Modern infostealers have expanded credential theft far beyond usernames and passwords. Over the past year, campaigns have accelerated, targeting users with little distinction between corporate employees and individuals on personal devices.

These infections routinely harvest credentials alongside broader session data and user activity. The resulting datasets are aggregated and sold by initial access brokers, then reused across attacks targeting both personal and enterprise environments.

To better understand the scope and implications of this activity, Specops researchers analyzed more than 90,000 leaked infostealer dumps, comprising over 800 million rows of data collected during active infections.

The datasets included credentials, browser cookies, browsing history, and system-level files stored locally on compromised machines.

What emerges is a clear picture of how infostealer dumps allow attackers to associate technical data with real users, organizations, and behavioral patterns, making a single infection valuable long after the initial compromise.

When stolen credentials become identity data

The biggest risk is how easily infostealer data ties multiple accounts and behaviors back to one real person. These dumps routinely expose reused account names across services, Windows usernames, files stored in user directories, active session data, and detailed records of activity across environments.

Combined, these signals let attackers move from a single compromised credential to identifying an individual, their employer, and potentially their role within an organization.

This convergence collapses the boundary between personal and professional identity that many security models still assume exists. What may start as a compromise on a personal device can quickly escalate into enterprise-level risk.

Specops Password Policy helps organizations break this link by continuously scanning Active Directory against a database of more than 5.4 billion known-compromised credentials, rather than only checking passwords at creation or reset.

Credentials that have already been exposed are blocked from being set or reused, even if they technically comply with policy, reducing the risk of compromised passwords being reused across personal and corporate accounts.

Where infostealers get your data and how they abuse it

The dataset contained credentials and session data associated with a wide range of services, illustrating how infostealer data exposes both identity and access.

Professional and enterprise-linked services

LinkedIn, GitHub, Microsoft Teams, Outlook, and corporate domains appeared frequently in the dataset. LinkedIn alone accounted for nearly 900,000 records, providing a direct path from stolen data to real names, job titles, and organizational affiliations.

For threat actors, this information enables targeted phishing, social engineering, and prioritization of access that may lead deeper into enterprise environments, especially where password reuse exists.

Personal identity and social platforms

YouTube, Facebook, and similar social media platforms also made high-volume appearances. These services often contain real names, photos, and social connections, making it easier to validate the identity of a compromised user and link them to other accounts.

This correlation makes targeted exploitation far easier.

Sensitive and high-risk services

The dataset also included credentials and cookies associated with sensitive services, including government and tax-related domains such as the IRS and the Canada Revenue Agency, as well as adult content platforms. Access to these services introduces risks beyond traditional account takeover.

In previous incidents, threat actors have used data from adult platforms as leverage for extortion and blackmail. When that activity can be linked back to an individual’s real identity and employer, the potential impact escalates quickly.

Security-aware yet still exposed

Domains such as Shodan and even mil.gov appeared within the dataset, reinforcing an uncomfortable reality: technical awareness does not equal immunity.

Secure practices followed in corporate environments do not always extend to personal systems, yet exposure on those systems can still create enterprise risk.

Why infostealers remain so effective

Infostealer exposure isn’t driven by a single failure, but by a combination of common behaviors repeated at scale. Users install applications from illicit sources, reuse passwords across personal and corporate accounts, and rely on browser-based credential storage for convenience.

Browser-stored credentials and payment data are especially valuable to attackers.

When an infostealer compromises a system, these stores provide attackers with immediate access to high-value information, significantly increasing the impact of a single infection.

Reducing impact after credential theft

Once infostealer data has been collected and circulated, prevention is no longer the only challenge. The real question is how quickly defenders can neutralize it before it’s reused for lateral movement, account takeover, or ransomware deployment.

Because infostealer dumps often circulate for weeks or months before detection, effective mitigation must assume that some credentials are already exposed.

Password reuse remains one of the most reliable ways attackers operationalize infostealer data. Credentials harvested from personal devices are routinely tested against corporate environments, cloud services, and remote access systems, often with success even when those passwords meet standard complexity requirements.

Disrupting reuse directly reduces the operational value of infostealer datasets and shortens their window of exploitation.

Combined with stronger password policies that support longer passphrases and continuous enforcement, these controls shift password security from a static configuration exercise to an active containment measure.

Identity exposure increasingly begins outside the corporate perimeter, so reducing the reuse and downstream impact of stolen credentials remains one of the most effective ways to break infostealer-driven attack chains.

