We’ve been covering the ongoing saga of the Trump administration’s attempt to destroy Anthropic for the sin of having modest ethical guidelines around its AI technology.
The short version: Anthropic said it didn’t want its AI making autonomous kill decisions without human oversight. Defense Secretary Pete Hegseth responded by declaring the company a supply chain risk—a designation designed for foreign adversaries, not San Francisco companies with ethics policies—and ordering every federal agency to purge Anthropic’s technology. Now Anthropic is back at the negotiating table with the same people who just tried to kill it.
On Thursday, Anthropic CEO Dario Amodei published a new statement about “where things stand” with the Defense Department. And it is… something. It reads like what happens when a serious person at a serious company has to write a serious document in an environment that has gone completely insane—and the result is a press release that, under any previous administration, would have been recognized as deeply alarming corporate groveling, but which now just kind of… slides into the news cycle as another Thursday.
The statement is titled “Where things stand with the Department of War.” Not the Department of Defense. The Department of War. Yes, Trump and Hegseth have spent hundreds of millions of dollars renaming the Defense Department, but it’s not up to them. It’s up to Congress. According to the law, it’s still the Department of Defense, and anyone using the name Department of War is clearly sucking up to the administration. It’s all theater.
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Amodei uses the fictitious name throughout his statement. Every single reference. “Department of War.” This is a company that six days ago was being praised for standing on principle, and its CEO can’t even bring himself to use the department’s legal name because the administration insists upon everyone using the cosplay version. Before you even get to the substance, the document has already bent the knee. He’s negotiating with people who branded him a national security threat, and he opens by adopting their preferred terminology like a hostage reading a prepared script.
From there, the statement proceeds through a series of passages that are individually rational and collectively dystopian. Take this section:
I would like to reiterate that we had been having productive conversations with the Department of War over the last several days, both about ways we could serve the Department that adhere to our two narrow exceptions, and ways for us to ensure a smooth transition if that is not possible. As we wrote on Thursday, we are very proud of the work we have done together with the Department, supporting frontline warfighters with applications such as intelligence analysis, modeling and simulation, operational planning, cyber operations, and more.
“We are very proud of the work we have done together with the Department”—the department that is currently trying to destroy the company over a contractual dispute. The department whose secretary called Anthropic’s stance “a master class in arrogance and betrayal” and “a cowardly act of corporate virtue-signaling that places Silicon Valley ideology above American lives.” The department that declared Anthropic a supply chain risk to national security—again, a designation designed for hostile foreign infiltration of military systems, not for a San Francisco company that said “maybe a human should be in the loop before the robot decides to kill someone.”
And here’s Dario, proudly listing all the ways Anthropic has served these same people. “Supporting frontline warfighters.” This is the language of a Pentagon press release. Six days. It took six days to go from “we have principles about autonomous weapons” to “we are very proud of supporting frontline warfighters with cyber operations.”
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This may be a rational decision from a company trying to stave off a ridiculous fight, but the real story is that they feel the need to act this way.
Then there’s the apology. Earlier this week, an internal Amodei memo leaked in which he described OpenAI’s rushed Pentagon deal as “safety theater” and “straight up lies,” and noted that the key difference between the two companies’ positions was that OpenAI “cared about placating employees” while Anthropic “actually cared about preventing abuses.” It was blunt. It was competitive. It also appeared to be accurate—OpenAI subsequently rewrote its contract to address many of the concerns Amodei identified.
But accuracy is apparently a liability now:
I also want to apologize directly for a post internal to the company that was leaked to the press yesterday. Anthropic did not leak this post nor direct anyone else to do so—it is not in our interest to escalate this situation. That particular post was written within a few hours of the President’s Truth Social post announcing Anthropic would be removed from all federal systems, the Secretary of War’s X post announcing the supply chain risk designation, and the announcement of a deal between the Pentagon and OpenAI, which even OpenAI later characterized as confusing. It was a difficult day for the company, and I apologize for the tone of the post. It does not reflect my careful or considered views. It was also written six days ago, and is an out-of-date assessment of the current situation.
He is apologizing for the tone of an accurate description of events because the accurate description made the people trying to destroy his company unhappy. He notes it was “a difficult day for the company”—the day the President of the United States directed every federal agency to cease using your technology and the Defense Secretary branded you a threat to national security. Yeah, I’d call that a difficult day. And on that difficult day, Amodei accurately described what was happening, and now he has to say sorry for it because the accurate description “does not reflect my careful or considered views.”
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Translation: the careful and considered view is that you don’t say true things out loud when the administration is watching and deeply focused on punishing you.
And then we arrive at the closing:
Our most important priority right now is making sure that our warfighters and national security experts are not deprived of important tools in the middle of major combat operations. Anthropic will provide our models to the Department of War and national security community, at nominal cost and with continuing support from our engineers, for as long as is necessary to make that transition, and for as long as we are permitted to do so.
Anthropic is offering to provide its AI models to the military at nominal cost—essentially a discount—while simultaneously preparing to challenge the supply chain risk designation in court. The company is saying: “We believe your action against us is illegal, we will fight it in court, and also here’s our technology at a steep discount, please don’t hurt us anymore.”
And the framing: “Our most important priority right now is making sure that our warfighters… are not deprived of important tools in the middle of major combat operations.” This is Anthropic fully adopting Hegseth’s rhetoric—the exact framing that was used to justify the attack on them in the first place. Hegseth’s entire argument was that Anthropic’s ethical guidelines were depriving “warfighters” of critical tools. And now Anthropic is echoing that language as though it were their own concern all along. The “warfighters” language is especially rich given that this administration keeps tap dancing around the question of whether we’re actually “at war” with Iran—apparently we have warfighters who aren’t fighting a war.
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The statement closes with what might be the single most remarkable sentence:
Anthropic has much more in common with the Department of War than we have differences. We both are committed to advancing US national security and defending the American people, and agree on the urgency of applying AI across the government. All our future decisions will flow from that shared premise.
Remember, this company was founded by people who left OpenAI specifically because they thought AI safety was being treated as an afterthought. Their entire brand, their entire reason for existing, was the proposition that there are some things AI should not be used for without significant guardrails. “Anthropic has much more in common with the Department of War than we have differences” is the kind of sentence you write when survival has replaced principle as the operating framework.
Every individual decision in this statement is probably the rational play. Using the administration’s preferred name costs nothing. Apologizing for the memo reduces friction. “Warfighter” language signals alignment. These are survival tactics, and they’re being deployed by someone who appears to have no good options.
That’s the actual horror. This is what the “good” decisions look like in an authoritarian world.
