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Advance Paris A10 Classic Review: A French Hybrid Amplifier With More Bordeaux Than Bubbles

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The French have never suffered from a shortage of self-confidence. Their cars, cinema, food, and hi-fi tend to arrive with a point of view, and the Advance Paris A10 Classic is no exception. With illuminated VU meters, two ECC81/12AT7 tubes glowing behind its front panel, and a Class AB output stage rated at 130 watts per channel into 8 ohms and 190 watts into 4 ohms, it looks less like another anonymous black box and more like something intended to command the room. This is not amplification for the light and fluffy croissant crowd.

The A10 Classic is not a new integrated amplifier. It has been part of the Advance Paris lineup for several years, preceding both the company’s anniversary APEX models and the flagship NOVA electronics that we experienced at AXPONA 2026. That does not make it irrelevant. If anything, the A10 Classic helps explain how Advance Paris arrived at its current formula: bold industrial design, tubes where they can influence the character of the presentation, solid-state output stages where current and control matter, and enough connectivity to anchor an entire two-channel system.

Advance Paris Nova Integrated Amplifier at AXPONA 2026
Advance Paris NOVA A-i190 at AXPONA 2026

At AXPONA, Advance Paris placed the spotlight on the NOVA A-i130 and A-i190 integrated amplifiers, which push that concept further with DSP, more sophisticated subwoofer management, modular streaming, and optional bi-directional Bluetooth. The A-i190 was one of our Best in Show selections because it balanced vintage-inspired styling with genuinely useful system flexibility and a surprising amount of power driving a pair of Vienna Acoustics floor standing loudspeakers. The A10 Classic is a simpler and older interpretation of that philosophy, but the family resemblance is unmistakable.

Its continued relevance also says something about why integrated amplifiers have become so popular. Listeners increasingly want fewer boxes, but they are not necessarily willing to surrender vinyl playback, digital inputs, television connectivity, subwoofer support, or enough power to drive demanding loudspeakers.

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On paper, that promises some of the tonal body associated with tubes, the control and current delivery of transistors, and enough flexibility to replace several separate components. The newer NOVA models may represent where Advance Paris is going, but the A10 Classic reveals a great deal about how the company got there. The question is whether all that established French muscle still delivers sufficient finesse or merely a very convincing accent.

From Jadis Romance to Advance Paris Muscle

There was a time when French hi-fi had a fairly recognizable personality. The better examples from Jadis and YBA could sound delicate, spacious, and beautifully saturated through the midrange, with a sweet top end that made strings and vocals especially inviting. The trade-off was sometimes a slight softening of low-level detail and bass that emphasized warmth and texture over speed or absolute control. Think red Burgundy rather than a chilled Sancerre: richer, rounder, and not especially interested in showing you every sharp edge.

It also reminded me of driving around Paris in an old Citroën with my cousin, who worked as a researcher at the Institut Pasteur. The car’s famously compliant suspension floated over damaged pavement and insulated us from nearly everything happening beneath the tires. It was wonderfully comfortable, but you did not always receive a detailed report from the road. Some older French amplifiers could behave the same way, smoothing over rough recordings and delivering a more romantic presentation while sacrificing a little grip, transparency, and bottom-end precision.

The newer French approach is rather different, although Devialet and Advance Paris do not arrive there by the same technical route. Devialet’s patented ADH architecture operates its Class A analog and Class D switching amplifiers simultaneously in parallel. The Class A section determines the output voltage but is relieved of supplying the corresponding current; the Class D stage provides that current and performs most of the heavy lifting. The objective is to preserve the linearity of Class A while gaining the power density, efficiency, and loudspeaker control of Class D. It is considerably more sophisticated than placing two different amplification technologies in consecutive stages.

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Advance Paris A10 Classic

The A10 Classic follows a more conventional, and arguably more serviceable, division of labor. Its ECC81/12AT7 tubes operate in the preamplifier stage, where they handle the low-level signal before passing it to a Class AB push-pull transistor output section. The tubes are therefore not driving the loudspeakers or sharing output duties with the transistors; they are used upstream, where they can influence gain structure and tonal character, while the solid-state section supplies the current, control, and 130 watts per channel into 8 ohms. It is hybrid amplification in series rather than Devialet’s parallel ADH topology, and the distinction matters.

Which approach is superior? That depends on whether you prioritize tonal beauty and forgiveness or speed, resolution, control, and system flexibility. Having owned both Jadis and YBA components, I understand the attraction of the older school. I also experienced enough operational eccentricity to distinguish charmingly French from utterly weird. There is quirky, and then there is wondering whether your amplifier has decided that electrical consistency is merely an Anglo-Saxon suggestion. I have been there. I will not be going back.

As this is being written, France are two victories away from winning the 2026 World Cup and will face Spain in the semifinal on July 14. Their attacking group of Kylian Mbappé, Ousmane Dembélé, Michael Olise, and Bradley Barcola has been dangerous not simply because of its pace, but because it understands when to press, when to create space, and when to strike. France reached the semifinal after beating Morocco 2–0, with Mbappé and Dembélé supplying the goals.

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The A10 Classic leans much closer to that newer French philosophy. It is forceful, quick, and capable of delivering genuine low-frequency authority, but its tube preamplifier stage keeps it from becoming sterile or relentlessly clinical. It retains some of the tonal color associated with the older French school while providing the control, power, build quality, and day-to-day reliability that I would now demand from an integrated amplifier. The older approach could be seductive. The A10 Classic is more interested in winning the match.

The A10 Classic is less Cyrano and more Nikita: unmistakably French, outwardly stylish, and capable of delivering considerably more force than its polished appearance suggests.

Technology and Specifications

The A10 Classic is designed as the center of a serious two-channel system rather than another amplifier pretending to be a tablet. It delivers 130 watts per channel into 8 ohms and 190 watts into 4 ohms, with a High Bias setting that increases the standing bias of the output stage for the first few watts. Advance Paris does not publish the precise Class A operating range, but it definitely results in a warmer top panel.

The amplifier also requires approximately 30 seconds to warm its two ECC81/12AT7 tubes after startup, with a countdown displayed on the front panel before operation begins. High Bias mode produces additional heat, so placement matters: Advance Paris recommends at least 50 mm, or 2 inches, of clearance on each side and 100 mm, or 3.9 inches, above the chassis. This is not an amplifier to bury inside a tightly packed cabinet beneath a cable box and three years of unopened mail.

