Anyone who's had much exposure to Bose's bulky QuietComfort 2s or smaller QuietComfort 3s knows the story: they cancel noise pretty well, and they sound pretty good, though in the last few years—QuietComforts have been around in their current incarnations for a surprisingly long time—other companies have stepped in with products that do pretty much the same thing, cheaper. So! Bose has two options: Go low, or, you know, improve the product. With the QuietComfort 15, which will replace the old old old QC2 starting tomorrow, they've gone with the latter.

From a design standpoint, this is a very familiar product—it's hard to find any external hardware changes aside from a new LED indicator and a slightly changed curvature on the headband. Likewise on the sound, which is perfectly adequate, but won't blow audiophiles away.

The noise canceling, on the other hand, is a different story: it strips out low frequencies way, way better than the QC2 or QC3, to the point that typical airline noise (simulated in my test, but definitely loud) becomes almost imperceptible. Wearing these things sounds almost like wearing two of the old models, stacked, if that makes any sense. Pending fuller tests, I'd say it feels like this is a healthy upgrade for the QuietComfort's target customers: guys in suits with belt-strapped iPod Classics, and airlines.

That said, they're still fairly bulbous, and probably deserved a redesign, since this shell's been around for nearly a decade. That, and the price: The QuietComfort 15 is going to inherit the $300 pricepoint, and since its improvements are fairly subtle, it'll be hard not to feel a little ripped-off at the register. [Bose]

A $185 TSC-300 I bought from J&R, my Walkman was also a stereo recorder. (Note the spiffy name—even when it was clueful, Sony was clueless.) No way you could put it in your pocket—it was about the size of a trade paperback book. But the music sounded great, and it doubled as a very solid, if bulky, recorder for interviews.

Besides the Walkman, a real driver of cassettes, so to speak, was the car experience. Cassettes were a big improvement over the first personal car audio technology, 8-Tracks, which had to switch from one "track" to another every few minutes, and to accommodate this, labels would often rearrange the order of songs on an album, or even cut off a long song in the middle. (I once went cross-country in a Trans Am with an 8-track, and to this day every time I hear The Doors play "The End," my mind inserts an 8-second pause before Jim Morrison kills his dad and fucks his mom.)

As now, people had all kinds of exotic car-stereo rigs, but as an impoverished writer I outfitted my 1972 VW bug with a minimal unit (a no-name brand for $99) that I bolted under the dashboard and wired up to the speakers. Not pretty, but I could control what music I heard in the car, which was actually a novelty then.

The other big advantage of cassettes, of course, were that they were recordable. You'd buy blank 90-minute cassettes (chrome high bias, if you were an audio nut) and tape one album on each side. (Since most records were shorter than 45 minutes, you'd grab a song or two from another album to avoid a long dead spot before the tape reversed.) And you'd borrow albums from friends and tape your own. You could also tape from other cassettes, but the quality degraded each time you made a copy made from a copy. It was like an organic form of DRM. Everybody had a box with hand-labeled cassettes and before you went on a car trip you'd dig in the box to find the tunes that would soundtrack your journey.

Cassettes weren't the most reliable technology—it was pretty common for the music to stop and then, when you tried to eject, the player wouldn't give up the tape. You'd use brute force, and sticking out of the plastic would be a tangle of brown spaghetti. But even though audio cassettes supposedly degrade after 20 years or so, I still have a couple in my car that I made in the '70s—one of the early Stones, taped from the mono originals, and a Neil Young tape with "Tonight's the Night" on one side and "On the Beach" on the other. Neither has lost its magnetism, physically or psychically.

The cassette era was a big setup for the age of iPod, a pocket-size digital device that was not only a playback unit, but the equivalent of a room-size cardboard box full of tapes. And, of course, Napster, which made the whole world into a big cassette-tape-swapping community, where everything was free.

Steven Levy is a senior writer for Wired, most recently writing about Google's ad business and the secret of the CIA sculpture. He's written six books, including Hackers, Artificial Life and The Perfect Thing, about the iPod. In 1979, he had just left his first real job, at a regional magazine called New Jersey Monthly, to become a freelance writer, and had yet to touch a computer.