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Under any previous administration—Democrat or Republican—a company telling the Defense Department “we’d prefer our AI not make autonomous kill decisions without human oversight” would have been a mostly unremarkable negotiating position. It might have been a deal breaker for that particular contract. The two sides might have parted ways. What would not have happened is the Secretary of Defense going on social media to accuse the company of “betrayal” and “duplicity,” the President directing all federal agencies to stop using the company’s products, and the company’s CEO subsequently having to write a public groveling statement apologizing for having accurately described the situation while pledging free labor to the government that attacked him.
And every AI company watching this—every tech company of any kind—is absorbing the lesson. Tell the administration “no” on even the most modest ethical point, and this is what follows: a week of chaos, a supply chain risk designation, your CEO apologizing for telling the truth, and a press release pledging your technology to the military at cost while you simultaneously sue to stay alive.
As I wrote last year, authoritarian systems are fundamentally incompatible with innovation. They produce exactly this kind of environment—one where the rational move for a company is to grovel in public while fighting in court, to adopt the language of the people attacking you, and to apologize for having been right. The AI bros who supported Trump because Biden’s AI plan involved some annoying paperwork should take a long look at this statement and ask themselves whether this is the “pro-innovation” environment they were promised.
Because right now, the most “pro-innovation” thing happening in American AI is a hostage note written in business casual—and everyone pretending it’s just a press release.
One needn’t enjoy the music of Rush to respect the multitasking that happens while the Canadian prog trio (RIP Neil Peart) was onstage spinning impeccable note-for-note re-creations of their studio work. A key component of bassist/vocalist Geddy Lee’s workflow was the Moog Taurus, which is an archaic monophonic synthesizer that’s controlled by an octave’s worth of organ-like foot pedals that sit on the ground under his rack of synthesizers, which he later transitioned to a MIDI-controlled Ableton-enabled computer.
Newer, heavier bands like Brutus and Russian Circles have carried the torch, the latter utilizing a vintage Taurus up until a band of tweakers ransacked their trailer in 2021. Brian Cook, the bassist of the instrumental metal trio, has since been reunited with his beloved Taurus, but in the meantime he utilized a Keith McMillen Instruments 12 Step paired with a Moog Minotaur Model to re-create the squelching, thundering low-end he’s famous for wielding while he plays a baritone guitar with his hands.
The 12 Step 2 expands on the original with five-pin DIN input and output, as well as expanded expression options with each of the 12 pedals that are laid out just like an octave on a keyboard. Both the pressure and the tilt of each pedal can be mapped to unique CCs, allowing things like filter, attack, and resonance to be adjusted as you bear down on each press. The computer-based editor is simple to understand, and each pedal can send chords with up to five notes each for a richer sound with minimal tap dancing. You’ll need your own module to generate sounds with the MIDI messages sent by each pedal, but the USB output can be routed into a phone, tablet, or laptop for easy control of synth plugins on any sort of device you have. The 12 Step 2 is light, durable, and thin, making it easy to drop on top of your guitar pedals before you stash them in a road case for safe keeping. The same can’t be said about a Moog Taurus or the Roland PK-6, which is 3 inches high and 10 pounds, versus the 12 Step 2, which is 1 inch high and only 1.25 pounds.
Coffee is the original office biohack and the nation’s most popular productivity tool. As we lose sleep to the changeover to daylight saving time, the caffeine-addicted WIRED Reviews team is writing about our favorite coffee brewing routines and devices that’ll keep us alert and maybe even happy in the morning. Today, reviewer Matthew Korfhage expounds on his lasting love for drip coffee—and why the Ratio Four never leaves his counter. In the days after, we’ll add other Java.Base stories about other WIRED writers’ favorite brewing methods.
As with any vice worth having, a morning coffee routine can take on the character of religion. And like a lot of religion, it’s often born as much accident as moral conviction. My denomination is good, old-fashioned drip coffee. That’s what I drink first thing, before I even think about crafting a shot of espresso.
I’m WIRED’s lead coffee writer and I’ve developed a deep fondness for coffee’s many variations, from espresso to Aeropress to cold brew. But “coffee” to me, in my deepest soul, still means a steaming mug of unadulterated drip. Luckily, that’s also the coffee arena that has been transformed the most by technology in recent years. The drip coffee from the Ratio Four coffee maker (now quietly on its second generation) feels to me like coffee’s purest form, the liquid distillation of what my coffee beans smell like fresh off the grinder.
Photograph: Matthew Korfhage
Photograph: Matthew Korfhage
Photograph: Matthew Korfhage
Ratio
Four Small-Batch Brewer (Series 2)
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My love of filter coffee began as a teenager traveling and studying in India—perhaps my first glimpse of adult freedom. This is where I drank the first full cup of coffee I remember finishing. In Jaipur, filter coffee was an intense, jet-black gravity brew typically mixed with milk and sugar. I decided that if I was going to drink coffee, I would take it straight and learn to like it on its own terms. A newfound friend, tipping jaggery into his own brew, laughed at my insistence I didn’t want sweetened milk. I then downed a cup so thick and strong and caffeinated it made my hairs stand at perpendicular. If I’d made a mistake, I refused to admit it.
I carried this preference back to Oregon, drinking unadulteratedly black, terrible drip coffee at all-night diners and foul office breakrooms. Black coffee had become a morality clause, though it was hardly a matter of taste.
It wasn’t until years later that I discovered that drip coffee could actually be an indulgence every bit as refined as pinkies-up espresso.
Upping the Drip
In part, this was a problem of technology. Aside from a classic Moccamaster, it’s only very recently that home drip coffee makers have been able to produce a truly excellent cup. For years, I didn’t keep one at my home.
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What woke me up to drip’s possibilities was a new wave of cafes in Portland, first third-wave coffee pioneer Stumptown Coffee and then especially Heart Coffee Roasters in Portland. Heart’s Norwegian owner-roaster, Wille Yli-Luoma, expounded to me at length about the aromatic purity of light-roast immersion coffee—the fruity aromatics of a first-crack Ethiopian that could smack of peach or nectarine or blueberry. Scandinavians had long prized this, he told me, and had evolved light-roast coffee into pure craft. America was finally catching up.
Still, I could never quite get that same flavor or clarity on a home brewer. Not until recently. To get the best version, I still had to walk up the street to Heart and get my coffee from the guy who roasted it. Or I had to spend way too long drizzling water over coffee in a conical filter. I rarely wanted to do this while still bleary from sleep, already late for work.
In a tweet that’s been viewed 1.3 million times in the last six hours, OpenAI’s head of robotics announced their resignation. They said they “care deeply about the Robotics team and the work we built together,” so this “wasn’t an easy call,” but offered this reason for resigning:
AI has an important role in national security. But surveillance of Americans without judicial oversight and lethal autonomy without human authorization are lines that deserved more deliberation than they got.
