Tag Archives: Audio

The Sleekest Vinyl Player of 2025 Hides Its Turntable Mechanism

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Here’s the thing about most vinyl record players: they’re either trying way too hard to look vintage, complete with faux leather suitcase vibes and knobs that belong in your grandparents’ attic, or they’re sleek modern machines that feel more like lab equipment than music players. The PARON III from Shenyang Orgot Design? It’s neither, and that’s exactly why it works.

This award-winning turntable is what happens when designers actually think about how modern life happens. You know how we’re all supposed to be downsizing, living with intention, and making every object in our homes earn its spot? The PARON III gets it.

Designer: Shenyang Orgot Design

What makes this player different starts with that lowered platter design. Instead of sitting on top of the unit like a hat that doesn’t quite fit, the turntable mechanism is recessed into the body. It’s a subtle move, but it completely changes the visual profile. The whole thing becomes more compact and unified, with this gorgeous layered depth that makes it actually interesting to look at, not just functional.

The materials tell their own story here. Black wood grain paired with metallic paint finishes creates this interesting tension between warmth and precision. It’s the kind of combination that reads as both reliable and refined without screaming for attention. And that slim transparent dust cover? It does its job protecting your vinyl without adding unnecessary visual weight. The whole aesthetic feels considered rather than calculated.

Let’s talk about what this means for your actual space. Traditional turntables demand real estate. They sprawl. They dominate. They require you to build your room around them. The PARON III’s minimalist square form takes up less footprint while somehow feeling more substantial. It’s the design equivalent of that friend who’s quietly confident rather than loudly insecure. The team behind this clearly understood that people who buy vinyl in 2025 aren’t doing it purely for nostalgia. Sure, there’s romance in the ritual of dropping a needle, but we also want that ritual to fit into homes that don’t look like vintage record shops. We want our tech to integrate, not dominate.

This is part of a larger shift happening in audio design. As vinyl has made its comeback, the market has been flooded with all-in-one players that prioritize convenience over quality or retro reproductions that prioritize aesthetic over integration. The PARON III splits that difference beautifully. It delivers high-quality audio performance (which, let’s be honest, is the actual point) while looking like something that belongs in a contemporary space.

What’s particularly smart is how the design enhances mechanical precision. That lowered platter isn’t just about looks. It actually improves performance by centralizing weight and reducing vibration. Form following function, function enhancing form. It’s the kind of circular design thinking that separates good products from great ones. There’s also something quietly rebellious about this approach. In a market that keeps telling us retro is cool, vintage is authentic, and older is better, the PARON III says: what if we just made something that worked really well and looked clean doing it? What if we stopped pretending we live in 1972 and designed for the homes and lives we actually have?

The PARON III doesn’t need to cosplay as vintage to justify its existence. It’s confident enough in what vinyl actually offers (that tangible connection to music, the intentionality of listening, the superior sound quality when done right) to present itself honestly. No fake wood grain, no retro fonts, no winking nostalgia. For anyone who’s been wanting to get into vinyl but couldn’t stomach another clunky conversation piece, this feels like permission. The PARON III proves that loving analog music doesn’t mean sacrificing modern design sensibilities. Sometimes the best way to honor tradition is to stop trying to recreate it and instead figure out what it means for right now.

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Teenage Engineering’s latest Microphone is the most unserious yet brilliant piece of music tech we’ve seen

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Teenage Engineering has never been content to stay within conventional product categories, consistently pushing boundaries between instruments, toys, and art objects. Their approach to music hardware combines Swedish design sensibilities with genuine technical innovation, creating devices that feel both familiar and revolutionary. The company’s latest announcement signals another bold expansion into uncharted territory, moving beyond synthesizers and samplers into the world of vocal performance.

Today’s unveiling of the “Riddim N’ Ting” bundle showcases this adventurous spirit, pairing the recently released EP-40 Riddim sampler with the brand-new EP-2350 Ting microphone. The Ting represents Teenage Engineering’s first foray into microphone design, but it is far from a traditional vocal mic. Instead, it is a compact effects processor, sample trigger, and vocal manipulator rolled into one handheld device, complete with motion sensors and live-adjustable parameters that let performers tilt and move the mic to control everything from echo intensity to robotic voice modulation in real time.

