This is Bending Spoons’ second acquisition since going public in July.

Italy’s Bending Spoons, which buys and revamps existing businesses providing digital technologies, is acquiring California-based workplace collaboration platform Miro for $1.35bn.

The deal values Miro at approximately $1.79bn, a significant step down from its last valuation of $17.5bn in 2022 – a downward trend attributed to the major AI-led disruption in the SaaS sector in recent years.

The company, co-headquartered in Amsterdam, was founded in 2011 by Andrey Khusid and Oleg Shardin. Its platform, used by companies such as Ubisoft, PepsiCo and Comcast, allows workers to connect various tools and AI outputs into one governed location for collaboration.

Miro’s customer-base has grown multi-fold in recent years – up from 30m in 2022 to more than 100m this year, including nearly 4m paying customers, up from 130,000 in 2022.

The company recorded $600m in annual recurring revenue, with nearly all of it coming from its business and enterprise customers. Miro employs around 1,600 people in 14 hubs around the world.

As part of the deal, a number of Miro shareholders have agreed to invest $295m into the newly-issued Bending Spoons equity, the two companies said in a joint statement.

“We acquire businesses with the intention of owning and operating them for the long term, and Miro will be no exception,” said Bending Spoons CEO and co-founder Luca Ferrari.

“After closing, we plan to invest substantially in the fundamentals that its customers value: performance, reliability and functionality that supports critical collaborative work.”

This is Bending Spoons’ second acquisition since going public in July. Last month, the company announced that it was acquiring US automation company Airtable at an implied equity value of around $2.25bn. The company also owns more than 50 brands, including Evernote, WeTransfer, Eventbrite and AOL.

“Nearly 4m paying users depend on it, across every industry and region we serve, including more than 750 customers with over $100,000 in annual recurring revenue,” said Andrey Khusid, CEO and co-founder of Miro.

Bending Spoons shares gained marginally at market close yesterday. The company’s shares have been down nearly 23pc in the last month.

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Storage still coughs up late-90s leftovers for Clint Basinger of LGR, and the latest one is a molded kitchen that sits on a PC keyboard and pretends to bake. Easy-Bake Kitchen, sold by Hasbro Interactive in fall 1999 for about $40, arrived as a CD-ROM plus a strap-on playset aimed at ages three and up. Box copy promised to turn a Windows 95 or 98 machine into a kitchen full of fun with no waiting and no mess. LGR found his copy years after a viewer named Ryan Kitty mailed it in, then pulled it back out after a hurricane soaked the downstairs collection room in what he calls storm juice. A scrub later, the plastic was ready for another shift.

That year, Hasbro focused heavily on CD-ROM playsets. The Tonka Workshop and Star Wars Millennium Falcon overlays had already demonstrated the concept: take a cheap, molded toy, insert some genuine keys, and couple it with a slideshow of colorful software that requires no additional ports. Just this year, Playskool received a cash register version, Mattel tried Matchbox, and Easy Bake Kitchen followed the same basic concept.

Hamilton Beach Dual Breakfast Sandwich Maker with Egg Cooker Rings & Timer

• THE PERFECT GIFT: Whether it’s a birthday, a White Elephant party, or Father’s Day, the Breakfast Sandwich Maker makes a fantastic gift for all…
• MAKE 1 OR 2 SANDWICHES. Cook one or two sandwiches at once with this dual breakfast sandwich maker. It’s great for couples, kids and extra guests.
• QUICK, EASY AND READY TO EAT IN 5 MINUTES: This sandwich maker lets you easily create a breakfast, lunch or dinner sandwich in 5 minutes or less…

This small playset has eight utensils on the overlay. When you press a measuring cup, it will tip. Pushing an egg against a bowl causes it to fracture. When you command it to, a mixer descends into the well. An oven door opens, and a dial turns on or off. Dough can be stamped out with a knife or cutter when desired. When you press down on a piping bag, it offers a slight squeeze. A lumpy piece of plastic dough is flattened with a rolling pin (which is the only loose piece and will most likely be lost first by families). Each of these actions involves inserting a pointed bit into an actual key. That’s it for the interface; the guidelines also advise against using laptops or ergonomic keyboards. LGR discovered this the hard way after extensive testing, and sure, a basic desktop keyboard, including a robust old Model M, can happily accept the straps. A wooden Dell Inspiron 600M simply slides across the desk because laptop keys are too shallow for the small nubs to catch.

The CD was manufactured by KnowWonder, the same company that created the Microsoft Magic School Bus titles. A Pentium 90, 16 megs of RAM, 50 megs of disk space, SVGA, a sound card, and a mouse were the minimal requirements. When you launch the software, a greeting animation shows Sally Sprinkle finding an empty cookie jar, asking her sister E.B. for help, being turned down because E.B. is at the movies, and dozing off into a baking dream. Billy Batter and Maggie, the TV cook, are helping her out. Kids can use the on-screen recipes to produce a variety of delicacies, including muffins, brownies, biscuits, cakes, pies, pretzels, and a variety of cookies. Or they can simply put a bunch of random ingredients into the mixing bowl and watch what happens. Leaving the thing for too long causes smoke to roll across the fake counter.

You can clean up the mess with a mop icon, and there are extra rooms for decorating, a gingerbread man hunt, a speed-bake competition, a game where the cookie dough gets out of control, an icing game where you have to hit as many cookies as possible (and not worry about frosting anything else, how fun is that?) and a tea party where a dinosaur, a dog, and a grannie all eat up the finished plate and leave crumbs all over the place. If you want to get creative, there are prints for gift boxes, party invites, and even real-world recipes if you’re feeling adventurous enough to get flour all over your actual kitchen.