This was about principle, not people. I have deep respect for Sam and the team, and I’m proud of what we built together. “To be clear, my issue is that the announcement was rushed without the guardrails defined,” explains a later tweet. “It’s a governance concern first and foremost. These are too important for deals or announcements to be rushed.” And when asked how many OpenAI employees had left after OpenAI signed their new Pentagon deal, the roboticist said… “I can’t share any internal details.”
The roboticist previously worked at Meta before leaving to join OpenAI in late 2024, reports Engadget:
OpenAI confirmed Kalinowski’s resignation and said in a statement to Engadget that the company understands people have “strong views” about these issues and will continue to engage in discussions with relevant parties. The company also explained in the statement that it doesn’t support the issues that Kalinowski brought up. “We believe our agreement with the Pentagon creates a workable path for responsible national security uses of AI while making clear our red lines: no domestic surveillance and no autonomous weapons,” the OpenAI statement read.
We spend hours testing every product or service we review, so you can be sure you’re buying the best. Find out more about how we test.
Soundpeats Cove Pro: Two-minute review
If you’re here because you’re interested in buying the best cheap headphones, let’s skip to the chase: these are now going to be the go-to pair I recommend for the foreseeable future. They’re not perfect, which is why there’s still over 1,000 words to this Soundpeats Cove Pro review, but for the money they’re outstanding.
Soundpeats is constantly impressing me with its great-value audio offerings, like the indelible in-ear Soundpeats H3, or the reliable open Soundpeats Clip1, and so I’m not overly surprised that I’m giving out another glowing review to something from the company. It’s less versed in over-ears than other kinds of headphone, though, so there was always the chance of something going wrong.
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The Cove Pro are fantastic headphones for people who just need any old pair of cans that’ll do the job, so you’ve got a way of listening to music when at home or on the go – they nail all of quality-of-life features you’ll want.
For example, the battery life is fantastic: 95 hours, or nearly four days straight. These aren’t going to give up the ghost during a long-haul flight, that’s for sure.
They’re also some of the most comfortable on-ears I’ve used recently, as the padding in the cups and headband is soft, and they’re not too heavy or pinchy over the crown of your noggin. What I’m saying is, you can leave them on your head for long periods of time without getting aches.
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Audiophiles (or people who aren’t sure of the title but are picky about their sound) might not be as impressed. The ANC is quite light-touch; the Cove Pro reduce sound more than ‘cancel’ it, and the audio isn’t as good as some other budget options I’ve tested. It’s a bit too warm and veers towards muddy, with a lower-end that isn’t as well-defined as on some alternatives. I wasn’t blown away, but bass-heads might still be happy.
Soundpeats Cove Pro review: Price and release date
(Image credit: Future)
Released in January 2025
Sells for $69.99 / £69.99 (around AU$140)
Cheap, but not cheap cheap in today’s market
Soundpeats announced the Cove Pro in January 2026, following the rush of headphones that followed CES at the beginning of the year.
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You can buy the Cove Pro for $69.99 / £69.99 (around AU$140), so they’re fairly affordable cans – best suited for people who want decent headphones that’ll last a long time, but don’t need the highest quality or audio or premium features.
They’re not the very cheapest headphones that are worth considering – I recently tested the OneOdio Focus A1 Pro which sell for $34.99 / £43.99 (about AU$85), and there are a few other super-budget options worth buying like the Sony WH-CH520. But they’re still certainly a budget option compared to the big names on the block.
Soundpeats Cove Pro review: Specs
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Drivers
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40mm
Active noise cancellation
Yes
Battery life (ANC off)
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95 hours
Weight
251g
Connectivity
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Bluetooth 6.0
Frequency response
20 Hz – 40,000 Hz
Waterproofing
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IPX4
Soundpeats Cove Pro review: Features
(Image credit: Future)
95-hour battery life
The ANC is very light-touch
Nice perks like Bluetooth 6.0, listening test and LDAC
Possibly the most eye-catching spec of the Soundpeats Cove Pro is the battery life: up to 95 hours of ANC-off listening. Very few headphones crack the 100-hour barrier, and anything close like this deserves props.
The endurance drops quite a bit if you turn ANC on: down to 58 hours. That’s quite a sacrifice to remove some sound, though in the grand scheme of things ~60 hours is still decent.
The ANC isn’t very powerful here; it’ll strip out the worst of background noises rather than remove them in any meaningful way. There’s also an ambient mode, but I couldn’t hear a difference between this and Normal (ANC off).
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(Image credit: Future)
The Soundpeats app is the Cove Pro’s all-but-mandatory smartphone app. It’s worth downloading, even though it forces you to create an account, because it offers a few features unusual in lower-cost headphones.
The app offers an equalizer (presets or 10-band custom mode), find my headphones function, spatial audio, bass booster and even a custom listening test which builds you a bespoke EQ mix. It’s clearly in a very early state – the pictures and text refers to earbuds, and one menu was in Mandarin, but it did a decent job of tweaking my audio and wasn’t too hard to use.
Unlike many budget music-blowers, the SoundPeats supports a few higher-res Bluetooth codecs, including LDAC, SBC and AAC. It connects via Bluetooth 6.0, and in my testing it didn’t stop out at all – there was one brief stutter, and that was it.
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Soundpeats Cove Pro review: Design
(Image credit: Future)
Light and comfortable to wear
Useful on-cup controls, but no 3.5mm
Bog-standard looks
When I pulled the Soundpeats Cove Pro from the box, I thought they were dead ringers for my old Sony WH-1000XM3s. Sure, there isn’t a huge scope for variety in the world of headphone aesthetics, especially the budget market, but the design language is there.
These cans weigh 250g, with an IPX4 rating indicating that they’re splash-roof. The right cup has an ANC button, power button and volume rocker on it, and they’re flush enough that I sometimes thought I’d missed pressing them until I got used to the feel of it. The exception is the power button, which has a little indent so you can easily differentiate it by feel.
The one thing I’d like to see is a 3.5mm port. As it stands, you can’t use an AUX cord to connect these to your music player.
I found the Cove Pro surprisingly comfortable; you can’t always rely on the budget headphones for a good fit, but these felt great. The soft cups settle gently on the ears, and a large pad on the band keeps them nestled on your cranium. I could listen for long periods without any kind of strain or ache.
The headphones also feel surprisingly premium in terms of build quality. The plastic material feels a little more durable than the squeaky cheap stuff some rivals are made out of, and other traits of budget cans like rattly joins and a hollow-feeling body were all absent.
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You can fold the Cove Pro in on itself to make it more portable, and they swivel and extend a fair amount to suit different sized heads.
