Six twentysomethings in East London have built what they say is the anti-San Francisco hacker house. The goal is a “holistic improvement in life,” rather than “12 weeks, Demo Day is coming,” Rowan Aldean, 26, explained. 

Intrigued, I spent an afternoon visiting the house, meeting its residents, and doing a vibe check. I arrived after Aldean escorted me through the clean sidewalks of a new East London development to where the six-story building stood facing the water. 

The house is called the London Island Founder House — or “Lift House” — and Aldean and his wife, Zahraa, 22, an upcoming pharmaceutical research PhD candidate, have lived there since May, just a few months after it officially launched in March. Aldean sold his previous company last year for millions, he said, and now runs an “applied AI” startup that helps companies learn how to deploy agents. 

Like all hacker houses, Lift House is part startup workspace, part co-living space. The house is named after both its lift — that is, its elevator — and its mission to uplift tech founders, Aldean said. It’s one of the very few co-living hacker houses to exist in London (compared to San Francisco, where dozens — if not hundreds — are scattered around the city at any given time). 

Lift House is a bet that U.K. founders can build successful companies without mimicking the over-the-top hustle culture of Silicon Valley.  

Founders have described stories of San Francisco hacker houses illegally running in warehouses, throwing full-on galas, or setting up in a tent or espousing punishing, 72-hour sprints typical of the “996” work culture.  

“I don’t expect the performative and over-the-top events will be a thing here,” Aldean said, and pointed to one of London’s most successful AI companies, DeepMind. “They’ve won Nobel prizes and built frontier innovation without any song and dance.”  

Instead, Lift House is part of a trend called “Londonmaxxing,” in which founders attempt to optimize everything the London tech scene offers. The London ecosystem feels less showy and less startup bro-y than San Francisco, but its founders share similar ambitions: success, wealth, and market domination.  

London AI startups have raised $12 billion so far in 2026, out of $14.7 billion raised by all London startups, according to Dealroom. Six companies have raised more than $500 million: Wayve, Superintelligence, ElevenLabs, Recursive, Ineffable Intelligence, and Isomorphic Labs, the latter three of which were founded by DeepMind alumni. 
 
The excitement from AI has boosted the morale of the U.K. tech scene, inspiring a new generation of founders, like those in the Lift House, to take big swings. 

Journaling vs. demo day  

The timeline for living on Lift House is flexible — some people have stayed for a month; others intend to stay for at least six months. They buy their own groceries, Aldean said, although they often cook together and share ingredients. Cleaning is split among the group. Everyone declined to share information about the rent they pay. 

The residents of Lift House aim for a balanced approach toward ambition, each one of them tells me — an almost unheard-of idea by San Francisco startup standards.  

On Sundays, the group will journal together, a practice introduced by David Amor, 28, who runs a brain coaching and training company, helping founders and business leaders understand more about their brain and how it can help optimize business performance. The idea of journaling is to help everyone track how much time they spent in nature that week, how well they ate, and how much they moved their bodies.  

“I’m eating healthier, working out more, and sleeping more,” Luke, 27, who runs an AI-marketing company, said about living in the house. “I always make sure to have lunch now, which is something that is simple, but I wasn’t doing before I lived here.” (Luke asked that his last name be withheld.)  
 
Tuesdays evenings are for volleyball, where the founders play on the house team in a local league.  

After dinner on other evenings, Wan Ying L, 25, who just left an AI startup and is working on a new idea, might play the piano in the living room. Sometimes the group plays Catan or visits art exhibitions together.  

Presence Plumb, 25, is a tech strategist. She likes to host rooftop dinner parties, serving dishes that reflect the different nationalities in the house — from Iraqi to Spanish — while invited founders, researchers, investors, and operators chat about tech trends and investments. 

“It’s a bit calmer, balanced, authentic in a way,” she said of people in the London ecosystem. “They don’t want too much of that only startup tech bro vibe. They want a bit of balance.” 

