OPINION:
Energy policy in the United States has been battered back and forth like a mistreated tennis ball for at least three presidential administrations. From an unleashed energy industry fueling a booming economy and high demand only a few years ago, we find ourselves now in a recession with energy prices spiking and the federal government tapping our strategic reserves.
With inflation and energy costs running rampant, many are outraged that some of the releases from the strategic petroleum reserve have been exported rather than fed into domestic circulation. The picture is muddled with politics and emotion, but the bottom line is that exporting oil is sound policy — even if it comes from the strategic reserves.
Ideally, we should not be drawing down our strategic petroleum reserves at the rate we are in the first place, and instead, the administration should promote exploration and production. Underlying high energy prices and looming energy insecurity are the actions of this administration to limit available leases and increase costs on producers. But the reality is that we are drawing on the strategic petroleum reserve and several million barrels have found themselves heading away from our coast. For a number of reasons, this is not a categorically wrong policy, but well within normal activity.
The three key factors to explain this are the global nature of oil markets, domestic refinery capacity and characteristics, and free trade. Legislation aimed at restricting exports without internalizing these factors may be ineffectual at best or cause inadvertent harm at worst.
First, crude oil is a global market. The price of a barrel of crude oil is determined by the global supply and demand for petroleum. This is why President Biden has repeatedly claimed that his drawdowns on the strategic petroleum reserve are in coordination with releases from other nations. When more oil is available, the price per barrel falls. It does not matter whether a new supply arises in the Eastern or Western hemisphere, so long as it is available to the market.
When oil is sold to domestic companies or international ones, it has the same effect. It would not meaningfully help lower energy prices to keep those barrels here. All else equal, the price of oil will decrease proportionately with oil released — anywhere.
Second, refineries in the United States are currently operating at 95% capacity. That means they virtually cannot take on new crude oil to refine into gasoline, diesel, jet fuel and other distillates. Making new releases available to refineries would mean the crude oil waits in a tank until the refinery has the capacity to process it. That is functionally equivalent to the oil remaining in the reserves, whereas by exporting it, the oil affects the global supply and can be processed into finished products in high demand now. Some of that may even be sold back to the U.S. once processed by refineries elsewhere with available capacity.
In fact, America has always exported oil. Long before we were a net exporter, we were still exporting. That is because most refineries in the United States are calibrated for heavier sour crude that lies beneath the gulf coast or California. When domestic producers pull up lighter sweet crude, it is often exported to nations with refining better suited for this type of petroleum. So, before we were a net exporter — when we still demanded more energy than we produced — the United States would still send out its lighter crude and import other nations’ heavier crude. Even today, we are importing high volumes of heavy crude.
Once all of that crude oil is refined into finished products, it is sold again. The United States still benefits from the importation of distillates and other energy products. And while gasoline is not dependent on a global market in the same way as crude oil, it is still economically more efficient to export some crude in order to refine it and reimport than to hold onto ill-suited barrels domestically.
Third, exporting allows us to bring in revenue while strengthening trade relationships. There are often legitimate reasons to insulate from foreign markets or bad actors, but the energy market relies on the free movement of crude oil. Limiting exports to companies or countries adverse to the United States or where political conflicts of interest exist is worth greater consideration, but broad limitations on export can harm allies and reverberate globally to harm U.S. citizens as well.
In Europe, energy insecurity is directly harming our key allies, while also threatening food security. These are issues we will face at home if free and fair trade is not maintained. The criticality of fossil fuels to virtually every activity from energy production to health care, agriculture to transportation, and clothing to technology means that cutting off oil from trading partners will harm them and us as energy insecurity, supply chain constraints, lack of raw materials and feedstocks, and more result from limited oil availability. If barrels are being released, they should go to the market.
At the end of the day, American energy policy has been shellacked by ideologues and bureaucrats along with a confluence of geopolitical issues. Real, valuable solutions would take the form of increasing domestic exploration and production, building new refineries to increase capacity, approving new pipeline projects and utilizing domestic mining reserves to reduce the need for reliance on adverse nations for other critical elements. These must be restored to reestablish the United States as energy independent, a net exporter and an unrivaled economic power.
Given where we are right now, exporting oil is still sound policy. The strategic petroleum reserves are critical and should not be viewed as a spigot to tap to get out of bad energy policy. But any oil entering the global market is good for lowering the price of crude oil, and downstream, the price of gasoline and diesel. Congress should allow the free market to operate and lower energy prices without undue interference.
• Benjamin R. Dierker is the director of public policy at the Alliance for Innovation and Infrastructure.
The Bloomington-based blues-rocking band Old Smoke has had some major changes in its relative youth. Part-time background vocalist Jessica Wheet moved up front and became the group's principal lyricist beginning with last year’s EP “Onward.” Then former lead-vocalist, guitarist and co-songwriter Adam Humphreys transferred to Georgia.