Soundpeats Cove Pro review: Sound quality
(Image credit: Future)
40mm driver
Messy low-end handling
EQ can fix some issues
Like most budget headphones – actually, most cans at any budget – the Cove Pro have 40mm drivers. Soundpeats’ website goes into detail on titanium-coated diaphragms, patterned dome drivers and magnets, all giving the impression of a thoughtful approach to audio – it’s all for naught, though, as they don’t sound any better than your average budget cans
Music is warm, sometimes too much – as I write this I’m listening to Old Ties and Companions by Watchhouse, and the timbre that should be created by the various acoustic instruments feels lacking because of the sound profile. Bass can sometimes blow out other parts of a song, especially with rock music, which can often see the bass guitar override guitars.
It’ll appeal to bass-heads for sure, and people who go to gigs so often that they don’t realize you’re not always supposed to hear and feel the bass above everything else. But I found it a bit too much – and using the Bass Reduction EQ preset sometimes wasn’t even enough.
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Get through the bass, and you’ll find fairly detailed audio, though the lack of support for wired listening means these aren’t budget audiophile cans by any means. There’s a pronounced soundstage though, something you can’t always say about options at this price point, giving a little bit of extra sparkle to songs like T-Shirt Weather by Circa Waves and Such Great Heights by the Postal Service, which have bassless introductions so you can enjoy the atmosphere.
Soundpeats Cove Pro review: Value
(Image credit: Future)
At best, exceeds expectations for price
At worst, matches expectations for price
The Soundpeats Cove Pro aren’t quite the cheapest headphones on the market – or that have wowed TechRadar’s team recently – but they’re not far off. And they offer top value for money.
The build quality here is better than I’ve come to see expect from budget cans, even if the looks won’t win any awards for originality. And the feature set is better than many same-price rivals, with tools that you’d normally find in cans twice as pricey.
In its weaker departments, the Cove Pro still deliver at the level you’d expect for this price; they sound no worse than the average budget headset, and deliver enough ANC to trump rivals which don’t offer the feature.
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Should I buy the Soundpeats Cove Pro?
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Fairphone Fairbuds XL (2025) score card
Attributes
Notes
Rating
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Features
The battery life is great, and there are some solid features, but the ANC isn’t anything to write home about.
4/5
Design
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They’re basic to look at, but lightweight and comfy.
4.5/5
Sound quality
They sound muddy, but there’s detail and a reasonably wide soundstage.
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3.5/5
Value
Set your expectations for the budget and you won’t be disappointed.
4/5
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Buy them if…
Don’t buy them if…
Soundpeats Cove Pro review: Also consider
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Header Cell – Column 0
Soundpeats Cove Pro
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OneOdio Focus A6
Earfun Wave Life
Drivers
40mm
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40mm
40mm
Active noise cancellation
Yes
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Yes
Yes
Battery life (ANC on)
95 hours
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75 hours
60 hours
Weight
251g
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240g
264g
Connectivity
Bluetooth 6.0
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Bluetooth 6.0
Bluetooth 5.4
Waterproofing
IPX4
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None
None
How I tested the Soundpeats Cove Pro
Tested for a month
Tested at home, on walks, on public transport and the gym
I used the Soundpeats Cove Pro for just over a month to write this review, immediately following a few of their big rivals.
I used the cans paired alongside my Android phone, listening on a variety of services. This included in a range of indoor and outdoor settings including, most challengingly, on a train ride home after a high-end audio show.
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For TechRadar, I’ve already tested a wide range of budget headphones, including over-ear alternatives and other picks from Soundpeats.
Japan has approved ground-breaking stem-cell treatments for Parkinson’s and severe heart failure, one of the manufacturers and media reports said Friday, with the therapies expected to reach patients within months.
Pharmaceutical company Sumitomo Pharma said it received the green light for the manufacture and sale of Amchepry, its Parkinson’s disease treatment that transplants stem cells into a patient’s brain. Japan’s health ministry also gave the go-ahead to ReHeart, heart muscle sheets developed by medical startup Cuorips that can help form new blood vessels and restore heart function, media reports said. The treatments could be on the market and rolled out to patients as early as this summer, reports said, citing the health ministry, becoming the world’s first commercially available medical products using induced pluripotent stem cells…
In a statement, Sumitomo Pharma said it had obtained “conditional and time-limited approval” for the manufacture and marketing of Amchepry under a system which is reportedly designed to get these products to patients as quickly as possible. The approval is a kind of “provisional license”, the Asahi newspaper said, after the safety and efficacy of the treatment was judged based on data from fewer patients than in ordinary clinical trials for drugs.
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A trial led by Kyoto University researchers indicated that the company’s treatment was safe and successful in improving symptoms. The study involved seven Parkinson’s patients aged between 50 and 69, with each receiving a total of either five million or 10 million cells implanted on both sides of the brain… The patients were monitored for two years and no major adverse effects were found, the study said. Four patients showed improvements in symptoms. The article notes that “Worldwide, about 10 million people have the illness, according to the Parkinson’s Foundation,” while also notes that today’s current therapies “improve symptoms without slowing or halting the disease progression…”
Gaming has quietly become one of the most lucrative frontiers in personal audio, and at CanJam NYC 2026, Fosi Audio is stepping directly into the fight. Best known for its compact DACs, headphone amplifiers, power amplifiers, and affordable desktop gear, the company is debuting two new products aimed squarely at gamers and portable audio enthusiasts: the C3 AI Gaming Sound Card and the MD3 Magnetic DAC/Amp.
The move makes a great deal of sense. Gaming is now a multi-billion-dollar category where sound quality can make the difference between immersion and frustration, yet only a handful of established audio brands have truly taken advantage of the opportunity.
Companies like Audeze, beyerdynamic, and Sennheiser have leaned into the gaming category with some of the most respected audiophile-grade gaming headsets on the market. Meanwhile, Schiit Audio has taken a different approach, focusing on compact DAC/amp solutions such as the Schiit Gunnr and Fulla, which are designed to improve headphone audio across smartphones, tablets, PCs, and modern gaming consoles.
Fosi’s new C3 AI Gaming Sound Card feels like a logical next step for the category. By blending compact desktop audio design with gaming-focused processing and AI-assisted features, the company appears to be pushing beyond the traditional DAC/amp playbook. The big question now is whether Fosi can deliver something genuinely different from the established players—or simply prove that the next evolution of gaming audio doesn’t have to come with a high-end price tag.
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Fosi Audio C3 AI Gaming Sound Card
The C3 AI Gaming Sound Card marks Fosi Audio’s first AI trained gaming audio processor and is designed specifically with competitive FPS (First Person Shooter) players in mind. Built on the company’s Spider S AI model, the C3 analyzes in game audio in real time to enhance critical cues such as footsteps and directional movement.
Unlike traditional EQ based “footstep boost” modes commonly found in gaming headsets, the C3 focuses on isolating movement and positional information without simply increasing overall volume or exaggerating certain frequencies. The goal is greater positional accuracy and spatial awareness while preserving the natural ambience of the game environment, rather than turning the entire soundscape into an over amplified mess.
