Meze Audio, founded in 2011 in Romania, has built a strong reputation in high-end personal audio with standout over ear models like the award winning Empyrean II, 109 Pro, and the recently updated 99 Classics 2nd Gen. But while the brand has become one of the more recognizable names in premium headphones, its track record with in-ear monitors has been far less consistent.

We had an early preview of the new Astru at CanJam NYC 2026, where one thing was impossible to ignore: wired IEMs are having a moment and were at the center of the conversation. If you think the category is fading in a world dominated by wireless earbuds, think again. Enthusiasts are doubling down on sound quality, and brands are responding.

The Astru is Meze’s latest attempt to finally lock in a true flagship IEM. Featuring a titanium shell and a single dynamic driver design, it builds on earlier efforts like Advar and Rai Penta, both of which showed promise but struggled to fully land with critics and buyers. The question now is simple. Can Meze translate its headphone success into the IEM space, or is this another near miss?

Key Specifications and What They Actually Mean

The Astru uses a single 10mm dynamic driver with a titanium and PEEK diaphragm, a combo designed to balance rigidity and flexibility for a more natural, controlled sound. With a 32 ohm impedance and 111dB sensitivity, it is easy to drive from a phone or dongle, but still benefits from better sources.

Meze includes a 0.78mm 2-pin cable with a 4.4mm balanced termination, which signals this is meant for serious portable gear, not just casual listening. At 13.4 grams with a titanium shell, it should feel solid without being fatiguing, and at $899, it lands in a very competitive tier where sound quality matters more than design alone.

Who Astru Is For and Who It Is Not

The Astru is aimed squarely at dynamic driver enthusiasts and anyone chasing a flagship IEM experience built around Meze’s house sound. It will appeal to listeners who prioritize cohesion over complexity, delivering a unified presentation that does not sacrifice treble performance, along with a warm, balanced tuning that favors musicality over analysis.

It is not for bassheads, listeners who demand true reference sound, or those chasing maximum top of the line vocal resolution. If your priorities lean toward impact, absolute neutrality, or extracting every last micro detail from a vocal track, this may not be your endgame.

Build

Meze went with titanium for the Astru’s shells. It is an expensive, finicky material, so it makes sense that they also reduced the visual and structural complexity to match. That said, the two-tone character of models like Advar and Alba is missed. This more minimalist approach makes the Astru feel less like a statement piece and more like an unfinished Blender render than a flagship Meze IEM.

Style aside, Meze clearly put real effort into the Astru’s geometric shell design. The titanium nozzles feature precisely cut, integrated debris filters with a clean chamfer leading into a tight lip, giving the whole assembly a more refined, engineered feel.

Like the Alba and unlike the Advar, the Astru uses 0.78mm 2-pin detachable cables, with the sockets housed in smoky black plastic blocks. It works, but it is a step back visually. The Alba at least added a red accent on the right side for quick channel identification, a small but thoughtful detail that is missing here on the more expensive Astru.

The effort Meze put into the Astru’s cable is obvious, from the soft, premium feeling twisted braid to the custom cut hardware on the Y splitter, giving it a true flagship feel in hand rather than something thrown in to check a box. It uses a fixed 4.4mm termination, with a 4.4mm to 3.5mm adapter included in the box for broader compatibility.

Comfort

Comfort is always subjective and heavily dependent on your ear anatomy, so mileage will vary. The Astru is one of the most-comfortable IEMs I’ve used. I was able to listen to it without any discomfort. Its lightweight titanium shells work wonders for long transit rides and intense work sessions, though I did not get the best passive isolation with the stock eartips. 

Accessories

Inside the box you’ll find:

• 1x Semi-hard carrying case
• 1x 4.4mm-to-3.5mm adapter
• 5x Pairs silicone eartips
• 1x Synthetic leather baggie
• 1x Metal Astru plate

Meze did well with the Astru’s cable. It feels great in hand and is comfortable to use, but the rest of the accessory package does not keep up. The carrying case uses the same overall design as previous Meze flagships, but swaps the glossy black finish for a cheaper feeling satin coating that is more prone to scratches and long term wear like drying or flaking. By comparison, my well used Advar case still looks close to new. At $100 more, this feels like a step backward in overall quality.