To see how Specops Password Policy helps block compromised passwords and reduce credential reuse in Active Directory, request a live demo from a Specops expert.

Sponsored and written by Specops Software.

With the iPhone 16e, Apple tried to revive the affordable iPhone segment by offering a familiar form factor and capable hardware. But despite that, 2025’s cheapest iPhone release wasn’t as hot and popular as the other ones. Well, that could change with the arrival of the iPhone 17e.

With detailed rumors pouring in for over six months now, the iPhone 17e is among the most-anticipated Apple product launches in the first half of the year, and so far, the rumor mill has only been kind to the device. So, without any further ado, here’s everything we know about the iPhone 17e.  

Release date and price rumors

While some rumors suggested a February 19 launch date for the iPhone 17e, that didn’t happen. Instead, the phone should break cover at the “special Apple experience” media briefing sessions on March 4, 2026.

Apple is holding press briefings in three cities around the world — New York, London, and Shanghai — which sounds like the perfect time to introduce the world to the new, better, and, most importantly, cheaper iPhone.

Pre-orders for the iPhone could begin either as the event ends or the next day, with general availability from around the second week of March.

But exactly how cheap could the iPhone be? Bloomberg’s Mark Gurman suggests that the iPhone 17e (128GB) could retain the iPhone 16e’s launch price of $599. Despite rumored hardware upgrades, the company might freeze the smartphone’s launch price for another year.

Despite all the reports about the ongoing memory crisis, Apple’s long-term partnership with its suppliers and the scale of its operations give it a unique advantage over other brands, even as other smartphone makers (including global giants like Samsung) struggle to control smartphone prices.

Design and display

Apple’s iPhone 16e is often criticized for its outdated design (it’s the gigantic notch at the top of the screen that bothers some buyers). Well, that could go away with the iPhone 17e, as it’s rumored to replace the ugly notch with the Dynamic Island (as seen on the recent iPhones).

I strongly believe that the iPhone 17e could borrow its screen from the baseline iPhone 15, facilitating the Dynamic Island and thinner bezels. The choice of materials — an aluminum frame sandwiched between two layers of glass — should remain the same as well.  

Apart from the classic black and white finishes, the iPhone 17e should be available in a new purple or lavender finish, appealing to younger buyers and helping the handset compete with the variety of colors the Pixel 10a is available in.

Coming to the screen, the iPhone 17e is rumored to ship with a 6.1-inch OLED screen (smaller than the 6.3-inch screen on the regular iPhone 17) that supports a 60Hz refresh rate and 2,000 nits of peak brightness, making it, well, usable.

No ProMotion display, no dramatic upgrades in brightness, just the regular, Apple-fashioned refinement. In terms of design, the iPhone 17e will likely mirror the iPhone 15 from the front and the iPhone 16e from the back.

Performance and software

Under its familiar hood, the iPhone 17e should feature Apple’s A19 (3nm) chip, perhaps a binned version with one fewer GPU core (five instead of six). I’ve been using the iPhone 17, powered by the A19 chip, as a daily driver, and the chip has more computational power than I can use on most days.

Further, the chipset could be paired with Apple’s in-house C1X modem (similar to the iPhone Air), which should offer faster 5G speeds and up to 30% better energy efficiency than the C1 modem. If that happens, the ‘e’ series iPhone might also get the N1 wireless chip.

Like the iPhone 16e, the iPhone 17e could also feature 8GB of RAM, which is the bare minimum to support Apple Intelligence (both current and upcoming features).

The handset might get a storage upgrade to 256GB on the base variant, but I’ll not be surprised if Apple continues with 128GB base storage (since it is expected to retain the $599 price). The top variant, like last year, should get 512GB of storage.

Out of the box, the iPhone 17e should run iOS 26 (perhaps iOS 26.3 or iOS 26.4), with all Apple Intelligence features (including Writing Tools, Gemoji, Clean Up, and more).

And no, the revamped version of Siri might not be available on the iPhone 17e, as it’s delayed to iOS 26.5 or iOS 27. Like other iPhones, the cheapest iPhone should also get new iOS versions for around five to six years before Apple drops support.

Cameras and battery

The only back camera on the iPhone 17e should feature a 48MP Fusion camera sensor, which allows capturing images at 24MP or 48MP resolution, along with optical-quality 2x in-sensor zoom, and Dolby Vision HDR video recording (up to 4K at 60 fps).