The C3 AI Gaming Sound Card is compatible with PCs and major gaming consoles and is designed for simple plug and play operation via USB C with no drivers required. An XMOS XU316 processor works alongside a premium CS43131 DAC and a dedicated headphone amplifier to provide the computational headroom required for real time AI processing while maintaining clean, high resolution audio playback.
Hardware level 7.1 spatial audio support, AI powered microphone noise reduction, and a web based EQ control interface further expand the C3’s flexibility for both competitive and immersive gaming setups.
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The C3 AI Gaming Sound Card is expected to launch soon via Kickstarter.
MD3 Magnetic DAC Amp Snaps Onto Your Smartphone
Fosi Audio MD3 Magnetic DAC Amp
Also making its CanJam NYC 2026 debut is the MD3 Magnetic DAC/Amp from Fosi Audio. The compact DAC/amp incorporates an ESS ES9039Q2M DAC, paired with four dedicated headphone amplifier chips designed to deliver clean headroom and strong dynamic range across a wide range of headphones and in-ear monitors.
The MD3 also includes dual USB C ports that allow simultaneous playback and device charging, along with a MagSafe style magnetic back plate for secure attachment to compatible smartphones. A 1.28 inch LCD display provides direct on device control, supported by a 100 step digital volume control with memory. Internal aluminum shielding helps reduce interference, while the CNC machined aluminum chassis reinforces the unit’s durability and premium construction.
“CanJam NYC allows us to connect directly with the headphone and audiophile community in one of the world’s most influential HiFi markets,” said Ryan Huang, Founder and CEO of Fosi Audio. “With C3 and MD3, we’re showing how advanced processing, balanced design, and user focused engineering can elevate both competitive gaming and portable high fidelity listening.”
More from Fosi Audio: Full Product Lineup on Display at CanJam NYC 2026
IM4 In Ear Monitors (IEMs) – The IM4 IEMs are precision tuned to deliver accurate and engaging sound for portable listening setups, offering a balanced presentation aimed at listeners who want detail without sacrificing musicality.
i5 Planar Magnetic Headphones – The i5 is an open back planar magnetic headphone designed to deliver a wide soundstage and strong detail retrieval, bringing a more spacious and immersive presentation to desktop listening.
ZH3 Balanced DAC Headphone Amp Preamp – The ZH3 combines DAC, headphone amplifier, and preamp functionality in a balanced design built to drive demanding headphones while serving as the control hub of a compact desktop system.
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K7 HiFi Gaming DAC Headphone Amplifier – The K7 is positioned as a versatile DAC/amp for both hi-fi listening and gaming, pairing immersive audio performance with features such as independent microphone control for competitive play.
DS3 Portable DAC Headphone Amplifier – The DS3 is an XMOS powered DAC/amp housed in a compact battery free dongle, designed to deliver improved audio performance for smartphones, tablets, and laptops without the need for an internal battery.
BT20A MAX Amplifier – The BT20A MAX is a compact 2.1 channel Class D integrated amplifier with Bluetooth connectivity, built to deliver substantial output and wireless flexibility for small hi fi or desktop systems.
ZA3 Balanced Amplifier – The ZA3 is a balanced dual mode Class D power amplifier that supports both stereo and mono operation, allowing it to function either as a traditional stereo amplifier or as part of a higher power mono block setup.
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The lineup on display at CanJam NYC 2026 reflects Fosi Audio’s continued expansion across both portable and desktop hi fi categories, along with a growing focus on performance driven gaming audio.
Fosi Audio C3 AI Gaming Sound Card
The Bottom Line
With the Fosi Audio C3 AI Gaming Sound Card, Fosi Audio is stepping into the rapidly expanding gaming audio category with a product aimed squarely at competitive players who want clearer positional cues without the usual gimmicky “footstep boost” tricks. If the AI processing works as promised, the C3 could appeal to gamers looking for a more precise and natural sounding alternative to the typical headset DSP modes.
Meanwhile, the Fosi Audio MD3 Magnetic DAC Amp targets the portable hi-fi crowd, offering a magnetically attached DAC/amp designed to clean up smartphone audio without the bulk of a traditional portable stack. Between the gaming focused C3 and the smartphone friendly MD3, Fosi appears to be expanding into two fast growing segments of personal audio.
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Both products will be making waves at CanJam NYC 2026, and with several other products in tow, the Fosi booth is shaping up to be a busy stop on the show floor. Check back this weekend for our full coverage and listening impressions from the event.
The report identified an increase in the number of women entrepreneurs raising investments to expand their businesses.
Ahead of International Women’s Day on Sunday (8 March), AxisBIC, a non-profit based in Ireland’s south and mid-west region that supports innovative start-ups, has released data highlighting the progress being made among women founders.
AxisBIC’s figures for 2025 show that 35pc of High Potential Start-Up approvals in this region were organisations either founded or co-founded by women, while 57pc of Pre-Seed Start Fund approvals were given to companies being led by women.
The platform’s research shows that over the course of the last five years at AxisBIC’s flagship event, the Entrepreneur Experience, more than 50pc of the participating businesses were founded or co-founded by women – outpacing the national average of 25pc to 30pc. Figures also show that these women-led businesses raised a total investment of €42m.
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AxisBIC works with entrepreneurs to develop their business plans, raise investment, manage business propositions and arrange agreements between shareholders and investors. The organisation also provides access to a network that includes partners, local authorities, universities, investors, business bodies and seasoned entrepreneurs across Ireland and internationally.
Some of the women-led start-ups that have worked with AxisBIC include Rosanne Longmore’s femtech Coroflo – which recently made history at CES 2026 – Peigín Crowley’s health and wellness brand Ground Wellbeing, and Rena Maycock’s mobile phone child protection company Chirp.
The CEO of AxisBIC Larry O’Donoghue said: “At AxisBIC, our commitment of supporting and advancing women-led start-ups is underpinned by a strong ‘Give to Gain’ ethos. The organisation draws on an extensive network of experienced entrepreneurs, investors and partners who mentor, coach and advise emerging founders.
“In addition, AxisBIC, together with the four Irish Business Innovation Centres, has recently organised and supported Enterprise Ireland’s newly established accelerator programme, NextWave. NextWave is the new national women’s founder accelerator designed to empower women founders to validate, build and scale with confidence.”
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In line with International Women’s Day, AxisBIC will co-host a webinar called ‘Forging Collaboration and Sharing Entrepreneurial Success Stories to Balance the Scales’ with partner incubators in the EU and the Caribbean.
The discussion will take place 10 March and will include women entrepreneurs from Jamaica, Barbados, Trinidad and Tobago, Ireland and Slovenia. Anyone interested can register to attend on the AxisBIC website.
