David Greene, the longtime host of NPR’s “Morning Edition,” is suing Google, alleging that the male podcast voice in the company’s NotebookLM tool is based on Greene, according to The Washington Post.

Greene said that after friends, family members, and coworkers began emailing him about the resemblance, he became convinced that the voice was replicating his cadence, intonation, and use of filler words like “uh.”

“My voice is, like, the most important part of who I am,” said Greene, who currently hosts the KCRW show “Left, Right, & Center.”

Among other features, Google’s NotebookLM allows users to generate a podcast with AI hosts. A company spokesperson told the Post that the voice used in this product is unrelated to Greene’s: “The sound of the male voice in NotebookLM’s Audio Overviews is based on a paid professional actor Google hired.”

This isn’t the first dispute over AI voices resembling real people. In one notable example, OpenAI removed a ChatGPT voice after actress Scarlett Johansson complained that it was an imitation of her own.

Looking for the most recent Wordle answer? Click here for today’s Wordle hints, as well as our daily answers and hints for The New York Times Mini Crossword, Connections, Connections: Sports Edition and Strands puzzles.

Today’s Wordle puzzle is a bit tricky, with its double letter and unusual letters. If you need a new starter word, check out our list of which letters show up the most in English words. If you need hints and the answer, read on.

Read more: New Study Reveals Wordle’s Top 10 Toughest Words of 2025

Today’s Wordle hints

Before we show you today’s Wordle answer, we’ll give you some hints. If you don’t want a spoiler, look away now.

Wordle hint No. 1: Repeats

Today’s Wordle answer has one repeated letter.

Wordle hint No. 2: Vowels

Today’s Wordle answer has one vowel, but it’s the repeated letter, so you’ll see it twice.

Wordle hint No. 3: First letter

Today’s Wordle answer begins with R.

Wordle hint No. 4: Last letter

Today’s Wordle answer ends with T.

Wordle hint No. 5: Meaning

Today’s Wordle answer can refer to a place where birds settle or congregate.

TODAY’S WORDLE ANSWER

Today’s Wordle answer is ROOST.

Yesterday’s Wordle answer

Yesterday’s Wordle answer, Feb. 15, No. 1702 was SKULL.

Recent Wordle answers

Feb. 11, No. 1698: VEGAN

Feb. 12, No. 1699: SURGE

Feb. 13, No. 1700: MOOCH

Feb. 14, No. 1701: BLOOM

There’s something off in the audiophile world right now, and it’s not just coming from Denmark. Between audiophile media excess that feels increasingly detached from reality, a long overdue Qobuz CarPlay update that finally fixes a daily annoyance, and a reminder from Wes Montgomery that timeless music outlasts every format war, this week’s news cuts in a few different directions. Add in the Marantz M1 earning an Editors’ Choice nod for doing the sensible thing exceptionally well, and the picture gets clearer: good engineering and good music still matter more than hype cycles, press junkets, or how many zeros are on the invoice.

This coming weekend marks the beginning of the silly season I mentioned last week. The calendar fills quickly with hi-fi shows that will get covered whether anyone really needs another one or not. FLAX arrives next weekend in Tampa, and the press will enjoy the warmth while it lasts. The Olympics are still underway, which means no Tampa Bay Lightning NHL games, still the best show in town. Shows are work, not vacations, and covering them costs money. Airfare, taxis, meals, and the quiet expenses nobody lists on a receipt add up fast.

It is also worth being clear with readers about how this works. Some shows cover hotel costs for media because without coverage there is no visibility, no buzz, and no record of what actually happened. Transparency matters. The media business is under real pressure right now. Publications are shrinking, budgets are tight, and layoffs have been widespread over the past year. Ask the people at the Washington Post, Tech Radar, Digital Trends, Sound & Vision, and others. We have been fortunate to add experienced talent because of that reality, but nobody should assume that publications are rolling in money. Even the biggest names are watching every dollar.

