360 Reality Audio, and Sonos' Intelligent Motion Processing with Dolby Head Tracking dynamically follows your head movement to provide an even greater sensation of immersion and envelopment.

There are other cool features that most other headphones can't offer, by virtue of Sonos' ubiquity in many homes. At launch, the Ace will interact seamlessly with the Sonos Arc Dolby Atmos soundbar to swap TV sound between bar and phones at the touch of a button. Sonos suggests that compatibility with its other soundbars (Beam, Beam Gen 2, and Ray) is coming soon, along with a new TrueCinema technology that will map your listening space to reproduce your room's characteristics in the sound of the Ace. [...]

A blind worker for the National Federation of the Blind said Sonos had a reputation for making products usable for people with disabilities, but that "Overnight they broke that trust," according to the Washington Post.

They're not the only angry customers about the latest update to Sonos's wireless speaker system. The newspaper notes that nonprofit worker Charles Knight is "among the Sonos die-hards who are furious at the new app that crippled their options to stream music, listen to an album all the way through or set a morning alarm clock." After Sonos updated its app last week, Knight could no longer set or change his wake-up music alarm. Timers to turn off music were also missing. "Something as basic as an alarm is part of the feature set that users have had for 15 years," said Knight, who has spent thousands of dollars on six Sonos speakers for his bedroom, home office and kitchen. "It was just really badly thought out from start to finish." Some people who are blind also complained that the app omitted voice-control features they need.

What's happening to Sonos speaker owners is a cautionary tale. As more of your possessions rely on software — including your car, phone, TV, home thermostat or tractor — the manufacturer can ruin them with one shoddy update... Sonos now says it's fixing problems and adding back missing features within days or weeks. Sonos CEO Patrick Spence acknowledged the company made some mistakes and said Sonos plans to earn back people's trust. "There are clearly people who are having an experience that is subpar," Spence said. "I would ask them to give us a chance to deliver the actions to address the concerns they've raised." Spence said that for years, customers' top complaint was the Sonos app was clunky and slow to connect to their speakers. Spence said the new app is zippier and easier for Sonos to update. (Some customers disputed that the new app is faster.)

He said some problems like Knight's missing alarms were flaws that Sonos found only once the app was about to roll out. (Sonos updated the alarm feature this week.) Sonos did remove but planned to add back some lesser-used features. Spence said the company should have told people upfront about the planned timeline to return any missing functions.
In a blog post Sonos thanked customers for "valuable feedback," saying they're "working to address them as quickly as possible" and promising to reintroduce features, fix bugs, and address performance issues. ("Adding and editing alarms" is available now, as well as VoiceOver fixes for the home screen on iOS.)

The Washington Post adds that Sonos "said it initially missed some software flaws and will restore more voice-reader functions next week."

In a press release today, the best music player of the 1990s announced that it'll open up its source code to developers worldwide. "Winamp will open up its code for the player used on Windows, enabling the entire community to participate in its development," said the company. "This is an invitation to global collaboration, where developers worldwide can contribute their expertise, ideas, and passion to help this iconic software evolve."

Alexandre Saboundjian, CEO of Winamp, explains: "This is a decision that will delight millions of users around the world. Our focus will be on new mobile players and other platforms. We will be releasing a new mobile player at the beginning of July. Still, we don't want to forget the tens of millions of users who use the software on Windows and will benefit from thousands of developers' experience and creativity. Winamp will remain the owner of the software and will decide on the innovations made in the official version."