Thankfully, Meze has improved on their ear tip offerings since 2022. The Astru’s stock eartips are comfortable and sized-well, but don’t offer the variety and passive isolation found on the sets offered by other brands. Campfire Audio, for example, includes a wider variety on even their entry-level IEMs, including liquid-silicone and foam sets. For $900, it’s fair to expect a more-comprehensive out-of-the-box experience.

Listening

About My Preferences: This review is a subjective assessment and is therefore tinged by my personal preferences. While I try to mitigate this as much as possible during my review process, I’d be lying if I said my biases are completely erased. So for you, my readers, keep this in mind:

My ideal sound signature leans toward competent sub bass, textured mid bass, a slightly warm midrange, and extended treble, though I do have mild treble sensitivity.

Testing equipment and standards can be found here.

The Astru features a gently V-shaped sound signature. It has a warm, healthy lower register, clean upper-midrange lift, and far-extending treble. The Astru exhibits a distinct “balance-first” approach to tuning, deviating from a tonal neutral purely in pursuit of a more-organic presentation. The Astru’s warm and inviting timbre and top-notch performance, blend together to deliver a distinctly “Meze” take on a harmonically-complete version of a modern meta IEM. 

The Sweet Meze Sparkle

The Astru, with its single dynamic driver configuration, faces an uphill battle against the maelstrom of audiophile preconception. Single dynamic driver IEMs have long since been maligned as somehow inferior to alternative configurations, even if the objective measurements demonstrated otherwise. The bulk of the general enthusiast population’s disillusionment with dynamic drivers is concentrated around their treble characteristics, often described as grainy, or lacking in upper-end resolution.

For many poorly-implemented IEMs, that’s actually true — but that’s not the case on the entry-level Meze Alba, let alone the new Astru. The Astru exhibits the best treble performance of any single dynamic driver IEM I’ve heard, bar none. Even some multi-driver, planar-based, tribrids don’t resolve subtle textures as cleanly as the Astru does.

I was particularly taken by the Astru’s ability to resolve the tactile decay of the hi hats in “Careless” by Royal Blood (around 1:20 and 1:23). It also does an excellent job with background textures in “WANTED U” by Joji (around 3:00), integrating treble based effects naturally against the track’s dark, empty soundstage.

Meze’s focus on the Astru’s treble pays off, delivering a more elevated take on the brand’s upper register tuning. The result is a sweet, resolving timbre that avoids sharpness and sibilance, making it an easy listen even on rougher masters, including for those with mild treble sensitivity like myself.

Vivid and Lush Mids

The core trait shared between Meze’s IEMs is a lush, warm, and inviting midrange. That Meze house sound is certainly present on the Astru, as its lower-mids have a healthy dose of emphasis. They blend organically from the lower mids into the mid bass, allowing the Astru to create a strong sense of atmosphere on tracks like “Lisztomania” by Phoenix. The layering of gentle guitar strumming against punchy drums and fluttering vocals feels dynamic and engaging, exactly what you want from a flagship IEM.

The Astru’s vocal timbre benefits from its rich midrange, with male vocals sounding deep and harmonically complete. Singers with complex tones, like Chris Cornell in “You Never Really Knew My Mind,” come through with a haunting sense of weight and texture. That said, vocal intelligibility in busy tracks does not rise above what similarly priced competitors deliver.

Challenging tracks like “Letter from a Thief” by Chevelle push the Astru close to its limit in terms of vocal presence, and as a result, some of the finer edges of the performance get smoothed over. In the pursuit of maintaining a sense of vocal cohesion, Meze limited the forwardness of the Astru’s upper-mids, and this aspect of its performance is what happens as a result. 