What’s an emerging band to do? Create a new album, of course, via file sharing.
Wheet and Humphreys spoke with WGLT about their brand-new EP “Dreams.” Wheet said everyone in the band made her move to lead vocalist smooth and easy.
“Adam and I … we just work so well together. The song ideas that he comes up with, they just resonate with me so no convincing me to it at all,” said Wheet.
As for the song ideas, “Dreams” continues the rockin’-blues sound Old Smoke is known for, with the exception of the title track, a melding of Southern-rock, gospel and soul. As Humphreys is the music idea starter, you might think he’s absorbed some southern clay with his move to Georgia.
“Honestly, as we've stayed together as a group, we've tried to move into exploring different realms,” he said. “And as we were finishing (the previous EP) 'Onward,' I was starting to experiment with open tunings on the guitar that helped bust me out of a rut when it came to the types of riffs that we were writing. And we came up with these three songs that were written on open tuning guitars. It helped me with new ideas and new melodies. We're very proud of the direction that it went.”
The title track is definitely a departure from the old sound, though the other two songs “Stand Up” and “Illusionist” give old fans a taste of what they’ve come to love from Old Smoke. Humphreys said he likes to turn to some of his favorite musicians for inspiration, including the Tedeschi Trucks Band.
“I think they have matured over the years. All the groups that we're interested in have matured in that way. They've looked for new realms and new ways to express themselves. And I think that's where my head was when I came up with these riffs. The musical ideas are usually mine, and then I bounce them back to Jessica and that's where they really take their final form when she comes up with the words,” said Humphreys.
I see a shining light
Coming for me
Gonna hide
Because I want those darkened nights
Where I dream a dream of you.
- Dreams by Old Smoke
Yeah, this one means a lot to me,” said Wheet of her lyrics. “It was actually about a family member, and the conversations that I had had with her, and it's about what she was going through … the loss that she had had. And that feeling of only being able to be with somebody in your mind because they're gone. It's that feeling of you can't wait to fall asleep to be able to see them in your dreams, but then you never want to wake up from that.”
The first indication this EP was something special is when Old Smoke bandmate Heath Brandon sent WGLT an email and hipping us to it and saying that especially the title track was something the band collectively was as proud of as anything it had ever done.
“That's how I feel,” said Wheet.
“That's how I feel about it too,” added Humphreys. “I feel like we've always been blues rockers and distorted guitars and heavy riffs and that kind of stuff. We have fun with it. But this to me … this was a step in that direction of in my mind of maturing and putting out something that I'm very proud of.”
“Some of the writing that I did on this happened with my husband, the (bands) drummer Travis Wheet, but also Adam, worked on the chorus for one of the songs that's on the EP too, so just the whole process of it. And the sound that we came up with … all of that meant a lot to me going through this,” added Wheet.
That rockin’ blues sound did show up on the song “Stand Up":
Heart is cold, eyes black
Poison in the well, it’s a sneak attack
Wicked hand, spoon fed mouth
foot on their neck, what’s it all about
Why you do it, why you do it
Drawing’ that line in the sand
hold you to it and hold you to it
you’re not the law, your only one man
- “Stand Up” by Old Smoke
“It would be about current events,” said Wheet. “It's really about people who have a lot of power and a lot of money. They've been given everything they have without having to earn it. They could use their voice … they could use those things to do so much good. But instead, they use it for their own agenda.”
"The Illusionist" is a 9-minute-plus opus that even when Wheet’s powerful voice is resting, Humphreys guitar seems to give the song a second vocalist.
“We knew I was moving away, and we looked at it as a chance to really try to get the feel of one of our live shows,” explained Humphreys. “So, we recorded this song. I think we did it in one take, no overdubs. And we really wanted to have fun with it and just kind of get that feel of playing live. That's why it sounds the way that it does. It's raw and there's no overdubs. And I do believe that that's how we sound when we when we play live.”
And like “Stand Up,” “The Illusionist” has a pointed message.
“It's really about somebody who's putting on a show for people that's just really so believable and so well-rehearsed … almost. But you pull back the curtains and it's all fake, but nobody notices that,” said Wheet.
“Dreams” from Old Smoke is now available. You can also hear songs from the new EP on WGLT's Highway 309.
Today we applaud the unanimous adoption of Sound Transit Motion 2022-57, a critical milestone for the West Seattle and Ballard Link Extensions (WSBLE) project. This action selects a preferred route and station locations for portions of the WSBLE project and requests additional studies to inform decisions for the remaining stations. The motion is compatible with Joint Resolution 32055, adopted unanimously by City Council and signed by the Mayor early this month, that put forward a City position on WSBLE, based on years of engagement and consensus building with Sound Transit and other partner agencies, and community members and stakeholders across the projected alignment.
