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29
May

Foursquare and Spotify launch Android Wear apps


spotify-android-wear-press

Foursquare and Spotify have both just started receiving the long-awaited, much-anticipated Android Wear compatibility update; meaning smartwatch owners with the upgrade installed will now be able to check-into nearby locations, control music playback and much more directly from their wrist.

Firstly, we’re looking at Foursquare’s Android Wear app, which enables its users to: read reviews of nearby places, check-into venues and even view their friend’s recent activity without having to remove their phone from their pocket.

Next we have Spotify, whose app permits its users to browse and control music from their smartwatch. They’ll be able to select a playlist, play/pause/skip music and scroll through their starred tracks.

If you’d like to find out more about the Android Wear release of Foursquare click here, and Spotify tap here.

Come comment on this article: Foursquare and Spotify launch Android Wear apps

29
May

Foursquare and Spotify launch Android Wear apps


spotify-android-wear-press

Foursquare and Spotify have both just started receiving the long-awaited, much-anticipated Android Wear compatibility update; meaning smartwatch owners with the upgrade installed will now be able to check-into nearby locations, control music playback and much more directly from their wrist.

Firstly, we’re looking at Foursquare’s Android Wear app, which enables its users to: read reviews of nearby places, check-into venues and even view their friend’s recent activity without having to remove their phone from their pocket.

Next we have Spotify, whose app permits its users to browse and control music from their smartwatch. They’ll be able to select a playlist, play/pause/skip music and scroll through their starred tracks.

If you’d like to find out more about the Android Wear release of Foursquare click here, and Spotify tap here.

Come comment on this article: Foursquare and Spotify launch Android Wear apps

29
May

Google partners with Udacity to offer Nanodegree in Android development


android_nanodegree

Google has launched a new effort, in partnership with online learning service Udacity, to help developers become more skilled and capable at developing for the Android platform. The company has created a new credential called a Nanodegree based on a curriculum designed to take 9 to 12 months to complete. The coursework can be completed on your own schedule, but Google suggests at least 10 hours per week be devoted to the effort. The fee is $200 per month although a one week free trial is currently being offered as part of the launch.

In addition to the traditional coursework, students will be engaged in several projects to produce actual apps, add features and capabilities, prepare them for production, and implement Material design concepts. Skills in these areas will be developed using several sample apps that students will build during the course. At the end, students will prepare and develop their own app as part of a Capstone project.

Google thinks developers will want to take advantage of the new Nanodegree in Android development as a way to tap into the continued growth of the Android platform. Android is already activated on over 1 billion devices and Google expects it to grow beyond smarphones to “become the brains behind invisible, ubiquitous cloud-connected computing.”

As part of the launch for this new program, Google plans to invite up to 50 students to Google’s Mountain View headquarters for a career summit. Google is also planning to make this Nanodegree available around the globe. One of the first steps in that effort was to localise the course in Modern Standard Arabic so it could be deployed in Egypt where Google is offering 2,000 scholarships for interested students. Google says other country localisations are being worked on.

Be sure to stick with us for more Google news from Google I/O 2015.

Click here to view the embedded video.

source: Google/Udacity

Come comment on this article: Google partners with Udacity to offer Nanodegree in Android development

29
May

Watch the Google ATAP keynote live stream right here!


Google_ATAP_Logo

The Google Advanced Technology and Projects team, led by Karina Dugan, holds its keynote at I/O 2015 this morning in San Francisco. What will the Google ATAP team unveil? We’ll just have to wait and see. However, we wouldn’t actually be surprised if there was something surprising announced. That team is working on some of the most ambitiously unique projects in the world.

Hit the break for the live stream!

Click here to view the embedded video.

Check out our complete Google I/O 2015 coverage

Come comment on this article: Watch the Google ATAP keynote live stream right here!

29
May

Google Cast picking up new API tricks to bring multiscreen and multiplayer gaming to you






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At Google I/O I swung by the Google Cast booths to see what they had in store for the Chromecast. Speculation had pegged the announcement of a Chromecast 2 device, but I have yet to get a solid word on succh a device. Not that one isn’t still on the way, it just wasn’t making headlines at the show. What the Google Cast team did have to show was still very news worthy though.