Polite, But Firm

As divisive as bass can be, it is hard to imagine anyone putting on the Astru and not thinking this is well tuned low end. It does not lean into basshead levels of emphasis, but there is enough presence to satisfy across a wide range of genres, backed by strong control and texture rather than just quantity.

The Astru held its own in EDM, delivering deep, impactful bass hits in “Fat Cat Adventures” by Tut Tut Child (around 1:20). “Turbulence” by Neddie also comes through with tight, full bodied bass lines, supported by the Astru’s solid and well extended sub bass.

The Astru is just as capable with rock and alternative. It picks up even the faint mid bass drum hits in “Lydia” by Highly Suspect with ease, showing impressive control across the lower register. That control translates into strong contrast and rhythmic drive, and the Astru clearly understands that musical engagement starts with the low end.

That said, some tracks could use a bit more weight. “I Hope You Hate Me” by Dead Poet Society sounds warm enough, but the electric guitar chugs do not hit as hard as they could. The drums in “Bulletproof Heart” by My Chemical Romance are clear and distinct, but they lack the kind of physical impact you get from bassier IEMs.

Comparisons

Comparisons are chosen based on what I find most interesting. If there is something you would like to see added, feel free to drop a request in the comments.

Meze Alba

The Alba is Meze’s entry-level IEM. It features slender metal shells and a single dynamic driver per-side. It sells for a fairly-affordable $159, making it significantly cheaper than the Astru’s $899 price-tag.The goal of this comparison is not to decide which one is “better,” especially given the price gap, but to highlight the differences in sound and physical design between Meze’s two newest IEMs.

For $899, Meze includes a five size set of basic silicone eartips with the Astru, while the Alba ships with a lower quality four size set. Both use detachable 2-pin cables, but the Astru’s is clearly the better execution, with a thicker build and a proper 4.4mm termination.

That said, the Alba includes a well designed USB-C DAC, which is notably absent from the Astru. Most flagship buyers will already have a capable 4.4mm source, but it still represents a meaningful loss in out of the box flexibility. The Alba also leans more into design, with a more distinctive two tone look and clearer left and right channel indicators.

Sound wise, the Alba presents hi hats and cymbals more forward, but without pushing the lower treble as prominently as the Astru. The Astru comes across warmer overall, with a fuller lower midrange and a more grounded presentation.

Bass is where the gap becomes more obvious. The Alba is lighter and less controlled, while the Astru delivers greater impact and definition. Resolution is also improved on the Astru from top to bottom, especially in how it handles hi hat decay in busy passages. That makes it the better pick for bass heavy music, though the Alba still holds its own, with a tuning that stays close enough to make switching between them feel natural rather than jarring.

All things being equal, I’d say that the Astru, on tonal merits alone, is my choice. The Alba is an excellent “baby Astru,” but doesn’t deliver the depth and lower-register technicality that I’m looking for in electronic music. Even if both IEMs shared identical physical design and price tags, I’d lean the same way.

Meze Advar

The Advar is the direct ancestor of the Astru, acting as the Meze IEM flagship back from 2022 until the end of 2024. Meze came back with the Astru, swapping to monochrome titanium shells and dropping much of the Advar’s visual flare. The Advar is a little weightier than the Astru, and looks quite a bit more stately thanks to its high-contrast design. The Astru uses the more-widespread 2-pin standard for its cables, rather than MMCX, which should allow users to more-easily swap to aftermarket cables.

The Astru’s cable is thicker, softer, and less tangle-prone that the Advar’s cable, which is a major quality-of-life improvement. Beyond the improved ergonomic utility, the Astru’s cable is outright nicer to look at and better-feeling in the hand. While some users may find that the decision to move to a fixed 4.4mm termination is kind of annoying, you can always swap the cable or make use of the included 4.4mm-to-3.5mm adapter to compensate. 

The Astru includes a better selection of eartips and a nicer cable, but it loses ground with the case. Instead of the more premium finish used on the Advar, you get a matte slate colored version with the same shape but a less refined look and feel.