We thank the Sound Transit Board and staff, as well as the countless community members, our City Council and stakeholders who devoted time and expertise to get us here. This motion allows Sound Transit, the City of Seattle, and other partners to take the time needed to listen to community members and understand their needs. Creating clarity in what we see as the most successful path for WSBLE in Seattle will help streamline moving the project forward quickly and efficiently – providing a path for agreement upfront on which alternatives have the most potential for success.
While we join with our partners in celebrating this milestone, there is tremendous work ahead, including:
We also know that Sound Transit has real financial challenges in delivering all of Sound Transit 3 (ST3). With our partners, the City anticipates a role facilitating third-party funding and financing strategies to help Sound Transit address its costs. Over the next year we will be developing these strategies, in step with the additional community work described above, and with Sound Transit’s completion of the environmental analysis and Final Environmental Impact Statement, which is critical to define potential impacts and what mitigations are required from Sound Transit. Ultimately, we anticipate an agreement with Sound Transit that details third-party funding commitments as part of their final actions to confirm a direction for the WSBLE project late next year.
WSBLE is one of the largest infrastructure projects in our region’s history. We are excited to be a partner in moving this project forward—not only for Seattle’s residents who overwhelmingly supported the 2016 ST3 ballot measure, but also for the entire region that will gain new transit connections to job centers, housing opportunities, and destinations including Downtown Seattle, South Lake Union, Seattle Center, and our fast-growing neighborhoods of Ballard and West Seattle. WSBLE is an example of how we’re moving forward as One Seattle, and the City of Seattle is a committed partner to Sound Transit for the planning, permitting, and delivery of this transformative project.
The Rapha Clinic of West Georgia, a local non-profit, faith-based charity is proud to announce its 8th Annual Sound of Medicine concert and fundraiser will return in-person on September 22, 2022 from 6:30 p.m. EST to 9:30 p.m. EST at Hamilton McPherson Fine Arts Center in Bremen, Ga.
Created by Medical Director Dr. Amy Eubanks, the annual Sound of Medicine concert is an opportunity to enjoy wonderful and inspiring music, as well as raise much-needed funds that allow Rapha Clinic to continue its mission of providing healthcare in West Georgia. Since opening in 2010, the clinic has been providing free medical and dental care to uninsured adults who are at or below the federal poverty level.
“We hope the community will continue supporting our health services and ministry through the fundraising efforts of our Sound of Medicine event and our coordinated Silent Auction,” said Eubanks. “The financial support ensures that the Rapha Clinic can continue providing necessary care for our neighbors who do not have health insurance.”
Performances for the concert include a variety of local acts:
Carroll County Wind Ensemble (featuring Dr. Jonathan Goodin)
Bishop Sam Sauls (Rapha Board Member)
Redeemed (featuring Dr. Amy Eubanks)
Dakota Dodge Band (featuring Dr. Howard Seeman)
Donations may be made in any amount at https://secure.givelively.org/donate/rapha-clinic-of-west-georgia/8th-annual-sound-of-medicine. Event sponsorships are also available ranging for the event from $150 to $5,000 and include a variety of benefits. To make a donation or for more information on the fundraiser, please call 770-562-4501 or visit www.raphaclinic.org. In addition, the organization offers a year-long sponsorship program celebrating sponsors during all annual fundraising events.
About The Rapha Clinic: The Rapha Clinic of West Georgia is a faith-based, non-profit, charitable ministry serving uninsured adults in West Georgia (Carroll, Douglas, Haralson, Heard, and Paulding counties) since 2010. Volunteer professionals provide high quality medical and dental care to those most in need. In addition to the best healthcare, Rapha patients receive spiritual support and guidance without forcing beliefs. It is through caring for the physical illness that Rapha has an opportunity to be a witness for Christ. The unconditional love and superior care provided by Rapha empowers patients to break the cycle of poor health and habits, and improve their quality of life.
Today we applaud the unanimous adoption of Sound Transit Motion 2022-57, a critical milestone for the West Seattle and Ballard Link Extensions (WSBLE) project. This action selects a preferred route and station locations for portions of the WSBLE project and requests additional studies to inform decisions for the remaining stations. The motion is compatible with Joint Resolution 32055, adopted unanimously by City Council and signed by the Mayor early this month, that put forward a City position on WSBLE, based on years of engagement and consensus building with Sound Transit and other partner agencies, and community members and stakeholders across the projected alignment.
We thank the Sound Transit Board and staff, as well as the countless community members, our City Council and stakeholders who devoted time and expertise to get us here. This motion allows Sound Transit, the City of Seattle, and other partners to take the time needed to listen to community members and understand their needs. Creating clarity in what we see as the most successful path for WSBLE in Seattle will help streamline moving the project forward quickly and efficiently – providing a path for agreement upfront on which alternatives have the most potential for success.