First up is a new Games Manager API’s as part of the Google Cast SDK. These new API’s will allow game developers to build shared and multiplayer games that will work with Google Cast senders, Android and iOS, and play them through to the TV on Google Cast ready receivers, like the Chromecast. To simplify all that, you can pull out your Nexus 6 and gaming in the living room with your buddy on his iPhone 6 Plus at the same time.

Next we have Google Cast Remote Display which will also be for Android and iOS devices. This function gives app and game developers the ability to take advantage of the multiscreen Google Cast model. In doing so, developers can create a complete experience on your Cast receiver while delivering a user interface or second set of abilities on your phone or tablet. I watched a demo of how this works out where a the game utilized the devices front facing camera to see you. Think Xbox Kinect. On the phone screen you only saw yourself , but on the game screen on the TV you saw your character emulating your motions. In this case it was flapping your arms. Another use case was utilizing your phones screen as a touch screen controller while the game is playing on your TV.


Google Cast (2)

The final addition includes Autoplay and Queuing abilities. This will give developers the ability to create and use content queues and pull a second video and begin buffering it prior to the first video ending. Think Netflix, Hulu and Plex. These apps let you queue up videos, or keeps a series playing back to back. However, they don’t seamlessly switch without a screen, or delay between content. With the new addition a video would just start at the end of the first one played.

I didn’t catch a launch date for the new developer abilities, but I do know that the Google Cast team will be having two session talks about it all today. I assume that means it will be available today, or very soon

The post Google Cast picking up new API tricks to bring multiscreen and multiplayer gaming to you appeared first on AndroidSPIN.

29
May

The producer of ‘Splatoon’ on how to make a Nintendo original


If you’re a fan of Nintendo, chances are you’re also a fan of Splatoon producer Hisashi Nogami, although you may not know it. Nogami joined the famed Japanese video game giant in 1994 and has been an essential member of EAD, the first-party development studio responsible for some of Nintendo’s most beloved games, ever since. Early in his career, Nogami worked primarily as an artist at Nintendo, designing some of the iconic imagery in games like Yoshi’s Island and Super Mario 64. But it wasn’t until 2001 that he got his big break with Animal Crossing, an N64 title he co-directed with Katsuya Eguchi.

In recent years, Nogami’s work has focused more on the quiet details that surround the Nintendo game experience, as he’s worked on both the Wii U’s menus and its Mii avatars. Splatoon, his first major AAA work since Animal Crossing: City Folk in 2008, hits Wii U this week with a splash of messy color and an online component. In advance of the game’s release, I spoke with Nogami over the phone (via translator) to discuss the makings of Nintendo’s next, breakout IP.

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Callie and her sister Marie (get it?) remind you to keep your style fresh in Splatoon.

In a recent Iwata Asks interview with the Splatoon team at Nintendo EAD, you explained that after finishing your work on the Wii U, you set out to make a game that didn’t fit into any established genre. You wanted to make something that wasn’t a Super Mario Bros. or Legend of Zelda. What’s the biggest challenge in making something totally new at Nintendo?

Rather than setting out to make something that didn’t fit into any genre, I would say that we didn’t want to get caught up in the idea of genre. In making the game, we started out by reconsidering our experiences making and playing games as well as our experiences in life. The sort of things we enjoyed doing while growing up. We wanted to make something that captured those past experiences.

“In creating a game like Splatoon, we were basically starting from scratch.”

I think it’s true that, with Nintendo, in an established franchise like the Mario series, there are challenges and new things that need to be done with each new title. I think it’s really true that in creating a game like Splatoon, we were basically starting from scratch and there were many more fundamental ideas and decisions that we needed to set in place before we could get going with the rest of development. That was what I considered to be the largest challenge we faced.

You mentioned that your childhood experiences informed making the game. It’s difficult to take something as simple as a child’s game, that energy of a kid playing pretend or just running around and being crazy, and make that into something everyone of any age can play. How do you recognize an idea that can be translated into an all-ages video game? How do you refine that into something that everybody will enjoy?

We wanted to focus on the types of feelings and emotions we had as kids. What was fun in particular about the games and activities we did as children? We wanted to bring those same feelings into the game. So the process consisted of talking about things we enjoyed doing as kids and the feelings that were associated with those experiences, and then picking out the elements from that type of play that we could then carry over into the game.

It wasn’t so much the gameplay itself, but the emotional content the gameplay brought. When we looked back at our childhood we thought, “Wow, this thing really made me excited!” What from those experiences and what from the gameplay can we break down and bring into a game?