Sonically, the Advar is fairly similar to the Astru, offering a broadly V-shaped sound signature with a warm lower midrange and enhanced upper-treble. The Advar, however, has less bass emphasis. The Astru, while bassier on the whole, also exhibits a tangibly-improved level of control over its mid and sub-bass, leading to an obviously-better experience with bass-centric tracks.

The intro of “Reminder” by Uppermost sounds noticeably more dynamic on the Astru, with tighter sub bass hits and improved texture throughout.

The Astru also features a retuned treble with reduced peakiness and greater overall resolution. There are plenty of treble-heavy elements on the Advar that can come across as too aggressive. The Astru is not exactly laid back up top, but it avoids that sharp edge and sounds more controlled by comparison. The Astru also demonstrates a greater degree of control over percussion decay. Hi hats and cymbals decay for longer and with a greater sense of identity on the Astru versus the Advar.

For me, the choice between the Advar and Astru is straightforward: the Astru simply sounds better. It costs more and comes with a less appealing case, but where it matters most, its musical performance is clearly superior.

Campfire Audio Alien Brain

The Alien Brain is a $1,000 IEM from Campfire Audio. It features a selection of balanced-armature and dynamic drivers per side and uses a combination of aluminum and plastic for its shells. Coming in at $100 more than the Astru, the Alien Brain features a simple carrying case with a magnetic flap and a pair of flat-braid MMCX cables. The Alien Brain includes a USB-C DAC, which is a utility absent from the Astru’s accessory package. The Astru has a less-robust selection of eartips in the box, notably missing the liquid-silicone and foam varieties found in the Alien Brain’s eartip suite. Campfire Audio also includes a number of tertiary goodies that Meze does not, including a microfiber cleaning cloth, cleaning tool, protective IEM baggie, and lapel pin. And while these are not essential to the core task of listening to music, the level of detail and finish from Campfire Audio feels more in line with a $900 to $1000 experience than what Meze delivers with the Astru.

Sound wise, the Alien Brain leans more into upper treble, with a more forward vocal presentation and punchier mid-bass. The Astru shifts focus slightly lower, with more forward sub bass that lets it dig deeper on drier tracks. The Astru has a warmer, more relaxed lower-midrange, giving it a comforting disposition that contrasts the Alien Brain’s more-analytical timbre. The Alien Brain, though a bit thinner-sounding, has a smoother upper-treble timbre. The Alien Brain’s cooler, more-technical presentation is a lot closer to the tonality you’d get from a classically V-shaped IEM. Its punchier mid-bass, but less-rumble-prone sub-bass, is more immediately-engaging in rock and alternative, though by a slim margin.

Fundamentally, I believe these two IEMs target different audiences. The Meze house sound, imbued into the Astru’s drivers, delivers a warm, moderately V-shaped sound signature with an emphasis on being welcoming and sweet. While I do enjoy the Alien Brain’s stronger vocal intelligibility on select tracks, that’s not enough of a benefit to entirely pull me away from the Astru’s excellent overall timbre. Given the Astru’s lower price tag, I’m gonna have to call a subjective draw between these two well-made IEMs.

The Bottom Line

The Meze Astru gets the important things right. It delivers a cohesive, natural sound with excellent treble control, strong bass texture, and a presentation that feels more refined than past Meze IEM efforts. It is easily the brand’s most convincing in ear to date and a clear step up from models like Advar, especially in resolution and overall balance.

It is not perfect. The accessory package feels uneven for the price, with a noticeable drop in case quality and a lack of extras like a bundled DAC that some competitors include. And while the tuning is engaging and musical, it is not built for bassheads or listeners chasing strict reference neutrality or maximum vocal detail.

Against competitors in the $900 to $1000 range, the Astru holds its ground on sound quality but gives up some points on perceived value and finishing touches. This is for listeners who want a flagship-leaning dynamic driver IEM with a warm, cohesive tuning and fatigue free treble, not those looking for the most analytical or feature packed option in the category.