LGR chose to put one of the muffins through the entire baking process: oven on, flour in the cup, milk and oil, two eggs, mixer, tray in, door shut, wait, door open, oven off. Decorating the object required the use of a squeezy bag. LGR saw that the visitors at the tea party ate their food so quickly that he assumed they were a bunch of ungrateful little monsters. He also said that a third of the minigames available are simply designed to keep those same eight nubs busy, because, at the end of the day, the item is just a keyboard disguised. He went so far as to remap Doom II utilizing the thing. The mixer moved forward. The egg turned left. The dough went right. The oven door opened, revealing maps. The piping bag actuated the trigger.

SOFTWARE

A radical new way to resolve the Gordian knot of X11 versus Wayland

Digital Research’s GEM was one of the earliest graphical environments for PC compatibles, and an inspired hack has now resurrected it on Linux.

GEM for Linux is a port of the Atari ST’s graphical desktop, created by prolific Slovenian developer Tomaž Štih.

Applications share a display server that can output directly through Linux’s framebuffer or display the desktop in a window using Štih’s SDL2-based Rasta framebuffer emulator.

In his Linkedin post, he says that it is “derived from OpenGEM and FreeGEM – now secure, optimized, stabilized, and source-compatible with Atari ST GEM.”

It is derived from the Digital Research GEM source code released by Caldera in 1999, as the still-young Register reported at the time.

GEM was among the first successful GUIs for MS-DOS PC compatibles. European readers may remember that it was the graphical desktop bundled with the Amstrad PC1512 and PC1640 – the first affordable mass-market PC compatibles on this side of the Atlantic.

In 1985, Apple threatened legal action against Digital Research over GEM’s similarity to the Macintosh interface. Digital Research agreed to make the PC version less Mac-like, removing desktop drive icons, overlapping windows, and other features. The lawsuit didn’t affect Atari’s version, however.

That PC version is what Caldera released as open source. Since 1999, the FreeGEM community has enhanced it beyond the ST version, restoring the removed features and adding others. These include Bézier curve drawing from the runtime-only GEM/4 bundled with CCP Artline and 3D-shaded buttons from Timeworks Publisher’s GEM/5 runtime. You can see some of the results on John Elliott’s FreeGEM page.

As far as we know, this is the second modern FOSS implementation of Atari GEM to benefit from the FreeGEM source code. The other is the remarkable EmuTOS project, a completely open source replacement operating system and GUI for original Atari hardware that we mentioned in 2022. Atari’s TOS combined GEMDOS, derived from Digital Research technology, with a modified version of GEM for its graphical interface.

Quite a lot of DR source code is available online, but despite the clarification of CP/M’s legal status that we covered in 2022, much of it is not strictly open source. FreeGEM and the OpenGEM distribution are.

Back in the 1980s, DR had a multitasking version called X/GEM for FlexOS, whose history we described later in 2022. We find it delightful to see some of DR’s multitasking ambitions revived nearly 40 years later.

We don’t expect GEM to render Wayland obsolete or usher in a new era of Atari-inspired Linux development. We wouldn’t hate that, but there is precedent for taking GEM further. Third-party development eventually turned ST GEM into a multitasking environment in its own right, called FreeMiNT.

There was also a commercial multitasking GEM-compatible operating system called MagiC, with a 68K Macintosh version called MagiCMac. Its source was later released publicly, and development continues in the Atari portions of the code.

We asked Štih the inevitable question: was GEM for Linux vibe-coded? Štih replied: “No. In my experience, vibe coding tends to produce code bloat and poor architecture.

“I use AI, but I practice architecture-driven design. I define the initial architecture, implement the first iteration, refactor, and repeat.

“For me, AI is still a junior developer. I remain in control, and I’m ultimately responsible for the architecture and the quality of the code.” ®

The Art TV category continues to gain momentum as consumers look for large-screen displays that do more than occupy an enormous section of wall space with a black rectangle when they are turned off.

Samsung helped popularize the concept with The Frame, but the market has become considerably more crowded. Hisense now offers its CanvasTV lineup, LG entered the category with its Gallery TV, and Skyworth has expanded its Canvas Art TV range with QLED and QD-Mini LED models. Such models offer flush wall mounting, matte or anti-glare screens, decorative frames, and digital art modes which allow these televisions to blend into a living space rather than dominate it.

TCL entered the category in 2024 with its NXTFRAME/NXTVISION TVs and is now expanding the concept with its new Designer Series. Following their appearance at IFA 2026, the lineup includes the A300L QLED and step-up A400U QD-Mini LED TVs.

Both models include TCL’s Art Library with hundreds of works available without a subscription, along with AI-generated artwork, multiple matte options, and the ability to display personal photos. Google TV provides the smart TV platform, while a flush wall mount is included in the box; optional table stands are sold separately.

Related Reviews: Samsung S95H OLED TV Review: Top Notch Performance In An Artsy Frame

The A300L

The A300L is a 4K QLED TV that measures just 1.1 inches deep in the 55- and 65-inch sizes, allowing it to sit nearly flush against the wall using the included wall mount.

The A300L incorporates an ultra-matte anti-glare screen designed to reduce reflections and give displayed artwork a more natural, canvas-like appearance rather than making it look like an image on a conventional television.