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Its analog connectivity is unusually comprehensive. Five line-level RCA inputs are joined by a balanced XLR input and an MM phono stage with selectable capacitance settings of 100, 200, or 320 pF. The phono input does not support moving-coil cartridges, but the adjustable capacitance makes it more useful than the fixed MM stages fitted to many integrated amplifiers.

Pre-out and amp-in connections allow the two sections to be separated, while a fixed record output, two mono subwoofer outputs, two switchable speaker zones, a trigger connection, and a front-panel headphone jack cover most conventional system requirements.

The digital section is built around an ESS9018 DAC and includes three optical inputs, one coaxial input, USB-B for computer audio, USB-A for MP3 playback, HDMI ARC for a television, and a second HDMI audio input for a compatible source. USB-B supports PCM up to 32-bit/384 kHz and DSD256 through DoP; coaxial reaches 24-bit/192 kHz and optical is limited to 24-bit/96 kHz. Bluetooth is optional through Advance Paris’s X-FTB01 aptX or X-FTB02 aptX HD module rather than being built into the amplifier.

There is no Wi-Fi, Ethernet, native streaming platform, app control, room correction, moving-coil phono stage, or HDMI eARC. The subwoofer outputs also lack adjustable crossover, high-pass filtering, and time alignment, so bass management remains the responsibility of the subwoofer. The HDMI inputs provide a convenient route for stereo television and source audio, but the A10 Classic is not an AV receiver and Advance Paris does not document Dolby or DTS decoding. Its appeal is hardware longevity: add the streamer of your choice today and replace that source when the software industry moves the goalposts again.

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Advance Paris A10 Classic Specifications

  • Type: Hybrid stereo integrated amplifier
  • Tubes: 2 x ECC81/12AT7 in the preamplifier stage
  • Power output: 
    • 130 watts per channel into 8 ohms
    • 190 watts per channel into 4 ohms
  • Amplification: Class AB with switchable High Bias mode
  • DAC: ESS9018
  • Analog inputs: 5 x stereo RCA, 1 x balanced XLR
  • Phono: MM; 47 kΩ; 100, 200, or 320 pF capacitance
  • Digital inputs: 3 x optical, 1 x coaxial, USB-B, USB-A, HDMI ARC, HDMI Audio In
  • Maximum digital resolution: PCM 32-bit/384 kHz and DSD256 via USB-B
  • Bluetooth: Optional aptX or aptX HD module
  • Outputs: Pre-out, amp-in, fixed record out, 2 x mono subwoofer, Speaker A/B, headphone, trigger
  • Frequency response: 20 Hz to 80 kHz, ±3 dB
  • Dimensions (W x H x D):  430 x 175 x 385 mm (16.9 x 6.9 x 15.2 inches)
  • Weight: 14.5 kg / 32 pounds
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Listening

I have lived with the Cambridge Audio Edge A integrated amplifier for close to five years, and at no point have I felt any desire to replace it. It has been consistently reliable, is built to an exceptionally high standard, remains relatively cool even when driven hard, looks appropriately substantial, and can power a wide range of loudspeakers without sounding strained. More importantly, it continues to sound excellent.

In several respects, the Advance Paris A10 Classic feels like a distinctly French interpretation of the same basic idea: a powerful, full-featured integrated amplifier designed to serve as the foundation of a serious two-channel system. For this review, I used it with the Q Acoustics 5040, Magnepan LRS, Acoustic Energy AE100 MK2, Wharfedale Diamond 12.3, and Wharfedale Super Denton loudspeakers.

The analog front end included Thorens turntables fitted with cartridges from Ortofon, Goldring, and Sumiko, while network playback was handled by components from Bluesound, WiiM, and Cambridge Audio. System cabling came from Advance Paris, QED, Analysis Plus, and Clarus Audio.

Anyone expecting the A10 Classic’s tubes to produce a soft, velvety, or overtly romantic tonal balance should think again. The amplifier sounds comparatively linear, with good control, clarity, and extension at both ends of the frequency range. The tubes contribute additional texture, prevent the presentation from becoming sterile, and give instruments greater body and dimensionality, but they do not dominate the amplifier’s overall character.

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Think of it as a very French friends-with-benefits arrangement with Léa Seydoux: sophisticated, textured, and never overplayed, provided you remember the galette, carrot salad, and a bottle of wine good enough to avoid ending the relationship.

As much as I love the Magnepan LRS, they need an amplifier with more than an impressive power rating on paper. Their 4-ohm impedance and relatively low 86 dB sensitivity place greater demands on current delivery as playback levels increase, even though their largely resistive load is easier to manage than the severe impedance swings presented by some conventional loudspeakers.

It has always seemed slightly unusual that my Schiit Ragnarok 2 drives them as well as it does. Its 100-watt-per-channel rating into 4 ohms is hardly excessive by modern standards, but it remains composed and sounds convincing as long as I am prepared to push the volume control farther than usual. The Cambridge Audio Edge A drives the LRS with considerably less apparent effort, and the A10 Classic proved similarly comfortable with them.

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Advance Paris A10 Classic (off)

The Advance Paris added greater texture, firmer control through the upper bass, and more tonal color than I generally hear from the LRS with the Ragnarok 2. Nobody buys these loudspeakers for subterranean bass; their specified response begins at 50 Hz (which I think I think is being overly generous) but the A10 Classic gave what was available more shape, weight, and definition. I like color in my food, music, movies, and, yes, in the women who have tolerated me. The A10 Classic understood the assignment.

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Nick Cave’s “Avalanche” and “Comancheria,” the latter from his and Warren Ellis’s superb score for Hell or High Water, require an amplifier capable of reproducing tonal weight without sacrificing speed or clarity. “Avalanche,” in particular, depends heavily on the physical presence of Cave’s piano. If the notes lack body, resonance, and convincing decay, the performance loses much of its impact, darkness, and emotional weight.

The A10 Classic got all of this right. Piano notes arrived with the necessary mass and initial attack, followed by a natural sense of resonance and decay rather than disappearing abruptly or lingering without definition. “Comancheria” was equally convincing, with the amplifier preserving the score’s tension, space, and low-level texture without making it sound overly polished.