Designer: Teenage Engineering

So the Ting itself is this ridiculously lightweight object, weighing a scant 90 grams, that feels less like a piece of serious audio equipment and more like a prop from a retro sci-fi film. That’s the point. It houses four primary effects: a standard echo, an echo blended with a spring reverb, a high-pitched “pixie” effect, and a classic “robot” voice. A physical lever and an internal motion sensor allow you to manipulate the effect parameters by physically moving the mic, turning a vocal performance into a kinetic activity. Four buttons on the side are dedicated to triggering samples, which come preloaded with sound system staples like air horns and lasers but are fully replaceable. It’s a dedicated hype-mic, a performance tool designed for immediate, tactile fun rather than pristine vocal capture.

Its lo-fi audio character is a feature, not a bug, leaning into the saturated, gritty vocal sounds that define dub and dancehall sound system culture. While you could draw parallels to devices like Roland’s VT-4 for vocal processing or Korg’s Kaoss Pad for real-time effects, the Ting’s genius is its form factor. It integrates these functions directly into the microphone itself, removing a layer of abstraction and making the performance more immediate. It connects to any system via a 3.5mm line out, but it’s clearly designed to be the perfect companion for its partner device. This is where the workflow becomes a self-contained creative loop.

That partner, the EP-40 Riddim, is the anchor for all the Ting’s chaotic energy. While it follows the established format of the EP-series, its focus is sharp. It’s a sampler and groovebox loaded with over 400 instruments and sounds curated by legendary reggae producers like King Jammy and Mad Professor. The specs are solid: 12 stereo or 16 mono voices, a 128MB system memory, and a subtractive synth engine for crafting classic bass and lead tones. It includes seven main effects and twelve punch-in effects, all tailored for dub-style mixing. Connectivity is standard for Teenage Engineering, with stereo and sync I/O, MIDI, and USB-C. It’s a capable sampler on its own, but its true purpose is realized when paired with the Ting.

Together, they form a portable, battery-powered sound system in a box. The workflow is obvious and effective: you build a beat on the Riddim, then plug the Ting directly into its input to lay down vocals, trigger hype samples, and perform live dub-outs with the effects. For their launch, Teenage Engineering is bundling them together and offering the Ting for free, a clever move that ensures this new, weirder device gets into users’ hands immediately. It’s a compelling package that champions spontaneity and play. It proves that the most engaging technology isn’t always about higher fidelity or more features, but about creating a more direct and enjoyable path from an idea to its execution.

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B&O Just Launched a $5,000+ Soundbar That Costs More Than Your First Car

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Bang & Olufsen’s Beosound Premiere lands like a spaceship in a room full of toasters. That’s not an exaggeration; it’s just what happens when a company known for treating speakers like sculpture decides to rethink the soundbar. This thing doesn’t just sit under your TV. It commands the room, a slab of pearl-blasted aluminum that looks like it was milled from a single ingot of the future. And yes, it costs £3,900, which is about as much as most people pay for rent, but let’s be real, if you’re the kind of person who buys a soundbar as a statement, you’re not exactly shopping for Black Friday deals.

The Premiere’s design is what happens when industrial designers are given free rein and a budget that doesn’t flinch. The up-firing tweeter sits center stage like a jewel, surrounded by 1,925 precision-machined perforations, a nod to Bang & Olufsen’s 1925 founding year, because of course it is. The aluminum chassis isn’t just for show; it houses ten custom drivers, including four racetrack woofers and a tweeter that looks like it belongs in a museum. The side-firing and up-firing drivers are part of the visual language, a reminder that this isn’t a black plastic slab pretending to be invisible. Then there’s the lighting: 90 LEDs that pulse and shift with your adjustments, because why should your soundbar be any less extra than the rest of your smart home?