The TV features an off-white bezel and includes a light wood magnetic frame that can be easily swapped out. Additional handcrafted frame options are also available from Laredo Factory Frames.

Inside, the A300L uses a 4K QLED panel with a 120Hz native refresh rate and support for up to 144Hz VRR. HDR support includes Dolby Vision, HDR10+, HDR10, and HLG. The built-in stereo speaker system delivers 20 watts of total output with Dolby Atmos processing. Connectivity includes four HDMI inputs, along with USB, Ethernet, digital optical, and headphone connections.

The A300L is available in 55-, 65-, and 75-inch screen sizes, with an 85-inch model expected to follow.

The A400U

The A400U incorporates the same Art features as the A300L, but pairs them with higher-performance 4K QD-Mini LED display technology. It also features TCL’s Halo Control System and Local Dimming Pro+, which are designed to improve backlight precision, contrast, and control of blooming around bright objects.

The A400U uses a native 144Hz panel, with HDMI inputs 1 and 2 supporting 4K/144Hz input signals. HDR support includes Dolby Vision and HDR10+, along with Dolby Atmos and DTS:X spatial audio when connected to compatible soundbars, AVRs, and speaker systems.

The A400U is available in 55-, 65-, 75-, and 85-inch screen sizes, with a 98-inch model coming soon.

Comparison

The Competition

Samsung effectively created the modern Art TV category when it introduced The Frame in 2017, and for years it faced little meaningful competition. That has changed considerably as more TV manufacturers have embraced the idea that a large display should look like something other than a giant black rectangle when it is not being used.

We have already covered several of those alternatives, including the Hisense CanvasTV, Skyworth C2 Canvas Art TV, LG Gallery TV, and Amazon Ember Artline TVs. TCL also entered the category with its NXTFRAME TVs before expanding the concept with the new A300L and A400U Designer Series models.

Samsung’s latest Frame TVs remain the benchmark and the brand to beat, but competitors are attacking from several directions with lower pricing, different frame designs, subscription-free art libraries, and increasingly sophisticated display technology.

TCL’s A300L competes more directly on styling and value, while the A400U raises the performance stakes with QD-Mini LED technology and a native 144Hz panel. Considering the splash TCL is already making with models such as the QM8L and X11L SQD Mini LED TVs, the company clearly believes there is room to challenge Samsung on both design and picture quality. This category is no longer The Frame and everyone else.

The Bottom Line 

TCL’s approach to the Designer Series is unusual because the A300L and A400U are not simply step-down and step-up versions of the same TV. They occupy a similar price range but prioritize different buyers.

The A300L is the more design-focused Art TV, with its thinner profile, ultra-matte anti-glare screen, off-white bezel, interchangeable wood frame, and more powerful built-in audio system. The A400U trades some of that emphasis on décor for higher picture performance, adding QD-Mini LED technology, Local Dimming Pro+, TCL’s Halo Control System, and native 144Hz support with 4K/144Hz inputs.

That differentiation makes the Designer Series more interesting than a conventional product ladder. Buyers who want their TV to disappear more convincingly into the room have the A300L, while those who want an Art TV without sacrificing more advanced display technology have the A400U.

Price & Availability

Initial launch prices are listed below as of September 10, 2026.

A300L

A400U

Related Reading:

Before yesterday, I wasn’t expecting new AirPods during the iPhone Duo event. When Bloomberg finally committed to an AirPods 5 prediction the morning of the show, I knew the updates would be minor at best. For various reasons, including the lack of spicy rumors, it just didn’t seem like Apple had anything groundbreaking to add to its base-level AirPods lineup. As it turns out, it didn’t.

I will concede that the upgrades to the model that Apple is now calling AirPods 5 with Wireless Charging Case are notable. And doing so for $149 when the comparable AirPods 4 model was $179 is commendable. I already know how much the swipe gestures for volume control will improve the experience. I say this as someone who constantly tries to swipe the stems of the AirPods 4 every time I wear them. I’ve definitely been AirPods Pro-pilled there. Live Translation is also a substantial addition, no doubt about that.

My issue isn’t that the AirPods 5 with Wireless Charging Case exist, it’s that Apple is also selling the “regular” AirPods 5 for only $20 less. Sure, the most affordable model now has active noise cancellation (ANC), Live Translation and the same increased water resistance (IP57) as the new $149 set. (I’ll save any arguments about 50 percent better ANC performance for my upcoming review, but on paper, that enhancement seems modest at first glance.) There simply isn’t enough differentiation between the two models now to warrant the basic set’s existence. And if you don’t want ANC at all, the AirPods 4 are already gone from Apple’s website.

Apple

Since that’s the hill I’m willing to die on, I’ll also argue that $20 isn’t enough of a difference to make this a tough decision. Just spend the extra money for all of the added features that the new model with the extremely silly name offers. Trust me, the first time that you need to adjust the volume and swipe on a non-responsive AirPod stem, you will regret not doing so. At some point, that extra hour of battery life will likely come in handy, and it’s a lot more convenient to plop an AirPods case down on a MagSafe or Apple Watch charger than to reach for a USB-C cable. You also never know when you’ll wish your AirPods case had a speaker to assist with Find My search and rescue missions.

