But every time I wanted to change songs, I had to go to another room and make a few mouse clicks on my computer. Ever since then, I’ve been waiting for someone to come up with a good, affordable remote control that lets me change tunes no matter where I am in the house.

Apple’s Remote program

It turns out, I already owned that device. It’s an iPod touch. A new program released by Apple (AAPL) in July was all it took to convert my MP3 player into a sophisticated remote control for my digital-music collection. That program, called simply Remote, runs on the iPhone as well as on the iPod touch, a version of the Apple MP3 player that has an iPhone-like touch-sensing screen and Internet-access capabilities using Wi-Fi wireless technology. Remote is available free of charge on the online App Store that Apple has used since July to distribute software for those devices.

In essence, Remote is a remote control for all music stored on a Mac or Windows PC that’s loaded into iTunes, Apple’s music jukebox software. It allows you to jump between playlists, browse artists and pump up the volume. For the program to work, you need to buy into using other Apple entertainment products.

In the simplest setup, Remote lets you control the music from stereo speakers connected directly to a PC. But it’s most useful when you use a PC to deliver audio to additional speakers around a home — say, a pair on the patio and in the living room.

Apple sells a couple of products that receive audio signals from a PC running iTunes. Both work wirelessly over a Wi-Fi home network so you don’t need to put holes into your walls to run computer and speaker wires. I tested Remote using both. One is an Apple TV, a $229 set-top box in my living room that plays digital audio and video through a standard home-theater system. The other is an AirPort Express, a $99 Apple wireless networking device on my patio connected to a pair of powered A5 speakers made by Audioengine, of San Jose, Calif. A third set of speakers was connected to an iMac in the kitchen, where I store all of my digital music. (The least expensive iPod touch costs $299.)

It was a breeze to configure the Apple TV and AirPort Express to show up as remote speakers in iTunes on my computer. Setting up Remote to give me mobile control over this array of speakers was trickier. After installing the program on my iPod touch, I couldn’t get it to work with iTunes on my PC. After 20 minutes of fiddling with the security settings for my Wi-Fi base station, iTunes finally recognized Remote. I was in business.

We all know how confusing the remote controls for TV sets and stereo systems can be. Remote, by contrast, cleanly displays all the music on my PC on the color screen of my iPod touch.

The program let me flip through artists, albums and playlists with simple finger swipes. But I was sorry that Remote doesn’t have a feature in the iPod touch called cover flow that lets users browse their music libraries by flipping through album-cover art. Apple says it may offer the feature in the future.

The software also let me easily turn on and off the music from my speakers in my kitchen, living room and patio. I could have all the speakers on at once — good for a party. The sound was terrific. The crisp-sounding $349 Audioengine speakers don’t require a stereo receiver.

Because Remote uses Wi-Fi to communicate with iTunes, I could control music anywhere around my house and backyard, which are small enough to be fully covered with a signal from my Wi-Fi base station. That’s a big plus over conventional remote controls that use infrared, a technology that doesn’t work through walls.

One drawback: The battery in my iPod touch drained overnight when I configured the device to stay connected to iTunes, a feature that increases software responsiveness. Changing the setting let me go days without recharging my iPod touch, but it meant I had to wait a couple of seconds for Remote to connect to iTunes when I started up the software — an acceptable trade-off.

Another multiroom audio product with a good remote control is the ZonePlayer from Sonos, an equipment maker based in Santa Barbara, Calif. That system has some advantages over Apple’s offerings, including the ability to access tunes from online music services, such as Pandora and Rhapsody, and separate volume controls for each set of speakers.

The Sonos system starts at $999 for a remote control and wireless receivers, without speakers, that can deliver music to two rooms.

For people who already own an iPod touch or iPhone, Remote is a good reason to buy an AirPort Express, and fill your home with music.

Walter S. Mossberg is on vacation.

• Email Nick.Wingfield@wsj.com.

Wireless cellphone earpieces can make people look faintly ridiculous as they stroll down the street or around the office, seemingly talking to themselves with ugly appendages sprouting from their heads. The pulsing blue lights on these things can make people look like robots. And these battery-powered gadgets, which use a power-hungry wireless technology called Bluetooth, are just one more thing to charge.