Cave’s voice on “Avalanche” is an equally important test. Some amplifiers smooth over its rough edges and diminish the authority of the performance. That is simply wrong. His delivery needs to sound gravelly, bold, and unsettling, or much of the song’s character disappears. The A10 Classic retained that texture while keeping the vocal clear and intelligible, demonstrating that its strong tonal density does not come at the expense of transparency.

Three very different tracks highlighted two of the A10 Classic’s strongest qualities: its ability to give voices convincing body and texture, and its refusal to sound slow when the music becomes more rhythmically or dynamically demanding.

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Jonatan Alvarado’s “Amargura (El Floridense)” has a more ethereal presentation, with his voice floating within a spacious and carefully recorded acoustic. Through both the Magnepan LRS and Q Acoustics 5040, the A10 Classic gave his vocal greater fullness and dimensionality without making it sound heavy or overly forward. The soundstage extended almost wall to wall, which was impressive for me and considerably less appreciated by the rest of the house.

Kefaya and Elaha Soroor’s “Gole Be Khar” and “Jama Narenji,” from Songs of Our Mothers, were a completely different proposition. Soroor’s voice comes at you with far more weight and authority, and the arrangements are packed with percussion, strings, and shifting textures that can turn into a traffic jam through a slower amplifier.

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The A10 Classic never lost its footing. It kept Soroor firmly in the center, let the instruments breathe around her, and gave the music the pace and muscle it needed without blurring everything together. This is not an amplifier that moves through dense material in soft shoes. It can get up and go.

Electronic music has become more of a thing for me with age. I know. Act my age. Kraftwerk, Daft Punk, Boards of Canada, deadmau5, and Aphex Twin all need an amplifier with a firm bottom end, but also enough definition to make the bass lines easy to follow. Synths need pace, space, and real energy through the midrange and top end. Nothing kills this kind of music faster than flat, lifeless synthesizers.

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The A10 Classic handled all of this rather well. Bass had grip and definition, the soundstage remained open as the mixes became denser, and it never sounded slow or congested. It did not have quite the same low-end impact or midrange punch as the Cambridge Audio Edge A, but we are also talking about an amplifier that costs roughly twice as much. Getting about 90 percent of the way there for a lot less money is nothing to sneeze at.

I have heard amplifiers deliver more decay and considerably more top-end sizzle. The latter is often passed off as “more detail,” which can sound impressive for the first 15 minutes and increasingly unbearable after that, especially with speakers that already lean bright. The A10 Classic does not make that mistake. It has enough energy and clarity to keep electronic music lively, but it knows when to stop thinking you are at some rave in a dingy warehouse in Porte de la Villette.

Restraint is probably the wrong word. Control feels more accurate. My French teacher once suggested that restraints might be required when I was a child, but that is an entirely different conversation. The A10 Classic sounds confident with almost every genre of music without trying to dominate the recording.

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The MM Phono Stage Is No Afterthought

It would have been useful for the A10 Classic to include moving-coil support, but its MM phono stage is no slouch. It was quiet with the Ortofon, Goldring, and Sumiko cartridges used during the review, and offered good clarity, tonal weight, and texture without sounding overly warm or soft.

Advance Paris specifies a 47-kilohm input impedance, 2.5 mV sensitivity, and selectable capacitance of 100, 200, or 320 pF. The company does not publish a gain figure, RIAA accuracy, overload margin, or phono-specific signal-to-noise ratio.

A better external phono stage will deliver more space, detail, and dynamic contrast, but most MM users will not feel pressured to upgrade immediately.

advance-paris-a10-classic-front-tubes

The Bottom Line

The Advance Paris A10 Classic stands out because it combines real power, extensive analog and digital connectivity, and a tube preamplifier stage without turning into either a soft-sounding nostalgia piece or a software-dependent lifestyle product. It sounds linear, confident, and controlled, but the tubes add enough texture, body, and tonal color to keep instruments and voices from becoming sterile. It can also drive a wide range of loudspeakers, including the current-hungry Magnepan LRS, without losing its composure.

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It is not fully equipped for every modern system. The phono stage supports moving-magnet cartridges but not moving-coil designs. Bluetooth requires an optional module, and there is no built-in Wi-Fi, Ethernet, or native streaming platform. The two subwoofer outputs are useful, but there is no adjustable crossover, high-pass filtering, room correction, or more advanced bass management. Buyers looking for an all-in-one streaming amplifier may find those omissions significant.

The A10 Classic is for listeners who want one substantial integrated amplifier to handle vinyl, digital sources, television audio, external streamers, headphones, and demanding loudspeakers without becoming obsolete when the next streaming platform changes direction. It offers much of the authority and refinement of more expensive integrated amplifiers while retaining a distinct tonal personality of its own.

An Editor’s Choice recommendation? Mais oui—and bring the good Bordeaux, not the bottle you use for cooking.

Pros:

  • Powerful, stable Class AB amplification
  • Tube preamplifier stage adds texture and body without excessive warmth
  • Strong bass control and consistently clear midrange
  • Drives a wide range of loudspeakers with confidence
  • Excellent analog and digital connectivity
  • Adjustable MM phono stage is quiet and genuinely useful
  • HDMI ARC and separate pre-out/amp-in connections
  • Substantial build quality and distinctive industrial design
  • Strong value compared with more expensive integrated amplifiers

Cons:

  • No moving-coil phono support
  • No built-in network streaming, Wi-Fi, or Ethernet
  • Bluetooth requires an optional module
  • HDMI ARC rather than eARC
  • Limited subwoofer management with no adjustable crossover or high-pass filtering
  • High Bias mode requires generous ventilation
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Our Ratings

★★★★★★★★★★ Sound Quality

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★★★★★★★★★★ Build Quality

★★★★★★★★★★ Connectivity

★★★★★★★★★★ Value

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India plans more tax breaks to sweeten Apple’s iPhone production

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Apple’s iPhone production in India is getting more of a boost, as the government considers extending a tax exemption on manufacturing machinery and component imports until 2041.

India is a major location in Apple’s work to diversify its production outside of China. While it has already benefited from many incentives from the country, its supply chain stands to benefit even more.