Pros:

• Ergonomic titanium shells
• Mature, gently V-shaped sound signature
• Precise and cohesive timbre
• Tight bass response
• Expressive, sweetly-toned treble
• Excellent vocal intelligibility
• Strong micro-detail capture

Cons:

• Stock eartips offer mediocre passive isolation
• Underwhelming visual design
• Bulky 3.5mm adapter has poor ergonomics
• Carrying case outer-material is scratch-prone
• Somewhat bass-light
• Doesn’t include foam eartips

Where to buy:

Related Reading:

Elon Musk stated that every chip he can buy today only covers about 2% of what his companies actually need. Rather than wait for the rest of the world to catch up, he announced TeraFab on Saturday night, a chip factory in Austin and a joint venture between Tesla and SpaceX.

The announcement came via a livestream broadcast from the old Seaholm Power Plant in downtown Austin. “We either build the TeraFab, or we don’t have the chips, and we need the chips, so we’re going to build the TeraFab,” Musk said. The facility will be built on the Tesla campus in eastern Travis County.

Why is this announcement such a big deal?

What makes TeraFab different from existing chip manufacturers is its layout. The entire process, from creating lithography masks and making logic and memory chips to packaging and testing, will all take place under a single roof. Musk claims this doesn’t exist anywhere else in the world right now.

The advantage is a rapid design loop. “I can’t emphasize enough the importance of being able to make a chip, test it, and then change the design, do another one, and have that in a single building,” he said, adding that this approach could make their chip improvement cycle “an order of magnitude better than anything else in the world.”

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What chips will the company actually make?

TeraFab will produce two types of chips. The first is optimized for edge inference, designed for Tesla cars and Optimus humanoid robots. On the scale of demand for the first chip alone, Musk was blunt and said, “I expect humanoid robot production to be somewhere between a billion and 10 billion units a year. So that’s a lot.”

The second is hardened for the space environment, built to handle the radiation and high-energy ions that would destroy conventional chips. Musk also confirmed that Tesla, SpaceX, and xAI will continue buying chips from TSMC, Samsung, and Micron, and said he’d like them to expand as fast as they possibly can. 

Cool idea, but what’s the timeline??

Honestly, what Musk showed in the livestream is genuinely exciting. The idea of pushing the limits of chip physics, trying unconventional designs, and iterating on them faster than anyone else in the world is the kind of ambition that could change things. 

That said, no timeline was given for when TeraFab will begin producing chips. And given that Tesla announced the Roadster over a decade ago and it still hasn’t shipped, I’ll reserve my excitement until the first chip rolls off the line.

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Anthony Norman is your typical Gen Z worker: 25, a little wayward, and struggling to find a full time job.

You can’t exactly fault him for the position he’s in. Unemployment rates are high. AI is creating a crisis for young people trying to enter the workforce. Hiring has slowed. And several companies—including Amazon, Block, and Meta—have embraced tech’s latest era of layoffmaxxing, with some cutting their staff by 20 percent.

So when Anthony lands a temp position at Rockin’ Grandma’s Hot Sauce, a small business in Southern California, he’s just happy for what he assumes is a regular gig: assisting with odd jobs and helping plan the annual retreat.

What Anthony doesn’t know is that he is actually the mark of Jury Duty Presents: Company Retreat, the second season of Prime Video’s experimental docu-comedy where one person unwittingly participates in a staged sitcom (the first season, which blew up on TikTok and snagged three Emmy nominations, was about a fake jury trial). Everyone is an actor except for him.

Anthony joins the team during a moment of transition. The founder, Doug Womack, is preparing to step down. His son, Dougie Jr, is next in line, and because not everyone thinks he’s fit to run the family business, he wants to prove that he’s more than an unqualified nepo baby—“the Bronny of hot sauce,” he says. Having just returned from a four-year stint in Jamaica “jamming” with a hotel lobby ska band called the Jive Prophets, the retreat is meant to be a test for Dougie Jr.