Designer: Bang & Olufsen

You’d think all this design flair would come at the cost of actual performance, but the specs tell a different story. Ten amplifiers push 70 watts to the woofers and 50 watts to the rest, delivering a frequency range of 32 Hz to 23 kHz. The Dolby Atmos 7.1.4 decoding is paired with Bang & Olufsen’s proprietary True Image algorithm, which supposedly creates a soundstage wider than the unit itself. The company calls it Wide Stage Technology, and while I haven’t heard it yet, the idea of a soundbar that can convincingly fake a surround setup without extra speakers is intriguing. The max output of 102 dB at 1 meter means this thing can get loud, but the real test will be how it handles the subtleties: dialogue clarity, spatial separation, that kind of thing.

The connectivity suite is what you’d expect from a flagship product in 2025, but with a few Bang & Olufsen twists. HDMI eARC with 8K passthrough is table stakes at this point, but the inclusion of an Ethernet switch with three 1Gbit ports is a nice touch for anyone tired of juggling network cables. Bluetooth 5.4 and AirPlay 2 are here, obviously, but the real party trick is Beolink Surround, which lets you wire up additional B&O speakers for a true multi-channel setup. The fact that you can still use analog audio via USB-C (with an adapter) feels like a nod to the audiophiles who refuse to let go of their turntables. And yes, there’s a voice assistant option, but it requires an external Google device, because Bang & Olufsen would rather you use their app than bark commands at a microphone.

Now, the elephant in the room. £3,900 is a lot for a soundbar, but let’s put it in context. The Premiere isn’t competing with Sony or Sonos; it’s competing with high-end AV receivers and speaker setups that cost twice as much. The Haute Edition, limited to 25 pieces and priced at £11,000, is another story entirely. That’s not a soundbar; that’s a flex. Each one is hand-milled with a pattern that takes 17 hours to carve, because why not? It comes with a numbered certificate and a wooden box for the remote, because at that price, you’re not just buying audio equipment; you’re buying a piece of design history. Or at least, that’s the pitch.

The real question is whether the Premiere can justify its existence beyond being a conversation piece. Bang & Olufsen has a reputation for building products that sound as good as they look, but the soundbar market is crowded with solid performers at a fraction of the cost. The Premiere’s trick will be convincing people that its spatial audio and design justify the premium. For now, it’s hard to deny that this is one of the most interesting pieces of audio gear to come out in years. Whether it’s worth the price of a used car is another matter entirely. But if you’re the kind of person who sees a soundbar as an extension of your aesthetic, the Premiere might just be the centerpiece you’ve been waiting for.

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4 Smart Devices Controlled by Touch, Not Screens or Apps

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Digital devices promise convenience, but too often they deliver complexity instead, with endless menus, constant updates, and a learning curve that never seems to end, no matter how long you use them. Many of us long for the days when using a product was as simple as turning a dial or pressing a button without consulting manuals or watching tutorial videos online to understand basic functions.

The Tamed Digital Devices concept reimagines our relationship with technology by bringing back the tactile, multi-sensory experiences of analog gadgets we used to love and understand instinctively. Created by SF-SO in 2019, it’s a vision of tech that’s calming, intuitive, and designed to fit seamlessly into daily life without demanding constant attention or learning new interfaces. Each device in the series prioritizes touch, sound, and movement over screens and menus.

Designer: Hoyoung Joo (studio SF-SO)

Each device in the series is inspired by classic analog forms and controls that people already understand instinctively without any instruction. The Ball Internet Radio swaps touchscreens for three magnetic balls on top that you roll or lift to change stations, making tuning in both intuitive and satisfying for all ages. The tactile feedback and visual movement of the balls create a playful interaction that feels natural rather than digital or sterile.

The Cone Bluetooth Speaker powers on or off with a simple flip, using a gravity sensor to turn a basic gesture into a moment of physical delight and satisfaction. No buttons to hunt for, no hold-and-press sequences to remember or decipher from tiny icons—just flip the speaker and it responds instantly. The conical shape with its bright orange accent doubles as sculptural home decor when not playing music, blending function with visual warmth.

The Wheel Digital Radio lets you tune frequencies by rotating the entire body like traditional wheel-tuned radios, echoing the mental model of classic analog radios from decades past that everyone intuitively understands. A physical marker shows the tuned station, providing immediate visual feedback without digital displays or complicated interfaces. The cylindrical form with ribbed texture and green accent makes the interaction obvious at a glance to anyone who sees it.