But such headsets are becoming more necessary, at least in the car. A growing number of cities and states are requiring all calls made while driving be conducted in a “hands-free” manner. Two more big states, California and Washington, will begin enforcing such laws in July. Unless drivers in these places have cars with costly built-in Bluetooth speakers and microphones, many will turn to wireless earpieces to make calls legally.

Now, two of the most important wireless earpiece makers are bringing out new models that attempt to make their products more attractive and functional. One is a new version of the Jawbone, which has become a leader in the high-priced end of the market. The other is a new model from Plantronics (PLT), which vies with Motorola (MOT) as the top seller of wireless earpieces.

I’ve been testing both the new $130 Jawbone, and the $150 Plantronics Discovery 925, and both work well, despite some drawbacks. Each worked properly with both an inexpensive Motorola Razr phone from Verizon (VZ) and a sophisticated Apple (AAPL) iPhone from AT&T (T). But I preferred the Jawbone, because of its technology and design.

The new Jawbone, made by a closely held San Francisco company called Aliph, is 50% smaller than the original Jawbone, which I reviewed in 2006. It continues to boast the original Jawbone’s signature feature: a remarkable ability to suppress background noise and isolate the wearer’s voice.

Jawbone performs this feat by using a sensor that touches your skin lightly to identify your voice through the vibration of the bones in your face. Using this information, its microphone can more easily distinguish your voice from background noise, and accurately suppress the latter.

This feature, originally called “Noise Shield” and now theatrically renamed “Noise Assassin,” really works. When the company first showed off the original Jawbone, it made live calls standing in front of things like weed whackers and boom boxes, and then turned the bone-sensing feature on and off to show the dramatic difference.

Aliph’s new Jawbone

In my tests of the new, much smaller Jawbone, I stood a few feet from a roaring vacuum cleaner, while on a phone call. The person I was calling could barely hear me with Noise Assassin turned off, but could clearly make me out when I turned it on.

By contrast, the Plantronics Discovery failed my noise test. It was useless anywhere near the vacuum cleaner. This was obviously an extreme case, but it served as a stand-in for other loud noises likely to be encountered in real life, like large trucks, or construction gear on the streets.

The biggest flaw in the original Jawbone, in my 2006 tests, was its performance in wind, which was poor. The Jawbone did much better in my latest tests. During a Jawbone call from a car with all the windows down and the sunroof open, my voice was easy to make out, according to the person I was calling. The new Plantronics earpiece did just as well in this wind test.

Plantronics claims its headset also enhances the voice of the person you are calling, a claim Aliph doesn’t make for the Jawbone. But, while voices sounded fine on the Plantronics, I couldn’t detect any difference between the two on that score.

Both gadgets are meant to be more stylish, and both will be available in multiple colors. But, while the Jawbone is just a smaller iteration of its original slab-like form, Plantronics has done something more radical with the Discovery 925: It has tried to make it look like jewelry. The Discovery’s electronics are housed in the diamond-shaped portion of the device that goes on the ear, and the microphone sits at the end of a long, V-shaped boom that is open in the center. Plantronics says the design is suitable for both genders, but admits it is a bit more aimed at women and at fashion-conscious men.

I believe some men wouldn’t feel comfortable wearing this new Plantronics model. It’s also longer than the Jawbone. But I did find it more comfortable to wear, since it doesn’t protrude as much into the ear.

The Plantronics claims longer talk time — five hours vs. four hours for the Jawbone, but the Jawbone claims longer standby time — eight days, vs. seven days for the Plantronics. The Jawbone weighs more, at 10 grams, compared with 8 grams for the Plantronics, but neither felt heavy on my ear.

I did prefer the Plantronics’ controls over the Jawbone’s. The former uses obvious buttons, while the latter employs unmarked, hidden buttons whose location you have to learn by touch.

Both of these earpieces do the job, but if you have to choose one, I’d pick the Jawbone.

• Find all of Walt Mossberg’s columns and videos online, free, at the All Things Digital Web site, walt.allthingsd.com. Email him at mossberg@wsj.com.

Corrections & Amplifications:

The Aliph Jawbone cellphone earpiece weighs 10 grams, and the Plantronics Discovery 925 earpiece weighs 8 grams. An earlier version of this column erroneously reported the products’ weights in ounces.