The season trades in the monotony of cubicles and watercooler talk for Oak Canyon Ranch, a cozy resort and recreation center nestled in the grassy suburb of Agoura Hills—about an hour drive northwest of Los Angeles—where the staff convenes for various activities: team building, a client cookout, motivational speakers, and a talent contest. Desperate for “one week without Cocomelon” and her three kids, Jackie Angela Griffin, the distribution and logistics rep, is ready to get away.

Like all offices, Rockin’ Grandma’s is a circus of eccentricity and ego. Accountant and bourbon enthusiast Helen Schaffer has been “cooking the books for 26 years.” Receptionist PJ Green has dreams of being a snack influencer. Sourcing manager Anthony Gwinn, who at one point confuses a flesh light for a water thermos, is jokingly nicknamed “Other Anthony” despite working at the company longer. Kevin Gomez, head of HR, has flashes of Michael Scott: He’s an overeager, comically delusional, hopeless romantic who loves his job and Amy Patterson, the customer relations coordinator. “Hot Sauce is having a moment,” he tells Anthony during the onboarding process. “You don’t see this kind of thing happening with ketchup.”

On day two, eager to demonstrate his instincts as CEO, Dougie Jr. calls an audible and brings in an “emotions and vulnerability expert”—she’s the Walmart version of academic Brené Brown—who confusingly leads the group through a conversation on how to navigate uncomfortable scenarios.

It’s good practice for Kevin’s failed proposal to Amy—they’ve actually never been on a real date minus her birthday, which included eight of her other girlfriends. After a humiliated Kevin makes a quick exit from the retreat center, to the sound of tin cans rattling as he speeds off in his car, Anthony is forced to step up.

“I got a promotion,” he says, improvising on the fly to lift morale and take on the role of “Captain Fun.”

Even as people have struggled to find meaning in their work—or simply find work—TV’s fixation with the American workplace has always been popular with viewers. Mad Men examined the existential toils of advertising executives. Severance has contemplated autonomy, in addition to a lot of other very weird shit. And no series has explored the delightful chaos of workplace hijinks better than NBC’s The Office, which followed the oddball staff of Dunder Mifflin, a Pennsylvania paper company.

Prop Department begins with a 1988 Ford Festiva, a small vehicle with a single wheelbase that screams to be laughed at. He took a bold step in and decided to take that already tiny base and shrink it even more, all while maintaining the idea that this thing had to be road-worthy, and manage to squeeze through tight spaces that a normal car would never even come close to making it through.

The Festiva donor car had a solid base from the start. Everyone knows that this was one of the most compact cars back then, with hardly enough room to turn around inside. Its super-tight footprint makes it an ideal candidate for this experiment. Instead than putting on more parts or attaching a bunch of extra garbage, the crew decided to reduce things down to the bone. They marked up the body, took out the straightedge, and prepared to cut it down the middle, using a laser level to ensure that everything stayed true and the two halves would line up without a single gap or twist later on.

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There was a lot of work to be done before they could make the first cut. The team had to clear room, strap the car down, and double-check all of their measurements to avoid making a single error that would ruin the entire operation. They started cutting once they were ready. All documents reveal that they had to do the project twice, meticulously reducing pieces to get the sides just the proper thickness without compromising the entire structure. That precision was critical since the final design needed to be able to sustain the engine, suspension, and wheels in their new, unusual places.

An xTool laser welder and CNC cutter handled the heavy cutting and shaping work, delivering clean edges and strong joints with a precision that would have been nearly impossible to achieve by hand. Every extra inch of width was removed without compromising the structural integrity of the body, and once the narrower shell was welded back together it was as solid as the day it left the factory. The seats, controls, and wiring were either kept in place or adjusted just enough to suit the new proportions, and the original drivetrain was left completely untouched, meaning the car drove away from the build under its own power.