Four players laying down a whole lot of ink.

Just the design of the Inklings has that spirit. The T-shirts, the hair, the fashion, the guns themselves; everything is playful. They’re very striking characters. The Inklings are also the very first original characters to come out of EAD since Pikmin in 2001. What’s the secret to making a new Nintendo character?

We didn’t start [with] wanting to create new characters, but rather a new type of play experience. These new characters you see now followed naturally. I feel that no matter how interesting a character you create, if that character isn’t fitting within the context of the gameplay that you’re creating, it’s just not going to have that much lasting appeal.

We knew that we wanted to have gameplay that featured switching back and forth between two forms that have these very different abilities just like the squid and humanoid forms the Inklings have. Their look is more a product of us granting them those abilities and really cementing those things as part of the game that we wanted to create.

This goes back to the points you mentioned with the hair, and fashion, and weapons that the character has. In designing this game, we also knew it was going to be a game that people would play online. In playing games online, when you have a character representing you — and this applies most specifically to the humanoid form the characters have — we thought that players would grow a greater attachment to those characters being able to customize the way you look when you go to face other people in battle.

“When I think about making games and the enjoyable aspect of games, for me it’s really more about the journey than the destination. The interesting parts of a game are those parts in between.”

Something I love about Splatoon is how loud it is. The colors are loud; the music is loud; and everything is just so big and bombastic. Your work tends to be quiet. The Wii U menu you created is quiet. The Animal Crossing games are very quiet. How did it change your creative process to make a game that’s so noisy?

I’m actually someone who enjoys playing games myself! I play a wide variety of games including over-the-top action games. We started this process of making Splatoon from the point of having two teams with two different colors of ink and you need to capture turf with those colors. Once we knew that that two-color separation was our starting point, we thought, “Well, let’s emphasize this!” and really gave those colors that stand-out nature that you see.

To speak to my past experience in designing games that seemed more quiet, I think this returns to the point that when we design games, we start from: “What is the core gameplay element that we’re wanting to create?” So for games that I’ve been associated with in the past, such as Animal Crossing, this is a game in which the core design was to exist and live in a village and look at a variety of things as you experience life. So to achieve that gameplay, the game looks quieter and has a more subtle look.

Using Splatoon Amiibo with the game unlocks new gear in solo missions.

Looking at your games like Animal Crossing and the online player-vs.-player modes in Splatoon, it seems that you tend to make games that can’t be finished in the traditional sense. There’s no final level, no boss. What appeals to you about games that are persistent, that you keep going back to, that you play again and again as opposed to something with a beginning, middle and end?

This may be my own personal taste, but when I think about making games and the enjoyable aspect of games, for me it’s really more about the journey than the destination. So the interesting parts of a game for me are those parts in between. The intermediate processes and things that you do on the way.

In speaking about the types of games we make, it depends largely on who’s going to be playing, and then the different things people of different ages bring to the game. For example, younger children may have difficulty finishing a long game or getting to the end, but it doesn’t matter if they are having fun. For example, someone who can’t finish a Super Mario Bros. will enjoy playing that first level over and over again and getting it just right. But this also holds true for adults. You hear regularly that adults don’t often have time to sink into a game to master it and take it all the way to the end. But if you are able to create something people can enjoy even if they only have a short time, that is a really crucial element to include.

Game players who are in junior high school, though, may have more time on their hands to really focus on taking a game all the way to the end. They want that sense of achievement they get from completing things and ticking off objectives. If we can think about the way to give that type of enjoyable experience to the widest variety of people possible, that’s our aim. I think the way we do that is by making those experiences, no matter what it is you’re doing in the game, so you feel like you’re enjoying yourself and feeling that sense of accomplishment.

So my very last question then is: When are we going to see Animal Crossing on Wii U?

Well, that’s difficult for me to answer at the moment! Yup. That’s pretty much all we can say.

What I will say is that you may have seen an announcement recently about an Animal Crossing product coming out on the 3DS… I can tack that on to the end of my response.