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Campfire Audio has spent the past decade building a reputation as one of the most innovative brands in the high-end in-ear monitor market. The Portland-based manufacturer has become a global force in portable Hi-Fi with cult-favorite releases like the Andromeda, Clara, and Astrolith, each pushing design and tuning in directions that most competitors avoid. That willingness to experiment has produced some of the most recognizable IEMs in the audiophile space, often at premium prices that climb well past $3,000. The new Campfire Audio Andromeda 10 continues that legacy as the latest evolution of the company’s flagship Andromeda series.
Priced at $1,799 and available directly from Campfire Audio, the Andromeda 10 promises improved driver integration, refined tuning, and an ergonomic shell designed for long listening sessions. But the high-end IEM market has never been more competitive. With strong offerings from brands like 64 Audio, Noble Audio, and Astell&Kern crowding the field, the question is simple: can the Andromeda 10 still stand out in a category it once helped define?
Listening Preferences and Review Context
This review is ultimately a subjective evaluation shaped by my own listening priorities. I aim to remain consistent and fair in my comparisons, but no amount of methodology can fully remove personal bias. Transparency matters, so it’s worth understanding the lens through which this review is written.
My reference sound signature leans toward controlled, authoritative sub bass with textured and articulate mid bass, a slightly warm and natural midrange, and treble that is extended and detailed without crossing into glare. I’m also mildly sensitive to elevated treble energy, which inevitably affects how I judge brightness, listening fatigue, and long term comfort.
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Full details on my testing equipment, methodology, and evaluation standards can be found here.
For testing, I used a mix of dedicated DAPs and portable dongles, including the HiFiMAN SuperMini, Hidizs AP80 Pro MAX, and Astell&Kern PD10, alongside the Astell&Kern HCL, Audioengine HXL, Meze Alba dongle, and Apple’s USB-C dongle. This range covers everything from dedicated audiophile sources to more typical everyday mobile listening setups.
Unboxing
Build
Campfire Audio products are well known for their abstract, angular designs. Most of the company’s IEMs feature strong lines, sharp edges, and bold contours that make them instantly recognizable. The Andromeda 10 follows that same visual language, building on the aesthetic established by earlier Andromeda models.
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I’m still a big fan of the designs used for the Andromeda 2019 and 2020, though realistically there’s probably no way to physically fit ten drivers into those smaller shells.
Die-hard Campfire Audio fans will notice immediately that the Andromeda 10 features something unique to their lineup on the top of the shell: a 0.78mm 2-pin socket. This break from tradition (using MMCX sockets), while a personal disappointment, makes sense given the buying power wielded by Eastern audiences; they’re major proponents of cable-swapping and almost exclusively use 2-pin cables.
The Andromeda 10 is the second Campfire Audio product to come with their new TimeLink modular cable, following the Grand Luna. This cable uses a friction-based mechanism to permit the user to swap between 3.5mm, 4.4mm, and USB-C terminations. Swapping terminations is easy, and they fit snugly onto the cable–but friction-based modular cables, no matter how-well manufactured, almost always suffer early failure when swapped often. I’d like to see Campfire Audio revise this cable to include a mechanical lock, such as a threaded nut. DUNU, Melody Wings, and many other brands have adopted this more-secure style.
The included USB-C termination works well and provides far more power than the Andromeda 10 actually needs. In fact, it delivers so much output that using it with my Pixel 10 Pro can be a challenge. I have to set the volume to around 1 out of 20, and even then it’s still a bit louder than I’d prefer.
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Some form of built-in level control would be welcome, because the only real solutions are rooting the phone or applying a negative preamp in the music player—neither of which is exactly convenient for everyday listening.
Comfort
Comfort is a metric that relies heavily on factors influenced by your individual ear anatomy. Mileage will vary. The Andromeda 10, in spite of its unusual dimensions, is quite comfortable. It is light-enough to not tire the backs of my ears and the TimeLink cable, while not as ergonomic as Campfire’s Timestream cables, is still viable for long listening sessions. The Andromeda 10 makes use of venting, so there’s no pressure-build up, even after two or three hours of listening.
Accessories
Inside the box, you’ll find:
1x 2-pin TimeLink modular cable
1x 4.4mm termination
1x 3.5mm termination
1x USB-C termination
3x Pairs “High and Clear” liquid-silicone eartips
3x Pairs foam eartips
3x Pairs standard silicone eartips
1x CFA 10th Anniversary pin
1x CFA microfiber cleaning cloth
1x cleaning tool
1x Semi-hard carrying case
The Andromeda 10 introduces a new large zippered case. It offers plenty of room for the IEMs, extra terminations, spare eartips, and even a small USB-C dongle. However, there’s no real way to secure additional gear inside.
The top flap includes a small elastic pouch similar to the mesh compartments found in many zipper cases, but it doesn’t stretch much. Larger DACs like the Campfire Audio Relay or Astell&Kern HC5 won’t fit there and end up sitting loose in the main compartment. It’s not a dealbreaker, but a Velcro divider or modular insert system would make better use of the space.
Tech Specs
The Andromeda 10 uses ten balanced armature drivers per side, arranged in a three way crossover: four for bass, four for the midrange, and two for treble. Campfire implements the crossover using what it calls a “hybrid vintage” ceramic capacitor design.
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Despite the large driver count, the Andromeda 10 is very easy to drive. With an 8.5Ω impedance and a sensitivity of 94 dB @ 1 kHz (12.10 mVrms), it works comfortably with modest sources, including low power dongles like Apple’s USB-C adapter. The bigger consideration is output impedance. These IEMs perform best with sources that have a near zero output impedance.
Listening
Graph for the sniffers. Source: Campfire Audio
The Andromeda 10’s sonic signature is warm and comfortable, with a dash of upper-treble sparkle. Its sub-bass is well-extended, rolling into a slightly elevated mid-bass. The Andromeda 10’s lower-mids are blended nicely into its sub-bass, carrying a healthy dose of warmth. The upper-mids sit above the lower-mids, but don’t ever over-step, ensuring a cohesive, though distinct, vocal and instrumental space. Above the Andromeda 10’s upper-mids sits its expressive and precise treble. The Andromeda 10 expertly-balances a medium-serving of brightness with comfort while preserving the carefully-curated “vibe” of its predecessors. Its upper-treble features a few key lifts and peaks to bring out a sense of sparkle and air. Simply put, the Andromeda 10 sounds like a good pair of Hi-Fi speakers: rich, quick, and detailed.
Enigmatic Treble
The Andromeda lineup has long been known for its signature “sparkly” treble. A quick scan of forum threads or YouTube comments makes that reputation clear. But sparkle alone isn’t rare: many IEMs achieve it simply by boosting the upper treble. What sets the Andromeda apart is finesse. Its upper register isn’t just elevated for effect; it’s carefully shaped to deliver air, detail, and shimmer without turning harsh or fatiguing.