Then came the road test, and to everyone’s amazement, the car handles perfectly. It drives well enough for regular streets, navigating twists and stops without tipping over or feeling unstable. Drivers can maneuver it into small spaces that would bring a typical vehicle to a complete stop. Alleyways just big enough for a bike lane suddenly become accessible. Furthermore, the entire package remains registered and roadworthy, complete with lights and signals that meet all regulations.

Of course, there are some practical limitations to all of this. As you might guess, with all of the removed sections, storage room has vanished, and passengers other than the driver are out of the question. Fuel economy and comfort? They’re exactly the same as the original tiny automobile, nothing extra. If cargo room or quick access for friends is important, this invention has you covered. For solo travels through busy neighborhoods or quick errands in the most congested urban areas, this gadget opens doors you never thought were possible.

Two Calvin-40 robots have recently appeared on the Renault assembly line in Douai, France. They keep placing tires into the conveyor belt that feeds the Renault 5 electric assembly line because it’s a repetitive motion they can perform hundreds of times per shift without tiring.

Over the next 18 months, the business plans to add more of these machines, totaling 350, to the ElectriCity complex. As it stands, they are already producing Renault 5 vehicles in less than 10 hours each car. With the new robots, they should be able to reduce that time even more while also lowering production costs across the board. Each of these devices stands on two legs and can reach the manufacturing bins and racks on the shelves, which a human would have to leap up and down to access. There’s a camera attached just below waist level to help it keep track of what it’s doing, and it flashes green, yellow, or red to let you know how it’s doing, and then there’s those circular arms that can lift up to 40kg with ease, allowing it to do things like hoist tires and body panels without the need for a hand.

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Wandercraft, the company that created the design, completed the current iteration of the robot in just 40 days. However, making it fast enough to be useful took a little longer, as it required six months of artificial intelligence training to operate at full speed. Renault purchased a minority investment in the company for $75 million in June, allowing them to modify these robots to be ideal for vehicle manufacturing.

Workers used to have to do the same tedious tasks day after day. Now, sophisticated robots do it for them, lifting panels and tyres into place without making a sound. The final assembly sites remain off-limits because the machines are not fast enough to match the required speed. Their guy in charge of manufacturing and quality, Thierry Charvet, just wants to get the job done as quickly and efficiently as possible.

During the deployment, Renault’s CEO, François Provost, also spoke up. While other automakers display their fancy prototype robots in tech showrooms, Renault takes a very different approach. They simply want to have the thing up and running on the line right now, and they will be doing the same thing in factories around the country. The overall goal is to reduce the time it takes to construct a car by a third and lower expenses by 20% over the next five years. The new robots are just one aspect of it, making some of the most difficult and commonplace tasks much easier for those working on the line.
[Source]

An MRI scan is never a pleasant occasion – even if you aren’t worried about the outcome, lying still in a confined, noisy space for long periods of time is at best an irksome experience. For hearing protection and to ameliorate boredom or claustrophobia, the patient wears headphones. Since magnets and wires can’t be used inside an MRI machine, the headphones have to literally pipe the sound in through tubes, which gives them poor sound quality and reduces the amount of noise they can block. [SomethingAboutScience], however, thinks that photoacoustic speakers could improve on these, and built some to demonstrate.

These speakers use the photoacoustic effect, which is mostly caused by surface heating when exposed to an intense light, then transferring the heat to the surrounding air, which expands. If the surface can transfer heat to the air quickly enough, and if the light source is modulated quickly, the rapid expansions and contractions in the surrounding air create sound waves. As a test, [SomethingAboutScience] shone a modulated 5-Watt laser on a piece of gold leaf, which produced recognizable music.