Each founder follows their own schedules for a typical workday. Amor, for example, is up by 8 a.m. and gives himself exactly 30 seconds after waking up before jumping into his morning work. “I have a clear objective of ‘this is what I want to do in the first half of the day, when there’s no distractions.’” After his morning work routine, he takes a cold shower, “because it increases your dopamine by 250% and that gives me that motivation, that spark,” he said.  

Luke, meanwhile, is up at around 8:30. His co-founder, Varun, 27 (who asked that his last name be withheld), typically travels to the Lift House to co-work, and the duo starts work at around 9 a.m. with a team call.  

Aldean rarely wakes before 10 a.m. unless something big is happening, like a “crazy angel [investor] call,” he said.
 
When asked what makes this house uniquely British rather than a wellness-focused Silicon Valley founder house, Aldean joked: “Well, we drink tea together like Brits, and in SF folks just drink filtered coffee.” 
 
More seriously, he spoke of how British founders face a different kind of pressure than those in the U.S. They must navigate a cultural aversion to risk, an inclination toward humility, and a shame associated with failure. Instead of forgoing sleep for hustle and grind, they deal with what they call the “tall poppy syndrome,” when the media builds one up only to ruthlessly tear them down should they become too successful, investors and founders say. It makes some founders in the ecosystem wary of displaying too many wins.  

Still, Luke said London is a strong choice for an early-stage founder: There’s a good network, ample early capital opportunities, and an option for a life outside of tech. In many ways, it is much more like New York culturally for founders than in San Francisco.  

“London is so diverse that if you look properly enough, you’ll always find something fun to get involved with,” Amor added, “whether that’s a founder-run club, wellness events, [or going] to jazz nights.” 

Luke and Varun largely avoided venture capital funding by taking advantage of the U.K. government’s SEIS/EIS, which is supposed to help attract more angel investments into local startups. “There’s people who will pay basically the same rate of tax if they give us the money versus if they pay income tax,” Luke explained as another reason he liked starting out in London.  

Aldean also feels the London ecosystem is less cutthroat than the Valley. He recalls his days living in a hacker house in the Bay — everyone’s desk had to face the wall, and it was heads-down, product-building. He felt the ecosystem, at times, was too willing to gossip, which is apparently done quite differently in the U.K.  

“There’s nothing like ‘oh my god did you hear that the CTO just, like, did this,’” Aldean said. “It’s like you’re always worried,” he said, that someone would spread negative stories, especially if it benefited them.  

Aldean also thinks London startups, more than Silicon Valley ones, sell into slow-moving large corporations rather than to each other, meaning one could build without having to kiss up or posture to get their peers to like them.  

To the selling point, Varun and Luke mentioned another difference between the U.S. and U.K. ecosystem. “It’s a relatively fleeting market,” Varun said of the U.S. “You get quick wins. Here, it’s hard to close a customer, but if they close, they stay with you longer.” 

Coming to America

Eventually, though, the road for many U.K. startups goes straight to the U.S. 

In the U.K., founders have access to affordable top talent from universities like Oxbridge and a time zone that makes it easier to work with the rest of Europe, the Middle East, Asia, and parts of North America. In the U.S., however, they have access to the world’s largest economy and, most importantly, a lot of investors willing to write large checks, from pre-seed to growth stages.  

“It’s almost like a factory line in a way,” Varun said. “You start here, and then you expand there or vice versa.”  

American investors are also playing a role in luring British talent away from the country. I told the Lift House residents about one startup founder who said a top investor wouldn’t even back the company unless she relocated to the U.S. She ended up doing so, though decided to keep her family based in the U.K. to raise her children.  

“We had an investor in Miami who said the same thing,” Luke said of an investor trying to get him and Varun to move to the U.S. “It’s quite a common practice.” He and Varun have already begun their U.S. expansion, and despite loving London, the duo hasn’t ruled out moving to the U.S. to be closer to their customers.  