When it comes to press junkets, not everyone gets invited. These trips are usually reserved for high profile journalists from mainstream outlets like Forbes, T3, Wall Street Journal, and the New York Times, along with editors from specialist publications. We are not excluded from that group, which likely reflects our growing influence. I have been invited on overseas trips for product launches, factory tours, listening sessions, luxury car drives, and early looks at new TV technology in Asia, but illness, family emergencies, or other obligations have always gotten in the way. I have never been able to go.

Domestically, the rules are simple. We pay our own way. That has always been policy at eCoustics, with reimbursement handled later. Overseas press junkets are where things start to feel off, when necessary access blurs into hospitality and the line between reporting and obligation gets harder to see. Audio Group Denmark’s recent introduction in Aalborg of its $1.1 million flagship loudspeakers and $115,000 mono block power amplifiers for a very select group of the press sharpened that concern and has become a topic online in recent days.

When you are flown overseas, wined and dined, there is an unspoken expectation that coverage will reflect the experience. They are hardly alone in this practice, and it says nothing about the quality of what was introduced. By every account I have heard from those who were there, the experience was out of body phenomenal. The harder truth is that entry into this level of audio now borders on the absurd. One might need to sell off body parts just to get in the door, and even that feels optimistic given the general condition of most of the audiophile press.

Audiophile Excess Runs Wild in Denmark

Back in October at T.H.E. Show New York, which was held in New Jersey despite the branding gymnastics, I had my first real exposure to Audio Group Denmark. Calling it New York clearly sounds better on a banner, even if the venue landed nowhere near the part of the Garden State where I actually live. Still, it was enough to make one thing clear: Danish high-end audio is having a moment, and it is not subtle.

That moment extends well beyond Audio Group Denmark. Denmark has been quietly exporting serious audio thinking for decades, with brands like Gryphon, Dynaudio, Buchardt, DALI, Bang & Olufsen, Audiovector, Lyngdorf, Ortofon, and Raidho all contributing to Denmark’s oversized footprint in the high end. Different philosophies, different price brackets, same national tendency to push engineering harder than the market sometimes expects.

Audio Group Denmark sits firmly in that conversation but plays its own game. Its core brands Ansuz, Børresen, and Aavik were out in force, supported by their North American team and HiFi Loft, their dealer with locations on West 44th Street in Manhattan and in Glens Falls, just north of Saratoga Springs and not far from Lake George. It is a part of upstate New York where the term summer home tends to mean something very specific and very expensive.

What stood out was not just the technical ambition on display, but the pricing ambition as well. Danish brands across the board are pushing boundaries right now, both in how far they are willing to go technologically and how unapologetic they are about cost. Audio Group Denmark, in particular, has no interest in playing it safe. My first real exposure to them will not be my last. That was clear before I left the room.

Anyone thinking about a system designed to stay under $30,000 should stop reading now. Even a modest configuration built around their stand mount speakers, an integrated amplifier with streaming, and the required cabling clears that threshold quickly, before analog sources or outboard stages even enter the conversation.

At T.H.E. Show New York 2025, the two Danish systems on display occupied a very different financial lane, landing between $90,000 and $360,000 USD. Those figures are real. From a listening standpoint, the lower cost $90,000 system was far more compelling to me, but both already lived well beyond what most listeners would consider attainable.

What was introduced last week, however, makes those show systems look almost entry-level. When you factor in the Børresen M8 Gold Signature loudspeakers at roughly $1.15 million per pair and the Aavik M-880 monoblock amplifiers at $115,000 each, the scale shifts entirely. These are not conceptual exercises or dressed up prototypes.

The Aavik M-880 uses a reworked Class A amplification stage that maintains its bias 0.63 volts above the required current level at all times. The goal is continuous Class A operation regardless of load or signal conditions, while keeping operating temperatures lower than traditional Class A designs to improve long term stability and reliability; which is a good plan when you consider the “rated” power output and size of these amplifiers.