Gold leaf works because it absorbs blue light well and is thin enough to transfer heat to the air quickly. To cut out the absorbing surface, [SomethingAboutScience] also shone the laser directly into orange nitrogen dioxide gas, which produced a somewhat cleaner sound (in a purely auditory sense; nitrogen dioxide is quite dangerous, and calling it “a little toxic” is an understatement). Soot-coated glass also worked rather well, though a soot-coated glass smoking pipe didn’t provide the desired acoustics. He also 3D-printed an earphone shape with a gold leaf-lined cavity inside it, then used a fibre-optic cable to direct the laser light into it. We would be personally reluctant to couple a 5-Watt laser into a reflective cavity centimeters from our eardrums, but it didn’t appear to damage its surroundings.

We’ve seen the photoacoustic effect used before to perform long-range, almost silent command injection to voice assistants. It’s also possible to use lower-power lasers and beam sound directly into people’s ears.

Thanks to [Marble] for the tip!

United States law enforcement this week took down the Aisuru, Kimwolf, JackSkid, and Mossad botnets, a slate of cybercriminal tools that have infected more than 3 million devices around the world, including many inside home networks, and have been used to carry out record-breaking cyberattacks. Meanwhile, hundreds of millions of iPhones are currently vulnerable to takeover by a new tool called DarkSword that Russian hackers used to steal victims’ data.

Customer service calls and chats with the Sears Home Services AI bot Samantha were exposed and publicly accessible until a researcher reported the situation—revealing personal details from calls and chats, including, in some cases, hours of extra audio seemingly recorded after customers thought a call had ended. And WIRED reviewed dozens of Telegram channels containing job listings for “AI face models.” The people who land the jobs are mostly women and are likely being used as the face of AI scams to steal victims’ money.

Meta recently announced that it will eliminate end-to-end encryption protections for Instagram Direct Messages on May 8, citing low adoption of the feature. The company had long promised the protection as a default for Instagram chat, and experts fear that the bait and switch could set a dangerous precedent in the tech industry. In other Meta encryption news, though, Signal creator Moxie Marlinspike announced this week that he will collaborate with the tech giant to integrate his encrypted AI platform Confer into Meta AI in some form.

And there’s more. Each week, we round up the security and privacy news we didn’t cover in depth ourselves. Click the headlines to read the full stories. And stay safe out there.

Imagine trying to explain this one to your boss: You can’t get to work because your court-mandated breathalyzer won’t let you start the vehicle—not because you’ve been drinking, you swear, but because that alcohol-vapor-detecting device has been disabled by a cyberattack on the company that makes it.

Intoxalock, an automotive breathalyzer maker that says it’s used daily by 150,000 drivers across the US, this week reported that it had been the target of a cyberattack, resulting in its “systems currently experiencing downtime,” according to an announcement posted to its website. Meanwhile, drivers that use the breathalyzers have reported being stranded due to the devices’ inability to connect to the company’s services. “Our vehicles are giant paperweights right now through no fault of ours,” one wrote on Reddit. “I’m being held accountable at work and feel completely helpless.”

The lockouts appear to be the result of Intoxalock’s breathalyzers needing periodic calibrations that require a connection to the company’s servers. Drivers who are due for a calibration and can’t perform one due to the company’s downtime have been stuck, though the company now states on its website that it’s offering 10-day extensions on those calibrations due to its cybersecurity disruption, as well as towing services in some cases. In the meantime, Intoxalock hasn’t explained what sort of cyberattack it’s facing or whether hackers have obtained any of the company’s user data.

Back in March 2023, FBI director Christopher Wray confirmed, for the first time, that the agency had purchased US phone location data. While the FBI had previously paid for phone data from commercial data brokers—instead of seeking a warrant—it had stopped doing so, Wray said. “That’s not been active for some time,” Wray claimed. Fast-forward three years, and the FBI is once again purchasing location data that can be used to track Americans.

At a Senate hearing on Wednesday, FBI director Kash Patel confirmed that the agency is buying “commercially available information” that he claimed was “consistent with the Constitution” and other laws. “It has led to some valuable intelligence for us,” Patel said. The practice involves the FBI buying information from commercial data brokers, which sell huge volumes of data, including phone location information, that is collected by advertising technology baked into apps.