That’s the tension bubbling beneath not just the U.K.’s tech ecosystem but most of Europe’s. “I work with a lot of people trying to support the European ecosystem more,” Plumb said. 

Yet, founders “talk about London; everyone is bullish on the country until they get the opportunity to leave,” Aldean added. 

The Lift House lease has about a year left, and there is sentiment in the house to keep it going for as long as they can. After all, there aren’t too many in London, though the city sees many short-term gatherings, like the Solana Hacker House meet-up series. Some of the more public co-living hacker houses are part of a global chain, like the San Francisco-based network The Residency, which expanded into London last year, and BaseJump, which is announcing a London version of its hacker house program soon. 

In 2024, two founders tried the opposite version of the Lift House called “The London Founder House,” which Sifted covered under the headline “The people here don’t want work-life balance.” That home is noted as London’s first-ever hacker house, and though it wound down last year, it left an influence through its concept, events, and connected players around the ecosystem. To even be considered for the London Founder House, one had to have raised at least half a million dollars.  

For Lift House, prospective residents need to show a hobby outside their companies and an interest in fitness. It’s the same pitch many in the Londonmaxxing ecosystem are using to keep people from leaving: That here one can have it all. 

“The culture is to build something that lasts,” Aldean said, “not necessarily burn out chasing a flash.” 

There are times when a physical connection works better. Here’s how to set it up.

Why USB tethering?

How to set up USB tethering

Screenshot by Will Shanklin (Samsung)

A few things to keep in mind

Apollo Automobil rolled its first finished production car onto the Goodwood Festival of Speed grounds in July 2026, and the machine looked ready to rewrite the rules of what a track hypercar can be. Named Caribbean Dragon, this is unit one of just ten Apollo EVOs that will ever leave the German workshop. Twenty years after the original Gumpert Apollo began deliveries, the brand has returned with something sharper, lighter, and more uncompromising than before.

Caribbean Dragon has an incredible 75+ carbon-fiber panels that are all expertly crafted. You see, the paint job alone is a huge operation, with eight coats done by hand that took over 1000 hours. When the sun hits the pearlescent white coat, a diamond dust flake forms, resulting in a little light show. All of this color contrast has a big impact, with the ocean blue of the carbon accents and tinted blue finishes grabbing attention, much like bright sand meets deep water. Apollo CEO Niko Konta believes the name was inspired by comparing the brilliant white and deep blue colors. Forged wheels continue the concept, with white in the front and blue at the back, while blue brake calipers round out the look.

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Underneath the elegant bodywork is a full carbon-fiber monocoque weighing a whopping 165 kg, 15% stiffer and 10% lighter than the Apollo IE. The front and rear carbon subframes, as well as the specific crash components that comprise the chassis, are likewise the subject of extensive engineering. Overall, the dry weight is a lean 1300 kilograms. With adaptive aero generating 1350 kilos of downforce, this car has a bit more grunt than its own mass. The aggressive geometric form, X-shaped front LED lights, and vertical W-shaped rear lamps indicate that the bodywork is going for impact, yet each surface is actually engineered to push air around rather than just look showy.

Inside the beast is a naturally aspirated 6.3-liter V12 from Ferrari’s F140 family, but it has been completely modified by HWA AG. With 800 metric horsepower and 765 nm of torque, it can reach 8500 rpm using only its own strength. That’s right, no turbo, no electrics, just good old-fashioned power delivered directly to the back wheels via a strong 6-speed sequential gearbox with paddle shifters. According to official numbers, it takes 2.7 seconds to accelerate from 0 to 100 km/h and has a top speed of 335 km/h, which is impressive for a monster. Carbon-ceramic brakes and Michelin Pilot Sport Cup 2 tyres absorb speed as needed.