A draft proposal seen by Reuters affects a tax exemption that India introduced in February. That incentive, applicable to foreign companies, was introduced after Apple lobbied against being taxed for iPhone machinery it owned in India but provided to contract manufacturers.

Under the original incentive, it was set to expire in 2031. Under the proposals, it would instead run until 2041.

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At this time, the draft proposal still needs to pass through both houses of Parliament for approval, in a process that can take months, if not years.

Beyond machinery

The proposals don’t just extend the period of exemption on taxes for machinery. It also extends into the realm of component storage with regard to exports.

India will also exempt foreign companies from being taxed for storing and shipping parts used to manufacture components and products. However, only for hardware that is not intended for sale in India.

Instead, factories and warehouses would have to set up in customs-bonded areas. This refers to regions that are considered to be outside India’s customs border for taxation purposes.

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Items imported and stored in these areas would not be subject to import taxes. That is, so long as the products and components made with them are then exported out of the country.

If those items are then sold within India, they would be subject to import taxes as normal.

For Apple, the change would be beneficial, since it wouldn’t pay import duties. The intention is to make India more attractive for producing iPhones intended for exports.

Apple already benefits from import duty cuts on July 9, affecting select components used to produce smartphones. The proposed change will bring those same taxes down to zero, for export-only production.

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Data storage

While the bulk of the proposals surround manufacturing, there’s also some relating to another kind of storage. That of data.

In February, India introduced a tax exemption for foreign companies using data centers in the country, for providing services to users around the world. That tax exemption lasts until 2047.

However, the proposal extends the exemption to allow those data centers to be leased by Indian partners, rather than be owned outright. The change means it will lower the capital requirements for Indian partners, opening it up to smaller and mid-sized firms.

To Apple, it means a bit more flexibility if it wants to set up data centers in the country.

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How NTT DATA AIVista closes the last mile of agentic AI for enterprise agents

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Presented by NTT DATA AIVista


At VB Transform 2026, NTT DATA AIVista CEO Bratin Saha joined VentureBeat CEO and editor-in-chief Matt Marshall to discuss the last-mile challenge of operationalizing frontier models in regulated production, where reliability, context, guardrails, and security determine whether AI delivers enterprise value. The conversation centered around the question facing every enterprise now pouring money into AI: how to convert that spending into real, tangible value.

“It’s not just a model, you’re building a system around the model,” Saha said. The last mile is the work of wrapping a frontier model in an enterprise’s own data, workflows, and guardrails.

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In the end, regulated production turns on more than just technology, Saha said. Today, most enterprise AI projects fail during implementation because of poor integration, domain specialization gaps, lack of governance, and unclear ownership of outcomes. Last-mile specialization turns a capable foundation model into an enterprise agent shaped by domain-specific workflows, risk appetite, client classifications, regulatory interpretations, and institutional knowledge.

Why frontier models stall in enterprise workflows

Frontier models fall well short of production-grade accuracy on many real-world insurance workflows, Saha said, but last-mile specialization can lift them to the reliability enterprises need. Out of the box, those models struggle with the complexity of regulated workflows such as multinational insurance claims.

“These forms are pretty complex, often have handwriting, lots of checkboxes, and so on,” he said, and that complexity is why frontier models like Fable 5, Opus 4.8, and GPT-5.5 fall short out of the box.

Saha said the biggest gains come from specializing the entire AI system, not just the foundation model.

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That system gets specialized with the customer’s data, workflow and, in many cases, the tribal knowledge that never made it into an operating procedure document.

“The biggest bang for the buck comes from the specialization and then these specialized guardrails,” he said.

The work has three components:

capturing the enterprise’s context and making it consumable by AI

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running an ensemble of models so cost does not go through the roof

and adding specialized guardrails that check the model and force a redo when it gets something wrong.

What the last mile of agentic AI actually requires

None of this involves fine-tuning. VentureBeat’s latest enterprise survey found it ranked last among companies’ model-selection priorities.

Instead, the last mile centers on domain knowledge and undocumented workflows that companies would never expose publicly without losing their competitive edge.

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“The last mile is about taking data that’s proprietary to you and using that to build a system around the model that can steer the model in the right way that can put the appropriate guardrails around it,” Saha said.

In the end, enterprise AI is about moving a workflow from point A to point B rather than deploying a technology, and NTT’s advantage comes from pairing AI experts with subject domain experts.

“The only reason is because we go and talk to those human workers and we say, ‘How do you actually do the work,’” he said. That expertise is then encoded into an agent.

Success in insurance, manufacturing, and other regulated industries relies on three things at once, he added.

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“You need technology, you need the domain expertise, and you need the change management expertise,” he explained, adding that across his team’s clients, technology is not the bottleneck.

How enterprises turn AI investment into tangible value

For enterprises weighing large AI budgets, Saha’s said the payoff comes not from the model but from the work built around it.

“When you’re deploying AI in the enterprise, you’re not deploying a technology,” he said. “You are taking a workflow that exists and taking it from point A to point B.” The value is created by the workflow that gets moved, not the model that helps move it.

That reorders where money should go.

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“Technology is not the bottleneck,” Saha said, pointing instead to the domain expertise and change management wrapped around the model, and to the discipline of commiting to all three together. Spending aimed only at the model leaves most of the return on the table.

Enterprises don’t have to choose between embedding AI into existing workflows and redesigning those workflows from scratch. NTT sees the two as successive stages of the same journey.

“We are starting with embedding in the workflow because it’s easier change management,” he said, noting that customers running mission-critical operations will not let a vendor rip out a working process midstream. “Once that happens, then we go into, how can we now reimagine this? And that really is where the biggest bang is.”

Where enterprise AI stays bespoke and where it becomes scalable

Keeping intelligence in the surrounding system rather than the model also preserves swappability and lets enterprises take advantage of open-weight and open-source models as they mature. Saha’s team runs an ensemble that mixes frontier and open-source models, and he expects the industry to lean on open weights wherever the cost of a mistake is low while reserving frontier reasoning for the cases that demand it.

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“In many situations, especially in regulated industries where mistakes are very expensive, that last extra couple of percent matters,” he said.

