The initiative builds on Ireland’s extensive semiconductor industry which is comprised of more than 130 indigenous and foreign subsidiary companies.

The Government has announced the launch of I-C3, Ireland’s National Competence Centre in Semiconductors, which is one of 30 other national chip competency centres in Europe, in 27 different countries. The initiative is designed to strengthen Europe’s semiconductor ecosystem.

Co-ordinated by the Tyndall National Institute and supported by the Department of Enterprise, Tourism and Employment through Enterprise Ireland, the initiative is also co-funded by the EU, under the Chips Joint Undertaking partnership. The hub will be led by consortium partners Tyndall National Institute, MCCI, MIDAS Ireland, NovaUCD and UCD.

Described by the Government as a “significant milestone in Ireland’s commitment to semiconductor innovation and European collaboration”, I-C3 will focus on start-ups and SMEs by providing access to essential resources, funding pathways, training, design tools and pilot line facilities.

The long-term objective is to empower Ireland’s start-ups and SMEs and to build on Ireland’s vibrant and extensive semiconductor industry, which is comprised of more than 130 indigenous and foreign subsidiary companies. The industry also employs more than 20,000 people and is part of a 175,000-person strong broader ICT sector.

Multinational leaders such as Intel, Apple, Qualcomm, AMD and Analog Devices have long invested in Irish R&D and I-C3 aims to further elevate Ireland’s global standing in semiconductor innovation.

Commenting on the launch, Peter Burke, the Minister for Enterprise, Tourism and Employment, TD, said, “As a hub for the semiconductor ecosystem, my Department is delighted that I-C3 will ensure that opportunities as part of the Chips for Europe Initiative are accessible for businesses of all sizes within the industry, along with bringing greater diversity of expertise and depth of innovation to the knowledge base of the semiconductor ecosystem in Europe. 

“I-C3’s launch is another significant milestone in the delivery of Silicon Island: Ireland’s National Semiconductor Strategy. With this launch, my Department is very excited about I-C3’s ability to empower Irish SMEs to scale internationally, drive innovation across the semiconductor ecosystem and create high-value jobs.

“I-C3 will also facilitate the development of skills and talent, and build on our strengths by enhancing the relationship between infrastructure, industry and RD&I capability to ensure Ireland leads in advanced manufacturing and chip design.”

Joe Healy, the divisional manager of research, innovation and infrastructure at Enterprise Ireland, added, “With the support of I-C3, Ireland is set to double the number of people employed in semi-conductor start-ups and SMEs by 2030. The centre will act as a catalyst for innovation, collaboration, and growth, ensuring that Irish stakeholders, from academia to industry, can fully participate in the Chips for Europe Initiative.”

The EU and many of the countries under its banner have committed significantly to advancements and further independence in the global semiconductor race. Earlier this month (9 February) the European Union launched the €2.5bn NanoIC – the largest pilot line in the EU Chips Act. 

Additionally, in January of  this year, Dutch semiconductor equipment manufacturer ASML Holdings NV became the third European company to pass $500bn in market valuation. Previously, Danish drug maker Novo Nordisk and France-based Dior-parent LVMH reached this milestone.

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DUNU is a veteran Chinese audiophile brand. Over the 10+ years they’ve been in business, DUNU has released a wide variety of acclaimed IEMs. Their previous generation of IEMs, such as the DK3001 and Glacier, spawned entire fan-bases and modding sub-cultures. They’ve begun what looks to be a small shift in marketing and design direction, beginning with their new pair of tribrids, the DN142 and DN242. Whether it be trend-chasing or a genuine interest in exploring Chinese mythology, the new pair of DUNU tribrids lean heavily on the imagery and vision of traditional characters. They’ve simultaneously adopted a new, admittedly adorable, mascot.

The question that matters, though, isn’t whether the branding is eye-catching, but whether all this renewed creative energy translates into well-executed IEMs that actually deliver. Let’s get into it.

