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The job of a soundbar used to be simple: make TVs sound better without complicated component systems, multiple speakers and wires strung all over your living room. Over time, soundbars have evolved into complex multi-speaker systems capable of competing with component-based systems in both features and sound quality. But have they become too complicated for their own good?
With the current flagship soundbar system, the HW-Q990H, Samsung believes they can walk the line between simplicity and advanced functionality while offering performance that approaches that of a component system. Are they successful? Let’s find out.

Samsung offers a wide selection of soundbars, from simple one-piece systems like the HW-QS90H to the more robust flagship soundbar system, the HW-Q990H, subject of our current review. The list price of the system is $1,999, but it is typically discounted to around $1,600. Unlike companies like Sony, who sell their flagship soundbar standalone, requiring customers to add expensive subwoofers and/or rear speakers for full performance, Samsung includes everything you need in the box with the Q990H: the soundbar itself, a pair of rear speakers, with both front and up-firing drivers and a compact powered subwoofer.
The system features a whopping total of 23 drivers, across all components. The soundbar itself includes fifteen individual drivers pointing in multiple directions: forward, to the sides and angled upward, to reflect height channel sounds off the ceiling. The rear channel speakers include three drivers each, pointing forward, to the side and up for reflective height channels. The system is completed by a very compact powered subwoofer, a cube which measures in at just under 10 inches on each side. The subwoofer uses dual 8-inch drivers in a push-pull configuration and weighs in at a fairly hefty 18.3 lbs.

The HW-Q990H supports the two most common immersive surround sound formats – Dolby Atmos and DTS:X – and one uncommon one – Eclipsa Audio. Eclipsa Audio is an object-based immersive audio format developed by Samsung and Google (among others) as the IAMF (Immersive Audio Model and Formats) open audio standard. Ecplisa Audio is currently the only immersive audio format supported on YouTube, and there is actually a growing collection of content available on that platform in the new format.
For many owners, the only input you’ll need is the HDMI/eARC port. Use an HDMI cable to connect this port to the corresponding HDMI/eARC on your TV and any devices connected to the TV, as well as the tuner built into your TV and any streaming apps built into your TV will automatically pass audio to the soundbar. If your TV doesn’t have “eARC” (extended Audio Return Channel) but does have an “ARC” (Audio Return Channel) HDMI port, then you can use that port, but just know that the sound quality is a bit limited on this older option. If your TV lacks both ARC and eARC HDMI ports, then Samsung still has you covered with a fiberoptic digital input, though, like ARC, sound quality over fiberoptic digital is limited: you’ll only get 2-channel PCM sound or 5.1 channel Dolby Digital.
The Q990H soundbar also includes not one but two additional HDMI ports. So if you like to listen to movies with DTS:X sound, but your TV doesn’t support DTS passthrough, you can plug a device like a UHD Blu-ray player into the bar directly, and the bar will output the video signal to the TV while directly decoding the audio signal.

The HDMI input jacks are a little tight, however, making it tricky if you want to plug in a streaming stick or if your HDMI cables are thicker than average. Still, I appreciate the flexibility here and wish more soundbar makers would follow suit.

In terms of build quality and aesthetics, the bar itself feels and looks substantial and its contemporary design blends well with modern TVs. Its height is just under 3 inches which means it won’t interfere with the IR remote control sensor on the bottom of most TVs if placed on a console in front of the TV. The bar comes with a wall mount bracket, but be sure the top of the bar is not blocked by the TV or you will lose some or all of your height channel effects.
The rear speakers are fairly compact at roughly 5″ x 8″ by 5.5″ and include a standard 1/4″-20 UNC threaded mounting hole for a wall bracket or stand. A basic keyhole mount would have been nice but isn’t essential. Be sure to mount the speaker with sides and top unobstructed so the side and top-firing drivers can reflect off side walls and ceiling respectively.

The bar also supports both Bluetooth and WiFi inputs including Apple AirPlay 2 and Google Cast, though it does not support Dolby Atmos sound over Google Cast (few soundbars or components do). Spotify Connect and TIDAL Connect are both supported, but not Qobuz Connect. You’ll need to use Bluetooth or Google Cast if you’re a Qobuz user.
Although you can set-up and use the bar without loading any apps, you’ll get some additional options and settings if you install Samsung’s SmartThings smart home control app and add the Q990H to Smart Things. The subwoofer and rear speakers are pre-paired to the bar, so if you simply connect an HDMI cable from the bar’s HDMI/eARC port to the HDMI/eARC port on your TV, and plug the bar, subwoofer and rear speakers into wall power, you should get sound from all of the speakers.

After doing the initial set-up, I installed the SmartThings app on my phone, added the bar to the app and hunted around for any sort of calibration option. Most high-end soundbars either use your phone or an external microphone to measure the speakers’ output in your room and adjust the levels and, in some cases, even phase and EQ, to optimize the sound for your specific room. But Samsung does things a little differently.
If you enable “SpaceFit Sound Pro” in Smart Things, the bar automatically adjusts its sound to fit your room, without the need to run through a calibration routine. It uses the microphone built into the bar to analyze reflections and frequency response and adjusts itself to correct for any deficiencies in the sound. While I can see the appeal of doing this whole process automatically, it bothers me to think the bar is adjusting sound while I’m listening to it. This makes me feel like maybe it’s not presenting the most accurate reproduction of the sound coming into it at all times.

I asked Samsung for details on how the SpaceFit Sound Pro feature works, but did not receive a reply in time for publication. If we get a more detailed explanation, I will be sure to update this review.