The Dragon Skin exhaust system, as Apollo refers to it, is easily visible. It is essentially a one-piece 3D-printed titanium rod, made from a single block of natural titanium, with no welding necessary. It took 123 hours to print alone, as there’s a lot of titanium. The design is also really neat; it’s sturdy, lightweight, can withstand severe temperatures, and fits snugly into the car’s aero package. After a few heat cycles, the titanium develops a gorgeous blue tinge, like to a badge of honor.

Inside the cabin, Brose created the 3D-printed aluminum framework that connects everything, as it is these precise structural pieces that hold the controls together. All of the switchgear, pedals, and other hardware are similarly manufactured in a tidy reinforced framework, reducing weight while still allowing for some fairly complicated designs that standard machining cannot match. This car’s seats are one-of-a-kind, made of bright white and ocean blue leather with blue stitching, and the Apollo emblem is embroidered directly onto each headrest. The cushion patterns are hand-trimmed and look rather special. The steering wheel is solid machined aluminum blended with blue carbon fibre and ocean blue suede, and it’s a stunning piece of craftsmanship. The dashboard is a blend of high-tech digital displays and traditional gauges, with some classic racing-style tell tales to add flair.

Apollo created the EVO with track days in mind, not road excursions. There will be ten automobiles in total, and each one will be hand-built using the Forged software, meaning no two will be alike. Remember that the base model costs a stunning 3 million euros before taxes. The first car was handed over to its new owner at Goodwood, signaling the commencement of deliveries and commemorating the company’s 20th anniversary. Around 70-80% of the car is completely new compared to the IE, as the suspension geometry has been altered, safety measures have been strengthened up to match current LMDH norms, and the entire upper body has been re-engineered from the ground up.

A Canadian artist dropped her iPhone 17 Pro from a plane at 3,600 feet, then found it sitting face-up and virtually untouched in a canola field. Here’s why this is more common than you’d think.

Heather Cline, a mixed-media artist from Saskatchewan, Canada, routinely takes to the skies with her husband, David, in their small plane. The goal is to gain inspiration for her artwork, which often depicts the Canadian landscape from aerial perspectives.

Recently, during an outing above Regina, Heather decided to use her new iPhone 17 Pro to help gather inspiration for a new project. Her husband wasn’t so sure about her choice.

“I had ordered a grip for it that would make it feel more like a traditional camera but it hadn’t come yet,” Heather says in a video posted to CBC’s Instagram account. “And it was a great day for flying.”

Heather settled on wearing a lanyard-style case around her neck. Unfortunately, while attempting to take the perfect shot, she inadvertently passed her phone through an airstream, which sucked it out of its case and out of the plane from more than 3,600 feet.

Thinking quickly, David prompted Heather to look for the device with Find My. The pair got a rough idea of where the phone landed and decided to track it down once they landed.

Sure enough, Heather was reunited with her iPhone. And even better: it had miraculously survived the fall and was found unscathed in a canola field.

“I go up, and I think it’s gonna be buried in the dirt, smashed, crazy,” Heather recalls. “I literally look down, the phone’s sitting there, face-up, just up against few strands of canola. And it’s like, pristine.”

Heather ends the video by laughing and saying that she’ll not be making the same mistake twice and plans on making sure her iPhone is secure before she takes to the skies again.

“Maybe we’ll cable tie it to my hand,” she jokes.

“Not a bad idea,” Dave chimes in.

Free falling

While it might seem improbable that an iPhone could survive a fall from a plane, it’s actually not that far-fetched. It’s not even the first time we’ve heard this story.

Flat objects, like an iPhone, typically stabilize to fall “flat” fairly quickly during particularly long falls. Not only does this slow the phone down dramatically, it also puts it in the most ideal positioning for impact.

If you’ve ever dropped your phone from a short distance, you’ll know it can be devastating. That destruction is due, in part, because it usually doesn’t fall flat. Edge impacts, especially those on the corners, are far more devastating.