Power delivery is equally unapologetic. Each M-880 is rated at 400 watts into 8 ohms, 800 watts into 4 ohms, and approximately 1,300 watts into 2 ohms. Add sources, cabling, and the supporting ecosystem that inevitably comes with systems at this level, and it is very likely that the total system cost is approaching $2 million at its peak.

The Aavik M-880 mono amplifier measures 794.02 mm high, 342.00 mm wide, and 509.68 mm deep, which translates to 31.26 inches in height, 13.46 inches in width, and 20.07 inches in depth. Each amplifier weighs 70.0 kilograms, or 154.3 pounds.

The Gold Standard?

At the heart of the Børresen M8 Gold Signature is a folded dipole bass architecture that defines both its scale and its intent. Each loudspeaker uses two dedicated bass modules populated by twelve 8-inch drivers, firing forward and backward in opposing polarity. The idea is not brute force but control, managing low frequency energy before the room gets a chance to do what rooms usually do.

Every pair is built and calibrated in Denmark, with final measurements and listening sessions completed before the speakers leave the factory. The look is unapologetically serious: black high gloss lacquer, carbon accents, and zero attempt to disguise the mass.

That mass is substantial. Each speaker stands just over 87 inches tall, spans roughly 25 inches in width, and reaches more than 32 inches deep. At 325 kilograms per cabinet, or about 716.5 pounds, placement is a commitment, not a casual decision. The specified frequency range stretches from 20 Hz to 50 kHz, with a sensitivity rating of 87 dB.

The system is effectively tri sectional. Bass impedance is rated at 5 ohms, while the midrange and treble sections sit at 8 ohms, with each section requiring more than 100 watts of amplification.

The crossover between mid bass and tweeter is set at 2,400 Hz, while bass integration is handled externally via an active crossover that is not included. High frequencies are delivered by Børresen’s RP94 Gold Signature ribbon planar tweeter, supported by two IronFree5 Gold Signature drivers for midrange and upper bass duties, while twelve IronFree8 Gold Signature drivers handle the low end.

This is not a loudspeaker designed to coexist quietly in a room. The fact that it was demonstrated in an auditorium sized performance hall, elevated on a stage, says a lot about the assumptions baked into the design. Context matters here. These are loudspeakers that expect space, structural support, and a listening environment that can accommodate their scale and output without compromise.

We shall miss the children.

Craft Recordings Revives Wes Montgomery’s Full House for the OJC Series

This Craft Recordings OJC pressing of Full House ($38.98 at Amazon) is all analog from the original tapes, cut by Kevin Gray at Cohearent Audio and pressed on 180 gram vinyl at RTI. A 24-bit/192kHz high resolution digital edition is available for those who want it. Recorded live on June 25, 1962 at Tsubo in Berkeley, the album captures Wes Montgomery at a point where restraint and intensity exist side by side. He can sound smooth and measured one moment, then suddenly lean in hard enough to make you sit up and pay attention.

Johnny Griffin is on tenor sax, backed by the Wynton Kelly Trio with Wynton Kelly, Paul Chambers, and Jimmy Cobb, all fresh from their time with Miles Davis and fully locked in. The pressing itself is clean and well executed, with excellent clarity through the guitar and horns and a sense of presence that feels natural rather than hyped. It is the kind of record that makes you wish you had been in the room that night, even if only for a set.

An audiophile once told me, back in my twenties, that Wes Montgomery was mostly hype and not all that impressive. This came from the same guy who shushed me so we could sit through yet another Eagles demo on speakers neither of us could afford. I left the show, walked into Sam the Record Man, bought two Wes Montgomery records, and learned something useful very quickly. Some audiophiles know as little about jazz guitar as I know about the inner workings of nuclear propulsion, which is saying something considering my college roommate went on to become a USN captain running submarines and carriers.