The platform follows the same pattern: Guardrail generation and neurosymbolic models scale across customers, while capturing each organization’s tribal knowledge remains bespoke. Saha pointed to NTT DATA’s position as one of the world’s largest insurance third-party administrators as an advantage in acquiring that expertise.

“The ability to take that knowledge and trust that has been built over 20 years is very hard to replicate instantly, and I do think that is a durable aspect of what we have,” he said.


Sponsored articles are content produced by a company that is either paying for the post or has a business relationship with VentureBeat, and they’re always clearly marked. For more information, contact sales@venturebeat.com.

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The Best Audio Players for Kids: Yoto, Toniebox, and More

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In my current season of toddler parenthood, I’ve sometimes felt that I could cut the tension between myself and the TV remote with a knife. As much as I try to keep screen time in check, sometimes I need 10 uninterrupted minutes to unload the dishwasher before a certain almost-2-year-old goes for the dog bowl.

That’s where audio players are handy. In a world where screens are increasingly hard to avoid, parents are looking for alternatives—and these players, in their various formats, are to the rescue. The devices mark a sweet spot between independent play and story time, letting kids listen to music, audiobooks, and interactive stories without a tablet in sight. Some audio players are geared toward younger kiddos who enjoy tactile toys and familiar characters like Elmo and Bluey, while other options are designed to grow with them to chapter books, podcasts, and beyond.

Over the past several weeks, my family has tested some of the biggest names in the category to see how they stack up. Here’s the verdict on which ones are best suited for different families and their needs.

Want more recommendations for WIRED-tested kids’ toys? Here’s our guide to Brain-Boosting Toys for Kids, Kid-Approved STEM Toys, and the Best Gifts for Lego Lovers.

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Best for Kids of All Ages

  • Photograph: Nicole Kinning

  • Photograph: Nicole Kinning

Yoto

Yoto Player (3rd Generation)

The Yoto Player is simple enough for toddlers to operate independently while offering a broad enough content library to keep it relevant as kids grow. Stories and music live on credit card–sized cards that my daughter could swap in and out with her little hands, and the small pixel display on the front of the machine adds a visual element without becoming another distracting screen.

You can add each Yoto card to your child’s library through the device’s companion app. Once you do, you can stream the content directly from your phone or remotely send it to the Yoto. That means you’re not necessarily tied to bringing the speaker with you everywhere you go. I saw this capability as being especially useful on road trips—you can play stories through your car speakers or listen from your phone if the player gets left behind or its battery dies.

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Yoto offers more than the stories and songs from its player cards. You’ll also get kid-friendly daily radio, draw-alongs, toothbrush timers, white noise, a wake-up clock, and a nightlight that activates when you flip the player screen-side down. I only see it getting more useful as my daughter grows, and if I’m being honest, there is a Nancy Drew story collection I am secretly eyeing for myself.

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Here’s Why You Shouldn’t Buy New Headphones Without Bluetooth Multipoint

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The incredibly useful feature is only present in specific headphone and earbud models.

Bluetooth headphones have exploded in popularity, with the market continuing to grow each year. The category, which includes over-ear headphones like the Sony WH-1000XM6 and in-ear devices like Apple’s AirPods line, offers a mix of comfort and convenience, and we’ve reached a point where it’s hard to find name-brand headphones that don’t sound at least somewhat decent. But while most marketing for consumer-grade wireless headphones focuses on headline features like active noise canceling, there’s another feature most people should add to their list of non-negotiables.

Once upon a time, during the halcyon days of the ubiquitous headphone jack, swapping between devices was a matter of popping the plug out of one and into the other. Maybe you’d get an audio splitter if you really needed to use two audio sources at once, but that was as complicated as things usually got. With Bluetooth, simply switching even the best wireless headphones over to another device involves fiddling with settings menus and dealing with frustrating connection issues.

Finicky connections are a defining trait of the decades-old Bluetooth protocol, and although improvements continue to be made with each generational update, that essential character remains. That’s where Bluetooth multipoint comes in. It’s a feature that allows a Bluetooth device to remain connected to multiple devices at once, swapping between audio streams from each as you use them. While multipoint can introduce some annoyances of its own, it’s still far preferable to manually switching between devices over Bluetooth. Here’s why it’s a must-have for most headphone shoppers.

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Bluetooth multipoint reduces friction for multi-device setups

Bluetooth multipoint is a manufacturer-introduced technology which can allow for a wireless audio device to maintain a connection to multiple audio sources. It usually allows for a connection to two devices, though there are exceptions. The feature is more common on high-end consumer headphones like the Sony WH-1000XM6, though it can sometimes be found on downrange products.

Your Bluetooth devices use different Bluetooth profiles for different types of audio. Music and other media streams use the A2DP profile. On certain devices, this can also transmit high-resolution wireless codecs like Qualcomm AptX and Sony LDAC. You may simultaneously use an AVRCP profile to send volume and play/pause commands to the host device. When you get a phone call, you’ll switch over to the lower-quality audio of the bidirectional HFP profile. When you’re listening to music on your laptop, you might get a phone call, and your headphones will prioritize the HFP connection to switch over. However, if you’re using HFP for a Zoom call, it may retain priority until you answer the incoming call.

Not all multipoint is made equal, and whether a particular implementation of it works for you depends on which devices you plan to use the headphones with. It’s a good idea to test the multipoint functionality of a pair of headphones before you buy them, if possible, to ensure that their multipoint implementation works well with your particular devices. If you can’t test that functionality before buying, do so before the return period ends.

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Multipoint can create its own frustrations

Bluetooth multipoint can make it much easier to use multiple devices with a single pair of headphones, but it can also introduce new headaches. Multipoint is not part of the Bluetooth specification, and is instead implemented by device manufacturers on top of the Bluetooth stack. This explains why it remains a relative rarity despite consumer demand. The ability to handle multiple streams was added with Bluetooth 4.0, but multipoint features are logics built atop the Bluetooth protocol. Bluetooth cannot mux or sum together multiple audio streams, so multipoint does not allow a user to listen to audio from multiple devices at once. Instead, it decides which stream should take priority and pipes that to your ears, often pausing other media. Incoming phone calls usually demand precedence, for example.