The OG Andromeda, Andromeda 2019, and Andromeda 2020 all share the same core tuning that contrasts carefully placed upper-treble emphasis against a warm and smooth midrange. The Andromeda 10 iterates on this approach, eking out subtle increases in treble presence without creating treble bloom. The Andromeda 10 captures a wealth of upper-register texture and detail, staging them with clarity.
The Andromeda 10 is thusly an excellent partner for critical-listening, but also reveals the flaws in rougher masters. For example, the original recording of “Parallel Universe” by Red Hot Chili Peppers can be a tough listen. The Andromeda exposes the grain and harshness in the track that less resolving IEMs tend to smooth over.
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Absolute Transparency
One of my few reservations with the previous Andromeda models were their propensity to over-warm the midrange. The Andromeda 10 handily addresses this concern, expertly balancing convincing tonal weight with transparency. Rock tracks with contrasting elements like gritty electric guitars and somber vocals, like those on Middle Class Rut’s outstanding album, No Name No Color, place believably across a wide soundstage. Tracks with modern production values, like “Die For Me” by A Day to Remember, pair well with the Andromeda’s balanced and cohesive presentation.
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Male vocals, deep or otherwise, sound well-weighted and organic. The Andromeda 10’s responsible upper-midrange lift gives lyrics separation and intelligibility without compromising overall timbre, allowing the Andromeda 10 to achieve excellent levels of immersion and imaging.
The Pursuit of Bass Balance
The most common complaint with the older Andromeda models were their inability to generate proper bass response. The Andromeda 10 goes above-and beyond simply meeting the standards of neutrality and actually produces stable, controlled dealings of punch. The Andromeda 10’s mid-bass is fast and technical, but isn’t above getting down-and-dirty on electronic tracks like “Motion” by Uppermost.
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The Andromeda 10 performs impressively on tracks with demanding bass hits and complex sub bass passages. Listening to “Turbulence” by Neddie highlights the IEM’s control over texture and intensity, showing how far all balanced armature designs have come since the original Andromeda debuted. The Andromeda 10 moves a surprising amount of air for an all BA design, reproducing the track’s deep and layered bass textures with confidence.
While the Andromeda 10 handles highly technical electronic music very well, it doesn’t fully deliver the level of bass intensity demanded by some R&B and hip hop tracks. “Baby Got Brap” by T Pain, a playful ode to rotary engines, calls for a massive wall of sub bass.
The Andromeda 10 produces more rumble than I expected, but it still falls short of what you get from dynamic driver based IEMs like the Clara or Cascara. Whether that matters depends on your taste. Bassheads may see it as a compromise, while audiophiles will likely appreciate the balance between articulation and bass presence.
Comparisons
Campfire Audio Andromeda 2019
When someone says Campfire Audio Andromeda, they’re usually referring to the models released between 2018 and 2020. Aside from the lineup’s brief departure from form with the Emerald Sea, the core Andromeda sound and identity have remained consistent and wildly popular. For the Andromeda 10 to truly qualify as an evolution of the series, it needs to deliver a clear and meaningful improvement over those earlier models.
To my ears, it does. The Andromeda 2019 is a warmer, thicker sounding IEM with less extension at both frequency extremes. The Andromeda 10, by comparison, delivers a more pronounced mid bass lift and a broader, deeper reaching sub bass shelf. That shift makes it far more capable with bass heavy genres like EDM, an area where earlier Andromeda models were not strong performers.
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The Andromeda 2019 also presents vocals with less presence and leans into a smoother upper register. While it was an excellent IEM in its time, driver design and tuning have clearly progressed. The Andromeda 10 reveals a noticeable technical gap between the two. Sub bass textures that the 2019 often glosses over are clearly articulated and properly staged on the Andromeda 10, which also resolves more vocal nuance while introducing less coloration in the midrange.
In my view, the choice between the two is fairly clear. The Andromeda 10 is a different beast. It trades the overtly stylized tuning of earlier models for a more refined interpretation of what made the series special while delivering noticeably stronger technical performance.
Older Andromeda models may still be worth considering if you find a great deal on the used market, but otherwise the Andromeda 10 stands as the most capable and advanced Andro to date.
Campfire Audio Astrolith
Campfire Audio Astrolith
The Astrolith is Campfire Audio’s flagship planar IEM. It uses two planar drivers per side, detachable MMCX cables, and stainless steel faceplates. At $2,200, it costs about $400 more than the Andromeda 10.
The Andromeda 10 includes the modular TimeLink cable with 3.5mm, 4.4mm, and USB-C terminations, while the Astrolith ships with separate 3.5mm and 4.4mm Timestream Metal cables. I personally prefer the Timestream Metal cables, which feel more compact and ergonomically friendly than the TimeLink system.
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Both IEMs include the same excellent selection of eartips, though the Andromeda 10 fits my ears better without requiring aftermarket options. It also ships with a proper storage case, while Astrolith owners will likely need to supply their own solution, such as a Pelican 1010.
Sonically, both IEMs are serious performers, but they approach presentation very differently. The Astrolith is all about intensity, while the Andromeda 10 takes a more relaxed and balanced approach. The Astrolith’s midrange carries a bit more thickness, flowing into a fuller and more present mid bass region. Both extend well at the frequency extremes, though the Astrolith maintains stronger presence below about 200Hz, delivering punch and rumble with a convincing sense of note weight across the soundstage.
The Andromeda 10, despite its lighter bass emphasis, seems to reach slightly deeper into the lowest sub bass registers. In the treble, the Astrolith leans bright and energetic, fully exploiting the speed and openness of its dual planar drivers. The Andromeda 10 counters with a more measured top end, offering smoother and richer doses of air. If the Andromeda 10 feels like a refreshing breeze, the Astrolith is closer to an industrial fan—the better choice simply depends on how much intensity you want.
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It’s a tall task to chose between these two IEMs. The Astrolith has excellent bass and incredibly-precise timbre, while the Andromeda 10 delivers a maximally smooth and organic tone without dropping an ounce of resolution. Both IEMs are well-equipped with accessories, but vary on the specifics, so your specific needs will influence which one is more practical OOTB. That said, my specific music library meshes a little better with the Andromeda 10. Its less-intense upper-treble is more-comfortable for me, and the lighter lower-mids synergize better with my commonly-listened artists.
ClearTune Monitors DaVinci X
ClearTune Monitors DaVinci X
The DaVinci X is the flagship offering from ClearTune Monitors, featuring 10 balanced armature drivers per side. It has remained unchanged since its 2018 debut and in that time has dropped from $2,500 to a comparatively-affordable $1200. At its adjusted price, the DaVinci X can be had for $600 less than then Andromeda 10. Both IEMs feature metal shells and detachable cables, though the DaVinci X has a comparatively utilitarian suite of accessories.