Wes Montgomery was not hype. He was about feel, timing, touch, and control, with the ability to shift from calm to confrontation without losing the thread. Records like Full House make that obvious within minutes. Call it whatever you want, but the playing still holds up, and it still exposes bad takes just as efficiently as it did back then.

Where to buy: $38.98 at Amazon

Marantz M1 Streaming Amplifier Is Hiding in Plain Sight

The Marantz M1 was released well over a year ago, but in a category that moves quickly, time can be useful. With so many network amplifiers competing on features alone, it is easy to miss products that take a more measured approach. The M1 does not try to dominate on paper. It focuses on stable performance, sensible design choices, and an emphasis on sound quality over spectacle.

The M1 is rated at 100 watts per channel with a specified distortion figure of 0.005 percent THD. It includes HDMI eARC for television integration and provides a dedicated subwoofer output with adjustable crossover points and a plus or minus 15 dB level trim. That allows for proper configuration of a 2.1 system rather than a fixed one size approach. The amplifier operates fully in the digital domain and supports hi resolution PCM up to 24-bit/192 kHz as well as DSD playback.

Streaming and connectivity are well covered. Bluetooth, Spotify Connect, Qobuz Connect, AirPlay 2, and HEOS are all supported, with HEOS also enabling multi room playback and integration with control systems such as Control4, URC, and Crestron. There is no built in phono stage, so analog playback requires an external solution.

A full review is coming next week, but early listening with the DALI Kupid, Q Acoustics 3020c, and Acoustic Energy AE100 MK2 was telling. Fireworks may be a strong word, but Bluesound and WiiM may not love what follows.

Where to buy: $1,000 at Crutchfield | Amazon

Qobuz Fixes CarPlay and Brings Siri Into the Loop

If you use Qobuz at home, great. If you use it in the car through Apple CarPlay, the experience until now has been less convincing. Scrolling through playlists while driving was awkward, the interface was not doing anyone any favors, and asking Siri to find a specific track or playlist went nowhere. That is the kind of thing that earns looks from the passenger seat that suggest you should keep both hands on the wheel.

For anyone who spends real time behind the wheel, those small frustrations add up. I average 30,000 to 40,000 miles a year, and there are only so many times you can give up and start jabbing at the dashboard while the NHL Network blares on SiriusXM before it becomes a pattern. The latest Qobuz CarPlay update tackles those pain points in a practical way, improving day to day usability and finally making Siri a functional part of the experience. It does not reinvent in car listening, but it makes Qobuz far more livable where many of us use it the most.

So what did Qobuz actually change, and why does it matter. The CarPlay experience has been rebuilt from the ground up, with a cleaner interface and features that users have been asking for since CarPlay support first arrived. The biggest day to day fix is simple but overdue: shuffle is now available directly from the player, exactly where it should have been all along.

Just as important, Siri finally works the way it should. You can now search, browse, and control playback entirely by voice without poking at the screen. That includes asking Siri to play a specific playlist, artist, or favorite track, turning shuffle or repeat on and off, adding the current song to a playlist or your library, and even asking what is currently playing. The full Discover experience is also available in CarPlay, including personalized playlists, Release Watch, and Radio, all accessible safely while driving.

It is also a cosmetic update, and that part matters more than it sounds. You can now actually see things you could not before, with a cleaner layout that makes sense at a glance. Scrolling through your own playlists or Qobuz’s curated ones no longer frustrates, and discovery is finally usable on a CarPlay screen. The interface is clearer, more logical, and far easier to navigate, unlike the backseat of my car, which remains a lost cause thanks to kids and a dog.

More importantly, this cleanup makes Qobuz’s strengths visible. Hi-res playlists and editorial content are no longer buried or awkward to access, which means the stuff audio dorks and editors actually care about is front and center where it belongs. It does not just look better. It makes the service easier to live with, especially if you spend serious time behind the wheel.