Multipoint often assumes you’ll only use one device at a time, but try scrolling Instagram on your phone while listening to a podcast on your computer. As Instagram’s annoying autoplay causes the app to output audio, your multipoint headphones will divert away from your podcast. This will often happen even if your phone’s media volume is set to zero. Equally annoying notification dings on your phone may ride along on the same Bluetooth profile as phone calls, interrupting you with every group chat message.

Apple and Samsung have their own solution to this issue. Technically, the best AirPods and Galaxy Buds do have multipoint  — a modified version designed to work exclusively with their own products. While often justifiably perceived as user-hostile, this approach can yield better Bluetooth switching results in normal use because the company controls the way Bluetooth is implemented on its headphones, phones and laptops, whereas companies like Sony or Bose do not have the benefit of bespoke ecosystems.

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Can knowing less make you happier?

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Hi readers! Shayla Love here, science journalist and longtime fan of Your Mileage May Vary. I’m honored to be subbing for Sigal Samuel while she’s out on parental leave. I’m diving into your questions as a way to help understand human nature and our choices through multiple lenses: philosophical, psychological, and beyond. Please send in any emotional, body/brain, sociological, perceptual, or other kind of life quandaries you might have.

I’m swimming in information. I have tracking apps to keep tally of my daily steps, minutes online, my calories, my sleep. Throughout the day, I am awash with data — some “actionable” and some useless. I find it a struggle to prioritize. I find myself looking up the latest betting odds for a Senate race in a state where I don’t live. (I didn’t bet on the race.) What I want to know is: What should I know less about? I’ve heard that ignorance is bliss, though I don’t often find that to be the case. But maybe I know too much, or…too little about how much to know?

Dear Un-blissfully Aware,

As a fellow know-it-all, I relate to your impulse to gather as much information as possible. I used to obstinately reject the idea that ignorance was bliss. Even if I learned something that was unpleasant, wouldn’t it be much worse not to know it?

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But, as you may suspect from sharing my temperament in this arena, this approach to life can lead to hoarding knowledge like a frantic animal preparing for winter. You’re acquiring information as if it’s a scarce resource (which it’s not) and as if choosing to know something is neutral (it isn’t). What helped me understand the implications of this sort of approach was learning about the cases when people decided not to know, or the study of “deliberate ignorance.”

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Several years ago, a psychologist, Ralph Hertwig, and lawyer, Christoph Engel, who both work at the Max Planck Institute in Berlin, examined what happened in the early 1990s, when the archives of East Germany’s secret police, the Stasi, opened to the public. Any person who had been living in the German Democratic Republic could check if they had been spied on. There was a pretty substantial catch, though: The spies were often “unofficial collaborators” — friends, family, teachers, or lovers who had been tasked with covertly collecting information. When the files were opened, many elected not to look. Hertwig and Engel estimated that potentially more people chose not to know what their files contained than those who did.

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This goes against what we think we know about humans and how you have described yourself. Even Aristotle seemed quite certain that “all men naturally desire knowledge.” In the 1980s, the psychologist George Miller followed along in this line of thinking. He described humans as informavores: creatures with minds that constantly seek out and consume information. So, it can feel surprising to hear about occasions when people didn’t start grabbing for every available datapoint like squirrels dashing for acorns as the first winds of fall arrive.

But, as Hertwig and Engel — who collaborated on an entire book called Deliberate Ignorance: Choosing Not to Know — point out, we’re surrounded by people choosing ignorance all the time. They avoid looking at their bank statements, they skip doctor’s appointments, and they cover their ears and say “no spoilers” if someone is talking about a movie they haven’t yet seen.

Even Nobel Laureates do this. When James Watson, one of the co-discoverers of DNA’s double helix, had his own genome sequenced, he requested that a specific gene be left out: ApoE4, which can reveal an increased Alzheimer’s risk. Watson’s grandmother had Alzheimer’s, and her experience clearly made an impression on him. (Then, many in the scientific world tried to remain ignorant to Watson’s increasingly misogynistic and racist comments, until it was unignorable.)

Why do people choose not to know? The most common reason: Ignorance can be an extremely effective way to regulate any emotions that might crop up in response to knowledge. You can minimize negative feelings by, for example, not knowing that your otherwise friendly neighbor had been reporting on your comings and goings.

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In a study about romantic relationships, a majority of people said they didn’t want to know if their partner had ever thought about cheating on them (but never acted on it). Other research showed that most people wouldn’t want to know the exact time of their death. Alternatively, someone could cultivate the feelings of joy and surprise by waiting to find out the sex of a baby until it’s born.

Deliberate ignorance can also be used to protect us from our biases. Scientists do blinded studies, because the knowledge of what drugs are being used can unwittingly change the outcomes or research. When orchestras implemented blind auditions, more women musicians were accepted.

Of course, deliberate ignorance can be problematic when it causes harm to yourself or others, like failing to gather basic information about your financial or physical health. In some cases, for instance, about 10 percent of people who got tested for HIV didn’t come back for their results — which could lead to further spread of the disease.

But when skipping out on knowledge doesn’t endanger you or those around you, it’s worth asking: How would this information make me feel?

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This sounds like a question that’s missing from your information-ingestion habits. You don’t have to — and shouldn’t — ignore everything that comes across your desk. But your deliberate ignorance filter is turned entirely off; seemingly anything passes through it. To take just one of your examples, you mentioned fitness wearables. It can be useful to be aware of your general activity levels and your sleep, but honestly, don’t you already know enough from your memories of a workout class and how rested you feel in the morning? A quest for more detailed knowledge like this can backfire, making people more anxious, and disconnected from their actual physical experience.

It’s not just about how much knowledge to take in, it’s also about what kind. The breadth of information that you’re seeking out makes me wonder if you’re not already using knowledge to regulate your emotions by favoring superficial knowledge over the meaningful. When we face difficult tasks (even if they’re important, and we want to get them done), that’s usually when, suddenly, a Senate race in a far-off state starts to become interesting, or you find yourself scrolling a high school acquaintance’s wife’s Instagram.

In the 1990s, two technology researchers proposed the concept of “information foraging,” which was inspired by early user behavior on the web. A few years later, Webster’s dictionary announced that their word of the year was “infosnacking,” or mindless grazing for useless knowledge online in order to pass the time.