There isn’t enough time for the phone to rotate to flat, so all of the force from the fall can be delivered to a corner or edge. Less area of impact, means all that force is delivered to a small area, very quickly.

So, if you’re wondering why Heather’s iPhone survived a 3,600-foot drop into a crop, and yours broke from four feet onto carpet or concrete, you can blame the physics of aerodynamics and complex impact physics for that.

We’re not going to write 5000 words on this. Not today, at least, so let’s make it simple.

After some discussions we’ve had with the US National Institute of Standards and Technology, some case manufacturers, and Apple over the years, we know that a phone reaches maximum velocity that is notably lower than terminal velocity of a spherical object falling, after about a 335-foot fall.

A six-foot iPhone fall impacts the surface it hits at about half the speed of that 335-foot fall. And, since it hasn’t time had to flatten out on the short fall, a corner or edge impact is far likelier.

Also, the landing surface matters. Concrete stops the phone instantly, causing an immediate energy transfer. Grass or dirt cushions the blow by extending the stopping time, which drastically lowers the peak impact force.

In the case of airplane drops, it seems that more often than not, the fallen iPhones land on fields or grass, rather than a building, sidewalk, or road. And, they nearly always land on the front or back of the phone, rather than a corner, spreading the force of the fall over a larger surface.

All this contributes to why an iPhone can improbably survive a fall from 3,600 feet. Even if it wasn’t in a case.

It still takes a massive engineering effort to crash-proof an iPhone, and we don’t want to dismiss that. But there are reasons why iPhones can fall from a great distance and survive, while not surviving a short fall.

• ISBNdb ships up to a million books anonymously to AI labs
• Pre-2022 books are prized because chatbots never touched their text
• Spine-cutting scanners destroy originals to speed up digitization for training

AI companies are increasingly turning to printed books published before 2022 as preferred training material because those works predate the widespread use of AI-generated content.

Large-scale scanning operations reportedly involve cutting book spines, separating pages, and destroying physical copies to create digital datasets for large language models.

Ordinary glass stops electricity cold. It lets light through and blocks current completely. That combination works fine for windows and phone screens, yet it leaves the material useless as any kind of switch. A thin coating of indium tin oxide changes the rules. The layer is only 10 to 300 nanometers thick, nearly invisible, and still conductive enough to carry current from one edge of a small pane to the other.

Sokol ordered a pack of this coated glass for another project and decided to use a couple of the sheets as buttons. He took his multimeter to test the coating and was thrilled to see that it performed as predicted. One side of each sheet measured around 20 ohms, but the uncoated side remained nice and open, as you would expect from plain glass. The conductive coating is only applied to one side of the glass, so bear this in mind when using it.

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The button is made up of two of these panes, with their coated sides facing each other and a thin sheet of paper between them as a spacer. One pane is grounded, while the other is connected to an Arduino pin equipped with a pull-up resistor that keeps the pin at 5 volts even when the circuit is open. As long as the two conductive layers are apart, the pin reads high and the built-in LED remains dark; however, press down on the stack, and the glass flexes just enough for the coatings to make contact. Then current begins to flow, the pin drops to zero, and the LED illuminates immediately.

That’s the entire system, so no fancy sensors or drivers, just the old ITO film. The paper spacer keeps the surfaces from touching until you exert pressure, at which point the glass springs back and breaks contact when you let go. The whole thing is a little rudimentary and rough around the edges, but it does the job.

The same two sheets can do more than simply turn on and off. You can use the same concept to create a resistive touchscreen by applying a voltage gradient to one of the coatings, with half at 5 volts and half at zero. When the other coating makes contact, it detects the voltage where it touches and transmits it to an analog pin, which is where you receive your readout indicating where the push occurred. You can add another gradient to the opposite layer, resulting in two-dimensional placement. Sokol points out that a more polished version of this would require copper tape for consistent edges, external resistors for stable gradients, and larger glass, but the core concept is already present in the simple button.
[Source]

I’ve been a fan of PSB Speakers since I first auditioned the brand’s M4U 2 headphones back in 2013. Over its 50-plus years of operation, the Canadian outfit has consistently shown a knack for squeezing big sound into small packages. Never was that more apparent than in 2023’s Alpha iQ, a surprisingly versatile pair of powered bookshelves that pull more dynamism and musical expression out of a four-inch woofer and micro-tweeter than they have any right to.