In any case, I will say the SpaceFit Sound Pro setting did appear to improve the sound in my listening room and there weren’t any egregious artifacts of its operation in normal use. I’d say most owners will benefit from having it enabled, and those who prefer not to use it can leave it off. The SmartThings app does offer manual EQ and level settings for each channel for those who wish to tweak the sound manually (though no built-in test tones).
For system review context, I connected the Q990H to a Samsung S95H QD-OLED TV. This way I was able to test out Samsung’s Q-Symphony feature which lets you use the TV speaker as part of the mix. In testing, I preferred the sound without Q-Symphony enabled as it changed the tonal balance of the sound coming out of the center channel. But owners an experiment with this in the TV’s Audio Settings menu. By using a Samsung TV, I was also able to play YouTube videos encoded in the Eclipsa Audio format, which the Q990H was only too happy to decode.
Before I got too into music tracks and movie scenes, I decided to try a few test tracks, including channel test tone sequences for Dolby Atmos, DTS:X and Eclipsa Audio. All three were decoded properly on the Q990H with excellent test tone placement all around the room. Samsung bills the HW-Q990H as an “11.1.4” channel system, and while I didn’t have a Dolby Atmos 11.1.4 channel test patterns, the system did reproduce a Dolby Atmos 9.1.6-channel test tone sequence with excellent positioning. The phantom middle height channels were nicely positioned between front and rear height channels along the middle of my ceiling and the side surround channels did appear right around the middle of the room on each side, thanks to phantom channels created by wide side-firing drivers in both the soundbar and the rear channel speakers.
I will say the Q990H had the best image positioning of any of the bars I’ve tested to date, including the Klipsch Flexus Core 300 system and the Sony BRAVIA Bar 9 with its much-touted “360 Spatial Sound Mapping” feature.
This performance on test tones carried over to real music. I listen to a lot of immersive music tracks in Dolby Atmos as you can find on my Amazon Music Dolby Atmos playlist. On the EDM track “Alive” by KX5/deadmau5, around 4 minutes in, when the snare roll rotates around the room starting in the front and traveling the full width and depth of the room, the circular motion was fairly seamless, though there were some minor tonal differences as it moved around the room from speaker to speaker. This type of precise motion falls apart on many lesser systems. And the tonal matching across the 20+ speaker drivers was pretty good overall.
Another of my Dolby Atmos favorites, “Rocket Man” by Elton John starts mostly in the front of the room, but when the chorus kicks in, the music just explodes, taking over the entire listening space. This moment was particularly effective and dramatic on the Q990H as the music just inhabited the entire listening space, sucking you right in. Pulling out a few more classic rock tunes remixed in Dolby Atmos, The Who’s “Baba O’Riley” opens with a synth keyboard part that has been expanded to encompass the entire listening space, shimmering from side to side, and front to back, while vocals are placed more traditionally in the front and center of the soundstage. As the instrumental conclusion builds, instruments like violins, guitars and drums make full use of the space leading to a controlled chaos of sound. The Q900H maintains this chaotic build nicely.
There’s also a nice selection of 90s grunge/alternative tracks remixed in Dolby Atmos. On Stone Temple Pilot’s “Creep,” Dolby Atmos is used more to open up the soundstage, rather than make instruments or voices spin around the room. On the Q990H, the simple opening instrumental section offers solid imaging and nice tight extended bass on the bass guitar and kick drum. When Scott Weiland joins in with the first verse, his voice is squarely placed front and center, filling out the wide, deep soundstage. Much better than the stereo mix, IMHO.
More modern albums, like Justin Gray’s Grammy Award-winning album, “Immersed” take more liberties with instrumental placement. “Immersed” was specifically mixed to put you inside the mix, giving the listener a whole different perspective on the music. The track “Orion’s Belt” leads off with percussive elements starting at the back of the room and slowly swirling, building around the listener while layers of drums and horns bounce around the listener. Through the song, you’re right in the middle of the action, like a fly on the wall, only there is no wall. The immersive nature of “Immersed” is well captured on the HW-Q990H.

Moving onto Dolby Atmos movies and TV shows, I put on the opening scene of “Andor” Season 1. Rain falls convincingly from above as our antihero walks down a boardwalk in Morlana 1 in search of his lost sister. As he enters the night club/brothel, dialog is still clearly audible over the throbbing dance music in the background. And in “Dune” around 1:05 into the film as they are rescuing the doomed spice crawler, Paul Atreides is struck by the spice-infused wind and all sound drops out. The swirling spice, musical score, effects and voices of the Bene Gesserit witches build into a cacophony of sound. As it peaks with the line “Kwizatz Hadderach Awakes” the sound is captured well by the Q990H, not fractured and scattered as it can be on lesser systems.
Testing DTS:X tracks, I loaded up the UHD Blu-ray of “The Blues Brothers.” The mall chase scene was even more chaotic than I remember, with squealing tires and smashing glass coming from all around as police cars chase the Blues Mobile through a crowded shopping mall. When the main performance begins with Cab Calloway, the DTS:X track fills the room with the sounds of a live concert hall. And as Jake’s psychotic ex-girlfriend tries repeatedly to murder him, bullets ricochet menacingly around the room (mostly in the rear). It’s effective use of space and the Q990H captures it well.

I mentioned Eclipsa Audio earlier. In order to get this to work on YouTube content, you do need to match the Q990H up with a recent (2025/2026) Samsung TV with support for Eclipsa Audio, or any TV with support for IAMF audio (the “non-branded” version). Also, make sure the TV’s eARC output is set to “Auto” and Digital Audio is set to “Auto” or “Bitstream” (not PCM). With these TV settings in place, and the TV connected to the Q990H on the HDMI eARC port, you should get Eclipsa Audio from compatible content. And if you have trouble, watch this quick tech tip video on YouTube.