What I’m curious to see is whether Apple goes with the same 1/2.55-inch sensor on the iPhone 16e or upgrades the camera with the 1/1.56-inch sensor found on the iPhone 16 or iPhone 17.

If you’ve heard about and envied the Center Stage camera on the iPhone 17, the iPhone 17e could be your chance to unlock the marvellous selfie experience for yourself and your friends. Rumors indicate that the latest ‘e’ series iteration could ship with the 18MP square-sensor front camera we’ve seen on the iPhone 17 series.

Beyond the cameras, the purported entrant to the latest iPhone lineup could come with a 4,005 mAh battery, which is larger than that on the iPhone 17. If that happens, the iPhone 17e could offer around 30 hours of video playback (up from 26 hours), making battery life a major selling point for buyers.

If that’s not enough, Apple is also considering adding MagSafe charging to the handset, and the faster one (up to 25W), no less. Apart from unlocking convenient wireless charging, MagSafe also unlocks support for plethora of accessories.

So, whether it’s the design, display, performance, optics, or battery life, the iPhone 17e should get upgrades across the board, which would make it one of the easiest recommendations for prospective iPhone buyers on a budget, but with known compromises like a single-camera setup and the lack of ProMotion (120Hz) display.

Welcome to our latest roundup of what’s going on in the indie game space. As a reminder, the latest edition of Steam Next Fest runs from February 23 until March 2, during which you’ll be able to check out demos for hundreds of upcoming games. A bunch are available already, including one for Denshattack!, which I definitely recommend checking out. As it turns out, doing Tony Hawk Pro Skater-style tricks with a high-speed Japanese train absolutely rips.

On Thursday, there were four showcases highlighting indie games all in a single day. It’s not exactly feasible for me to recap them in full here, unfortunately, but I can at least tell you about a few of the many highlights.

The Black History Month edition of the Black Voices in Gaming Showcase includes trailers and interviews for some games that are already available, such as Space Warlord Baby Trading Simulator, Aerial_Knight’s DropShot and Relooted. Of course, the stream featured plenty of games that are on the way too.

Erased, from solo developer Jerron Jacques, looks pretty interesting. It’s an open-world fighting game that takes place in a cyberpunk setting with dance battles, parkour, pets, strange creatures and much more. Jacques, who has been documenting the game’s development process on social media, even carried out some of the parkour motion capture work personally.

There was lots of good stuff in this week’s Convergence Showcase too, including another peek at Mouse: P.I. for Hire as we get to see one of the game’s bosses for the first time. This first-person shooter with rubber-hose animation is set to arrive on March 19.

There were other welcome announcements for me in this showcase. First, there was a release date for the Zelda-inspired adventure Gecko Gods. I’ve had this on my wishlist since 2022, so I’m glad to learn it’ll hit Nintendo Switch, PS5 and PC on April 16.

In addition, record shop sim Wax Heads (which probably should have been called Low Fidelity, tbh) is coming to PC, Xbox Series X/S, PS5, and Nintendo Switch on May 5. You can check out a Steam Next Fest demo for that one now.

The second edition of Indie Fan Fest had a trove of goodies as well. For one thing, Balatro publisher Playstack could be about to cause another mass reduction in collective productivity with Raccoin, which now has a release date of March 31. This is another roguelike deckbuilder, but this time it’s in the form of a coin pusher. I didn’t have a chance to check out the previous playtest to get a better sense of why there’s so much buzz around this one, but I’ll for sure be trying the Steam Next Fest demo, which is available now.

It remains deeply weird to refer to a game under Acclaim’s umbrella as an indie, but that’s where we are now. The publisher is bringing Ridiculous Games’ GridBeat to Nintendo Switch and Steam on March 26. This is a rhythm-based dungeon crawler in which you (a hacker) try to escape from a corporate network after pilfering valuable data. There’s a Next Fest demo available for this one too.

Meanwhile, a narrower release window for Japanese convenience store sim InKonbini: One Store. Many Stories was revealed. It’s coming to Steam, PS5, Nintendo Switch and Xbox in April.

Alongside a related sale on Steam, the first Quebec Games Celebration Showcase took place on Thursday. It’s always neat to learn about games being made in my neck of the woods.