Listening Preferences & Review Context

This review is a subjective evaluation, shaped inevitably by my own listening priorities. I make a conscious effort to stay consistent and fair in my comparisons, but no amount of methodology fully removes personal bias. Transparency matters, so here’s the lens through which this review should be read.

My reference sound signature favors controlled, authoritative sub-bass with a textured and articulate mid-bass, a slightly warm and natural midrange, and treble that is extended and detailed without tipping into glare. I also have mild sensitivity to elevated treble energy, which influences how I assess brightness, fatigue, and long-term listenability.

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 the Apple Dongle. This range covers everything from audiophile-leaning sources to everyday mobile use.

Unboxing​

Build​

The DN142 (and its sibling, the DN242) feature 3D-printed resin shells, manufactured by HeyGears: a well-known 3D-printing outfit based in China. The DN142’s faceplates are pretty and are lined by a chromed piece of plastic. The construction is clean, as is the case with pretty much anything DUNU sells.

The top of the DN142’s shells houses standard 2-pin cable sockets, with no MMCX option offered. If MMCX is non-negotiable, you’ll need to look elsewhere in DUNU’s lineup. The 2-pin connectors are partially recessed, but clearance is generous enough to maintain compatibility with the vast majority of aftermarket cables.

The DN142’s cable is identical to the one that comes with the ITO and DN242, which is to its benefit. This cable is well-built and uses DUNU’s excellent modular connection system. It comes with a 3.5mm and 4.4mm termination, though as of writing, you can get a free USB-C termination from DUNU when you order from their website. The cable itself is fairly soft and pliable. I can easily coil and store it in smaller cases. It’s not quite as “hefty-feeling” or comfortable as the cables that comes with pricier IEMs like the Vulkan II, but its more-than-acceptable for this price-point..

Comfort

Comfort is inherently personal and heavily dependent on individual ear anatomy, so mileage will vary.

To my ears, the DN142 is of average comfort. Its shells are on the larger side, but it is light and sculpted properly. If I don’t seat it well, I can become uncomfortable in as little as 30 minutes. If I place it carefully in my ear, I can get 1–2 hours of comfortable, uninterrupted listening.

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I’m pretty happy with the DN142’s passive isolation. Its nozzle size and length are compatible with my ears and allow me to block out an above-average amount of noise, even with the stock silicone eartips.

Accessories

Inside the box, you’ll find:

• 1 x 0.78 mm 2-pin cable
• 1 x 3.5 mm termination
• 1 x 4.4 mm termination
• 1 x semi-hard carrying case
• 3 x collectible cards
• 1 x 1/4-inch to 3.5 mm adapter
• 10 x pairs of silicone eartips

As is tradition with DUNU, the DN142 arrives well stocked. The carrying case, shared across several DUNU models, isn’t flashy, but is sturdy and does the job. The modular cable is the same proven design found elsewhere in the lineup and works exactly as intended. Tip selection is generous for silicone users, offering plenty of fit options out of the box. Foam eartips are absent, which is a bit of a letdown, but it’s consistent with DUNU’s usual approach.

Tech Specs

The DN142 is a seven-driver tribrid IEM built around a hybrid array that combines one dynamic driver for low and ultra-low frequencies, four custom balanced armatures split between midrange and treble duties, and two custom micro planar drivers handling the ultra-high frequencies. This configuration is managed by a four-way crossover architecture designed to maintain phase coherence and smooth handoffs between driver types, rather than sounding stitched together.

Per side, the DN142 weighs approximately 5.6 grams and is rated with a frequency response of 5 Hz to 40 kHz. Impedance is specified at 37 ohms with a sensitivity of 107 dB per milliwatt at 1 kHz, which places it firmly in the “easy to drive” category for most modern DAPs and dongles. Total harmonic distortion is rated below 0.5 percent at 1 kHz, suggesting competent control across the audible range.

The included cable is a 4-core, high-purity silver-plated OCC copper design measuring 1.2 meters in length, terminated with standard 0.78 mm 2-pin connectors and DUNU’s Q-Lock MINI modular plug system. Both 4.4 mm balanced and 3.5 mm single-ended terminations are included in the box.