Snacking sometimes is fine, but you’ll start to suffer if you only eat chips for every meal rather than something more nutritious. I suspect you might be avoiding the slightly more challenging task of taking in other, more nutrient-dense knowledge. If you cut out the step tallies, screen minute totals, and news headlines scrolling, what could you choose to know instead?

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What I’ve learned about myself is that I will always lean towards being an informavore. I can’t help it. I am hungry to know, and there is no need to totally overhaul this valuable part of who you are (as I also tell myself!). This means you don’t need to replace your infosnacking with zenfully staring at the ceiling or emptying your mind through meditation. You can still put new things into it! But you could worry less about your daily information calorie intake and spend more time thinking about the nutrition content of your knowledge diet.

Take a lesson from our many deliberately ignorant friends, and try disregarding some of the little stuff — the body tracking, the random factoids — for a period of time. But, at the same time, increase your knowledge about other subjects: a neglected hobby or a nonfiction book collecting dust on your shelf. Have a long conversation with your best friend and ask each other questions you’ve never asked before or interview an older relative about their childhood.

And remember that all of this knowledge relates back to your emotional life. Rather than asking yourself what you should or shouldn’t know, examine how you might be using knowledge to alter how you feel. Knowledge changes us. It can make us happy, anxious, excited, or sad; it impacts our decisions and how we see ourselves and other people.

In some of your newfound spaces of intentional ignorance, you may find just some surprising moments of bliss.

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Bonus: What I’m reading

  • The ostrich may be famous for its head-burying ignorance, but that’s actually a myth dating back to the ancient Romans. Ostriches don’t hide their heads, but, rather, bury their eggs underground. I highly suggest flipping through the book Ostrich by Edgar Williams, professor of cardiopulmonary science at the University of South Wales, for a natural and cultural history of our largest living bird that is way more interesting than it needs to be.
  • In a moving essay in the China Books Review, poet and writer Zhang Er remembers growing up during the Cultural Revolution and receiving “torn books,” or sections of forbidden books, to read from a family member. Even with incomplete knowledge, “my world expanded with each torn book,” she writes.
  • Not a book, but a powerful story on the ripple effects of being exposed to new information in East Germany: the 2006 movie The Lives of Others, from director Florian Henckel von Donnersmarck, which I recently saw for the first time. A Stasi officer listens into the life of a playwright, whose own fragile ignorance about his situation in the GDR is becoming challenged.

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YouTuber Hank Green says his AI usage is ‘not healthy’

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Hank Green, a novelist, comedian, and YouTuber with 3.2 million subscribers, recently apologized to his audience for his growing reliance on AI chatbots.

The controversy started when, in the middle of a video posted on the educational channel Complexly, Green incongruously used the phrase “I appreciate the pushback,” leading viewers to speculate that he’d written the script with a chatbot — and, in the process, accidentally included its response to one of his prompts.

In response to a since-deleted post on X, Green acknowledged that he’d produced the video “under a ton of pressure” and used ChatGPT “for research on this script.” At the same time, he said the “pushback” line was actually a response to the episode’s guest. 

Green then offered a more in-depth apology on Reddit, where he said he was “mortified” that he’d “let so many people down” and that he plans to reduce his video production as a result.

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Green insisted that he’s only used ChatGPT to “locate papers and other resources for learning about topics,” and that the words and the “takes” have still been his. At the same time, he admitted it was fair to criticize him for “diluting” himself.

He also clarified that he’s “not a pure AI-hater,” while also listing a number of concerns about the technology, including its impact on climate change and “the speed at which these companies are trying to consolidate economic power.”

“Ultimately, what I am most scared of is ruining myself for people, but I have not been managing my impulses well,” he said. “You need to know that my words are mine. I don’t think that this hasn’t been true, but I’ve been moving so fast that my own process isn’t actually clear to me and I want to have it be a guarantee moving forward.”

It sounds like Green is going to take some time to figure out how to make that guarantee a reality. In the meantime, he’ll be pausing or posting less frequently to his various YouTube channels. Green said he wants to do more work like a recent meditative video “where the writing was the whole thing and I felt it all the way down.” Green also said he’ll probably make more videos with his “dumb unscripted straight to camera thoughts.”

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 “But mostly I need to come to terms with the fact that the level of dopamine I’ve been getting from interacting with LLMs…with doing more and more and more and more…is not healthy for me or good for the world,” Green said. “It is careless, and has disconnected me from where people are on this.”

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Samsung bans smart TV apps that share users’ internet connections with strangers

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Several popular Samsung smart TV apps contain code that share the owner’s internet connection with strangers, potentially putting millions of Samsung smart TVs at risk of hijacking, according to new security research published on Monday. 

Some of these apps claim to have been installed on hundreds of millions of smart TVs in people’s homes, per the app developers.

At least one of the smart TV apps was a simple Pac-Man game that Samsung had endorsed and prominently featured in its “Editor’s Choice” section on customers’ TV screens.

These apps contain software that funnels outsiders’ web traffic through ordinary home and office internet connections, known as residential proxy networks (or “resproxies”), which are increasingly being linked to cybercrime. When opened, apps with resproxy code can turn the smart TV into an always-on tunnel for outsiders to funnel their web traffic through, known as an exit node — even when the app is no longer open. 

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The security research by Norwegian cybersecurity company Mnemonic describes a perfect storm of problems that allows low-quality apps to proliferate across Samsung’s app store, containing code that puts users at risk of having their internet connections tapped by a rogue app. 

Many of these apps are bare-bone shells, made from only a few lines of code, and are designed solely to load content from another website, such as a game. While such smart TV apps load content from another server, any review of these apps sees only the few lines of code within, and not necessarily the content itself.

“What was reviewed is not necessarily what is running,” wrote Harrison Sand, an offensive security consultant at Mnemonic. 

After TechCrunch contacted Samsung with a request for comment about the research, the electronics giant said in an emailed statement that it was banning apps that share their users’ internet connections, and will remove apps that contain the functionality.

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“We have already restricted new app registrations that incorporate such proxy functionalities on our Smart TV platform,” said a Samsung spokesperson. “We are currently implementing strict platform-wide developer policies explicitly banning residential proxy SDKs, and we are working to identify and remove all apps currently available in our store that contain these components.”