The entry point should be a regular AirPods 5 option for $99. A $50 difference makes more sense, and it was the variation between the two models in the AirPods 4 lineup. I would be totally fine with that base version not having ANC to get the price down. In fact, I’d argue Apple would have a more compelling AirPods earbud slate with the normal, non-ANC AirPods 4 at $99, the ANC AirPods 5 with Wireless Charging Case (which would could thankfully just call AirPods 5) at $149 and the AirPods Pro 3 at $249. Three different enough models at three different enough prices would make a trio where customers would have a decision to make. Plus, that would set things up nicely for the camera-equipped AirPods Pro that are rumored to be coming early next year.

And Apple, please, don’t call them AirPods Pro 4 with Visual Intelligence.

Noble Audio is well known for its impressive, ultra-high-end IEMs. Massively expensive flagships like the Kronos have cemented Noble as a true leader in the IEM space. In recent years, Noble has moved into both the wireless audio segment and more affordable “entry-level” spaces. Noble Audio’s Vanguard is its newest and least-expensive wired IEM, coming in at $325.

What makes the Vanguard interesting is that the sub-$500 segment of the IEM market is an entirely different beast from the upper echelons that Noble is accustomed to. Competition is intense, and the number of IEMs fighting for a buyer’s attention is dramatically higher. Can the Vanguard compete in a space dominated by younger, more agile brands? Well, let’s get into it.

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

• My ideal sound signature would be one with competent sub-bass, textured mid-bass, a slightly warm midrange, and extended treble.
• I have mild treble sensitivity.

Testing equipment and standards can be found here.

Related Reviews:

Key Specs:

• Type: Universal-fit wired in-ear monitor
• Driver Configuration: 3-driver, three-way hybrid (1DD + 2BA)
• Dynamic Driver: 1x 10mm Polyether Ketone (PEK) dynamic driver for low frequencies
• Balanced Armature Drivers: 2x custom balanced armature drivers
• Mid/High Driver: 1x custom balanced armature
• Ultra-High Driver: 1x custom balanced armature
• Sensitivity: 112 dB SPL/mW
• Impedance: 23 ohms
• Frequency Response: Not specified by Noble Audio
• Shell: Precision-machined aluminum
• Wax Guard: Integrated stainless steel
• Construction: Hand-assembled and channel matched
• IEM Connectors: 0.78mm 2-pin
• Cable: Detachable 8-core silver-plated OFC
• Cable Jacket: PU-coated
• Termination: 4.4mm balanced, gold-plated plug
• USB-C Connectivity: Included 4.4mm-to-USB-C OCC adapter cable
• 3.5mm Connection: Not included
• Designed For: Smartphones, portable headphone amplifiers, and digital audio players
• Warranty: 2-year limited warranty for Noble universal wired IEMs
• MSRP: $325 USD / £299 / €349

Build

Noble is nothing if not meticulous when designing its IEMs. The Vanguard is built from metal with an ornate faceplate design dipped in resin.

The top of the Vanguard’s shells features a mildly recessed 0.78 mm 2-pin socket. The sockets are set firmly within the shells and are easy to manipulate when attaching or removing the Vanguard’s cable. The Vanguard’s nozzles are also made of metal and are sculpted from the same piece of metal as the main chassis. The Vanguard’s design is sturdy and hefty, and I’m not worried at all about long-term durability.

Noble built a new style of cable for the Vanguard, and I love it. It features a fixed 4.4 mm termination housed in metal and has thick, soft wires. The Vanguard includes a USB-C-to-4.4 mm dongle in the box, allowing users to seamlessly pair the Vanguard with smartphones, laptops, and even certain game consoles.

Comfort

Comfort is a metric that relies heavily on factors influenced by your individual ear anatomy. Mileage will vary.

The Vanguard isn’t too large by hybrid IEM standards and is reasonably light, to boot. I was able to get a long stretch of comfortable listening out of it with minimal fuss while using the included foam eartips. Passive isolation is good, and the Vanguard makes for a good companion when listening to music in places with notable background noise.

Accessories

Inside the box, you’ll find:

• 1x 3D-printed eartip case
• 1x USB-C-to-4.4 mm dongle
• 1x storage baggie
• 3x pairs of foam eartips
• 7x pairs of silicone eartips
• 1x IEM cleaning tool

For $329, I’m shocked that Noble did not include a carrying case for the Vanguard. While a metal IEM may be durable, it’s an obvious best practice to transport it in something that can insulate it from silt, moisture, and impacts. The soft storage baggie that Noble put in the box, while useful, doesn’t meet any of those criteria, and I encourage Noble to reinforce the Vanguard’s out-of-the-box experience.

Noble includes a nice selection of eartips but stores them in a themed 3D-printed storage case. This case is functional and “fun” but screams “budget.” And while the Vanguard may truly be entry-level from Noble’s perspective, $329 is not “entry-level” to the general consumer. Many have never spent more than this on a pair of earphones, and being reminded that this is a “cheap” product can be irritating. If Noble wishes to appeal to the mainstream with this new wave of less-expensive products, it needs to ensure that the out-of-the-box experience demonstrates that this is still a higher-end experience. That starts with ditching consumer-grade 3D-printed accessories and including a proper case.

Warranty and Support

It’s worth noting that Noble Audio offers a two-year warranty on the Vanguard and all of its wired siblings. That’s double what you get from pretty much all other brands, barring similar Western outfits like Campfire Audio, 64 Audio, etc. That matters, as for many of the other IEMs in this price range, it is economically infeasible to send an IEM overseas and pay for an invasive repair. Postage alone can be a significant percentage of the original purchase price, and having domestic support available is a godsend for owners in the U.S.