By searching for “Eclipsa Audio” on YouTube (using the Samsung TV’s YouTube app), I was able to find several videos encoded in the format, all of which played back properly in Eclipsa Audio format on the Q990H with discrete sounds coming from all around and above me. If you’re feeling nostalgic for the classic “Deep Note” trailer from THX, you can check out this New Version of THX Deep Note “Spark” Encoded in Eclipsa Audio on YouTube. Other tracks include 4K demo videos and music videos, some of which are pretty entertaining. Over time, we would love to see this format adopted by more hardware vendors and more content creators.
Stereo music had a nice sense of space on the Q990H, particularly when using the Q990H sound modes. There are a few different listening modes from which to choose, which affect how the bar handles both 2-channel and multi-channel content. You can find these by hitting the “Sound Mode” button on the remote or by looking in the Smart Things app.

“Standard Mode” will keep your stereo music unadulterated, using the bar itself and the subwoofer to create a nicely balanced stereo soundstage. “Surround” mode sounds more like a “Multi-channel stereo” mode where sound from the front is cloned to the rear speakers so that the sound fills the room more evenly. This works well for a party when you want background music to fill the room. Personally, I find that the “AI Adaptive Sound” mode works well for most stereo material. It expands stereo music to use all of the speakers, with enhanced spatiality, but without sounding too forced or artificial. But this is a personal choice. It’s nice to have options.
In multi-channel listening (e.g., Dolby Digital, Dolby Atmos), the modes do similar things, but not precisely the same as with stereo sources. Standard mode will be a “pure” representation of the original 5.1 or 7.1.4 mix. In Standard mode, many of the speakers in the system will be silent (such as the front wide and rear side speakers) as a direct representation of the original 5.1 or 7.1.4 channel mix. In “Surround” mode, 5.1 or 7.1 or 7.1.4 content is “upmixed” to 11.1.4 to make full use of all speakers. This fills in the space between the speakers well and improves the overall spatiality of the sound.
For multi-channel sound sources, “AI Adaptive Sound” does what surround mode does, but adds AI-based EQ and localization to enhance the sound based on analysis of the type of content – or scene – being played. Action sequences may have the bass boosted while quiet scenes with whispered dialog will have slight emphasis added to the center speaker while reducing some of the ambient sounds. If you want to keep things “pure” for surround sound movie viewing and music listening, “Surround” mode is a good compromise as it makes full use of all the speakers in the system, without making any artistic decisions, based on AI analysis. Personally I found the AI Adaptive Sound mode to work pretty well overall on most material.
By the way, if you’re a gamer, you might want to check out the “Game Pro” mode, which accentuates some of the directionality of sounds, to make these more pronounced. It also prioritizes latency so you can hear things that might be important (like footsteps behind you) without delay.
Overall, the sound from the Q990H was nicely balanced. Voices were presented naturally with good dimensionality and instruments like bass and snare drum had nice snap and attack. Overall bass response was solid and full, without sounding boomy, though the bass was not quite as deep or extended as I’ve heard it from larger, more powerful subwoofers.
When Samsung acquired the revered audio company Harman International several years ago, I was hopeful that this would improve the sound of the company’s audio products. And it seems like Harman’s influence is definitely rubbing off on the Korean tech giant. Earlier Samsung speakers and soundbars that I tested didn’t really stand out in sonic quality. But the HW-Q990H is different. With everything you’ll need in the box, all the essential codecs covered, and surround sound imaging that matches or exceeds the best competitive systems, the HW-Q990H gets a definite recommendation from me and earns our Editors’ Choice for 2026.
★★★★★★★★★★ Performance
★★★★★★★★★★ Usability
★★★★★★★★★★ Build Quality
★★★★★★★★★★ Value
$1,997.99 $1,597.99 at Amazon | Best Buy | Crutchfield
Some material also goes to an unnamed US technology and industrial company, under a deal penned in the first quarter of 2026.
In the same quarter a year ago, the largest portion of MP’s sales by revenue—mined material, not NdPr—went to China’s Shenghe Resources. But MP has stopped selling to Shenghe as part of its deal with the US government.
MP ultimately plans to produce its own magnets at scale, which would require it to consume much of what it produces. Mined rare earths are turned into oxides, which are used to make metals and alloys that go into magnets.
The company has penned agreements with General Motors and Apple to supply them with its magnets. It said in May that it expected to begin shipping finished magnets to GM this year.
Meanwhile, Energy Fuels—which won $725 million in conditional government funding in June—plans to scale its production of rare earths and also has eyes on Asia.
“We will be sending oxides in the near-term to Korea,” said chief executive Ross Bhappu. Last year, a major South Korean manufacturer made a small amount of Energy Fuels’ NdPr into magnets.
Energy Fuels is in the process of acquiring Australian Strategic Materials, which owns a rare earths metal-making plant in South Korea. It also announced a $1.9 billion deal to buy German magnet maker Vacuumschmelze (VAC) in June, which Bhappu said would result in more of Energy Fuels’ products going to VAC’s US operations.
China is the largest global producer of the widely used neodymium iron boron magnets. Outside China, Japan produces 10,000-15,000 tonnes per year, while South Korea produces 2,000-3,000 tonnes annually, and the US produces 1,000 tonnes or less, according to John Ormerod, a rare earths consultant at JOC LLC. There is also some production in Europe.