The move comes after LG said last month that it would ban apps that contain resproxy software after recent reporting found that around 42% of apps on the company’s app store enlisted a smart TV into a proxy network.

Inside a residential proxy network

The research also offers a rare look inside a residential proxy network.

Resproxy code can also be found in regular consumer phone apps, as well as other consumer electronics, like digital frames and Android streaming boxes, which then share that device’s internet connection. 

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Any time a resproxy app or device connects to the internet, an outsider can also pay to use it. 

Resproxies are not inherently illegal. Some are used for evading censorship by routing internet traffic through ordinary looking residential homes. AI companies, for example, increasingly rely on resproxies to scrape data from multiple places on the internet in one go to train their AI models.

But cybersecurity companies say resproxies have gained a reputation for allowing hackers and spies to carry out cyberattacks and data breaches while hiding their malicious activity. 

Cybersecurity companies find resproxies challenging to tackle because the network traffic looks like it’s coming from an ordinary household, rather than a malicious hacker located overseas, as they might expect. 

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Moreover, the network traffic that flows through a user’s device over resproxies is generally encrypted, which is generally impossible to unscramble and inspect.

By rooting a Samsung smart TV’s software, Mnemonic’s Sand gained deep access to the television’s internals and analyzed all of the network traffic that flowed in and out of the TV. This included any app that was sharing the smart TV’s internet connection with someone else. 

He found the Pac-Man game contained resproxy code from Bright Data, an Israel-based company that provides proxy networks touting access to millions of residential networks around the world. The company also has a marketplace for selling access to scraped datasets. These datasets are derived from a network of enlisted smart TVs as exit nodes, which are used to download large amounts of public data from the web from multiple sources at once, often to circumvent systems designed to prevent scraping.

Sand found that Bright Data’s resproxy code loaded when opening the Pac-Man game, but noted that this did not automatically turn the Samsung smart TV into an exit node. Sand said the resproxy code is dormant until the user accepts a consent screen, which immediately activates the resproxy code to run in the background until the user deletes the app.

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Aside from the user themselves consenting to enlisting their device into a resproxy, Sand warned that a “simple code change on a web server” could instantly activate hundreds of millions of smart TVs into a potentially malicious botnet.

With access to the network data flowing through his smart TV, Sand could see that much of it appeared to suggest the resproxy network was used for large-scale scraping of LinkedIn profiles, and for collecting AI training data. Sand said he only saw a tiny percentage of what was routed over Bright Data’s network. 

Bright Data did not respond to a request for comment.

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Cape Fear ending explained: Who died, what happened to Max Cady, who is Natalie’s real father, and possible season 2 predictions

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Apple TV‘s adaptation of Cape Fear saw a chilling finale recently, and it was as grisly as we’d expected it to be. Over the past few weeks we’ve followed Javier Bardem’s take on Max Cady, delivering a performance so scary it’s left some of us sleeping with the lights on.

Cady was particularly unhinged in Cape Fear‘s finale, which saw him killing his own family and taking the Bowdens hostage in one final altercation.

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Police National Legal Database confirms data theft after dark web leak

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ExfilSquad claims 135,000 contact records weeks after hitting the Department for Education

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The Police National Legal Database (PNLD) is the latest UK public sector outfit to admit that cybercriminals made off with its data, including the names and work email addresses of police officers, justice staff, government partners, and customers.

The legal lookup service relied upon by police forces and criminal justice agencies across the UK said it discovered the “data security incident” on July 26 and is investigating alongside specialist cybersecurity firms and the National Crime Agency. 

According to the PNLD, the leaked information includes the names, organizations, and work email addresses of police officers, police staff, criminal justice professionals, government partners, and customers. It insists there is “no evidence” that passwords or other authentication data were compromised.

The breach also affected Ask the Police, a public-facing legal advice website operated by PNLD. There, the fallout appears limited to the names and email addresses of people who previously submitted questions through the service.

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That’s about where the explanation ends. PNLD has yet to say how attackers got in, when the data was stolen, how many people were affected, or whether anyone tried to shake it down before the information appeared online. West Yorkshire Police, which operates PNLD, did not immediately respond to The Register’s questions. 

However, the breach appears linked to the same extortion crew that last week claimed responsibility for a similar breach of the Department for Education (DfE). The group, which calls itself “ExfilSquad,” currently lists both the PNLD and DfE among its latest victims on its dark web leak site, seen by The Register

For PNLD, the crooks claim to have lifted a 1.9 GB dataset containing roughly 135,000 law enforcement contact records, including names, email addresses, and police force areas. The DfE listing boasts of around 600,000 parent and staff contact records, plus another 7,000 from its Turing Portal. The education department confirmed last week that more than 607,000 records had indeed been exposed.

The DfE has confirmed that the compromised information was limited to customer service contact details from its Customer Help Portal and Turing Scheme, and said no other departmental data had been accessed.

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Like most cyber-extortion outfits, ExfilSquad doesn’t exactly do understatement. Its leak site warns victims that once data appears there, it is “NEVER leaving the public eye,” before suggesting any ransom would amount to little more than a rounding error compared with the legal bills that might follow.

The DfE and PNLD’s confirmations don’t validate everything ExfilSquad posts on its leak site. It also lists Microsoft as a victim, alleging a 13 GB haul containing millions of records, password hashes, internal support tickets, and access permissions. 

Having two organizations confirm breaches claimed on its leak site makes ExfilSquad harder to ignore. Whether the gang’s other boasts are equally well founded, or simply the usual cybercrook embellishment, remains to be seen. ®

Updated to add at 1517 UTC, August 3:

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The North East Regional Organised Crime Unit told The Reg it is investigating the breach. It told us “No ransom demand has been received.”
It also confirmed some numbers, stating the data of around 114,000 PNLD subscriber was involved.

It added: “This involves the names, work email addresses and work organisation of police officers and other criminal justice partners. There are also around 21,000 email addresses of members of the public who have previously used ‘Ask the Police’. There is no evidence to suggest that passwords or other security credentials have been compromised.”

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‘Every small business will eventually have a digital workforce of AI agents’: Bluehost CEO on how AI agents are reshaping business

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Many small businesses already tap into AI for market research, image and video creation, copywriting, and idea exploration.

Although this single-prompt approach is helpful, it has its limits. Enter AI agents.

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