In terms of sound, the DaVinci X is a more-linear sounding IEM with a brighter lower-treble than the Andromeda 10. Its vocal range is a little more forward than the Andromeda 10, while the Andromeda 10 packs a warmer lower-midrange with greater bass presence. The DaVinci X narrowly avoids roll-off down below the 50Hz range, but lacks any real oomph in spite of its technical competence.
Comparatively, the Andromeda 10 is able to deliver light doses of punch and rumble — enough to be enjoyable in electronic genres. The DaVinci X possesses a special sense of air and space in its upper-register than is hard to reproduce, though the Andromeda 10 comes close. Both IEMs have substantial soundstage width and depth, though the DaVinci X has a bit more believable positioning. The DaVinci X’s roots as a stage-monitor are evident here, as crucial audio cues transparently pop up front when listening, while the Andromeda 10 presents a more cohesive, organic sonic environment.
Between the two, I’m choosing the Andromeda 10 for daily-listening. Greater genre flexibility, increased bass response, and improved ergonomics make it the better choice, even accounting for the difference in price. Of course, if you’re interested in maximizing your IEM’s utility as a technical tool, be it engineering or stage monitoring, the DaVinci X may still be the more-appealing option, but that’s not how I consume audio as a casual listener.
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EarAcoustic Audio VSA-PM Crown
EarAcoustic Audio VSA-PM Crown
The VSA-PM is the flagship (and only) planar IEM from EAA, featuring one large planar driver per side. It runs $850, making it about half the price of the Andromeda 10. Both IEMs feature detachable 0.78mm 2-pin cables, though the Andromeda 10 has a modular cable versus the VSA-PM’s fixed 4.4mm.
Both IEMs have decent cases, though the Andromeda 10’s is larger and more accommodating to accessories like USB-C DACs. The Andromeda 10 has vastly superior stock eartips, though I should hope so given its substantial price tag. Both IEMs are built from high-quality aluminum shells and are fairly ergonomic, though the Andromeda 10 is easier for me to wear for extended sessions.
Sonically, the Andromeda 10 is warmer and bassier than the VSA-PM. Both IEMs feature excellent extension in the upper and lower-registers, though the VSA-PM seems to carry its upper-register emphasis a little further out than the Andromeda 10. The Andromeda 10 delivers a fuller, richer soundstage with its increased mid-bass presence. The VSA-PM has a comparatively cool lower register, allowing it to more easily stage a sense of “emptiness”, but at the cost of harmonic weight.
The Andromeda 10 delivers similarly-forward vocal presence, but manages to avoid to occasional sharpness generated by the VSA-PM. Both IEMs are extremely technically-capable, though the VSA-PM seems to more-easily surface micro-textures in the lower-treble. The Andromeda 10, by contrast, has much better control over its mid and sub-bass.
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I was the very first purchaser of the VSA-PM, so suffice it to say, I like the IEM — a lot. It offers an excellent TOTL experience for under $1000, which is becoming increasingly rare these days. That said, its presentation is sometimes non-optimal for busier, dryer tracks in my collection. The Andromeda’s effortless richness and smoothness makes it an easier listen for long days in the office or during plane rides.
The Bottom Line
The Andromeda lineup has never been about neutrality. It’s never been about cost-efficiency. It’s never been about stage monitoring. The Andromeda has always represented the apex of Campfire Audio’s philosophy: that audio should be warm, welcoming, and something worth remembering. As such, I think the Andromeda 10 earns its keep as the new Campfire Audio brand ambassador. Combining quintessential Campfire Audio house-sound, truly impressive performance, and luxurious materials, the Andromeda 10 is set to deliver a special experience. And at these prices, that’s what you’re paying for: the experience.
The Andromeda 10 is best suited for audiophiles and enthusiasts who value balance, detail, and long term listening comfort over sheer bass quantity. Listeners chasing maximum low end impact may still gravitate toward dynamic or hybrid designs, and a bit more bass authority would make genres like hip hop and modern R&B more convincing. But for those who appreciate a refined, articulate, and unmistakably Campfire presentation, the Andromeda 10 stands as one of the most compelling entries in the lineup to date.
Pros:
Speaker-like immersion
Balanced sound signature with rich and clear bass
Expressive treble with zero sharpness
Excellent passive isolation
Phenomenal vocal intelligibility
TOTL layering abilities
Cons:
Modular cable lacks affirmative locking mechanism
USB-C termination is too loud on Android devices
USB-C termination block microphone during phone calls on Android
The new 2026 Apple Studio Display is here, boasting minor upgrades over the previous generation that leave existing owners with little reason to upgrade.
2022 Studio Display vs 2026 Studio Display: Minor upgrades make for a difficult recommendation
Apple announced the second-generation Studio Display on March 3, 2026, with the monitor going on sale a week later. But its thunder was stolen by the arrival of the all-new Studio Display XDR, with its mini-LED backlight and 120Hz refresh rate. Predictably, the Studio Display XDR is an expensive beast, starting at $3,299. That leaves the refreshed Studio Display as the more affordable option — it matches the same $1,599 starting price of its predecessor. Continue Reading on AppleInsider | Discuss on our Forums
A commercial Delrama prism-based anamorphic lens for large cameras. (Source: Mathieu Stern, YouTube)
Although to the average person a camera lens is just that bit of glass you stick on the front of the camera to make stuff appear in focus, there’s a whole wide world out there of lens designs and modifications with enough variety to make your head spin. Some of these designs make a big impact, while others fade away again, sometimes at the whims of film makers and photographers. Prism-based anamorphic lenses are an oddity that recently [Mathieu Stern] got his hands on. (Video, embedded below.)
During the 1950s and 1960s there was a bit of a competition between anamorphic formats, which use special lenses that ‘squeeze’ a larger image so that widescreen movies could be recorded on standard 35 mm film. By using the same lens for recording and playback, the result was a mostly distortion-free image. Here the Technirama format by Technicolor who teamed up with Dutch company De Oude Delft (‘Old Delft’) to produce the prism-based Delrama lenses that fit on existing lenses for cameras and projectors.
The last gasp of the Delrama anamorphic lenses. (Credit: Mathieu Stern, YouTube)a
Despite having a clearly superior, distortion-free image than the cylindrical lenses of the competition, Technirama got pushed out of the commercial market, leaving De Oude Delft to try and interest the consumer market for Delrama with 8 and 16 mm adapters. These latter are the ones that [Mathieu] got his hands on and tried out with a DSLR camera.
Troublesome with these Delrama adapters is that their silver mirrors tend to degrade over time, and they also turned out to be rather fragile, which are both things that made consumers sour on them. Another challenge was the fixed four meter focus that’s great when you’re using it with a projector, but terrible for up-close shots. All of these issues resulted in Delrama fading from the market by the 1970s until all that remains are these remnants of a format that once was used to film some of the biggest Hollywood movies.