Phoenix, which secured a conditional $500 million from Washington in June, said government funding would help it scale up metal and oxide production, which would “expand the pie for everyone.”
MP’s recent earnings have been boosted by the money it receives under its US government deal—which guarantees a minimum sale price for some products and tops up any shortfall from the price paid by third parties.
© 2025 The Financial Times Ltd. All rights reserved. Not to be redistributed, copied, or modified in any way.
OpenAI on Wednesday launched GPT-Live, a pair of new voice models that fundamentally redesign how people talk to ChatGPT — replacing the company’s existing Advanced Voice Mode with an architecture that can listen and speak simultaneously, much like an actual human conversation.
The two models, GPT-Live-1 and GPT-Live-1 mini, are rolling out globally starting today across iOS, Android, and ChatGPT.com. GPT-Live-1 becomes the default voice model for paid ChatGPT users on the Go, Plus, and Pro tiers, while GPT-Live-1 mini serves free-tier users. OpenAI also plans to bring the models to the API, and developers can sign up to be notified.
The release marks the third generation of ChatGPT’s voice technology in roughly two years — and OpenAI’s clearest bid yet to turn its chatbot into something that feels less like querying a search engine and more like talking to a colleague.
The defining technical advance in GPT-Live is what OpenAI calls a “full-duplex architecture.” In telecommunications, full-duplex means both parties on a phone call can talk and listen at the same time. Applied to AI, it means the model continuously processes your incoming audio even while it generates its own spoken response — no more waiting for a clean silence gap to figure out when you’ve finished a thought.
“Instead of processing a sequence of separate messages, GPT-Live continuously processes input while generating output,” OpenAI wrote in its research blog. “The model can therefore make interaction decisions many times per second: whether to speak, continue listening, pause, interrupt, or invoke a tool.”
In practice, that translates to a voice assistant that can insert conversational acknowledgments — “mhmm,” “yeah,” “got it” — while you’re still talking, pick up on a natural pause without jumping in prematurely, and handle rapid interruptions without derailing the entire exchange.
OpenAI’s previous Advanced Voice Mode, launched to paid users in September 2024, processed and generated audio within a single model but still operated on rigid turn-by-turn exchanges. As OpenAI acknowledged in the announcement, “because turn detection is based on silence, even a brief pause or background noise could be mistaken for the end of turn — causing the model to interrupt at unnatural times.”
That brittleness created a product that, while impressive in demos, could be deeply frustrating in extended real-world use. Background chatter in a coffee shop could trigger a response. A thinking pause might get swallowed. The experience felt, as one researcher put it on X shortly after the announcement, like “walkie-talkie turn taking.” GPT-Live is designed to end that era.
GPT-Live introduces a second structural change that may prove just as consequential for enterprise adoption: it decouples the voice interaction layer from the reasoning layer.
When a user asks a straightforward question, GPT-Live handles it directly. But when the query demands web search, deeper reasoning, or more complex agentic work, GPT-Live delegates the task to a frontier model running in the background — at launch, GPT-5.5, the large language model OpenAI released in April — and continues talking with the user while the computation happens asynchronously.
“While it works, GPT-Live can keep talking with you and maintain the flow of conversation,” OpenAI explains. “As we release new frontier models, we’ll continuously update the model used by GPT-Live.”
This delegation model is a meaningful architectural bet. Rather than building a single monolithic voice model that tries to be both conversationally fluid and deeply intelligent, OpenAI has split the problem in two: a voice-native model optimized for real-time interaction, and a separate reasoning engine that can be swapped out as the state of the art improves.
It is, in effect, a modular design — one that allows OpenAI to upgrade the intelligence of its voice assistant without retraining the voice model itself. The implications for enterprise and developer workflows are significant. A voice agent built on this architecture could maintain a natural conversation with a customer while simultaneously querying databases, searching the web, or performing multi-step reasoning — tasks that would have introduced several seconds of dead air under the old pipeline.
To understand how far voice AI has come, it helps to trace the three generations that led to GPT-Live.
The original ChatGPT Voice, launched in 2023, used a cascaded pipeline — a speech-to-text model (Whisper) transcribed what you said, a large language model (GPT-4) generated a text response, and a text-to-speech model converted that response back into audio. Each handoff introduced latency and lost information.
As OpenAI noted, “the complexity came at a cost: information could be lost across models, and responses were slow and stilted.” That cascaded approach was the industry standard, and its limitations were well-documented. As the blog OpenHelm noted in an October 2024 analysis of OpenAI’s Realtime API, the old pipeline stacked up to roughly 1,700 milliseconds of latency — nearly two full seconds of dead air before the first word of a response. Managing the state between the three separate APIs consumed an enormous amount of engineering effort.
OpenAI’s Advanced Voice Mode, which began its limited rollout to paid ChatGPT Plus users in July 2024 before expanding more broadly in September 2024, collapsed that three-model pipeline into a single model that processed audio natively. As TechCrunch reported at the time, the rollout came with five new voices — Arbor, Maple, Sol, Spruce, and Vale — alongside improved accent handling and smoother conversations.
The feature also launched on the web in November 2024, extending it beyond mobile. But Advanced Voice Mode still operated through discrete, alternating turns — and it launched into the shadow of a PR debacle that OpenAI is still working to leave behind.
Advanced Voice Mode arrived in the wake of one of OpenAI’s most damaging self-inflicted crises. During the GPT-4o launch in May 2024, the company showcased a voice called “Sky” that many listeners immediately noted sounded strikingly similar to Scarlett Johansson, who famously voiced an AI companion in the 2013 film Her.