One of those is Surfpunk, a co-op action RPG that looks a bit like Hades with surfing. Radical. You’ll venture to procedurally generated islands in search of loot. There are four weapon classes to choose from and gadgets you can craft after collecting resources on your run. There’s an updated Steam demo that’s said to have around five hours of gameplay. Surfpunk (which is from Convergence: A League of Legends Story developer Double Stallion) will arrive later this year.

I’m including this demo announcement trailer for Croak, a precision platformer from Woodrunner Games that appears to be heavily inspired by the likes of Celeste, separately for one main reason. You have to check out the studio’s head of “barketing.” (Okay okay, the game’s hand-drawn visuals look lovely too.)

There’s plenty of other interesting stuff in the Quebec Games Celebration Showcase, including another look at Tears of Metal from Paper Cult Games, the studio behind the very enjoyable Bloodroots. There’s a Steam demo available for the hack-and-slash roguelite, which should be out this spring. Gothic sci-fi Metroidvania Silent Planet looks quite tasty too.

New releases

Under The Island looks and sounds very The Legend of Zelda: A Link to the Past-coded. But since that’s my favorite game of all time, I am not complaining. I love that protagonist Nia appears to use a hockey stick as a weapon too.

This action PRG from Slime King Games (and co-publishers Top Hat Studios and Doyoyo Games) has debuted to strong early reviews. It’s available now on Steam, Xbox One, Xbox Series X/S, PS4, PS5 and Nintendo Switch for $20, though there’s a 15 percent launch sale (you’ll need to be a PS Plus member to get the discount on PS4 and PS5).

Demon Tides — a 3D, open-world platformer from Bubsy 4D and Demon Turf developer Fabraz — has lots of movement mechanics, including paragliders and hookshots. You can shapeshift into different forms as well.

You can create and share graffiti, and this will appear in other players’ games (which is a neat touch). Demon Tides is out now on Steam. It’ll usually cost $25, but until March 5, you can snap it up for $20.

Skate Bums is a 2D skateboarding game in the tradition of the OlliOlli series. As novice skateboarder Lux, you’ll try to take down the Skate Bums, a gang of bullies. There are “weird characters,” sick combos to pull off, coins to collect and wrecking balls to dodge.

There’s said to be a “simple directional trick system” while each run is apparently short. That seems ideal for quick, pick-up-and-play sessions on Nintendo Switch and Switch 2. I also just really like the title. Skate Bums, which is from Lucky Last Studio, will normally cost $15 but there’s a 15 percent discount until February 27.

Love Eternal is a psychological “horror platformer about escaping the domain of a selfish god,” which is a strong pitch from developer brlka and Demonschool publisher Ysbryd Games. You’ll need to flip between different gravitational pulls as you navigate this precision platformer, which follows teenager Maya on her attempt to return to her own reality.

During a dinner at home, Maya’s family disappears and she suddenly appears in an “eerie, desolate realm” that looks like an Iron Age castle. That’s a creepy enough set up to match the game’s haunting atmosphere. Love Eternal is out now on Steam, PS4, PS5, Xbox One, Xbox Series X/S and Nintendo Switch for $10. There’s a 15 percent launch discount (again, you’ll need to be a PS Plus member to take advantage of that on PlayStation).

Upcoming

Woe Industries, the developer of You Have Billions Invested In Generative AI (and a bunch of other neat projects), has something intriguing on deck for next week — a standardized gaming test. You can start the Adventure Game Aptitude Test (AGAT) at any time between 1PM and 2PM ET on February 28.

You’ll have four hours to complete an ’80s adventure game of Woe Industries’ choosing. The developer will seemingly be monitoring your browser and smartphone activity to ensure you don’t consult a walkthrough. If you’re successful, you’ll receive an AGAT certification and diploma. Good luck!

“Musical narrative adventure” People of Note is coming to Steam, Epic Games Store, the Xbox App on PC, Nintendo Switch 2, PS5 and Xbox Series X/S on April 7 for $25 (though there’ll be a 10 percent launch discount). The game follows pop singer Cadence on her quest for stardom. Along the way, Cadence and her buds will have to overcome enemies in battles that have turn-based and rhythm-based elements.

I mostly enjoyed playing through a preview several months ago, though I had to grit my teeth through the turn-based combat, which is not something I enjoy as a rule. However, Iridium Studios will allow players to turn off elements like that and environmental puzzles so more people who might have otherwise been turned off can enjoy People of Note. You can sample the game now on Steam via a 90-minute Next Fest demo.