[Image credits: Nintendo]

Filed under: Gaming, HD, Nintendo

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29
May

A look at two alternatives to those $200 Beats headphones


A look at two alternatives to those $200 Beats headphones

Thanks to Beats, there’s no shortage of $200 headphones on the market. But what about cans coming from folks known for their speakers rather than their rhymes? Given their heritage in the audio space, I had high hopes for both the Klipsch Reference On-Ear Premium headphones as well as Polk’s Hinge Wireless Bluetooth cans. At first glance, they’re pretty comparable: Both are foldable on-ear models with plush carrying bags and tight iOS/OS X integration. As it turns out, the similarities fell away quickly once I actually put them on my skull.

It’s pretty well established that I’m a fan of Klipsch’s stuff. But given my last experience with a pair of headphones from the company, I was wary going in here. I shouldn’t have been. The References feel every bit worthy of their $200 price tag at first glance. Brushed-aluminum and chrome accents marry with well-padded, black, faux leather on the headband, while memory foam fills the ear pads. They look classy.

The earcups extend downward about two inches on each side with a firm ratcheting click for those of us with larger heads, too. Even after countless extensions and retractions over the course of a few months, the headband still feels incredibly solid — same goes for the spring-loaded hinges that give the cans their foldable functionality. It’s worth mentioning that a hairline crack formed on the left side of the headband near the earcup slider, but as of this writing it doesn’t seem like it’s going to spread. Honestly, I didn’t notice it until I was going through photos for the write-up. A generous linguini cable sporting an inline controller and mic extends from the left earcup, rounding out the entire package.

The flipside of the snug fit is that, as someone who needs corrective lenses, after about three hours the headset’s tightness became uncomfortable because the earcups were pinching the stems of my glasses between my ears and head. If you aren’t four-eyed, this might not cause a problem, but if you are and need to take a cross-country flight, these may not be the headphones for you. If you’re worried about them staying in place during a sweaty 45-minute session on an elliptical trainer, however, that’s unwarranted. Trust me, I tried it.

Speakers don’t need to be pretty and a headset’s looks and form only get it so far. It’s a good thing, then, that the References live up to their name. Klipsch launched the Reference line of products in 1999 as a way to deliver its best engineering and sound to audio enthusiasts. I can say without any hesitation that the Reference On-Ear are the best sounding on-ear headphones I’ve ever listened to, easily beating options that cost over twice as much from the likes of Shure.

Everything I played on the References sounded great. From the downright weird aural landscape of producer Amon Tobin’s Foley Room or El-P’s High Water jazz album to Katy Perry, Drake, Taylor Swift, Run the Jewels, Deftones or Trent Reznor’s soundtrack work; everything sounded killer. It didn’t matter if the source was a lossless audio rip, YouTube on my cellphone, Spotify, Google Music from my computer or if I plugged directly into my A/V receiver, either. There’s plenty of bass, but most importantly, mids and highs don’t get lost in the mix.

The only real downside is that the inline mic isn’t sensitive enough. If I wasn’t constantly pulling the cable toward my mouth, my voice became extremely quiet (you can hear this on the JXE Stream of Splatoon I was on). The controller itself is great however and is a huge improvement over what’s found on Klipsch’s R6m earbuds: Buttons are clicky and they adjust volume, start/stop songs or skip to the next one without any fuss on either my MacBook Air or my iPad Mini 2.

I wish I could say as much positive about the Polk Hinge Wireless, though.

Despite their price, the headphones don’t feel like they cost $200. The ochre and gunmetal pair Polk sent me feels cheap at almost every turn. From the thin and narrow headband to the eponymous hinge that felt loose after just three weeks of use, I couldn’t help but think that corners were cut here and there. There’s a fine balance between a device being light and feeling flimsy, and the Hinge falls on the less desirable side of that spectrum.

The volume dial that doubles as the power button on the right earcup feels cheap and hollow as well, with its plastic construction that seems incredibly insecure. Earcups are incredibly wobbly too, and feel like they could fall off given a hard enough jostle. They didn’t form a great seal around my ears either, but they make me acutely aware of how my glasses and ears don’t get along after about 45 minutes.

Music always felt distant and I lost a lot of the oomph from whatever I was listening to when I used the Bluetooth connection because I could never get the cans in a comfortable position. Bass neither resonates nor does it pack much punch, and the rest of the sound spectrum is equally uninspired. Running the included wire between my source and the Hinges brought a bit of drama back (and added inline volume and media control) to my tunes, but not much.

When operating over Bluetooth, there’s about a quarter-second of lag as well. It isn’t so noticeable or bothersome when you’re listening to something in the background, but I couldn’t watch YouTube videos with people talking onscreen because lip sync was distractingly off.