Johansson said she had declined OpenAI CEO Sam Altman’s offer to voice the system, then was “shocked, angered and in disbelief” when the product launched with a voice her own friends couldn’t distinguish from hers, as NBC News reported. Altman had tweeted just the word “her” the day the product launched.
OpenAI pulled the voice and apologized, but the incident drew public scrutiny from SAG-AFTRA and members of Congress, and crystallized broader concerns about AI companies moving fast with creative IP.
The Hollywood labor union said the issue underscored “why we’re strongly championing federal legislation that would protect their voices and likenesses … from unauthorized digital replication,” as NBC News reported. Forbes contributor Paul Tassi wrote at the time that Altman, “by holding up Her on a pedestal of something to strive for, has missed the point of that film” — in which the protagonist’s relationship with his AI companion ultimately does him more harm than good.
GPT-Live appears designed, in part, to move past those controversies. OpenAI says it has “remastered the nine distinct voices in ChatGPT for GPT-Live” and notes the system “is designed for conversation, not voice impersonation,” with “safeguards to prevent it from imitating a real person’s voice.”
OpenAI disclosed that more than 150 million people talk to ChatGPT using voice and dictation features each week — a notable slice of the platform’s 900 million total weekly active users. The voice experience has grown into a substantial product in its own right, used for language practice, bedtime stories, commute-time chat, and hands-free everyday help.
The new product features reflect that usage. GPT-Live introduces rich visual cards that surface during voice conversations — weather forecasts, stock data, sports scores, and maps — giving users something to glance at without breaking the flow of speech.
Users can now choose between three reasoning levels for answers: Instant for quick responses, Medium for moderate thinking, and High for more complex work. And if you take a moment to think, “ChatGPT Voice now waits instead of jumping in and interrupting,” OpenAI wrote. “If you ask it to stay quiet and listen, it will. And when there’s background noise, like passing traffic or nearby conversations, ChatGPT is better at focusing on your voice instead of getting distracted.”
Early reactions from users with preview access were cautiously positive. “I had early access to sol. it is a phenomenal model,” wrote one user on X, adding it is “much better at frontend, long context knowledge work, and its vibes are much better.” Another observer cut to the heart of the matter: “The smarts are not new here, GPT-Live hands hard questions to GPT-5.5. What is new is the feel: full-duplex voice that listens while it talks.”
The GPT-Live system card, published alongside the announcement, reveals a safety strategy built around the particular risks of real-time voice interaction — a domain where the speed and intimacy of conversation create hazards that text-based chat does not.
OpenAI expanded its safety evaluations to include audio-native tests, using both real user voice samples (from those who opted in) and synthetically generated prompts targeting edge cases across categories like self-harm, sexual content, illicit behavior, emotional reliance, mental health, and hate speech.
On the synthetic evaluations — which OpenAI described as deliberately adversarial — GPT-Live-1 showed substantial improvements over Advanced Voice Mode. In illicit behavior, for instance, the safety score rose from 0.63 to 0.97. On self-harm, it climbed from 0.72 to 0.98. Hate speech achieved a perfect 1.00, up from 0.87.
On the production-prompt evaluations — which used real user audio and reflected more ambiguous, borderline scenarios — the picture was more mixed. GPT-Live-1 matched or improved on Advanced Voice Mode in most categories but showed a slight regression on emotional reliance (from 0.88 to 0.82), though OpenAI noted the change was not statistically significant.
The company built real-time safeguards that can intervene while the model is speaking — steering toward safer responses, surfacing crisis resources, or ending the voice conversation entirely in higher-risk situations. It also designed additional protections for teen users and adapted self-harm support flows for voice, including crisis helpline integration.
Perhaps most notably, OpenAI said it is “rolling out longer-term measurement and post-launch monitoring focused on emotional reliance” — an acknowledgment that the very naturalness GPT-Live strives for creates its own category of risk.
While OpenAI was refining its safety guardrails, its rivals were shipping full-duplex systems of their own. Google’s Gemini Live, which supports full-duplex conversation alongside camera and screen sharing — capabilities GPT-Live notably lacks at launch — is already available in the Gemini app. Google released Gemini 3.1 Flash Live in March as its highest-quality real-time audio model, targeting low-latency voice interactions for developers.
ByteDance launched Seeduplex in April, claiming to be the first production-scale full-duplex speech AI deployed at scale, inside its Doubao app. Seeduplex reported roughly a 50 percent reduction in false-response and false-interruption rates compared to ByteDance’s previous half-duplex system. And Nvidia’s PersonaPlex, released in January, brought customizable voice and role control to full-duplex models, breaking what had been a constraint where natural-sounding models were locked into a single fixed voice.
The competitive picture is clear: full-duplex voice interaction is quickly becoming table stakes for consumer AI products, not a differentiator. OpenAI’s advantage lies in the scale of its existing user base, its integration with GPT-5.5’s reasoning capabilities, and the breadth of the ChatGPT ecosystem.
But the window in which any one company has a monopoly on natural-sounding voice AI has already closed. OpenAI also acknowledged several gaps. GPT-Live does not support voice with video or screen sharing at launch. Language support is limited, with the company noting that “for certain languages, the model may have a non-native accent or gaps in fluency.” And API access is not available on day one, meaning enterprise developers cannot yet build on GPT-Live directly — a constraint that will slow the model’s penetration into commercial voice-agent workflows where competitors like Google, ElevenLabs, and Deepgram already have developer-facing products.
GPT-Live is essentially OpenAI’s most significant bet yet on voice as the primary interface for AI — not just a convenience feature bolted onto a text chatbot, but a purpose-built interaction layer that sits between the user and the company’s most powerful models.