The Fingerprint Smart Door Lock combines the security of a keyless system with the familiar, physical action of turning a traditional lock mechanism that has existed for centuries. Users unlock the door by placing a finger on the sensor and rotating the dial, restoring the satisfying tactile feedback of analog hardware. The circular, wall-mounted form with green accent light provides visual confirmation without overwhelming smart home complexity.

Across the series, the use of tactile controls like rolling balls, turning wheels, and flipping speakers restores a sense of physicality and engagement lost in most digital products today that rely solely on touchscreens. The design language is clean and modern throughout, with geometric shapes, soft edges, and playful color accents that invite touch and curiosity rather than intimidation or confusion about how things work.

Tamed Digital Devices offer a glimpse of a future where technology supports well-being instead of adding stress to already busy lives filled with screens. For anyone craving a calmer, more human connection with their devices and tired of digital overload, this concept series is a reminder that innovation doesn’t have to mean complexity but can mean rediscovering the joy of simplicity and tactile pleasure.

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Orbit Kinetic Turntable: See Your Music Move with Flipping Wooden Tiles

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Remember when music was something you could actually see? Not just album art or a Spotify playlist, but something physical that moved and breathed with the beat? Designer Lillian Brown is bringing that tangible connection back with Orbit, a kinetic turntable that literally flips the script on how we experience sound.

What started as Brown’s senior thesis at the Savannah College of Art and Design has evolved into something genuinely captivating. Orbit isn’t just a turntable; it’s a performance piece that translates every beat, every note, every rhythm into visible motion through a mesmerizing display of flipping wooden tiles.

Designer: Lillian Brown

The concept is beautifully simple yet surprisingly complex in execution. Picture a classic vinyl turntable, then imagine surrounding the record with 39 handcrafted wooden tiles arranged in concentric circles. As your favorite album spins, these tiles respond to the music’s frequency and amplitude, flipping and rotating to create constantly shifting patterns of light and shadow. It’s like watching your music dance.

What makes Orbit particularly special is how it bridges the gap between vintage nostalgia and contemporary design innovation. In an era where most of us stream music through invisible algorithms and wireless speakers, there’s something deeply satisfying about watching music become a physical, visual experience. Brown has essentially created a hybrid object that transforms passive listening into an active sensory moment, where you’re not just hearing the music but witnessing it unfold in real time.

The wooden tiles themselves are a thoughtful material choice. Each one is carefully crafted and balanced, allowing them to respond with precision to the audio signals they receive. As the music plays, different frequencies trigger different tiles, creating organic patterns that shift with every song. A bass-heavy track might trigger the outer rings more intensely, while high notes could activate the inner tiles. The result is an ever-changing visual symphony that’s unique to each recording.

There’s also something wonderfully analog about the whole concept. While the mechanism that translates sound into motion likely involves some modern electronics, the physical expression is entirely mechanical. No screens, no digital displays, just wood, motion, and light playing together in space. It’s the kind of design that makes you slow down and actually pay attention to your music again.

Brown’s work taps into a growing desire for meaningful interaction with the objects in our lives. As more of our experiences become digital and ephemeral, pieces like Orbit remind us of the joy that comes from tangible, physical engagement with art and technology. It’s not just furniture and not quite sculpture; it exists in that fascinating in-between space where functional objects become art. The timing feels right for something like this. Vinyl has already made a remarkable comeback, with younger generations discovering the ritual of carefully selecting a record, placing it on the turntable, and actually sitting with an album from start to finish. Orbit takes that ritual one step further, adding a visual dimension that makes the experience even more immersive and meditative.

Imagine hosting friends and dropping the needle on a new album as everyone gathers around to watch the tiles respond and shift with the music. Or picture yourself unwinding after a long day, watching the hypnotic patterns emerge from your favorite tracks. It transforms listening from background noise into a focused, contemplative practice. What Brown has created with Orbit goes beyond clever design or technical innovation. It’s a reminder that some of the best ideas come from asking simple questions: What if we could see music? What if listening became watching? What if technology enhanced rather than replaced the analog experiences we value? In answering these questions, she’s created something that feels both nostalgic and refreshingly new, proving that great design doesn’t have to choose between the past and the future. It can honor both.