Noble also maintains a fairly substantial commitment to offering fair repair rates for any product that it can reasonably repair, parts supply permitting. That means that if you love your IEMs and wish to pay for a repair out of warranty, chances are Noble can accommodate you.

Listening

The Vanguard has a “north of neutral” sound signature, placing its treble and upper mids at the forefront of the soundstage. Its lower midrange is scooped, rendering a cool, analytically toned presentation. “Reference”-style IEMs may actually have a bit more bass than the Vanguard, as its lower register takes a backseat, simply resolving elements without fully articulating them.

Audiophile-Style Treble

The Vanguard’s treble is bright and forward, imbuing vocals and instrumentation with energy and air. And “air” really is the best word to use regarding the Vanguard’s treble, as it has plenty to spare. Evoking a sense of separation and space, the Vanguard’s treble excels at rendering both lonely, empty soundscapes like M83’s “Midnight City” and dense, congested stages like “Bittersweet Symphony” by The Verve.

There’s no sharpness or sibilance in the Vanguard’s treble, though it does exhibit some subtle tonal bite. Metallic tones and textures are rendered faithfully, though they are placed a little farther forward on the soundstage than I am used to. Hi-hats and cymbals sound crisp and distinct, decaying gently in the background. That said, the Vanguard’s upper treble can be a bit much. It is sufficiently far forward that listening at higher volumes is tiring, and there’s a subtle graininess that pervades busy passages like the outro of “Burn” by Three Days Grace.

Cool, Intense, and Opinionated Midrange

Blended into the Vanguard’s energetic treble is an equally energetic midrange. It is cool and intense, projecting a decidedly opinionated take on midrange tuning. Typically, an IEM will have a decently sized hump of emphasis in the 2–4 kHz region, but the Vanguard seems to have more emphasis than usual. This gives it a very vocal-forward presentation, especially when combined with its recessed lower midrange and subsequent lack of warmth.

The plus side of this is that the Vanguard is capable of extracting formidable levels of detail and nuance from even busy tracks—even audiophiles with a penchant for critical listening should be satisfied. Layering and technical depth are top-notch, and there’s not much more you can ask from a sub-$500 IEM. That said, the Vanguard’s tonal balance leaves something to be desired. Harmonically complex elements, especially those demanding weight, are tonally lacking. The Vanguard’s thin and sterile midrange isn’t particularly friendly to those who love warmth, and its overall timbre suffers for it.

Ephemeral Bass

As I’ve alluded to, the Vanguard’s bass is tight, light, and notably mild. It sits behind the midrange, adding subtle hints of depth to tracks without generating significant body or weight. Extension below 50 Hz is respectable, and it doesn’t sound as though the Vanguard bottoms out during challenging sub-bass passages. The Vanguard’s bass, while lacking in emphasis, is tonally sound and avoids the common dryness found on modern meta-styled IEMs.

In general, I find this style of tuning lacking in engagement. Academic and subtle, the Vanguard’s timid bass response articulates elements like bass guitars nicely but rarely embodies a sufficient sense of size and weight with deep drum beats or EDM drops. Tracks like “Midnight Hands” by Rise Against demonstrate this effect well. The Vanguard carefully arranges the rhythmic plucking in the background of the track but communicates the usually weighty drum beats as ephemeral and transient—there’s no lingering sense of weight or tactility.

Comparisons

Comparisons are selected solely based on what I think is interesting. If you would like me to add more comparisons, feel free to make a request in the comments below.

Xenns Mangird Tea Pro

No analysis of a ~$350 hybrid IEM is complete without a comparison to the venerable Tea Pro. This multi-driver legend features refined metal shells, a robust accessory package, and a nice modular cable. The Vanguard’s accessory package competes well in terms of eartip selection but is otherwise comparatively limited. The Vanguard’s cable is softer and more ergonomic, includes a matching USB-C dongle, and generally appears to be better built.

Sonically, the Tea Pro is V-shaped and richer-sounding, meaning it has a more emphasized bass region, a bit more presence in the lower midrange, a less-pushed upper midrange, and a similarly bright lower treble. The Tea Pro’s upper treble is not as far forward as the Vanguard’s, relaxing its presentation a bit without recessing detail and texture.

Thanks to its more normal treble balance, the Tea Pro’s upper register sounds more relaxed and a bit more organic on the whole. The Tea Pro’s midrange is likewise closer to what you’d get on a traditional V-shaped IEM, allowing it to place vocals and instrumentation comparatively naturally on its soundstage.

The Tea Pro’s larger bass response allows it to articulate weight and body in a way that the Vanguard simply cannot, and this makes it a much more engaging partner for bassy electronic music. The Tea Pro’s presentation is incredibly vivid, and the side-by-side comparison just draws out the Vanguard’s lack of charisma.

Between the two IEMs, I’m going with the Tea Pro. Its excellent blend of performance, tonal balance, and quality engineering makes for a far more forgiving daily driver. The Vanguard does offer some niceties, like a much longer warranty, easier repairs, and improved cable design, but its colder and more sterile sonic presentation just isn’t as appealing. I’m sure there’s an audience of audiophiles with a penchant for critical listening who will prefer the Vanguard, but that’s just not what I look for in an IEM.