While we join with our partners in celebrating this milestone, there is tremendous work ahead, including:
We also know that Sound Transit has real financial challenges in delivering all of Sound Transit 3 (ST3). With our partners, the City anticipates a role facilitating third-party funding and financing strategies to help Sound Transit address its costs. Over the next year we will be developing these strategies, in step with the additional community work described above, and with Sound Transit’s completion of the environmental analysis and Final Environmental Impact Statement, which is critical to define potential impacts and what mitigations are required from Sound Transit. Ultimately, we anticipate an agreement with Sound Transit that details third-party funding commitments as part of their final actions to confirm a direction for the WSBLE project late next year.
WSBLE is one of the largest infrastructure projects in our region’s history. We are excited to be a partner in moving this project forward—not only for Seattle’s residents who overwhelmingly supported the 2016 ST3 ballot measure, but also for the entire region that will gain new transit connections to job centers, housing opportunities, and destinations including Downtown Seattle, South Lake Union, Seattle Center, and our fast-growing neighborhoods of Ballard and West Seattle. WSBLE is an example of how we’re moving forward as One Seattle, and the City of Seattle is a committed partner to Sound Transit for the planning, permitting, and delivery of this transformative project.
The Sound Transit Board today identified preferred light rail route and station locations for the West Seattle Link Extension and directed staff to conduct further studies and community engagement, primarily on the Ballard Link Extension.
The Board weighed community priorities, regional needs, input from agencies and the City of Seattle, as well as analysis in the Draft Environmental Impact Statement (EIS) in its action. Before confirming or modifying the Preferred Alternative for the Ballard Link Extension, the Board directed further study and engagement in certain areas from the Chinatown-International District through Downtown, Interbay and Ballard.
"We recognize the impact this project will have on the Chinatown-International District, and we will continue our conversations with community members to gather information and fully understand their concerns," said Sound Transit Board Chair and University Place Council Member Kent Keel. "At the same time, moving forward with a preferred alternative for West Seattle allows us to continue making progress on light rail expansions that will provide a hub for the entire region."
"By confirming West Seattle extension’s light rail route, we’ve made major progress, while also taking the necessary time to study and engage in areas that require further work. This approach allows us to spend more time listening to the needs of the community, particularly in the Chinatown-International District, while exploring additional solutions as we continue to move the project forward where we can," Sound Transit System Expansion Committee Chair and King County Council Chair Claudia Balducci said. "The challenge from here will be to make sure the agency engages openly and effectively with community members, and fully explores concepts requested by the community and our agency partners before confirming the preferred alternative for the CID, Seattle Center and other parts of the Ballard Link Extension."
"WSBLE is one of the largest and most transformative infrastructure projects in Seattle's history, and we are excited to be a partner in moving this project forward to deliver fast, reliable, accessible light rail. We are committed to building the best project for the Chinatown-International District, Ballard, Downtown, South Lake Union, West Seattle - and every neighborhood along the project alignment," said Bruce Harrell, Sound Transit Board member and Mayor of Seattle. "Thank you to the countless community members and stakeholders who helped inform today's Board action."
"Today Sound Transit takes a major step in the process to deliver the West Seattle and Ballard Link Extension. I want to thank members of the public, community leaders, my fellow Board Members, and Sound Transit staff for your leadership and thoughtful engagement. Through this collaborative process the Board has identified key refinement concepts, and areas for further study and refinement in response to feedback from community and key partners. Today’s Board action moves us closer to realizing the promise of a world-class high-capacity transit system this region deserves," said Sound Transit Board member and King County Executive Dow Constantine.
In the West Seattle extension, the Board identified the Preferred Alternative for the West Seattle Link Extension as the Medium Tunnel 41st Avenue Station alternative in the West Seattle Junction segment, the Andover Street Station Lower Height alternative in the Delridge segment, the South Crossing alternative in the Duwamish Segment, and the At-Grade Alternative Staggered Station Configuration in the SODO segment. The Board will also consider the At-Grade South Station Option as a possible Preferred Alternative with future endorsement contingent on resolving with partner agencies federal property acquisition requirements and project funding needs in a manner that does not impact the West Seattle Link Extension schedule. A report for Board consideration is due no later than September 2022.
The Board also directed further studies in the West Seattle extension to enhance station access, prioritize an integrated and well-designed transfer experience from buses to light rail, and address concerns over potential displacements of organizations serving low-income and communities of color and determine potential third-party funding needs. Studies will include exploring a station entrance at 42nd at the Alaska Junction station, opportunities to provide access north and south of Andover Street at the Delridge station, enhancing access from the platform to South Lander Street at the SODO station and considering eliminating the Avalon Station in the West Seattle Junction segment.