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Listening

The DN142 follows a U shaped, nearly V shaped, frequency response. It features emphasized sub-bass that gently blends down into the 200Hz range. Its lower-midrange is fairly linear and is not emphasized. The DN142’s upper-mids are energetic and forward, delivering a clear and distinct vocal range. Instrumental position is quite clear thanks to strategic emphasis in the upper-treble near the 6KHz and 8KHz ranges. Mercifully, DUNU properly-tamed the DN142’s 10KHz energy, pushing it down into a small valley to protect treble-sensitive listeners such as myself.

Dang Fine Treble Tuning

Electronic tracks are more of a mixed bag. The DN142’s relatively restrained mid bass means bass performance depends heavily on both listening volume and mastering style. “Quantum Immortality (AWAY Remix)” comes through with richness, weight, and a satisfying sense of fullness. By contrast, “One Minute” by Krewella rumbles convincingly but lacks real punch. “Double Edge” by Flux Pavilion is similarly dynamic and engaging, but once again leans more on sub bass rumble than outright impact.

Comparisons

DUNU ITO​

The ITO is a $199 hybrid IEM from DUNU with resin shells and resin nozzles, a 2 pin connection, and the same modular cable used by the DN142 and DN242. Accessory bundles are nearly identical, but the additional $50 for the DN142 gets you metal nozzles, a meaningful upgrade for long term durability. Resin nozzles are more prone to cracking over time, especially in high UV or humid environments, while metal nozzles are effectively worry free.

Tuning is where these two clearly diverge. The ITO is unapologetically bass heavy, with significantly more sub bass and mid bass and a warmer overall presentation. The DN142 is cooler, brighter, and more energetic, with a cleaner and more articulate low end. While the DN142 still handles bass forward music competently, it resolves finer bass textures and mid bass detail that the ITO tends to smooth over. For electronic music, especially artists like Flux Pavilion and Taska Black, the ITO delivers more outright impact, though some listeners may find its bass overwhelming or intrusive in rock and alternative where it can bleed into the lower mids.

If I had to choose, the DN142 is the easy pick. The modest price increase buys a more flexible and technically capable IEM, along with more durable construction. Its carefully balanced treble also makes it a rare high energy tuning that I can enjoy despite my sensitivity. Bassheads and EDM focused listeners may still gravitate toward the ITO, but my preferences clearly favor the DN142.

DUNU DN242​

The DN142 and DN242 may be marketed as siblings, but they sound far less alike than their shared shells and visual design suggest. Where the DN142 follows a U shaped, nearly V shaped, tuning, the DN242 is noticeably more linear. Its sub bass is dialed back, the lower mids are slightly warmer, and the upper mids are less pronounced. Treble on the DN242 is brighter overall, with more fill across the upper register, positioning it as a north of reference tuning with a modest sub bass shelf and elevated highs.

By comparison, the DN142 comes across as friendlier and more dynamic. The DN242 often sounds overly bright and, at times, glaring. Even relatively tame tracks that remain controlled on the DN142 can become sharp and fatiguing on the DN242. While the DN242’s leaner and brighter presentation may appeal to some listeners, it does not align well with my preferences.

Between the two, the DN142 is the clear choice for me. Its stronger bass presence, warmer midrange, and less aggressive upper register create a listening experience better suited to my music library and personal taste. The DN242’s higher price tag also works against it, offering little incentive given its tuning direction.

EarAcoustic Audio Genesis G318s​

The Genesis G318 is an all metal IEM using a single dynamic driver per side and sells for $249, placing it directly against the DN142 on price. Both include solid cables, but I prefer the DN142’s. It makes more generous use of strain relief, features an excellent modular connector, and avoids the distracting microphonics present on the G318’s cable. The Genesis comes with a larger and more visually distinctive case, though it does not offer meaningfully better protection than DUNU’s standard zippered case. The DN142 also includes a far more comprehensive selection of stock eartips, easily surpassing the G318 in both quantity and overall quality.