“Over time, we believe this research will also unlock the ability to use voice for increasingly complex, longer-running, and more agentic work,” OpenAI wrote. That ambition — using natural voice as the front end for autonomous AI agents that can perform multi-step tasks — is the logical endpoint of the full-duplex plus delegation architecture.
Imagine telling your phone to book a flight, negotiate with your insurance company, or debug a production server, all through a conversation that feels as natural as talking to an assistant who also happens to have the intelligence of a frontier AI model.
Two years ago, talking to ChatGPT meant dictating into a microphone and waiting nearly two seconds for a stilted reply. One year ago, it meant a smoother exchange that still felt like a polite, slightly awkward phone call with someone who insisted on waiting for you to finish every sentence. Today, it means something closer to a real conversation — imperfect, still constrained in some languages and missing video, but unmistakably closer. OpenAI once got into trouble for wanting to recreate the movie Her. With GPT-Live, the company may finally be reckoning with the harder question the film actually posed: not whether AI can sound human enough to talk to, but what happens to us when it does.
StatCounter’s June 2026 data shows Windows made up 56.55% of global desktop OS usage, dropping Microsoft’s share below 60% for the first time in years. Linux, meanwhile, reached 4.39%, “one of its strongest recent showings in the company’s desktop OS statistics,” reports Linuxiac. From the report: Apple’s desktop platforms also remain a major part of the picture. StatCounter lists OS X at 11.89% and macOS at 4.48% for June 2026, meaning Apple’s combined desktop presence remains comfortably ahead of Linux in the global chart. Chrome OS follows with 1.21%.
Of course, StatCounter’s numbers should be read for what they are: web usage statistics, not a direct count of installed operating systems. The company calculates its Global Stats from page views across websites using its tracking code, analyzing details such as browser, operating system, and screen resolution. In other words, the figures reflect measured web activity rather than the number of machines actually installed worldwide.
SpaceXAI has released its latest model, Grok 4.5 — the first since the company went public several weeks ago.
In a blog post published Wednesday, SpaceXAI characterized its new release as a workhorse that can tackle all of the typical tasks that the AI industry has sought to automate: coding and app-building, office and clerical work, research, writing, and other forms of routine knowledge work.
Grok can supposedly do all this for less spend, too, as SpaceXAI says that its model has “twice greater token efficiency” than other leading models. If it carries through to real-world use cases, that efficiency would be a big advantage for SpaceXAI, since the cost of tokens has been a growing concern for AI consumers.
The company released benchmark metrics Wednesday that appeared to show Grok’s competitiveness with other top models from SpaceXAI competitors, although just short of best-in-class:

In a post on his social media platform X (which is a subsidiary of SpaceXAI), founder Elon Musk compared the model to Opus, Anthropic LLM designed for intensive and complex tasks.
“Based on strong positive feedback from customers in our beta test program, @SpaceXAI will make Grok 4.5 available to the public tomorrow. It is an Opus-class model, but faster, more token-efficient and lower cost,” wrote Musk in a post on X.
Musk later added: “Our internal assessment is that Grok 4.5 is roughly comparable to Opus 4.7, but much faster. The combination of capability, faster speed and lower cost is what makes it competitive.”
SpaceXAI says that its new model costs $2 per million input tokens and $6 per million output tokens. That’s quite competitive, if Grok’s capabilities match SpaceXAI’s rhetoric.
Opus 4.7, by comparison, costs $5 per million input tokens, and $25 per million output tokens. OpenAI has tiered costs for different model versions: Sol, its most expensive, costs $5 for input tokens and $30 for output, while its least expensive, Luna, costs $1 for input and $6 for output.
It’s a big week for AI model releases. OpenAI is planning to release GPT 5.6, its latest, most powerful model, on Thursday. The release of that model had previously been limited by the Trump administration, due to concerns about its security implications. OpenAI has called it its “strongest model yet.”
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A China-linked threat cluster has been exploiting vulnerable Roundcube servers at U.S. and Canadian universities to steal credentials and deploy backdoor malware.
The campaign has been observed since May and focuses on physics and engineering departments, administrators and professors, as well as organizations involved in astrophysics, particle physics, or national security-related research.
Researchers at cybersecurity company Proofpoint are tracking the activity under the name ‘UNK_MassTraction’ and believe to be associated with a new threat cluster.
The attack begins with a malicious email sent from compromised accounts or spoofed domains, using a generic lure.

Opening the email in a vulnerable Roundcube webmail client triggers exploitation of a cross-site scripting flaw tracked as CVE-2024-42009, which executes JavaScript code inside the victim’s browser, loading a payload called IceCube.
According to the researchers, IceCube “is a fully-featured Roundcube stealer” that can harvest usernames, passwords, cookies, two-factor authentication (2FA) data, and browser information.
Proofpoint says that the malware uses “helpers” to exploit a Roundcube deserialization flaw tracked as CVE-2025-49113 and attempts to install SquareShell, a PHP webshell that includes remote code execution capabilities.
If successful, the attacker gains remote code execution on the mail server; otherwise, the malware downloads a shell script that loads another payload, VShell, directly in memory.
VShell is a commodity Go-based backdoor that supports interactive shell access and port forwarding, which is commonly used by Chinese threat actors.
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Based on several observations, Proofpoint assesses that UNK_MassTraction is likely a China-aligned espionage actor.
First, the infrastructure used in the attacks overlaps with a covert VPS network previously associated with multiple China-linked actors. Another clue is the presence of Chinese-language artifacts in earlier phishing emails.