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This AI Music Sketchbook Captures Ideas Before They Disappear

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You know that feeling when a melody pops into your head while you’re walking down the street, but by the time you pull out your phone to record it, the magic’s already gone? Or when you’re hit with a musical idea but don’t have the technical skills to translate it into something real? That frustrating gap between inspiration and creation is exactly what designer Woojin Jang is trying to bridge with their concept project, Everglow.

Think of it as a sketchbook, but for sound. Just like artists carry notebooks to capture visual ideas before they fade, Everglow is designed to help musicians and creators capture sonic inspiration in real time. The concept combines a physical hardware interface with generative AI technology, creating something that feels both wonderfully tactile and futuristic at the same time.

Designer: Woojin Jang

What makes this particularly interesting is how it rethinks the relationship between humans and music-making tools. Traditional instruments require years of practice, and digital audio workstations can feel overwhelming with their endless menus and options. Everglow sits somewhere in between (hence the design name “InBetween”), offering immediate access to sound creation without the steep learning curve.

The hardware interface is key here. Instead of clicking around on a screen or fumbling with software, you’d interact with physical controls that respond to your touch and gestures. This tactile element matters more than you might think. There’s something about physically manipulating sound that connects you to the creative process in a way that mousing around never quite achieves. It’s the difference between typing a description of a drawing and actually sketching it with your hands.

But the real innovation happens when you pair that physical expressiveness with AI-generated sound. The generative system doesn’t just play preset sounds or samples. Instead, it responds to your input by creating and shaping audio in real time, almost like having a collaborative partner who instantly understands where you’re trying to go musically. You guide it with your gestures and adjustments, and it fills in the gaps, suggesting possibilities you might not have considered. This approach democratizes music creation in a fascinating way. You don’t need to know music theory or have mastered an instrument to explore sonic ideas. The concept suggests a world where musical literacy isn’t a prerequisite for musical expression, where the barrier between “I hear something in my head” and “here’s what it sounds like” becomes paper-thin.

Of course, as a concept, Everglow exists in that exciting space where possibility meets imagination. We’re not looking at a finished product you can buy tomorrow, but rather a vision of what music-making tools could become. That’s what makes design concepts so valuable. They push our thinking forward, challenge assumptions about how things should work, and inspire both creators and technologists to pursue new directions.

The timing feels right, too. We’re living in an era where AI is rapidly transforming creative tools, from image generation to writing assistance. Music has been part of this evolution, but often in ways that feel disconnected from the physical, intuitive experience of making sound. Everglow suggests a different path, one where AI enhances rather than replaces the human touch, where technology becomes invisible enough that you can focus on the creative flow rather than the technical obstacles.

Whether or not Everglow itself becomes a reality, the questions it raises are worth sitting with. How do we design tools that capture the fleeting nature of inspiration? What’s the right balance between human control and AI assistance in creative work? And how can we make music creation feel as natural and immediate as doodling in a notebook? For anyone who’s ever had a musical idea slip away before they could catch it, concepts like this offer a glimpse of a more intuitive future. One where the tools get out of the way, and the space between imagination and creation becomes just a little bit smaller.

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AI Lantern Speaker Designed to Reduce Anxiety With Light and Sound

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Most home gadgets are designed for function, not feeling or emotional connection. Lamps and speakers fill their roles effectively enough, but rarely do they offer comfort or companionship during quiet nights or moments when you need a little extra calm to soothe anxiety. Finding a device that addresses both practical needs and emotional well-being remains surprisingly difficult in modern home technology.

Calmtern reimagines what a home object can be by blending a portable lantern with an AI speaker in one thoughtful package. It turns light and sound into a source of emotional support, making every room feel a little more welcoming and a lot more personal. The concept is simple yet powerful: bring comfort wherever you go in your home, whenever you need it most.

Designer: Hyun Jin Oh

Calmtern’s silhouette is inspired by classic lanterns, with a translucent upper body for soft, diffused light and a ribbed base that houses the speaker and controls. The integrated handle makes it easy to carry from room to room, hang on a minimalist stand, or set on a bedside table wherever comfort is needed. The portable form invites movement and flexibility throughout your daily routine.