David Solomon can relax. The Facebook messages will stop. Qobuz finally fixed what needed fixing, and for those of us who live in the car as much as the listening room, that actually matters. Long live Qobuz.

Related Reading:

• Culture Wars At The Super Bowl, Meze STRADA’s Curious Tuning, Record Store Day 2026, Hi-Fi Show Overload?: Editor’s Round-Up
• Jazz Dispensary At 10, Integrators In The Keys, Wireless Headphones On The Road, Catherine O’Hara, And Sinners Leading The Pack: Editor’s Round-Up
• Steve Cropper, FiiO Air Link, Wharfedale Diamond 12.3 & Other War Stories — An Editor’s Round-Up From A Hospital Bed
• The Biggest Consumer Audio & Video Stories Of 2025: What Mattered, What Changed, And Why Content Still Rules

If you’ve only played racing games with a controller, a proper wheel is one of the most dramatic “oh, this is different” upgrades you can make. Braking feels more natural, steering gets more precise, and even older racing games become more fun because you’re actually driving instead of tapping sticks. Right now, the Logitech G29 Driving Force wheel and pedals are $199.99, down from $329.99 for 39% off. The important detail is the countdown: this discount is shown with a timer and is set to end soon.

What you’re getting

The G29 bundle includes a steering wheel and floor pedals with real force feedback, which is the feature that adds weight and road feel instead of just vibration. You also get stainless steel paddle shifters and a leather steering wheel cover, which gives the wheel a more “real gear” feel than the plasticky entry-level stuff.

Compatibility is a big part of the appeal here, too: it’s designed for PS5, PS4, PC, and Mac, so it can move with you across setups.

Why it’s worth it

The main reason to buy a wheel is immersion, but the second reason is control. Once you get used to it, you can be smoother and more consistent with steering and throttle, which helps in everything from casual cruising to competitive lap times.

This is also a great purchase for anyone who rotates between racing genres. It works for arcade-style racers, but it’s especially satisfying for sim-leaning games where throttle control and braking really matter. And because it’s a wheel + pedal kit, you’re not piecing together an expensive setup one part at a time just to get started.

The bottom line

At $199.99, the Logitech G29 is a solid deal for anyone who wants to make racing games feel more physical and more precise on PS5 or PC. If you’ve been waiting for a price drop, the timer matters here, because once the deal ends, this is the kind of accessory that tends to bounce back up quickly.

The news that we (pretty much) told you last year is now done and dusted. HBO Max is coming to the UK, and it’ll be wrapped up into a nice shiny bow for Sky customers as part of its Ultimate TV subscription when it goes live in March.

This is a boon for Sky customers (new and existing), as it keeps hold of the Warner Bros. content that’s not just legendary but become synonymous with Sky for decades now.

Its partnership with Warners brought the likes of Game of Thrones, Boardwalk Empire, Entourage (remember that?) and Girls to the UK, and this new deal makes it easier for Sky customers to access that content in one place.

But, and there always is a but with me, I do have an issue.

Why can’t we have it all in 4K as standard?

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Ultimate TV subscription in name only

I expect, at the very least, that when you call a subscription ‘Ultimate’, you’re getting all the bells and whistles that come with it. The (new) Ultimate TV sub, will have Netflix, Disney+, HBO Max, and Sky’s own content all included as standard, but read the small print, and the versions of these services and apps that you get come with ads, and, they’re only available in HD.

I can’t help feel a little disappointed that watching on my 4K TV, it’s actually having to upscale this legion of content because 4K and HDR (and Atmos) are an optional extra.

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This is not strictly Sky’s fault, though it does play into the issue by offering an optional UHD/Atmos pack that you have to buy to unlock access to 4K HDR content. Streaming services themselves have secreted away all their 4K goodness to their premium tiers, in the hopes that you’ll pay more money for higher quality.

Except it doesn’t feel like people are doing that.