Finally, the tactic of targeting internet-facing mail servers as a foothold for accessing internal networks is a hallmark of Chinese attacks.
Taking everything into account, Proofpoint emphasizes that attribution in this case is just an assessment and definitely not a high-confidence one.
An interesting finding regarding the specific targeting of this campaign is that UNK_MassTraction appears to have selected servers previously deemed vulnerable to CVE-2024-42009 and CVE-2025-49113, so some reconnaissance was performed prior to the attacks.
Administrators of Roundcube systems are advised to apply the latest security updates that address the two flaws and treat mail servers with the same diligence they show for VPNs and other remote access nodes.
Security teams log 54% of successful attacks and alert on just 14%. The rest move through your environment unseen.
The Picus whitepaper shows how breach and attack simulation tests your SIEM and EDR rules so threats stop slipping by detection.
X’s crowdsourced fact-checking system, Community Notes, will be updated to send users direct messages alerting them whenever a post they have interacted with has received a correction. The change, which is not yet live, was announced by X owner Elon Musk. He did not share a time frame for its launch.
The update attempts to address one of the bigger criticisms about Community Notes — that corrections arrive too late to matter. A misleading post can accumulate views and reposts while its accuracy is disputed, and by the time it’s corrected, the damage has been done. By proactively notifying users when a post receives a correction, X is trying to extend the reach of the note beyond the original post. This could also allow users who spread false information to issue their own mea culpa, if they had been duped.
X’s Community Notes system was first established when the company was still known as Twitter, before Musk’s acquisition.
The idea was to introduce a different way to address misinformation on the platform, rather than require Twitter (now X) to be the centralized authority for moderation decisions. Instead, Community Notes contributors could suggest corrections and add critical details or missing information to posts. Consensus is achieved when people who rate the note as helpful are those who typically have different perspectives, and the note goes live.
A similar system has since been adopted by Meta as part of its broader moderation overhaul last year, which saw the company eliminate its partnerships with fact-checkers.
Though Community Notes makes sense for a company that wants to distance itself from the business of fact-checking, it’s also proven difficult to scale. A 2025 study of the feature by Spanish fact-checking site Maldita found that 85% of the proposed notes on X remain invisible to users, and only 8.3% get published and become visible. A separate study conducted by the Digital Democracy Institute of the Americas (DDIA), which encompassed 1.76 million notes published on X between January 2021 and March 2025, put the figure for unpublished notes even higher at 90%.
This weakens Community Notes as a system that surfaces information when it’s most needed, critics have pointed out. Plus, they’ve argued, people aren’t aware when a post they saw or boosted receives a correction later on, as there’s been no way to bring that information to their attention.
Musk’s proposal to send users alerts via X Chat (DMs) would address the latter issue, at least, assuming it goes live. X was asked for comment, but a response was not immediately available.
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A Paris startup wants to loosen Nvidia’s grip on AI, not with a new chip, but with software. ZML has released a free tool that runs open-source models fast across Nvidia, AMD, Google, Apple and Intel silicon alike.
Nvidia still rules AI hardware, but its walls keep thinning. ZML, a Paris startup backed by AI pioneer Yann LeCun, has released free software that runs open-source language models across a mix of chips, TechCrunch reports. The list spans five targets: Nvidia, AMD, Google’s TPUs, Intel and Apple.
The tool, ZML/LLMD, is an inference server. Inference means running a trained model to answer prompts, the part of AI that now eats most of the compute. Founder Steeve Morin says the goal is to break the silos that lock users to one vendor, and to squeeze each chip to its top speed.
Cost is the driver. As AI bills climb, enterprises and clouds want the freedom to pick cheaper or less power-hungry silicon for a given job. “The idea is to give people back the power to create their own system,” Morin said. Do that well, and it reads less like a feature and more like a wedge under Nvidia’s moat.
It could also lift a wave of novel chipmakers, many of them European. Morin name-checked Axelera, Fractile, Kalray, SiPearl, VSORA and others. Software that treats their chips as first-class, not second-best, gives buyers a real reason to try them.
Morin does not write off Nvidia, and says ZML has a good relationship with the chip giant. But the field is crowded. The “inference gold rush” has minted rivals like Baseten, recently valued at $13bn, plus the teams behind the open-source projects vLLM and SGLang. All chase the same prize: making AI cheaper to run.
Morin thinks ZML reaches further. “We have reached the point where we are co-designing silicon,” he said. His lean team of 20 has shipped fast, with more releases to come.
LLMD ships free for now to gather usage, not yet a paid product. Its unusual root is the bigger signal. A tool built to loosen Nvidia’s grip and to back Europe’s own AI stack landed from Paris, not Silicon Valley. Morin, who raised $20m from investors including Xavier Niel’s Kima Ventures, put it plainly. “I couldn’t do ZML anywhere but in Paris,” he said.
Virtualization
CA and VMware both suing insurance giant
Broadcom has accused Allstate Insurance of dodging a software license audit that the insurer claims only happened after it decided to stop using VMware and CA software.
Those two Broadcom business units – CA and VMware – have brought copyright infringement lawsuits against Allstate.
The CA suit, filed in May 2025, alleges that the insurer breached contracts after the sale of its Employer Voluntary Benefits business to an outfit called StanCorp. The VMware suit, filed in December 2025, alleges that Allstate didn’t comply with contract terms that required it to participate in license audits.
Software license audits are not unusual. Vendors routinely include the right to conduct audits in their contracts, and those rights can extend beyond the term of a license so that software companies can be paid for all use of code under a time-limited contract. Some vendors, however, are known to audit more often and more vigorously than others, or to use audits to gain leverage during license renewal negotiations.