Sonically, the DN142 is cooler, brighter, and less bass focused than the G318. It lacks the warm, smooth, mocha latte like richness that defines the Genesis’ presentation. Instead, the DN142 relies on its multi driver configuration to balance energy and technical performance. To my ears, the G318 is the more charming listen. Its bass warmth, combined with solid technical ability and a well judged upper register, delivers a character that is relatively uncommon in the single dynamic driver segment.

That said, the DN142 offers a more electrifying experience overall. Its emphasized upper mids and treble introduce a sense of air and openness that the G318 cannot quite match. The DN142 also reaches deeper into the rear of the soundstage, resolving fine treble textures that the G318 tends to smooth over. If forced to choose just one, I would likely pick the G318 for its metal construction and richer, fuller low end, which pairs well with my library and taste. Listeners who prioritize technical performance, air, and clarity, or who are less inclined toward warmth, will likely find the DN142 the better fit.

ZiiGaat Crescent​

The ZiiGaat Crescents a four driver hybrid IEM with resin shells and a metal nozzle, priced at $279. It includes a basic modular cable that, frankly, does little to impress. The stock cable is among my least favorite I have encountered, lacking refinement and feeling uninspired in both handling and build. By contrast, the DN142’s cable is thicker, more flexible, less prone to tangling, and uses a far superior modular termination system.

Sonically, the Crescent presents a smoother and less dramatic upper register. Its upper mids are slightly less forward, while the lower mids carry a bit more warmth and the mid bass is marginally fuller than on the DN142. It delivers a touch more physical impact, but with slower transient response and less control. The DN142 extends further at both frequency extremes, and its added upper treble energy allows it to extract detail with greater vigor. While the Crescent’s relaxed top end is pleasant for casual listening, it does not resolve the same range of textures that the DN142 consistently reveals.

The DN142 also avoids the vocal sizzle that occasionally creeps into the Crescent’s presentation. Its more refined midrange, to my ears, highlights the quality gap between the two. As a result, the DN142 is my clear preference. The Crescent’s weaker accessory package and cable, combined with its higher price, are difficult to justify.

Kiwi Ears Astral​

The Kiwi Ears Astral is a seven driver hybrid IEM using resin shells, metal nozzles, and flush 0.78 mm 2 pin sockets. It sells for $299, placing it $50 above the DN142. In terms of accessories, the comparison is not flattering. The Astral includes a worse case, fewer eartips, and a noticeably inferior cable. Judged on packaging alone, you would assume the DN142 is the more expensive product.

The Astral also adopts a modern U shaped tuning, but one that I find far less convincing. Its bass response lacks the natural weight and consistency of the DN142, especially with electronic music. Despite its unusual frequency response graphs, the DN142 blends sub bass into the mid bass smoothly and predictably.

The Astral, by contrast, rolls off more abruptly into the lower mids, resulting in a lopsided bass presentation. The DN142’s midrange is more linear and avoids the sterile character that creeps into the Astral. Upper mids are more energetic, treble presence is stronger overall, and importantly, the DN142 avoids the large upper treble spike that can make the Astral sound shrill and metallic.

While the Astral technically includes one more driver per side, it does not translate into superior performance. The DN142 retrieves just as much upper register detail, but without the odd timbral artifacts. The Astral’s cleaner sounding low end does not uncover additional texture or nuance, and the DN142 manages to keep pace without sacrificing mid bass body or musicality.

Between the two, the DN142 is the clear choice. Its more natural tuning, broader genre flexibility, and far better accessory package make it the stronger value. Factor in the lower MSRP and excellent stock eartips, and the savings become difficult to ignore.

The Bottom Line

Anthropic claims Claude Sonnet 4.6 showcases ‘human-level capability’ in multi-step tasks.

Anthropic has said that developers prefer its latest Claude Sonnet 4.6 to its predecessor, the Sonnet 4.5, “by a wide margin”. A majority of the users, it claimed, liked the new model even over Opus 4.5, the company’s latest frontier model.

The model launch comes just after Anthropic announced a $30bn Series G raise earlier this month led by Coatue Management and Singapore’s GIC. The round took the AI giant to a post-money valuation of $380bn – more than doubling its value from the last round it announced in September.