The follow-up iQ1 and iQ2 stand firmly on the Alpha’s shoulders, offering similarly potent musicality and connectivity packed into miniature cabinets, with a woofer-tweeter stack swap that always throws my brain for a loop. The new pairs also share the Alpha’s flair for stylish minimalism, especially the pricier iQ2, which adds upgrades such as a wireless connection between the speakers and a more refined veneer in colors like Ember Red and Sandstone Beige.

While the iQ’s hardware is all PSB, daily operation relies heavily on BluOS’s powerful software, which handles virtually all controls and audio settings, provides access to more than 20 streaming services, and even supports multiroom audio with rock-solid stability. Unfortunately, I can’t say the same for the iQ2’s HDMI eARC TV connection, which proved doggedly inconsistent throughout my review. The iQ2 worked great for other use cases, but without a stable way to connect seamlessly to a TV in today’s market, the package falls well short of its promise.

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Setup: Long Haul Connection

Setting up the iQ2 isn’t a major hassle for tech-savvy users, but it’s not the push-button start you’ll get from multi-room setups like Sonos, recent app issues notwithstanding. PSB’s quick guide lays out a three-step process that includes simply plugging in the speakers and downloading the BluOS app for Wi-Fi setup, but the online manual hints that Ethernet is the best option where available. As if that were an omen, the iQ2 balked at my network’s 5 GHz Wi-Fi band during an AirPlay connection, leading to multiple stallouts.

Swapping to my split-off 2.4 GHz band fixed the issue, prompting an update and a paint-drying 20 minutes or so of total connection time between the speakers. The process included blasting surprisingly loud music from the primary speaker, which houses the connection hub, to designate it as the right or left channel, but I appreciate the ability to swap the orientation as needed. Users with particularly troublesome rooms should note that the iQ2 doesn’t offer dedicated calibration.

Controls and Usability: HDMI Issues

There’s also a learning curve for those new to BluOS, or even those like me who’ve been away for a few years. For example, going into the Players tab to find the iQ2’s settings unlocks basic playback controls and options like adding a subwoofer, but there’s no way to select an input. For that, you’ll need to consult the Music tab, which includes all physical inputs, input settings such as allowing the speakers to switch automatically when a signal is detected, and access to BluOS’s 20-plus streaming services and internet radio.

It feels overengineered for a pair of speakers, but that’s because the BluOS ecosystem is designed to let you group the iQ2 with more than 60 other compatible players throughout your home from brands like NAD, DALI, and Bluesound. The app is stable and thoughtful, with features such as haptic volume control, but I wish PSB included a physical remote for quicker access to inputs and other settings. Call me old-fashioned. You do get a few controls on top of the primary speaker, including play/pause, volume, and two programmable presets.

Controls aside, the iQ2’s hardware troubles were the real frustration. HDMI eARC is designed to provide a seamless, high-resolution connection between your TV and speakers, but the iQ2’s implementation was a mess. I experienced audio cutouts across multiple TVs, including instances where the TV recognized the speakers as a source but played no sound. PSB Speakers’ PR team told me this is a known issue and pointed to a firmware fix, but it didn’t work for my review pair.

Design & Features: Elegant Minimalism

The iQ2 make a great first impression, especially in the Sandstone color I reviewed, looking both stylish and understated. The cabinets feel well built, and their fingerprint-resistant veneers ensure that the refined aesthetic holds up. There’s solid heft to the compact cubes, though at under 10 inches tall, they looked almost comically small against the 75-inch Micro RGB TV I first paired them with, especially with their little magnetic hats that serve as acoustic grilles.