For the Ballard Link Extension, the Board directed further study before confirming or modifying the preferred alternative. The Board requested further study to recognize past harms, minimize displacements and potential loss of cultural identity; conduct additional engagement between community and agency partners; support investment in public spaces; improve experience for riders; minimize construction impacts and risks; and determine potential third-party funding needs. Specifically, further study and engagement will include concepts requested by community and agency partners in the Chinatown-International District segment; a number of additional studies in the downtown segment including connecting Denny/Terry station to SLU/Harrison station and connecting SLU/Harrison station to Seattle Center/Mercer station; and additional studies in the South Interbay and Ballard segments.
Staff will provide updates to the Board on progress in November 2022 and February 2023, after which the Board may confirm or modify the preferred alternative for the Ballard extension.
Detailed information on the preferred alternative for West Seattle and areas for further study is included in the Board motion at https://www.soundtransit.org/st_sharepoint/download/sites/PRDA/ActiveDocuments/Motion%20M2022-57.pdf.
Information about the West Seattle and Ballard Link Extensions project is at www.wsblink.participate.online and https://www.soundtransit.org/system-expansion/west-seattle-ballard-link-extensions.
Price: $170
Bluetooth headphones aren’t exactly known for hi-fi audio, mainly thanks to the limited bandwidth. The 1MORE Evo True Wireless earbuds aim to deliver as close to audiophile sound as you’ll find in a mid-tier earbud, combining hi-res codecs with active noise cancelling and eye-catching design.
The 1MORE Evo earbuds are certainly aiming high, but did they actually make the shot? They certainly hit more marks than they miss.
While the overall look of an earbud isn’t something we generally pay much attention to, it’s worth mentioning here. The 1MORE Evo are available in either black or white, and each finish is equally impressive. We’re reviewing the black model, with gold highlights and a mirrored finish that is truly impressive in person.
Fit is everything when it comes to wireless earbuds, whether you’re concerned about quality audio, active noise cancellation (ANC), or you just don’t want to lose them on a run. Fortunately, the 1MORE Evo ship with five sets of tips—one preinstalled and four extras—which let you fine tune a perfect fit.
In my case, the tips that were preinstalled on the Evo earbuds fit perfectly. During testing, I used the 1MORE Evo as if they were my only earbuds, and this meant wearing them for multiple hours a day. Even though I did take multiple breaks from wearing them every day, I never found them growing uncomfortable or irritating my ears.
The 1MORE Evo aren’t impervious to weather, but they are IPX4 rated. This means that if you want to wear them for a run in the rain, you should be fine. Just don’t dunk them in your morning coffee or throw them into your washing machine.
As with the earbuds themselves, the charging case that comes with the 1MORE Evo also looks and feels like a premium product. The gold-inlaid 1MORE logo on top and the nonslip rubber on the bottom makes me feel like I’m dealing with earbuds on par with the Apple’s AirPods Pro or the Sony WF-1000XM4, rather than a less costly product.
Despite the 450 mAh battery packed inside, the case isn’t overly heavy, and it feels like it should fit into most pockets fine. It also keeps a strong hold on the earbuds once they’re tucked inside. I didn’t have any trouble removing the earbuds, but you shouldn’t have to worry about them falling out.
1MORE estimates the Evo can run up to eight hours on a single charge. This is assuming low volume, no noise cancellation, and using one of the more efficient codecs (more on this later).
Realistically, if you’re using these earbuds as they’re meant to be used, with the higher quality LDAC codec and adaptive noise cancellation turned on, that number shrinks. In my testing, I found roughly five and a half hours was what I could reasonably expect before I needed a charge.
That said, in normal use, I never ended up running down the battery. The good news is that if you do, you can charge the buds quickly. Just 15 minutes in the case gets you a few more hours of listening time.
Even if you don’t plan to use the 1MORE Evo with your phone all that often, it’s worth pairing the earbuds and installing the 1MORE MUSIC app (available for iPhone and Android). Not only does this let you manage various settings, but it also lets you update the earbuds’ firmware, which can be very handy.
As a matter of fact, updating the firmware was one of the first things I did after taking the 1MORE Evo out of the box. At launch, the earbuds used SoundID profiling to let you customize the listening experience but didn’t offer a simple EQ setting. After updating the firmware to the latest version (version 1.0.2 at the time of this writing), you can finally use either custom EQ settings or choose from a few presets.
In addition to EQ, you can also use the 1MORE MUSIC app to switch between the various modes of noise cancellation or turn on transparency mode. In the app menus, you can also enable Dual-Device Connection to connect to multiple devices simultaneously. There’s even a Smart Burn-In option, for those who believe in burning in their in-ears for maximum audio quality.
Unfortunately, the app is buggy. There are some neat features like Soothing Sounds—a feature that plays relaxing nature sounds—that just plain doesn’t work. I also couldn’t test the SoundID feature at all, though now that the app has EQ settings, this is less of a problem.
Part of the reason Bluetooth headphones—especially older models—failed to catch on with audiophiles is that the early codecs couldn’t carry enough data across Bluetooth’s limited bandwidth for high-fidelity sound. Recently, more advanced codecs like Sony’s LDAC have made hi-res audio a more attainable goal in Bluetooth headphones.