AI models are leaping bounds as their creators push out newer advances at increasing speeds. However, the pace of these advancements has accelerated a massive sell-off in SaaS stocks in recent months. AInvest reports that the collapse in software stocks is a “full-blown sector-wide rout”.

iShares Expanded Tech-Software Sector ETF is down by about 21pc year-to-date, while major companies, including ServiceNow, Salesforce, Adobe, all had their shares dragged down in recent weeks as fears of AI disruption in the sector takes over.

Claude Sonnet 4.6 isn’t quelling those fears, with Anthropic boasting that the new model shows a “major improvement” in computer use skills, compared to prior Sonnet models. The company first introduced computer use with Claude 3.5 Sonnet and Claude 3.5 Haiku back in 2024.

The new model, Anthropic said, showcases “human-level capability” in tasks such as navigating a complex spreadsheet or filling out a multi-step web form.

According to early users, Sonnet 4.6 reads context more effectively, is less prone to overengineering and “laziness”, and is “meaningfully better” at instruction taking. These users have also reported fewer false claims of success, fewer hallucinations and more consistent follow-through on multi-step tasks.

Overall, the new model approaches Opus-level intelligence at a lesser price point, Anthropic said. Sonnet 4.6 is comparable to Opus 4.6 in agentic coding, agentic computer use and agentic tool use, while being better at agentic financial analysis and office tasks.

The model is available on all Claude plans, including the free tier, which is now by default Sonnet 4.6. According to Anthropic, evaluations suggest that Sonnet 4.6 is “overall” safe, and safer than its recent Claude models.

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Vulnerabilities with high to critical severity ratings affecting popular Visual Studio Code (VSCode) extensions collectively downloaded more than 128 million times could be exploited to steal local files and execute code remotely.

The security issues impact Code Runner (CVE-2025-65715), Markdown Preview Enhanced (CVE-2025-65716), Markdown Preview Enhanced (CVE-2025-65717), and Microsoft Live Preview (no identifier assigned).

Researchers at application security company Ox Security discovered the flaws and tried to disclose them since June 2025. However, the researchers say that no maintainer responded.

Remote code execution in IDE

VSCode extensions are add-ons that expand the functionality of Microsoft’s integrated development environment (IDE). They can add language support, debugging tools, themes, and other functionality or customization options.

They run with significant access to the local development environment, including files, terminals, and network resources.

Ox Security published reports for each of the discovered flaws and warned that keeping the vulnerable extensions could expose the corporate environment to lateral movement, data exfiltration, and system takeover.

An attacker exploiting the CVE-2025-65717 critical vulnerability in the Live Server extension (over 72 million downloads on VSCode) can steal local files by directing the target to a malicious webpage.

The CVE-2025-65715 vulnerability in the Code Runner VSCode extension, with 37 million downloads, allows remote code execution by changing the extension’s configuration file. This could be achieved through tricking the target into pasting or applying a maliciously configuration snippet in the global settings.json file.

Rated with a high-severity score of 8.8, CVE-2025-65716 affects the Markdown Preview Enhanced (8.5 million downloads) and can be leveraged to execute JavaScript via maliciously crafted Markdown file.

Ox Security researchers discovered a one-click XSS vulnerability in versions of Microsoft Live Preview before 0.4.16. It can be exploited to access sensitive files on a developer’s machine. The extension has more than 11 million downloads on VSCode.

The flaws in the extensions also apply to Cursor and Windsurf, which are AI-powered VSCode-compatible alternative IDEs.

Ox Security’s report highlights that the risks associated with a threat actor leveraging the issues include pivoting on the network and stealing sensitive details like API keys and configuration files.

Developers are advised to avoid running localhost servers unless necessary, opening untrusted HTML while they’re running, and applying untrusted configurations or pasting snippets into settings.json.

Also, it is advisable to remove unnecessary extensions and only install those from reputable publishers, while monitoring for unexpected setting changes.