Campfire Audio Iris

Campfire Audio has had a larger presence in the sub-$500 segment than Noble for a long time but has recently attempted to break back into the entry-level audio market with the Iris: a compact, resin-shelled hybrid IEM. At $349, the Iris is virtually the same price as the Vanguard, costing only $24 more. The Vanguard, larger and housed in metal, feels sturdier in the hand but lacks the effortless ergonomic advantages of the Iris’s minuscule footprint.

In terms of sound, the Iris has a slightly spicier upper treble and similar lower treble compared to the Vanguard. The Iris has a less-forward upper midrange and a much thicker lower midrange. Its bass is broad and imposing—a stark contrast to the Vanguard’s tame and subtle performance. The Vanguard does a better job articulating subtleties in the lower register and renders bass textures with a moderate increase in clarity during busy passages. In fact, the Vanguard does a better job overall of maintaining a deep and nuanced soundstage, as the Iris can sometimes get trigger-happy and produce subtle bloom in the lower midrange and upper treble.

These are very different IEMs; from form factor to shell material to tuning, the Iris and Vanguard set out to do very different things. The Iris seems like a more practical choice for a daily driver, as its diminutive shells permit incredible long-term comfort and passive isolation. Its sound signature, while a bit odd, can be adapted to a traditional V-shaped sound signature with some tip-rolling and mild EQ. The Vanguard can also be improved with EQ, but it has a harder time bringing its bass up to the levels I prefer. If you’re like me and love warmth, bass, and excitement, the Iris will likely be your choice. If you’re looking for a reference-style, all-business IEM, then the Vanguard is a clear winner.

NiceHCK NX8Ti

The NX8Ti is a titanium-faced upgrade of the normal NX8, featuring a revamped accessory package, a new tuning, and a bespoke cable. It runs $399, which is about $65 more than the Vanguard. The NX8Ti comes with a proper suite of accessories, ranging from a soft-touch carrying case to a set of clear eartip cases. The NX8Ti’s cable is chunkier than the Vanguard’s but is also harder and less ergonomic. The Vanguard includes a useful USB-C dongle, while the NX8Ti is limited to a 3.5 mm or 4.4 mm termination, depending on which variant you purchase.

Sound-wise, the NX8Ti has a smoother, less bright, and less harsh treble. It doesn’t place hi-hats and cymbals as far forward as the Vanguard does and settles them nicely into the middle of the soundstage. The NX8Ti’s midrange is a bit warmer and doesn’t have as peaky a 1 kHz–5 kHz region, allowing it to deliver a less-fatiguing vocal and instrumental presentation. The Vanguard’s mid-bass is less weighty and punchy than the NX8Ti’s, though it maintains a fairly similar level of sub-bass emphasis and extension.

The NX8Ti, while more expensive than the Vanguard, sounds much more comfortable and flexible overall. It works nicely across a wide variety of genres and mastering styles, while the Vanguard is better suited to naturally warm engineering styles. Given the NX8Ti’s more complete out-of-the-box experience and better compatibility with my music library, it’s my IEM of choice.

DUNU DN142

The DN142 is the cheaper of the two new DUNU tribrid IEMs, featuring a thick modular cable, resin shells, and metal nozzles. It doesn’t feel as substantial in the hand as the Vanguard does, but for ~$80 less, it doesn’t necessarily need to. The DN142 comes with a similarly varied suite of eartips, though it trades the Vanguard’s foam offerings for more exotic silicone eartip options. The DN142 comes with a nice, protective carrying case, as well as a USB-C plug if you order it directly from the DUNU webstore.

Sonically, the DN142 is more V-shaped and features a broader, healthier lower register than the Vanguard. Its treble, while forward, is less dramatic above 8 kHz and sounds considerably smoother. Busy passages with many metallic elements sound a tad cleaner and have less grain than the Vanguard. The Vanguard, while more prone to tonal bite, isn’t sibilant the way the DN142 sometimes is at higher volumes. The DN142’s upper midrange is less pushed than the Vanguard’s, and this allows it to project vocals and instruments with less stiffness.

Between the two IEMs, I’m going with the DN142. It may have flimsier shells, but its overall value proposition feels much better. From its more complete accessory package to its more flexible sound signature, there’s a lot to appreciate here, especially at a roughly $80 discount. While I can appreciate the effort Noble put into refining the Vanguard, its competition is incredibly tough.

The Bottom Line

The Noble Audio Vanguard brings some of the company’s high-end DNA to a far more attainable price point, with excellent metal construction, a superb cable, useful USB-C connectivity, strong technical performance, and a two-year warranty that few competitors can match. Its analytical tuning delivers impressive detail, layering, and upper-frequency clarity, but the elevated upper midrange and treble, restrained bass response, and lack of warmth make it considerably less forgiving than many of the best IEMs between $300 and $500.

And that is where the Vanguard runs into trouble. This is one of the most competitive segments of the IEM market, and rivals such as the Mangird Tea Pro, DUNU DN142, NICEHCK NX8Ti, and Campfire Audio Iris offer compelling alternatives with fuller tonal balance, more complete accessory packages, or both. Noble has created a well-built and technically capable IEM for listeners who favor a cool, revealing, audiophile-style presentation, but those looking for warmth, bass impact, or maximum value have stronger options.