Photos of every blank tape ever at tapedeck.org

Gizmodo '79 is a week-long celebration of gadgets and geekdom 30 years ago, as the analog age gave way to the digital, and most of our favorite toys were just being born.

Yes. The SE115's bass driver is so improved, I actually don't want to go back to my SE110s. The SE115s provide a clean resonance in your ears that was previously missing, but not at the cost of overall clarity. Shure says the magic lies in their second-gen Dynamic Microspeaker, previously found in the larger-bodied E2c model, finally shrunken down to fit in earbuds this small.

To test, I went with two songs: Charles Mingus' "Solo Dancer," because it makes use of a subtle, melodic bass in the background and The Bug's "Poison Dart," because it's one of the more in-your-face, bass-heavy tracks to come out in the last five years.

The SE115s outperformed the SE110s in both instances, able to put that extra rumble in your head without losing the nimbleness and the dexterity of the music. Mingus' beefy double bass, in particular, took on new life with the SE115s stuck in my ears—going from a complementary noise, to an instrument demanding to be heard. For the upper register, there's really not much distinction at all, on those tracks and on others with less basso profundo, such as The Beach Boys' "Caroline No." Whether or not you want more low-end will may come down to personal preference, but this is a natural augmentation. Think of it this way: The fuller sounding SE115 simply does a good job demonstrating what's missing from the SE110.

On the technical side, the SE115 has a slightly better frequency response range. I used 20-20000 Hz and 20-200 Hz WAV files to listen for differences between the two sets. I noticed the SE115s rumbled longer on the low end and even squealed at a little higher pitch than the SE110s, but in that upper register, it's probably nitpicking to draw any significant difference.

Externally, these new SE115s share the exact same body and ear cushion options as the SE110s so the comfort factor is identical. The black pair has gold logos instead of silver, and if you're more daring, they also come in red, blue and pink. They both have the same breakaway cable, so you can add the original cellphone-mic extension if you so choose. The lightweight and foam-covered, in-canal drivers have never been a problem for me, but again, it all comes down to personal preference. In any case, at $100, I can't help but champion the SE115s as the best relatively affordable headphones at the moment. [Shure's Product Page with MSRP—shop around for the $100 price]

(Frequency Sweep WAV files are from burninwave.com)

The problem with this set of advantages, though, is that they're shared with virtually every other physical format. You know, the ones that that have been careening towards extinction since high-capacity MP3 players made it big? That said, if it comes down to buying an album on a CD or a reusable SD card, the choice is clear. In either case the music is likely to be copied to a computer or iPod rather than lugged around on its own individual piece of plastic, but why not get a perfectly usable 1GB SD card out of it? If you're keeping your Discman spinning on account of scary sync software and the high price of overladen MP3 players, maybe SanDisk's minimalist $20 unit is right for you. Check below for the (respectable) artist release list. [SanDisk]

* ABBA
* Chris Brown
* Coldplay
* Connie Talbot
* Daughtry
* Don’t Quit Fitness Bundle
* Elvis Presley
* Five Finger Death Punch
* Jimi Hendrix
* Jimmy Buffet
* Katy Perry
* Keane
* Kelly Clarkson
* Kiss
* Leona Lewis
* Lynyrd Skynyrd
* Metro Station
* MIA
* Nelly
* New Kids On the Block
* Ne-Yo
* Nickelback
* Pussycat Dolls
* Rihanna
* Rise Against
* Robin Thicke
* Saving Abel
* Shwayze
* Solange
* Sugarland
* Tim McGraw
* Toby Keith
* Usher
* Weezer
* Young Jeezy

It's impossible to say how these'll work in the market where instant and convenient downloads are a click away, since you'll have to either buy one in a physical store, or purchase them online and wait for them to come in the mail.

But you can guess that downloading market is why the music biz is trying to grab back control of at least some of their music sales. There's no official data on pricing, but word is it'll compare to existing CD albums, and a list of titles will hit in time for the holiday season. [SlotMusic]