After an initial explosion of 4K live broadcasts, it’s mostly been watered down to HD HDR. The last Euros were shown in just HDR, and I honestly can’t remember the last time the BBC showed the FA Cup Final in anything but HD – it feels like it was aeons ago now.

This is partly down to the expense of broadcasting in 4K HDR (especially live), but also that viewers didn’t seem to be watching in 4K either, preferring to catch the action on their mobile devices instead.

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To get HBO Max, Netflix, and Disney+ in 4K HDR; you’ll have to pay more, which makes the Ultimate TV subscription, which initially looks like a steal, a little less appetising if you want the best quality in your home.

I’ve always advocated for streamers and broadcasters to bring 4K to more people by making it the standard. Instead, we’re still locked into HD, which has been around for 20 years now. I think it’s time to give up the ghost, stop trying to entice people to pay extra for 4K and give them the best experience from the outset.

I doubt that Sky would love my thoughts on it, but the word Ultimate implies an experience that you’re getting the best. You are in a way, but it comes with a caveat. I do wish that barrier to 4K was taken down, not just with Sky but with every streaming service. Though many are embracing the streaming future, it still feels like we’re locked in the past.

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A spool of filament rests calmly on a shelf, looking exactly like the usual orange Prusament roll found in numerous 3D printers, yet it hides a little secret. Prusa wanted a one-of-a-kind gift and asked Matt Denton to transform a regular 2kg spool of filament into an out-of-the-ordinary remote-controlled robot dubbed SpoolBot, which you’d be hard-pressed to tell is actually a robot going for a little roll on its own power.

Denton started from scratch with a genuine Prusament spool and simply retained the outward appearance the same, which means it still has the orange filament wrapped around a center drum in a sloppy, but highly realistic pattern. One side of the spool is fixed, but the other side detaches with magnets to allow you to go in and make changes. Those black plastic ends are actually the pieces that move the spool; they are the driving wheels. Inside, everything is held together by an internal frame that prevents the entire structure from looking out of place.

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The whole device is powered by two geared DC motors from Pololu, each equipped with an encoder that tells the bot exactly what it’s doing and causes the drive wheels at the spool’s edges to turn. Batteries are put low to function as a counterbalance, ensuring that the entire assembly remains upright when the spool spins around its center. A DFRobot Romeo Mini ESP32-C3 board handles all of the control, and it works in tandem with a BNO085 IMU sensor to keep an eye on things and ensure the spool remains upright and stable. An RC receiver links to a simple handheld controller.

Movement is accomplished by a technique known as differential drive; in order to travel in a straight path, both motors must be moving at the same speed; however, varying the speeds results in pleasant smooth bends. The IMU monitors how far up and down and side to side it moves, and if it becomes unsteady, it slows down the motors to keep the whole thing from toppling over. Then there’s the gyro feedback, which effectively keeps the spool on track even when it’s on an uneven surface like a carpet. Several operating modes are available, allowing you to choose how the bot behaves. For example, you can keep it sitting in one location, have it follow a trail back to where it began, cruise along at a given speed, or even perform some beautiful spins at full or half speed.

The entire assembly required a lot of meticulous planning and engineering to get right; as you can see, the outer shell must be able to spin freely on the center hub, so it’s all about getting the bearings perfect so it travels smoothly. The insides of the spool are made up of 3D-printed elements in black PETG and orange PLA, which are held in place by a variety of ingenious components such as heat-set inlays and precision bolts. The wiring is neatly tucked away so that it does not interfere with the movement of the various components. It took around five weeks to complete the project, from designing it in CAD to printing the pieces and writing the code.

Matt Denton chose to be generous and share all of the build files and code with the world. You can get them on Printables and on GitHub, and there is even a video guide that shows you how to create one yourself, from installing the bearings to wrapping the filament around the central drum and calibrating the controller. Of course, like any decent robot, SpoolBot includes a couple googly eyes and a small indication to give it some personality as it rolls around the floor.
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