The lone bright spot for me was the battery life. I listened to the Hinges for roughly two hours a day for two weeks before I needed to recharge the first time, and there were at least a few times when I’d forgotten to turn them off after a session. Like the References, these stayed in place during a particularly laborious session on the elliptical trainer as well.

For the price, however, I can honestly say I was expecting a lot more; there’s no contest between the Hinge Wireless and the Reference. If for whatever reason you’re looking to spend a few Benjamins on headphones without the letter “B” on the side, the latter are hard to, ahem, beat.

Filed under: Portable Audio/Video, Mobile

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29
May

The best kitchen scale


This post was done in partnership with The Sweethome, a list of the best gear for your home. Read the full article at TheSweethome.com

If you need an all-purpose digital kitchen scale for baking, cooking by ratio, or even measuring beans to brew coffee, the Jennings CJ4000 ($26) combines some of the best features we’ve seen in a scale. It’s easy to use and store, comes with an AC adapter to save on batteries, and you can disable the auto-off function so you can take your sweet time mixing or brewing. The Jennings costs only a few dollars more than a bare-bones model, but does something none of them can: it measures in half grams for even better precision.

How we decided

In addition to testing the accuracy of the scales with lab weights and bread dough ingredients, we timed how long each stayed on before the auto-off function kicked in.

We spent nearly 30 hours researching, interviewing experts, and testing digital kitchen scales over the last two years. Of the 45 models we’ve considered, the Jennings CJ4000 has proved the most versatile for a range of kitchen tasks and the best for most people.

Who should buy this?

Anyone who wants more consistent results from their baking, cooking, or coffee brewing should consider getting a kitchen scale. It’s far more accurate to weigh flour, diced vegetables, shredded cheese, or any number of ingredients than to cram them into a measuring cup or spoon. And since you can pour everything into one mixing bowlsubtracting cups and spoons from the equationthis type of cooking and baking cuts down significantly on dishes.

For precision coffee brewing, as with pour overs, a scale can help you get an accurate combination of beans and water every time. (If you’re into home espresso, see our other recommendations below for even more accurate pocket scales.)

Why we like Jennings CJ4000 above all else

When turned on, the Jennings CJ4000 defaults to the last unit measurement used. Simply press the “mode” button to switch between grams, ounces, pounds, and pieces (the counting function).

With a capacity of .5 grams to 4000 grams (about 8.8 pounds), the Jennings scale is precise enough for pour overs, but can also handle big batches of dough. Many cooks and bakers may not need the .5 gram level of accuracy, but we like that the precision gives you options down the road.

We also like that the Jennings comes with an AC adapter. (Most of the other models we tested only use batteries.) This conserves battery, and could save you an emergency trip to the store when the batteries have finally died.

The Jennings scale was one of a few we found where you can disable the auto-off function, so you can take as much time as you need to measure ingredients without the scale turning off. If this isn’t disabled, the scale turns off after only a minute and a half of inactivity.

We found the Jennings scale’s bright orange backlit screen, which stays on as long as the scale does, easy to read. We also like that the scale has a small footprint, making it convenient to store in a cupboard or drawer.

Overall, we think the Jennings CJ4000 offers a lot of value for a very reasonable price. It also comes with a 20-year manufacturer’s warranty.

Flaws (but not dealbreakers)

Although the Jennings scale reads in .5 g increments, it wouldn’t pick up our 500 milligram lab weight on its own. It only registered the 500 mg increment when we added an additional 1 gram weight.

When testing with lab weights, the Jennings scale consistently read .5 g too high. The slight misread could prove problematic for some coffee people, but not a biggie for most bakers or cooks.

If using a big pot for mixing dough, it takes some maneuvering to see the screen. You definitely can’t see the measurement if using a sheet pan. Yet for most baking, cooking, and coffee tasks, we think the Jennings will work just fine.

If you bake in bulk

At 4 inches tall and with a footprint of 10 by 7.5 inches, the My Weigh KD8000 (left) is roughly the same size as the OXO, Jennings, and Ozeri scales combined.

The $36 My Weigh KD8000 is a beast compared to the other scales we tested and only measures in full grams, but as with the Jennings scale, you can use an AC adapter, disable the auto-off function, and keep the backlight on as long as the scale. It’s a good choice for quantity baking, as it’ll weigh up to 17 pounds, 9 ounces. Just be aware it takes up quite a bit of counter space.