The 1MORE Evo rely on LDAC for its hi-res audio, but this isn’t supported everywhere. If you use an iPhone, iPad, or any other Apple device for playback, you’re going to be stuck with Apple’s AAC codec, while unsupported Android phones fall back to SBC.
In testing the 1MORE Evo, I used my iPhone and Mac to test the headphones in less-than-ideal conditions. For LDAC, I turned not to an Android phone, but to my Sony Walkman NW-A35 digital audio player, filled with hi-res audio files. For my impressions, I used the Studio EQ setting, which is flat and gives a good overall impression of the earbuds’ sound.
1MORE has long been a proponent of combining multiple drivers inside earbuds. In this case, the 1MORE Evo use a hybrid driver system that pairs 10 mm dynamic drivers for the low end with balanced armature drivers for high-end detail.
The bass is slightly boosted by default, but compared to many other earbuds, this is rather tame. Still, Beauty Pill’s “Exit Without Saving” reveals the depth found in the low end of the 1MORE Evo without becoming muddy or overtaking the lower midrange.
Bad Snacks’ “Thursday Night (Alien Fight)” uses electric bass guitar along with otherwise electronic-sounding instrumentation, and here that bass lives in the lower midrange, carrying a fantastic growl. While “Superbloom” by The Bronx doesn’t sound as smooth as it could, here the upper midrange suits the ragged sound of the guitars.
I never found the high end to be overly strident, and any sibilance that I encountered was just as often due to a poor recording or mix as it was any fault of the 1MORE.
Certain EQ settings could make the highs sound overly crisp, but this could be fixed by manually adjusting EQ or choosing another preset. As a nice touch, one of the included EQ settings is “Podcast,” which is a welcome setting for anyone who has had to deal with overly boomy-sounding podcasts on earbuds.
The built-in microphones used for calls aren’t much to write home about. They don’t sound fantastic, but it certainly isn’t bad. For calls, it seems to pick up equally well indoors or outdoors, which is handy.
The 1MORE Evo use a six-mic array for noise cancellation, with three mics placed in each earbud. These are estimated by 1MORE to block around 42 dB of noise, though this is highly dependent on a few factors like how well they fit and the type of noise you’re trying to block.
With a good fit and the ANC set to Strong in the 1MORE app, the Evo easily blocked out a loud TV in the same room. If I wasn’t playing anything back, I could slightly hear the higher frequencies. Once I started playing music at a moderate volume, I couldn’t hear the TV at all.
When I tried with a podcast, using the Podcast EQ setting, the noise cancellation worked almost as well, but I could still make out some details. When I switched to Adaptive, I didn’t notice any change, so in that case, it was choosing the same settings as the Strong option.
The Adaptive noise cancellation isn’t easy to test, but the WNR (wind noise reduction) mode was. Walking outside on a day with gusts of around 15 mph, I activated this mode and could immediately hear the podcast I was listening to much better.
The Transparency mode, which lets outside sound in through the built-in mics, also works very well. It isn’t quite as magical as the same mode in Apple’s AirPods Pro, but it gets pretty close.
The world of mid-range in-ears is incredibly crowded with worthy models, and that can make finding which models to recommend difficult. In this case, it’s quite a bit easier.
The 1MORE Evo offer features and performance that we typically expect to see in higher-end earbuds like the Sennheiser MOMENTUM True Wireless 3. The major difference, sonic signatures aside, is that the 1MORE Evo are significantly cheaper than the Sennheiser offering and have better noise cancellation.
It’s not that the 1MORE Evo earbuds are without faults: the app is buggy and the lack of aptX codecs may be a concern for some Android users, but they do far more right than they do wrong. If you’re looking for a higher fidelity wireless experience for streaming lossless audio, and your playback device supports LDAC, these are a fantastic option for the price.
Rating: 8/10
Price: $170
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It wasn’t a sure thing that the Pixel Buds Pro would turn out to be good. Google has had a mixed, inconsistent track record with wireless earbuds so far. The original Pixel Buds in 2017 had such an unconventional design that something as fundamental as putting them back into the case was overly complicated. The Pixel Buds 2 moved to a much sleeker, true wireless form factor, but they were beset with connectivity issues and frequent audio dropouts. Google righted the ship with the low-end $99 Pixel Buds A-Series last year, but now all eyes are on the new, flagship $199 Pixel Buds Pro — the company’s first earbuds with active noise cancellation — to see whether Google can really hang with the very best from Apple, Sony, Samsung, and others.
Turns out, it very much can. The Pixel Buds Pro fully resolve the Bluetooth woes of the second-gen model while delivering improved sound quality, longer battery life, satisfactory noise cancellation, and bonus convenience features like multipoint. They’re not the smallest or lightest earbuds around, but Google’s elimination of the integrated wing tips (or “stabilizer arcs”) from prior models results in better overall comfort.