The minimalist design, matte white finish, and lack of visible branding let Calmtern blend into any space seamlessly, from modern apartments to cozy bedrooms and hallways. The ribbed texture provides visual interest and tactile grip, while the clean silhouette feels timeless rather than trendy. It’s a device that looks as good on display as it does tucked away when not in use.

The lantern emits a gentle, warm glow that reduces anxiety and creates a cozy atmosphere perfect for late-night reading, winding down before bed, or simply making a dark room feel safe and inviting. Touch controls on the top panel make it easy to adjust brightness or volume without fumbling for switches or apps in the dark when you’re half asleep.

Calmtern is designed to move with you throughout your daily life and routines. Use it as a reading lamp beside your favorite chair, a bedside companion that plays calming sounds for sleep, or a portable speaker for music and podcasts in any room. The rechargeable design means it’s just as useful on a patio as in a hallway, and the gentle light is ideal for nighttime trips.

Beyond practical functionality, Calmtern is a calming presence that helps reduce feelings of loneliness or anxiety when living alone, making the home feel warmer and more inviting during difficult moments. The combination of soft light, smart sound, and intuitive controls creates a daily ritual of comfort and relaxation that goes beyond what typical smart home devices offer users.

The sculptural form and ambient glow turn Calmtern into a visual anchor for any room, sparking conversation and encouraging moments of pause in otherwise hectic days. For anyone who wants their home to feel as good as it looks while maintaining simplicity and emotional comfort, this concept offers a compelling vision of design where technology and well-being move together naturally.

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Technics SL-1200 Final Edition: Only 2,410 Gold Units Worldwide

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Some legends never really die. They just get better with age, more refined, and sometimes, a little bit of gold. That’s exactly what Technics is doing with their latest drop: the SL-1200GME Master Edition, a turntable that’s equal parts tribute and technological tour de force. If you’ve ever spent time in a recording studio, DJ booth, or just scrolling through vinyl Instagram, you know the SL-1200 isn’t just a turntable. It’s an icon. And now, Technics is giving it one last proper send-off before closing the chapter on the G series.

Let’s talk about what makes this Master Edition worth all the attention. At its heart is Technics’ ΔΣ-Drive motor control system, a tech upgrade pulled straight from their pricier models like the SL-1200GR2 and SL-1300G. This isn’t just marketing speak. The Delta Sigma Drive actively works to reduce motor vibrations and improve rotational accuracy, which is basically turntable language for “your records will sound cleaner, smoother, and more precise than ever.” When you’re dealing with vinyl, even the tiniest wobble or inconsistency can throw off the entire listening experience. This system keeps things dead steady.

Designer: Technics

Then there’s the power supply situation. Technics equipped these Master Editions with a Multi-Stage Silent power supply, the same one used in their reference-grade SL-1000R turntable that costs a cool $27,000. It combines low-noise switching with active noise canceling to keep electrical interference from creeping into your audio. For audiophiles who can hear the difference between a good power cable and a great one, this is the kind of detail that matters.

The build quality is exactly what you’d expect from a brand that’s been perfecting this design for decades. We’re talking about a four-layer chassis construction featuring aluminum die-cast, BMC (Bulk Moulding Compound), heavyweight rubber, and a 10mm brushed aluminum top plate. That platter? Three layers of aluminum die-cast, vibration-dampening rubber, and a 2mm brass top plate. The whole thing weighs nearly 8 pounds with the rubber mat included, and each platter is individually balanced on dedicated machines to eliminate any unevenness. This is the kind of engineering that separates a good turntable from one that’ll last you a lifetime.

Visually, the Master Edition stands out in all the right ways. Technics added gold-painted accents throughout the design: the tonearm, headshell logo, top panel logo, a numbered badge that proudly states “Master Edition,” and even the dust cover logo sheet. It’s subtle enough to feel classy but distinct enough that anyone who knows turntables will immediately recognize this isn’t your standard model. The SL-1200GME comes in silver, staying true to the original SL-1200 aesthetic, while the SL-1210GME offers a black finish for those who prefer something sleeker.