The best designed scale

We like the OXO’s pull-out display screen, especially when using a flared mixing bowl, large pot, or wide sheet pan.

The much sleeker OXO Good Grips Stainless Steel Food Scale has an easier to read display, and the best overall design of all the scales we tested. But at $50 it’s relatively pricey and doesn’t function better than the Jennings CJ4000.

For extra precision

To switch unit measurements on the American Weigh SC-2KG pocket scale, simply press the mode button. The scale will remember the the last measurement used, even after you’ve turned it off.

For weighing very small amounts very preciselysuch as espresso, spices, or leavenerswe’d go with the $18 American Weigh 2KG pocket scale, which measures in .1 gram increments, or the American Weigh Signature Digital Pocket Scale ($8.50), which measures in .01 gram increments.

In closing

Our favorite digital kitchen scale is the most versatile for a range of kitchen tasks, but some of our other picks have better designed features and even more precision. For most cooking, baking, and even coffee brewing, though, we’d buy the Jennings CJ4000.

This guide may have been updated. To see the current recommendation please go to TheSweethome.com.

Filed under: Household

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29
May

Apple Continues to Provide Top-Rated Tech Support on Strength of Genius Bar


Apple had the highest overall customer satisfaction for tech support among more than 3,200 computer owners surveyed by Consumer Reports, unsurprising given the company has been top-rated for tech support since the not-for-profit organization first surveyed customers about the topic in 2007. Apple has also routinely topped multiple J.D. Power and Associates studies for customer satisfaction over the past decade.

apple_store_genius_bar_official
Apple earned high marks for the Genius Bar located at the back of most Apple retail stores, where customers can book an appointment to receive face-to-face technical support and troubleshooting for iPhone, iPad, Mac and several other Apple products and services. Consumer Reports praises the Genius Bar’s free lifetime support as a differentiating factor over similar services, which generally require paying for help.

Windows-based PC makers did not receive the same accolades for tech support among survey participants:

“The help desks at Windows PC companies often didn’t live up to that name. For four of the six PC brands in the survey, tech support solved only half of the problems consumers brought to them. Even the best of them—Lenovo and Dell—came through just 61 percent of the time.”

Consumer Reports found that most Windows-based PC users were most satisfied by phoning tech support rather than seeking online help through web, chat or email support. Best Buy’s Geek Squad and Staples’ EasyTech services were found to be a step behind the Genius Bar, given that Apple serves as both the retailer and manufacturer and is subsequently more knowledgable about its own products and support information.

Apple provides 90 days of complimentary phone and online chat support that can be extended for up to two years with an AppleCare+ Protection Plan for iPhone, iPad, Mac, Apple Watch, Apple TV and other products. AppleCare+ also protects against up to two incidents of accidental damage with an applicable service charge, such as a cracked screen from dropping the device or water damage.




29
May

Diving into M: Android M lets you move apps to microSD thanks to “adoptable” storage


samsung-galaxy-fame-microsd

Google is famously uninterested in giving proper support for microSD, but it looks like the Android team is having a slight change of heart.

One of the many new features that Google didn’t really advertise about Android M yesterday is Adoptable Storage Devices. Adoptable basically means that Android M can “adopt” an external storage device like a microSD card and format and encrypt it so it acts like the device’s internal storage. It looks like Google no longer sees microSD as for storing media only; with adoptable storage, you will be able to move apps and their data to microSD or other external storage devices. The caveat is you won’t be able to use an adopted card on other devices, because of the encryption. But that’s a small sacrifice given the benefits.

The ability to move apps between internal and external storage is a feature that many OEMs added to their devices years ago. Now Google is building it into stock Android, despite the fact that there are no Nexus devices with microSD ports. This is another Android M feature that has been popularized by OEMs and that Google now includes into stock Android, with fingerprint sensor support, themes, customizable quick settings tiles, being other examples. It remains to be seen whether this is a sign of something bigger (from the Nexus line, only the original Nexus One supported microSD) or just a fluke.

Besides adoptable storage, a related improvement is better support for OTG USB. Now when you connect a USB OTG flash drive, a popup will let you browse the contents immediately, without having to use a file explorer.

Want to dive even deeper? Check out our full “Diving into M” series.