Pros:

• Excellent metal construction and overall build quality
• High-quality, soft, ergonomic cable
• Included USB-C-to-4.4 mm adapter adds useful device compatibility
• Generous selection of silicone and foam eartips
• Detailed and highly resolving presentation
• Excellent layering and soundstage separation
• Crisp, airy treble with strong upper-frequency extension
• Clear and expressive vocal presentation
• Tight, controlled bass with respectable sub-bass extension
• Good passive isolation
• Comfortable for extended listening despite the metal construction
• Two-year warranty and access to domestic U.S. support and repair services

Cons:

• Highly competitive $300 to $500 segment makes its overall value proposition harder to justify
• Elevated upper midrange can make vocals and instruments sound overly forward
• Upper treble can become fatiguing at higher listening levels
• Some grain and tonal bite are audible during dense passages
• Bass lacks the weight, impact, and physical presence offered by many competitors
• Recessed lower midrange reduces warmth and instrumental body
• Overall tonal balance can sound thin or sterile
• No protective carrying case included
• 3D-printed eartip holder feels inexpensive relative to the Vanguard’s price
• Accessory package trails several similarly priced competitors

Our Ratings

★★★★★★★★★★ Sound

★★★★★★★★★★ Comfort

★★★★★★★★★★ Build Quality

★★★★★★★★★★ Value

Where to buy:

Related Reading:

Hiding loudspeakers has become relatively easy. Hiding serious bass is another matter.

Architectural speakers can disappear behind paintable grilles without turning a room into an equipment showroom, but subwoofers still need large drivers, sufficient enclosure volume, plenty of power, and somewhere for all that energy to go. That usually means surrendering floor space to a large box or planning the bass system before anyone starts hanging drywall.

Monitor Audio expanded its Creator Series at CEDIA 2026 with three new in-wall subwoofer systems designed to address that problem. The WS1-W10, WS2-W12, and WS3-W12 use 10- or 12-inch low-profile drivers, purpose-built enclosure solutions, and dedicated DSP amplification, extending the same Tier 1, Tier 2, and Tier 3 structure already used throughout the company’s Creator architectural speaker lineup.

The systems start at $2,450 and climb to $6,150 for the flagship WS3-W12. None of them qualifies as inexpensive bass, but nobody shops for a high-performance subwoofer that gets buried inside the wall because they were looking for the easy route.

Monitor Audio WS1-W10

The WS1-W10 is the most flexible model in the new range and the one most likely to work in an existing room. It uses a 10-inch C-CAM low-profile, high-excursion driver with an 88mm mounting depth and can be installed either with Monitor Audio’s dedicated WS1-W10 BOX or without a back box in an infinite-baffle configuration.

That second option is important for retrofit projects where there may be enough open cavity volume for the subwoofer but not enough room for a long dedicated enclosure. With the WS1-W10 BOX, Monitor Audio specifies an installed frequency response of 27 Hz to 250 Hz at -6 dB; in an infinite-baffle installation, the claimed low-frequency extension reaches 22 Hz.

Amplification comes from the new IA500-S, a 1U Class D DSP amplifier that delivers 250 watts into the WS1-W10. It includes Impact, Movie, and Music DSP presets, along with level, crossover, and phase controls.

The complete WS1-W10 System is $2,450. Monitor Audio also sells the individual WS1-W10 for $800, the WS1-W10 BOX for $400, and the IA500-S for $1,250, giving integrators considerably more freedom when specifying the entry-level system.

Monitor Audio WS2-W12

The WS2-W12 moves to a 12-inch C-CAM RST II low-profile, high-excursion driver and is intended primarily for premium media rooms and home theaters where the installation can be planned before construction is finished.

Unlike the WS1-W10, the Tier 2 design is engineered around its matched sealed enclosure. Monitor Audio uses an internally partitioned cabinet to provide the driver with a defined acoustic volume while reducing unwanted vibration within the surrounding structure.

The WS2-W12 is rated for 500 watts continuous, with a claimed installed frequency response of 25 Hz to 250 Hz at -6 dB and maximum peak output of 115.3 dB. Despite the larger driver, mounting depth at the front is only 87mm.

The same IA500-S amplifier used with the WS1-W10 delivers its full 500 watts into the 3-ohm WS2-W12 load. The complete WS2-W12 System costs $2,950.

Monitor Audio WS3-W12

The WS3-W12 is the flagship and the model aimed squarely at dedicated high-performance theaters. It retains the 12-inch C-CAM RST II architecture but adds a more powerful motor system, 750-watt continuous power handling, and a considerably more elaborate rear enclosure.

Monitor Audio constructs the enclosure from metal and wood with internal bracing designed to maximize usable acoustic volume while limiting unwanted vibration. Claimed installed frequency response is 23 Hz to 250 Hz at -6 dB, with maximum peak output rated at 116.1 dB.

Power comes from the IA750-2, Monitor Audio’s two-channel DSP amplifier, with 750 watts available for the WS3-W12. The amplifier can support more complex system configurations as well, making the flagship better suited to installations where multiple architectural subwoofers are part of the plan.

The complete WS3-W12 System is $6,150. That will certainly get the interior designer’s attention, although at least they won’t have to look at the subwoofer afterward.

Why Is the Creator Approach Different?

In-wall subwoofers are not new, and Monitor Audio is hardly the first manufacturer to discover that home theater owners would rather feel a subwoofer than stare at one.

What makes the new Creator range interesting is how closely the bass systems follow the structure of the rest of the Creator ecosystem. Instead of introducing one architectural subwoofer and expecting it to cover every room and budget, Monitor Audio offers three clearly defined performance levels with amplification and installation hardware engineered around each application.