I don’t fully understand what’s going on in the reveal trailer for Titanium Court, which is from AP Thomson (a solo developer who previously worked on Consume Me) and publisher Fellow Traveller. Even the press release notes that it’s “impossibly difficult to describe.” But it has an absorbing trailer soundtracked by an odd, Bill Callahan-esque song and it has already picked up several IGF award nominations, so I’m intrigued.

What I am able to surmise is that it’s a surrealist, roguelike strategy game with match-three, auto battle and tower defense elements. It’s also for “clowns and criminals,” apparently. I’m gonna have to give the Steam Next Fest demo a shot to try to get my head around it. Titanium Court is coming to Steam “imminently.”

Sometimes, a game pops up that makes me think “how has no one done this before?” Such is the case with Become. It’s a third-person linear adventure from solo developer Valentin Wirth in which you take on the guise of a single sperm. You can probably guess what the goal is.

The game has “no explicit sexual acts, nudity or violence,” according to its Steam page, though you will encounter some danger along your journey. You can upgrade your bespectacled spermatozoon via skill trees and seemingly adorn various pieces of headgear. Become is slated to hit Steam later this year.

After nearly 45 years of doing things the hard way and usually the right way, Creek Audio is stepping back into the spotlight with something to prove. At the 2026 Bristol Hi-Fi Show, the British brand will outline its next chapter, previewing the new CYMATICS speaker platform and signaling a fresh amplifier direction that looks forward without pretending the past didn’t matter.

Creek’s story has always been about defying expectations: starting with a £99 integrated amp that raised eyebrows in the early 1980s, surviving ownership changes, and steadily building a loyal following by prioritizing sound quality, sensible engineering, and price discipline over flash. That DNA still matters, but this announcement suggests Creek isn’t interested in living off nostalgia or legacy goodwill.

The CYMATICS platform and amplifier reset point to a company that understands where hi-fi is heading, and is ready to remind long-time fans and introduce new ones, why Creek earned its reputation in the first place.

CYMATICS

On the loudspeaker side, Creek Audio will introduce the CYMATICS 6, the first model in a new three-speaker lineup that will expand with the planned CYMATICS 3 and CYMATICS 9. Together, the range outlines Creek’s long-term loudspeaker strategy rather than a one-off design exercise.

Cymatics refers to the study of visible sound—how frequency organizes matter into repeatable patterns. For Creek, the concept is applied practically, informing decisions around drive-unit selection, crossover topology, cabinet behavior, and dispersion control. The goal is not visual spectacle, but predictable acoustic behavior: controlled resonance, coherent phase response, and even energy distribution within real listening spaces.

The CYMATICS speaker platform is built around scale and system hierarchy. Each model is designed to serve a clearly defined acoustic role while sharing a common engineering foundation, allowing performance to scale logically across the range. This approach is intended to strengthen Creek’s position in the performance-driven segment of the British hi-fi market, where system matching and room compatibility matter as much as raw specifications.

In short, the CYMATICS name reflects Creek’s focus on how sound behaves in the real world—prioritizing controlled dispersion, phase coherence, and balanced low-frequency integration over abstract theory or headline-grabbing design claims.

CYMATICS 6

The CYMATICS 6 has been developed as the reference model within the CYMATICS series. Its cabinet architecture, crossover topology, and driver integration are engineered to deliver controlled low-frequency extension and precise spatial imaging, while maintaining stable, realistic amplifier loading characteristics.

Tweeter Design Focused on Controlled Dispersion and High-Frequency Energy

In the CYMATICS 6, a 25 mm aluminum dome tweeter is paired with an aluminum waveguide. The waveguide improves off-axis response, manages acoustic loading, and enhances integration through the crossover region, resulting in stable imaging and consistent tonal balance across the listening area.

Mid-Bass Design Delivering Scale from a Compact Enclosure

The CYMATICS 6 uses a 171 mm custom fiber mid-bass driver, selected for controlled excursion, low distortion, and neutral, natural tonality.

Crossover Architecture for Coherent System Integration

Creek Audio considers the crossover the defining element of a loudspeaker, and the CYMATICS 6 reflects that philosophy. The crossover network is engineered for component neutrality and electrical stability, with driver integration taking priority over chasing specifications for their own sake. Phase behavior is carefully managed to maintain image solidity and tonal continuity, contributing to a measured frequency response of 44 Hz to 26 kHz (±3 dB) and a sensitivity of 88 dB SPL (2.83 Vrms, 1 m).