Allstate claims Broadcom’s decision to audit it was not entirely reasonable.
“This case is about VMware’s decision to initiate a haphazard ‘audit’ of Allstate, once it was aware that Allstate did not intend to renew its contracts with VMware or its sister company, CA,” the company stated in a June 12 filing.
That accusation came after months of conflict.
An Allstate filing in the CA matter claims that Broadcom launched four audits, covering “Tanzu,” “VMWare,” “Agile Operations” and “Mainframe.” Broadcom advised of its intent to audit around April 2025.
Broadcom alleges Allstate didn’t co-operate with the audits. “Throughout August and September 2025, VMware sent weekly follow‑ups. Allstate continued to stonewall and withheld the requested materials,” according to VMware’s claim.
Allstate says it simply didn’t have the resources to respond to four simultaneous probes.
One of the tools Broadcom uses during software audits is a set of scripts that detect software installations. Allstate acknowledges it received the scripts and other audit material.
Then on September 12, Broadcom alleges, Allstate dropped a bombshell: It had “removed VMware from all devices.” On October 1, the insurance giant apparently told the virtualization pioneer “all VMWare instances have been terminated and removed” – at least from an environment governed by an enterprise license agreement.
After terminating its VMware estate, Allstate said Broadcom’s audit scripts wouldn’t work. The insurer nevertheless completed an audit questionnaire, but Broadcom said the info in that document was “woefully incomplete.”
Both cases continue and, on June 12, Allstate filed a document that offered its view of the matter – and includes the allegation that Broadcom only ordered its audits once it realized Allstate was binning VMware and CA software.
Allstate also accuses Broadcom of making “vague, competing, and contradictory demands of Allstate, often in direct violation of its contractual agreements.”
Broadcom and Allstate tried alternative dispute resolution in both matters but have not found common ground. Courts have proposed the two matters adopt the same timeline, which will see Dispositive Motions – an attempt to resolve a case before a full trial – take place no later than May 17, 2027.
The Register has asked Allstate why it decided to stop using Broadcom software and if it has replaced it. We’ve not heard back at the time of writing.
However we understand that the relationship between Allstate and Broadcom has not been good for quite some time, and that the insurer decided to move away from both VMware and CA at around the time Broadcom’s acquisition of VMware closed.
VMware points to major clients such as the London Stock Exchange and Nationwide Bank as evidence big corporate entities trust it with their private clouds, and therefore the heart of the IT estate that powers their business and enables innovation. And this week, AWS also showed confidence in VMware by adding support for version 9.x of its Cloud Foundation suite.
However, The Reg has also learned of several big users quitting VMware – including T-Mobile, Tesco, and Western Union – sometimes under acrimonious circumstances. ®
Google Photos is getting a new “Video Remix” feature that can edit and transform videos in seconds, Google announced on Wednesday. The feature is powered by Gemini Omni, Google’s recently released model that promises to “create anything from any input.”
The launch is Google’s latest push to bring more generative AI tools into its consumer apps as it continues to compete with companies like Apple, OpenAI, and Adobe. By baking AI-powered video editing into Google Photos, the tech giant is making it easier for users to edit clips with a few taps instead of relying on dedicated software, giving users another reason to stay within Google’s ecosystem.
The Video Remix tool can be accessed in the “Create” tab in Google Photos, allowing you to do things like apply cinematic relighting to brighten up a dark clip, swap out a plain background for something else, or add artistic styles to videos, such as watercolor, raw sketchbook, and oil painting effects.
For example, you could edit a video to make it appear that you shot it in a greenhouse, relight a video with a morning glow, or paint a video in a watercolor effect.
“Creating beautiful video clips shouldn’t require professional skills or hours of editing,” Google wrote in a blog post. “Now, with Video Remix in Google Photos, you can transform ordinary videos into share-worthy moments in just a few taps.”
Video Remix starts rolling out today to eligible Google AI Plus, Pro, and Ultra subscribers in the U.S., Argentina, Bangladesh, Brazil, Colombia, Egypt, India, Indonesia, Japan, Mexico, Pakistan, Philippines, South Korea, and Turkey.
The feature is the latest in a series of AI-powered updates introduced to Google Photos. The app recently launched new touch-up tools to allow users to apply subtle edits and fixes, such as removing blemishes, refining skin texture, brightening eyes, and whitening teeth. Google also announced an AI-powered feature that turns photos of your clothes into a digital closet where you can create new outfit ideas and virtually try on outfits.
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alternative_right shares a report from 404 Media: A software developer made a Chrome and Firefox extension called Knockoff that automatically hides, grays out, or filters products from sketchy brands on Amazon, which highlights just how many shady brands are on the platform and how commonly they show up on searches for basic items. In just a few minutes of using the extension, Knockoff dimmed product listings for screwdrivers made by “SUNHZMCKP,” spoons made by “SACATR,” and a lamp made by “ROTTOGOON.”
In a tweet announcing the extension, developer Josh Pigford wrote “Sorry to brands like WNPETHOME, EHEYCIGA, YXYL, LU&MN, JOYIN, TOMY, GODONLIF, YOOJEE, LINGTENG, LANEIGE, VISCOO, BIODANCE, COOFANDY, BALENNZ, TOSY, and LUENX.” The extension can also hide all sponsored product listings. The extension quickly went viral as a much-needed filter for people who still use Amazon and, for those who don’t use Amazon because of its horrendous labor practices and other concerns, it is evidence of what an incredible wasteland the platform has become.
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