That said, the iQ2’s wireless connection means they can easily adapt to larger screen sizes, and there’s nothing comical about their 270 watts of Class D amplification. That works out to 90 watts for each speaker’s four-inch polypropylene mid-bass driver and 45 watts for each 0.75-inch aluminum-dome tweeter. PSB claims a frequency response of 65 Hz to 20 kHz, and the speakers dive toward that lower number with more authority than their size suggests.

A column of inputs on the back of the Primary speaker includes HDMI eARC, optical, USB-C playback, USB-A for external drives, a dual line-in/MM phono RCA input adjustable in the app, Ethernet, and a subwoofer output.

Streaming support includes Spotify Connect, TIDAL Connect, Qobuz Connect, and Apple AirPlay 2. You’ll find many more options in the BluOS app, including Deezer, Napster, and iHeartRadio, to name a few, but not Apple Music. Other streaming options include access to internet radio stations, local network files at up to 24-bit/192 kHz, and Bluetooth with aptX Adaptive.

Listening: Mighty Minis

I started testing the iQ2 via lossless Spotify Connect and was quickly reminded why PSB holds a special place in my mind’s cluttered library of audio brands. A bit like Canadians themselves, the iQ2 are unassuming at first, but digging deeper reveals an effective mix of confidence and depth. Their sound signature is clean, smooth, and effortlessly natural, with accurate stereo imaging and more bass than you’d expect from micro speakers.

With the iQ2 playing in the background as my pre-toddler arrived home from daycare, I was constantly distracted by their penchant for drawing out instrumental timbres, from satiny brass and woodwinds to gritty electric guitars and poppy percussion. They do a good job of leaning into different genres, with enough finesse to give each instrument its own space, from the dual vocals in Too Short’s “Money in the Ghetto” to the cacophonous horns in The Beatles’ “Good Morning.”

The warm midrange can make more laid-back mixes sound a little flat, but its keener topside adds some excitement to higher-register instruments and effects without feeling sharp or brittle. The sweet yet pointed treble makes easy work of speedy transients like the reverberating synths in Sweet Spirit’s “Baby When I Close My Eyes,” fluttering the effect back and forth across the stereo image with a deft touch that stands out more readily than in options like SVS’s Prime Wireless Pro.

Bass is firm and well-rounded, if not particularly revelatory, until you remember the size of the drivers, which outflex just about any four-inch woofers I’ve encountered, including options like U-Turn’s more rugged-sounding Ethos speakers. Even some larger 5.25-inch drivers provide less mid-bass punch. It’s enough groove to be tantalizing, but if you’re after raw emotional power, you’ll need a subwoofer. As usual, my SVS 3000 Micro was a great pairing, firming up the lowest frequencies with richer musicality and some sledgehammer punch while opening more space in the upper registers.

Turning to vinyl with my Orbit Theory turntable, the speakers showed off solid detail and dynamics on my go-to albums, such as Brubeck’s Take Five. Paul Desmond’s buzzy sax in “Blue Rondo” was rendered with keen precision, pulling out most of his breathy overtones. Joe Morello’s stick work had an expressive touch in moments such as his multitone tom play during the title song’s drum solo. I was less impressed when moving to the iQ2’s internal MM phono stage, which was both quieter and less precise than the Theory’s internal preamp, though that seems to be a common issue with powered speakers in this class. You can often do better with an external preamp.

Moving to TV and films, when the HDMI eARC port was working, the iQ2 proved more than up to the task of providing exciting sound effects at the sides of the stereo image and clear dialogue at the center, elevating the subtle diction in well-mixed productions like House of the Dragon. Again, the speakers brought a natural liveliness to effects such as stone hallways and bridges, crackling fires, and the woody creak of the show’s many oversized doors.