Cabinet Design Focused on Resonance Control

Both the tweeter and mid-bass driver are housed in a heavily braced MDF cabinet with a tuned rear vent, allowing the system to achieve meaningful low-frequency extension without sacrificing speed or articulation. Resonance is not eliminated, but deliberately controlled.

The CYMATICS 6 enclosure uses high-mass 25 mm MDF panels combined with strategic internal bracing to shift structural behavior outside the critical midband region. This approach reduces cabinet contribution and preserves dynamic integrity across the operating range.

Specifications

• Speaker Type: 2-way rear vented (Bass Reflex)
• Cabinet: Highly Braced, 25mm MDF construction
• Drive Units:
• 25mm Aluminium Dome tweeter
• 171mm Custom Fibre mid-bass
• Impedance: 4 Ohms
• Sensitivity: 88dB spl (2.83Vrms, 1m)
• Frequency Response (+/- 3dB): 44Hz – 26kHz 
• Power Handling: 120W
• Grilles: Magnetically attached
• Finish: Gloss Black, Wood
• Dimensions (HxWxD): 410 x 225 x 340mm  (26.1 x 8.86 x 13.5.inches)
• Weight: 15 kg / 33 lbs  each
• Price: TBD – Creek Audio products can be purchased through Authorized Dealers.

New Amplifiers?

In parallel with the CYMATICS loudspeaker program, Creek Audio is developing a new generation of integrated amplifiers built around its established MOSFET Class A/B architecture. While specific details have not yet been disclosed, the new direction is intended to preserve Creek’s core engineering principles while adapting them to the demands of modern systems and listening habits.

Bottom Line

After years of focusing our coverage on their integrated amplifiers, Creek Audio is clearly signaling a broader reset for 2026, but much of the picture remains unresolved. On the amplifier side, the return to development, with multiple MOSFET Class A/B prototypes expected to appear at the Bristol Hi Fi Show, plays directly to Creek’s historical strengths. This is familiar ground, and Mike Creek’s long record as a disciplined designer earns the brand real credibility.

The more uncertain move is the decision to enter the loudspeaker market. The CYMATICS 6, a passive two way stand-mount design, places Creek squarely in one of the most competitive segments of British hi-fi. Choosing a passive approach rather than an active or streaming based design suggests a deliberate philosophical position, but it also raises practical questions. Why passive in 2026, when much of the market momentum is shifting toward active, DSP driven, or networked systems?

Will the new integrated amplifiers incorporate streaming or broader system integration to complement that choice? And where will pricing land in a category already crowded with established loudspeaker brands such as KEF, Q Acoustics, ProAc, Spendor, Harbeth, Wharfedale, Tannoy, Fyne, and NEAT?

What remains to be seen is what truly differentiates CYMATICS beyond sound engineering fundamentals. Controlled dispersion, phase coherence, and amplifier friendly loading are sensible goals, but they are not unique in this category. If Creek can translate its amplifier focused design DNA into a speaker that delivers genuine system synergy, predictable room behavior, and a clearly defined sonic character, it could become a serious contender.

For now, CYMATICS reads as an opening statement rather than a finished conclusion. The interest is real, and expectations are high, but until pricing, final specifications, and extended listening impressions emerge, Creek’s loudspeaker ambitions remain a compelling work in progress rather than a settled result. 

For more information: creekaudio.com

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Regardless of what you think of GPT and the associated AI hype, you have to admit that it is probably here to stay, at least in some form. But how, exactly, does it work? Well, MicroGPT will show you a very stripped-down model in your browser. But it isn’t just another chatbot, it exposes all of its internal computations as it works.

The whole thing, of course, is highly simplified since you don’t want billions of parameters in your browser’s user interface. There is a tutorial, and we’d suggest starting with that. The output resembles names by understanding things like common starting letters and consonant-vowel alternation.

At the start of the tutorial, the GPT spits out random characters. Then you click the train button. You’ll see a step counter go towards 500, and the loss drops as the model learns. After 500 or so passes, the results are somewhat less random. You can click on any block in the right pane to see an explanation of how it works and its current state. You can also adjust parameters such as the number of layers and other settings.

Of course, the more training you do, the better the results, but you might also want to adjust the parameters to see how things get better or worse. The main page also proposes questions such as “What does a cell in the weight heatmap mean?” If you open the question, you’ll see the answer.