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An internal research study at Meta dubbed “Project MYST” created in partnership with the University of Chicago, found that parental supervision and controls — such as time limits and restricted access — had little impact on kids’ compulsive use of social media. The study also found that kids who experienced stressful life events were more likely to lack the ability to moderate their social media use appropriately.

This was one of the notable claims revealed during testimony at the social media addiction trial that began last week in Los Angeles County Superior Court. The plaintiff in the lawsuit is identified by her initials “KGM” or her first name, “Kaley.” She, along with her mother and others joining the case, is accusing social media companies of creating “addictive and dangerous” products that led the young users to suffer anxiety, depression, body dysmorphia, eating disorders, self-harm, suicidal ideation, and more.

The case is now one of several landmark trials that will take place this year, which accuse social media companies of harming children. The results of these lawsuits will impact these companies’ approach to their younger users and could prompt regulators to take further action.

In this case, the plaintiff sued Meta, YouTube, ByteDance (TikTok), and Snap, but the latter two companies had settled their claims before the trial’s start.

In the jury trial now underway in LA, Kaley’s lawyer, Mark Lanier, brought up an internal study at Meta, which he said found evidence that Meta knew of, yet didn’t publicize, these specific harms.

In Project MYST, which stands for the Meta and Youth Social Emotional Trends survey, Meta’s research concluded that “parental and household factors have little association with teens’ reported levels of attentiveness to their social media use.”

Or, in other words, even when parents try to control their children’s social media use, either by using parental controls or even just household rules and supervision, it doesn’t impact whether or not the child will overuse social media or use it compulsively. The study was based on a survey of 1,000 teens and their parents about their social media use.

The study also noted that both parents and teens agreed on this front, saying “there is no association between either parental reports or teen reports of parental supervision, and teens’ survey measures of attentiveness or capability.”

If the study’s findings are accurate, that would mean that the use of things like the built-in parental controls in the Instagram app or the time limits on smartphones wouldn’t necessarily help teens become less inclined to overuse social media, the plaintiff’s lawyer argued. As the original complaint alleges, teens are being exploited by social media products, whose defects include algorithmic feeds designed to keep users scrolling, intermittent variable rewards that manipulate dopamine delivery, incessant notifications, deficient tools for parental controls, and more.

During his testimony, Instagram head Adam Mosseri claimed not to be familiar with Meta’s Project MYST, even though a document seemed to indicate he had given his approval to move forward with the study.

“We do a lot of research projects,” Mosseri said, after claiming he couldn’t remember anything specific about MYST beyond its name.

However, the plaintiff’s lawyer pointed to this study as an example of why social media companies should be held accountable for their alleged harms, not the parents. He noted that Kaley’s mother, for example, had tried to stop her daughter’s social media addiction and use, even taking her phone away at times.

What’s more, the study found that teens who had a greater number of adverse life experiences — like those dealing with alcoholic parents, harassment at school, or other issues — reported less attentiveness over their social media use. That means that kids facing trauma in their real lives were more at risk of addiction, the lawyer argued.

On the stand, Mosseri seemed to partially agree with this finding, saying, “There’s a variety of reasons this can be the case. One I’ve heard often is that people use Instagram as a way to escape from a more difficult reality.” Meta is careful not to label any sort of overuse as addiction; instead, Mosseri stated that the company uses the term “problematic use” to refer to someone “spending more time on Instagram than they feel good about.”

Lawyers for Meta, meanwhile, pushed the idea that the study was more narrowly focused on understanding if teens felt they were using social media too much, not whether or not they were actually addicted. They also generally aimed to put more of the responsibility on parents and the realities of life as the catalyst for kids like Kaley’s negative emotional states, not companies’ social media products.

For instance, Meta’s lawyers pointed to Kaley being a child of divorced parents, with an abusive father, and facing bullying at school.

How the jury will interpret the findings of studies like Project MYST and others, along with the testimonies from both sides, remains to be seen. Mosseri did note, however, that MYST’s findings had not been published publicly, and no warnings were ever issued to teens or parents as a result of the research.

Meta has been asked for comment.