The Bottom Line

On paper, the PSB iQ models, especially the iQ1, provide a ton of value. You’ll spend a lot more to get the pricier iQ2’s wireless connection and fancier cabinets, but both models offer impressive connectivity and features matched by surprisingly good performance, especially in smaller rooms.

If not for the HDMI eARC issues I encountered, either pair would be a top pick for those after a compact system with connectivity to spare, not to mention the ability to group it with other systems in the BluOS family. As it stands, I can’t recommend the iQ1 or iQ2 until PSB Speakers can ensure simple, reliable connections for all your components.

For those seeking alternatives to the cheaper iQ1, I recommend SVS’s steadfast Prime Wireless Pro, which offers well-rounded sound and great connectivity in sleek, piano-gloss cabinets. If your budget is more in line with the iQ2, KEF’s LSX II provides similarly stylish design and colorways, along with even better sound performance. Neither pair offers multiroom capabilities, however, so if that’s important, you may need to look elsewhere or wait for PSB to provide a real fix.

Pros:

• Smooth and natural tonal balance
• Good instrumental separation
• Powerful bass for their size
• Stylish, well-built cabinets in multiple colors
• Loads of connectivity options
• BluOS multi-room audio support

Cons

• Setup and basic control could be simpler
• HDMI eARC cutouts are a mess
• Upgraded cabinets and wireless connection are pricey
• May need a subwoofer for larger rooms
• No included remote

Our Ratings

★★★★★★★★★★ Sound Quality

★★★★★★★★★★ Build Quality

★★★★★★★★★★ Usability

★★★★★★★★★★ Value

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The AI boom made GPUs famous. The dull chips that wire thousands of those GPUs together are quietly becoming just as valuable.

Xsight Labs, an Israeli chipmaker, has raised more than $300 million at a $2.8 billion valuation, it said on Thursday. Fidelity led the round. That is more than five times what the company was worth in 2021, a jump it made in a single year.

Xsight builds the plumbing of the AI data centre. Its two chips, the E1 processor and the X2 switch, shuttle data between servers, memory and networks. As models grow, moving that data has become one of the industry’s tightest bottlenecks, and the wiring between GPUs is now a prize of its own.

Taking on Nvidia’s other monopoly

Nvidia does not just sell the GPUs. It also dominates the networking layer, which it bought its way into with Mellanox. Xsight’s pitch is the opposite of that closed kit.

Its chips are open and programmable. They run standard Linux and SONiC, and operators can rewrite the X2 switch in software after it ships, instead of waiting for new silicon. The market wanted “a high-performance alternative to closed, legacy architectures,” said chief executive Yossi Meyouhas. Xsight joins a wave of startups chipping at Nvidia’s grip on the AI stack.

Already in orbit

This is not a lab project. Several global network operators have picked Xsight’s silicon, including SpaceX’s Starlink. Last week its processors passed a test aboard SpaceX’s new Starlink V3 satellites, Globes reported. Programmable chips suit space, where engineers fix a fault in software rather than swap out the hardware.

The selling point is efficiency. The E1 is the first 800-gigabit data processor to ship, and runs under 75 watts. The X2 moves 12.8 terabits a second while drawing 40% less power than older switches. As AI’s electricity bill balloons, every watt saved is a pitch.

A serial exit machine behind it

The pedigree helps. Veterans of EZchip, the Israeli networking firm Mellanox bought in 2016, founded Xsight in 2017, CTech reported. Its chairman is Avigdor Willenz, a serial chip entrepreneur who has sold past companies to Marvell, Amazon and Intel.

His backers followed him in. The round drew Fidelity, Intel Capital, T. Rowe Price, Battery Ventures and Valor Equity Partners, among others. The cash will fund the next chip generations and a bigger sales push at Tier-1 hyperscalers.

The money pouring into AI infrastructure is no longer chasing only GPUs. It is chasing everything around them, from power stations to the wires in the rack. Xsight is betting the winners in networking will be the open ones.