Overall, this is a great study aid. If you want a deeper dive than the normal hand-waving about how GPTs work, we still like the paper from [Stephen Wolfram], which is detailed enough to be worth reading, but not so detailed that you have to commit a few years to studying it.

We’ve seen a fairly complex GPT in a spreadsheet, if that is better for you.

Big moves are unfolding for Pro-Ject Audio Systems on both sides of the Atlantic this weekend. At the Bristol Hi-Fi Show 2026, the Austrian analog specialist is set to unveil the Debut Reference 10, a new flagship for its long-running Debut turntable range. At the same time, the company has confirmed a major shift in its U.S. strategy with the appointment of a new exclusive distributor, effective March 1, 2026.

The Debut Reference 10 moves the series further upmarket with a 10-inch tonearm built from a carbon-fibre and aluminium sandwich construction, positioning it as the most technically ambitious model yet within the Debut lineup. It signals that Pro-Ject is not content to let its entry-level reputation define the brand’s ceiling; the original Debut PRO was awarded our Editors’ Choice Award twice in the turntable category and was replaced by the Debut PRO B in 2024.

Equally significant is the U.S. announcement. Pro-Ject Audio Systems, part of the Vienna-based Audio Tuning Group, has named Stereo Distribution LLC as its new exclusive American distributor. The move formalizes a new structure for the U.S. market and confirms that the previous Pro-Ject alignment within the McIntosh Group ecosystem, alongside brands such as McIntosh, Sumiko, and Sonus faber under the Bose Luxury Group umbrella is no longer in place.

Debut Reference 10 Specifications

Pro-Ject Audio Systems positions the Debut Reference 10 as the most advanced model in its long-running Debut lineup, and the engineering choices reflect that step up.

At its core, the turntable is fitted with Pro-Ject’s Pick it Pro Balanced cartridge and includes a Mini XLR balanced output. That combination allows for a true balanced signal path from cartridge to phono stage, which can reduce noise and improve signal integrity over longer cable runs. However, it does require a compatible balanced phono preamp to take advantage of the connection. Without one, you will not unlock the full benefit of the balanced design.

The Debut Reference 10 uses a 300 mm acrylic platter, chosen for its inherent resonance resistance. This sits atop a diamond cut aluminum sub platter, adding mass and rotational stability. The platter bearing consists of a high precision stainless steel axle seated in a bronze bushing, designed to maintain smooth rotation and long term durability.

The chassis is constructed from hand painted MDF and supported by three height adjustable, damped aluminum feet. These feet are designed to provide stable leveling while helping to reduce the risk of acoustic feedback, particularly in environments where speakers share the same surface or room structure.

This is a belt driven turntable with the motor fully decoupled and suspended within the base to minimize vibration transfer into the platter and tonearm assembly. Electronic speed control allows convenient switching between 33 and 45 RPM, while manually moving the included round belt enables playback of 78 RPM records.

A Puck E record weight is included in the box, designed to help secure records more firmly to the platter surface for improved contact and stability during playback.

The 10 inch one piece carbon aluminum tonearm measures 254 mm in effective length and has an effective mass of 16.6 g. It supports both adjustable azimuth and vertical tracking angle (VTA). By loosening two grub screws, users can continuously adjust tonearm height to accommodate cartridges of varying body heights or different platter mat thicknesses. This level of adjustability is not always standard in this price category and allows for more precise cartridge alignment.

Performance specifications are competitive for the class. Wow and flutter is rated at ±0.16 percent at 33 RPM and ±0.14 percent at 45 RPM. Speed drift is specified at ±0.4 percent at 33 RPM and ±0.5 percent at 45 RPM. Signal to noise ratio is listed at 68 dB.

Physically, the Debut Reference 10 is not some oversized statement deck. It measures 462 x 145 x 345 mm, which translates to roughly 18.2 x 5.7 x 13.6 inches (W x H x D), and tips the scale at 6 kg, or about 13.2 pounds net. Manageable, solid, and realistic for the kind of racks and consoles most people actually own. In the box, you get the essentials: a dust cover, a dedicated 78 RPM belt, and a 7-inch single adapter.

The Bottom Line

Now here’s where it gets interesting.