When Google announced these earbuds a couple months ago, it made a point to call out the custom silicon and in-house audio processing that were key to developing the Pixel Buds Pro. Every company with earbuds that are the best at something — think noise cancellation in the case of Sony or transparency mode for Apple — builds its own components to achieve that. According to Google, the Pixel Buds Pro include a custom six-core audio chip (not to be confused with the custom Tensor chip in Pixel phones) that powers the active noise cancellation system, and they also use custom 11-millimeter drivers / speakers tuned by the company’s audio team.
So then, let’s get right to it: noise cancellation on the Pixel Buds Pro is generally quite good for subduing noise at home, the office, or in a coffee shop. But I do notice that some parts of the frequency spectrum (like street noise from passing cars) cut through louder than they would on the AirPods Pro or Sony’s WF-1000XM4 buds. Since the ANC runs on Google-developed algorithms, it’s feasible that firmware updates could further enhance the noise-canceling strength of the Buds Pro. As it stands today, the ANC is more than competent — even if it won’t be bumping Sony or Bose from the top of the mountain.
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Transparency mode, on the other hand, is decent but falls well short of matching the natural, airy sensation you get with the AirPods Pro or Sony’s LinkBuds S. Google’s transparency passthrough does the job but has a semi-muffled tonality to it. This is likely, at least in part, because the Pixel Buds Pro no longer have the same “spatial vent” that lets through some natural ambient sound on the 2020 Pixel Buds and Pixel Buds A-Series.
While on the subject of ANC, I’m admittedly perplexed by the feature Google calls “Silent Seal.” The company describes it like so:
Everyone’s ears are unique, so it’s not always possible for the eartips to create a perfect seal that prevents sound from leaking in from the outside. Pixel Buds Pro use Silent Seal to adapt to your ear, to help maximize the amount of noise that’s canceled.
When I asked for more specifics on how Silent Seal works or exactly what is happening, Google spokesperson Marisa DeRose oddly declined to share further details. My best guess is that Google’s algorithms try to optimize the active noise cancellation based on your ear shape and how the earbuds fit you, but the lack of information leaves me skeptical that Silent Seal is really a game changer.
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Google also says that the Pixel Buds Pro contain sensors that “measure the pressure in your ear canal” to alleviate the plugged-up sensation that ANC earbuds can often produce. I did manage to get more particulars on this from product manager Pol Peiffer, who told me by email that the sensors “constantly measure the pressure in your ear canal so the earbuds can actively relieve it and stay comfortable. These measurements never leave the earbud and are erased immediately after they are processed for noise canceling.” This is Google’s solution for the lack of an air vent, but I’m curious as to whether the overall noise cancellation power on the Pixel Buds Pro is being hamstrung by this emphasis on comfort. It’d be nice to have the option to crank it to 11 — ear pressure be damned.
Backing up a bit, the Pixel Buds Pro carry on the design lineage of Google’s last couple models. The outward-facing portion still looks like a Mentos, especially in the mellow yellow color of my review sample, but the rest of the earbud is much more substantial and chunky. When you initially pluck them from the case, the Buds Pro might not seem like earbuds that will be especially comfortable or stay in your ears well. Thankfully, that first impression is misleading.
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Even without the affixed stability fins from past Pixel Buds, the Buds Pro slid into my ears snugly, and after some twisting and light adjustments, I wasn’t concerned about them going anywhere. I thrashed my head around, and they stayed put. They also passed the standard eating and talking tests without dislodging. It’s certainly easier to (purposefully) remove them than the foam-tipped Sonys or deep-seated Galaxy Buds, but you don’t need to worry about unexpected tumbling-out-of-your-ears mishaps. I’ve noticed they stick out a bit in smaller ears but are more flush and subtle in big ears like mine. And despite the relative heft compared to lighter buds, they stayed comfortable over extended listening. Google bundles the standard three sets of silicone tips in the box, and there’s an ear tip seal test in the Pixel Buds app if you need further confirmation you’re using the right size. The pebble-shaped carrying case is also very similar to past Pixel Buds, with the same eggshell feel and satisfying snap when closing, plus wireless charging.
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The Pixel Buds Pro deliver the best audio experience of Google’s lineup thus far. They don’t rival the superb dynamics and rich clarity of something like Sennheiser’s Momentum True Wireless 3 earbuds, and I think the Sony 1000XM4s still surpass them in a head-to-head. I wouldn’t quite rank these in that upper echelon, but for a daily, take-everywhere pair of earbuds, I’ve been pleased with Google’s refinements. The Hold Steady’s “Lanyards” came through with ample bass kick and punchy guitars. Lake Street Dive’s “Nick of Time” showed off their smooth vocal reproduction, and while sampling John Mayer’s “Wild Blue,” the Pixel Buds Pro created ample separation between instrumentation to let the solos shine. In some tracks, the mids can come off as recessed, and I’d like more control over the default V-shaped EQ. Google’s website confirms that’s in the works.