Here’s the catch: these aren’t going to be around forever. Technics is limiting production to just 2,410 units worldwide. That breaks down to 1,200 units of the silver SL-1200GME and 1,210 of the black SL-1210GME. Each one comes with a numbered badge, so you’ll know exactly which piece of history you’re getting. The price tag reflects the exclusivity too. UK pricing is set at £5,000 (around $6,638), with North American pricing to be announced closer to the launch. These will start shipping in January 2026 in Europe and February 2026 in North America through authorized Technics retailers.

For anyone who’s been following vinyl’s resurgence over the past decade, this feels like a full-circle moment. The SL-1200 helped define DJ culture, shaped the sound of hip-hop, and became a staple in homes where music wasn’t just background noise but a way of life. Now, Technics is closing out the G series with a version that honors that legacy while pushing the technical limits of what a direct-drive turntable can do. Whether you’re a collector, a serious listener, or someone who just appreciates beautifully designed tech, the Master Edition is the kind of piece that reminds you why analog still matters in a digital world.

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Colorful retro turntables bring back the free-spirited 50s to the present

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The predominant minimalism design trend has created hundreds of products with trivial, often singular color schemes with muted hues. Although there’s no rule that it has to be such, this has become the standard practice for those adhering to this aesthetic. This has caused some to label such designs as boring and lifeless, though many will undoubtedly beg to differ.

The retro fever gripping many fields, however, is throwing a splash of color and whimsy on products, whether they’re actually vintage designs or even modern-day objects. Taking inspiration from mankind’s equally colorful history, retro designs like these turntables capture the charm of the past and blend it with the comforts of the present to create an experience that is more memorable and more satisfying than simply listening to music off Bluetooth speakers.

Designer: Gadhouse

Although the television might have only shown black and white, the 50s was characterized by an overabundance of bright, saturated colors, sometimes to a disconcerting degree. The decade also saw the rise of the “Long Play” record format, popularizing the record players and turntables that are being revived today. It seems only fitting that a true-blooded vintage record player pays homage to its roots, at least on the surface.

The Brad Retro Mk II definitely looks the part with its boxy designs, analog controls, and, more importantly, its colorful personality. With a belt-driven mechanism, three-speed play, and support for 7-12″ vinyl, this retro-style record player brings out the analog goodness of the medium, letting you hear it just the way the music was supposed to be heard. Built-in 10W speakers even recreate that experience of not having to plug in speakers just to listen to music.

Of course, the Brad Retro Mk II is also a child of modern technology, and it doesn’t disappoint either. If you do want to play your music louder, you can stream to a nearby Bluetooth speaker or go old-school with a 3.5mm jack. What’s new in this second-gen model is a USB-C port of power, allowing you to play anywhere you want.

The Brad Retro Mk II comes in five color combinations to appeal to as many tastes as possible. The turntables exude a playful charm typical of that period, while still meeting the needs of discerning audiophiles. With vibrant hues, tactile controls, a unique tonality, and modern connectivity, this record player isn’t just a blast from the past but is also a product of humanity’s cumulative history.

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Noise-canceling headphone concept creates sound bubble for clearer conversations

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When you need to have a serious conversation with someone or a small group, you probably need to find a place that has a private room or where there will only be a few people. But for times when you have no choice but to have it in a not so quiet place, then you probably wish you had a cone of silence so you can drown out other people’s voices while still being able to hear what your companions are saying.

Designers: Tuochao Chen, Malek Itani, Sefik Emre Eskimez

Well that might soon come true if this concept by the engineers at the University of Washington becomes a reality. The headphones is powered by AI and has the power to filter out the noise from as far as a few feet away so you’ll still be able to hear the conversation around you. It creates an imaginary “sound bubble” so you can focus on what you need to hear.

The noise-canceling headphones has six microphones on its headband, with a small onboard computer running a neural network. It will be able to analyze the distance from various sound sources around you. The ones that are farther away will be filtered out while the sounds closer to you will be amplified. If they come in within your imaginary bubble, you’ll be able to hear them clearly too.

It’s an interesting device to have especially if you have a lot of meetings or conversations outside. It would look strange though to have a group of people talking and all wearing headphones. They are working on smaller versions like earbuds or even hearing aids so that should work better.

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