The U.S. Supreme Court issued a ruling this morning related to tariffs that could have a meaningful impact on imported audio products. Could that work in favor of American buyers when this table finally lands? Possibly. But it’s far too early to know how that decision will ripple through distribution, freight, and final retail pricing. Anyone pretending they have clarity right now is guessing. It’s basically a mess.

And all of this unfolds against the backdrop of a bigger shift.

So while the Debut Reference 10 is the headline product, the more consequential story may be the business side. New flagship table. New U.S. distributor. Potential tariff recalibration. That is a lot of moving parts for one weekend and it suggests that the next chapter for Pro-Ject in the U.S. will look different than the last.

A new U.S. price list is expected shortly, and dealers are reportedly receiving updated pricing ahead of the March 1, 2026 transition. From what we understand, most existing Pro-Ject retailers should not see negative disruption as the new distribution structure takes effect. That said, whenever a brand shifts logistics, and billing systems, there is always the potential for short-term hiccups. It comes with the territory.

The current U.S. website, www.pro-jectusa.com, will be discontinued after March 1, 2026. Moving forward, product information will live on the global site at www.project-audio.com, aligning the U.S. more closely with the brand’s international presence.

Heinz Lichtenegger, CEO of Audio Tuning and the driving force behind Pro-Ject Audio Systems, has built the company over decades into one of the most dominant analog brands in Europe. With that kind of track record and with the U.S. market representing significant growth potential, there is little incentive to let this transition stumble. There is simply too much at stake, both commercially and reputationally.

Price & Availability

The finish is satin black, understated and safe. UK pricing is set at £999, with Australia confirmed at AU$2349. U.S. customers will have to wait a bit longer, and pricing is still to be announced.

For more information: project-audio.com

Related Reading:

JVC’s W-VHS VCR made a splash in the analog tape world when it debuted in 1993, and with good cause. Engineers at the business decided to go all out on the tried-and-true VHS cassette casing, upgrading the tape and devising some ingenious ways to load high definition video onto it a few years before digital formats truly took hold. From the outside, the product appeared to be any ordinary VCR, but, surprise, under the hood, it is managing signals far beyond the capabilities of a standard VHS.

MUSE, the Japanese Hi-Vision broadcast system, required a mechanism to record its high-definition images at home, thus JVC developed W-VHS (short for Wide-VHS). Their first machine, the Victor HR-W1, was released on December 28, 1993. It receives the 1125-line interlaced signal from Hi-Vision tuners via analog component connections (separate channels for luminance and color difference), and when playback time arrives, it produces sharp, wide-screen images that dwarf anything you’d normally see on a television at the time.

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Standard VHS used to try to jam color and brightness onto the same tape, resulting in reduced detail and distortion. W-VHS turned the entire methodology on its head. It records in component form, keeping those two items distinct so they don’t interfere with one another. It then lays down two parallel tracks for each video field using a dual-track system, which can have up to 12 heads on the drum in some models.Luminance spans both tracks, whereas the two color signals are delivered in compressed bursts on either track. This ‘time-compression integration’ approach doubles data throughput without stretching the tape channel to its limit or speeding up the reels to breakneck speeds.

Bandwidth ended up being quite outstanding for a tape-based system, with luminance reaching roughly 12 MHz in high-definition mode, a far cry from the 3 MHz seen on consumer VHS. Horizontal detail reaches around 960 pixels equivalent per line, while vertical resolution approaches 1035 active lines per frame when the interlaced structure is taken into account. The chroma resolution suffers slightly as a result of the sequential recording, but the overall image remains clear and detailed. Then there’s the audio, which is presented as digital PCM files, providing a level of clarity that matches the video enhancement.

The best part is that W-VHS decks maintain a high level of compatibility with ordinary VHS and S-VHS cassettes, allowing you to play or record them without any issues. So, aside from capturing regular broadcasts or even two standard-def signals at once to help kickstart early 3D experiments, you’re looking at around 2+ hours on tape in high-def mode on the right cassettes, which use that higher-density metal particle coating inside the familiar shell.

Of course, the primary barrier that prevented W-VHS from catching on was the cost of the devices. They were pricey and were primarily purchased in Japan by Hi-Vision enthusiasts, with a few appearing worldwide for medical imaging purposes. By the time digital formats such as DVD appeared, analog high-definition tape seemed like a dead end. Production virtually ceased, and today, all these years later, a small group of ardent collectors and W-VHS machines appear on occasion, despite the fact that they have been largely forgotten.
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