For now, audio tuning settings from past Pixel Buds (like bass boost) are MIA in the Pixel Buds app, but the company plans to add five-band EQ customization sometime this fall. In the meantime, there’s a “volume EQ” toggle that lifts bass and treble at lower volumes to keep your music sounding consistent throughout the range. Audiophiles might be disappointed that the Pixel Buds Pro only support AAC and SBC for Bluetooth codecs — rumors that they would also include LC3 and Bluetooth LE audio are untrue — but I think tuning and audio signature are ultimately more important to how they sound. If you can’t live without LDAC, there’s always the 1000XM4s, LinkBuds S, or even cheaper options.
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To ensure the Pixel Buds Pro have fully conquered any unwelcome dropout issues, I tested the new earbuds on busy streets, intersections, and in other environments that would’ve spelled doom for the Pixel Buds 2. But the audio kept playing without any interruptions. That held true whether my phone was handheld or in my pants pocket; the latter scenario can cause audio disruptions for some earbuds, but not these. The connection is simply much more robust this time around.
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Google covers pretty much everything you need with the onboard controls: tap once to play / pause, twice to skip tracks, or three times to go back. You can press and hold to switch between ANC and transparency, and this gesture can be customized (on either earbud) to activate Google Assistant as well. The swipe-based volume controls of the 2020 Pixel Buds have also returned, letting you increase loudness by brushing a finger forward across the earbud surface or lowering it by swiping backward.
The Pixel Buds Pro come with the usual perks of having Google Assistant in your ear; you can ask for the weather or walking directions, respond to texts, request a song, have notifications read aloud, or take advantage of features like Live Translate when traveling — all with hands-free “Hey Google” voice commands. It’s helpful to have these tricks at your disposal, but other specialties from past Pixel Buds — adaptive sound, attention alerts, and the aforementioned bass boost — have quietly been removed. Regardless, I’d argue the biggest new addition to the Pixel Buds Pro is multipoint, which allows you to connect to two audio sources (like your phone and computer) simultaneously.
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And it works pretty much like a dream: I can start watching a video on my MacBook Pro, hit pause, switch over to my Pixel and start a song on Spotify, and the earbuds play it without delay. Stopping the song and jumping back to the video is just as seamless. When a call comes in, you can just answer it, and the buds will prioritize that audio; it’s a huge plus being able to avoid Bluetooth menus. Every so often, you’ll hear a little hitch in the audio when transitioning between audio sources, but it’s barely perceptible. Voice call performance is acceptable; I was intelligible to my colleagues on Zoom even in a busy coffee shop, and in quieter environments, I never got any complaints about mic quality.
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Later this year, Google plans to counter Apple and Samsung by introducing spatial audio with head tracking for the Pixel Buds Pro. So when you’re watching movies or listening to Dolby Atmos music, you can move your head around, and the sound field will shift appropriately. But like always, this is all about ecosystem lock-in and will be limited to Google’s own hardware — so you’ll need a Pixel phone to do anything with it. The Pixel Buds Pro are also capable of intelligent automatic switching between various Android devices, but I don’t know many people using a handful of Android products unless you’ve got a smartwatch or TV that also happens to run the OS.
Battery life for Google’s latest buds is rated at 7 hours with noise cancellation on or up to 11 with it switched off; in several days of testing the Pixel Buds Pro so far, those estimates seem on the mark. And the earbuds are rated IPX4 for water resistance, so you don’t need to worry about getting them sweaty mid-workout. The case is a slightly less durable IPX2, but at least it’s got some level of protection.
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Even with all the praise, there’ve been occasional bugs. I’ve had (very) rare instances where audio breaks down and gets unlistenable while watching a video when using multipoint, or the stereo imaging of the earbuds gets thrown out of whack after I manually disconnect one of the two devices. These glitches aren’t unheard of when using true wireless earbuds, and Google has some early kinks to iron out. But on the whole, I’m much more confident in recommending the Pixel Buds Pro than any of the company’s prior efforts, and that boils down to their rock-solid overall connection stability.
The Pixel Buds Pro are Google’s best set of earbuds yet. They’ve shed the connectivity flaws that sank the second-gen model while adding respectable active noise cancellation, longer battery life, and superior sound. And the inclusion of multipoint makes them genuinely more useful day to day. Like any pricey earbuds, you’ll want to try them on for yourself to get a feel for the fit. But assuming the new, bulkier design jibes with your ears, Google finally has a full-featured, flagship pair of earbuds that Pixel fans can enjoy without any back-of-mind reservations or second thoughts — just as it ought to be for $200.
Photography by Chris Welch / The Verge
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