That simplifies system specification. An installer building around Tier 1 Creator speakers has an obvious corresponding bass solution, while more ambitious Tier 2 and Tier 3 theaters can move up in output and enclosure sophistication without switching to an unrelated product family.

The WS1-W10 is particularly clever because it preserves retrofit flexibility while the two 12-inch models prioritize predictable acoustic performance from purpose-designed enclosures. Monitor Audio has essentially separated the range by how the room will be built as much as by how loud the customer wants it to play.

There is one unavoidable caveat. Once an architectural subwoofer is installed, moving it three feet to deal with a nasty room mode is no longer an afternoon project. Careful placement, calibration, and in many rooms multiple subwoofers remain important regardless of how sophisticated the hardware becomes.

Three Competitors We Know

We’ve covered and heard enough architectural subwoofers at eCoustics to know that Monitor Audio is entering a category with some very serious competition.

At $1,999 or $2,999, SVS 3000 In-Wall Subwoofers feature a sealed aluminum enclosure with single or dual 9-inch high-excursion drivers powered by an external 800-watt RMS amplifier with DSP and app-based control. SVS rates it to 22 Hz at ±3 dB, and we’ve heard enough of SVS 3000 Series subwoofers to know that its relatively attainable price does not translate into polite bass.

The Theory Audio Design iws12-6 and iws12-9 attack the problem from a higher-output professional audio direction. Both use a 12-inch long-throw driver and require Theory’s Amplified Loudspeaker Controller, while the iws12-6 is designed around deeper 2×6 wall construction. We’ve heard Theory’s architectural systems at CEDIA Expos over recent years, and their ability to produce substantial output from compact enclosures is not theoretical despite the company name doing its best to invite the joke.

At the expensive end, JL Audio’s Fathom IWS has long been one of the reference points for concealed bass. We included the Fathom IWS in our Editors’ Choice architectural coverage because the larger 13.5-inch system combines serious output with a floating mounting arrangement designed to reduce vibration transfer into the surrounding wall structure. The tradeoff is cost and installation complexity, particularly with the larger Fathom systems.

The Bottom Line

The hardest part of disappearing a serious home theater system has always been the bottom octave. You can hide eleven speakers behind walls and ceilings, but a large subwoofer sitting next to the television rather ruins the illusion.

Monitor Audio now has a coherent answer for customers already building around the Creator Series. The WS1-W10 offers the most installation freedom, the WS2-W12 provides a substantial step up for planned theater installations, and the WS3-W12 goes after the reference-level custom market where output matters more than keeping the invoice friendly.

None of these systems changes the basic rules of low-frequency reproduction. Placement still matters, multiple subs can still produce more consistent bass across several seats, and a large freestanding subwoofer will often deliver more performance for the money. But that is not the customer Monitor Audio is chasing. These are for rooms where the speakers are supposed to disappear and the bass absolutely is not.

Pricing & Availability

Monitor Audio says the new Creator Series In-Wall Subwoofer systems will be available beginning January 2027.

U.S. pricing is as follows:

• WS1-W10 System: $2,450
• WS2-W12 System: $2,950
• WS3-W12 System: $6,150
• WS1-W10 Subwoofer: $800
• WS1-W10 BOX: $400
• IA500-S DSP Amplifier: $1,250

The WS1-W10, its rear enclosure, and the IA500-S can be purchased separately. Monitor Audio packages the WS2-W12 and WS3-W12 as complete solutions built around their corresponding enclosures and amplification.

For more information: Monitor Audio Creator Series

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The Irish technology company is undergoing a period of growth which is being driven by new leadership and an expanded team.

PC Peripherals, an Irish technology company that works with schools and businesses to provide technology services and solutions is undergoing a rebrand to Eduvolve as part of the company’s next chapter. 

The rebrand comes amid a major investment of €2.5m and an acquisition by Grafton Education. Pc Peripherals, now Eduvolve, will create up to 20 new jobs in Galway and Dublin “over the coming years”, in technical services, engineering, operations, customer experience, sales and education technology.

The acquisition, investment and jobs creation is also accompanied by a change in leadership. Ian Gaughran has been appointed CEO and Fintan Costello is stepping into the role of technical director. Both will lead Eduvolve through its next phase of growth. 

“I’m honoured to take on the role of CEO at such an exciting time for the business,” said Gaughran. “This investment allows us to build on three decades of trusted relationships with schools and businesses across Ireland, while accelerating our vision for the future. 

“We’re proud of where we’ve come from as PC Peripherals, and excited about where Eduvolve is headed. My relationship with PC Peripherals goes back more than a decade, so I know first-hand the quality of the people behind this business and the trust it has built with schools and customers across Ireland.”

Erik Jentetics, the founder of Grafton Education, added, “This is much more than an acquisition or a change of name. We are investing approximately €2.5m into the acquisition, capitalisation and growth of the business because we believe there is an opportunity to build something genuinely different in Irish education.

“Technology had a significant impact on my own education and ultimately on my decision to build a career and businesses in technology. That experience has stayed with me. I believe schools should be able to access great technology without having to navigate a fragmented network of different suppliers and support providers.”

Also this week, Irish cybersecurity and compliance company ZeroRisk raised $10m in a Series A funding round led by MiddleGame Ventures with participation from existing investor Elkstone.

The new funding will be used to support expansion globally, further product development and increase operational capacity to deploy the platform across large merchant portfolios of major payment providers.

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