The T.M-4 looks like it escaped from Teenage Engineering’s design studio with a specific mission: teach beginners how to make music using AI without making them feel stupid, or without creating slop. Junho Park’s graduation concept borrows all the right cues from TE’s playbook, that modular control layout, the single bold color, the mix of knobs and buttons that practically beg to be touched, but redirects them toward a gap in the market. Where Teenage Engineering designs for people who already understand synthesis and sampling, the T.M-4 targets people who have ideas but no vocabulary to express them. The device handles the technical translation automatically, separating audio into layers and letting you manipulate them through physical controls. It feels like someone took the OP-1’s attitude and wired it straight into an AI stem separator.
The homage succeeds because Park absorbed what makes Teenage Engineering products special beyond their appearance. TE hardware feels different because it removes friction between intention and result, making complex technology feel approachable through thoughtful interface design and immediate tactile feedback. The T.M-4 brings that same thinking to AI music generation. You’re manipulating machine learning model parameters when you adjust texture, energy, complexity, and brightness, but the physical controls make it feel like direct manipulation of sound rather than abstract technical adjustment. An SD card system lets you swap AI personalities like you would game CDs from a gaming console – something very hardware, very tactile, very TE. Instead of drowning in model settings, you collect cards that give the AI different characters, making experimentation feel natural rather than intimidating.
Designer: Junho Park
What makes this cool is how it attacks the exact point where most beginners give up. Think about the first time you tried to remix a track and realized you had no clean drums, no isolated vocals, nothing you could really move around without wrecking the whole thing. Here, you feed audio in through USB-C, a mic, AUX, or MIDI, and the system just splits it into drum, bass, melody, and FX layers for you. No plugins, no routing, no YouTube rabbit hole about spectral editing. Suddenly you are not wrestling with the file, you are deciding what you want the bass to do while the rest of the track keeps breathing.
The joystick and grid display combo help simplify what would otherwise be a fairly daunting piece of gear. Instead of staring at a dense DAW timeline, you get a grid of dots that represent sections and layers, and you move through them like you are playing with a handheld console. That mental reframe matters. It turns editing into navigation, which is far less intimidating than “production.” Tie that to four core parameters, texture, energy, complexity, brightness, and you get a system that quietly teaches beginners how sound behaves without ever calling it a lesson. You hear the track get busier as you push complexity, you feel the mood shift when you drag energy down, and your brain starts building a map.
Picture it sitting next to a laptop and a cheap MIDI keyboard, acting as a hardware front end for whatever AI engine lives on the computer. You sample from your phone, your synth, a YouTube rip, whatever, then sculpt the layers on the T.M-4 before dumping them into a DAW. It becomes a sort of AI sketchpad, a place where ideas get roughed out physically before you fine tune them digitally. That hybrid workflow is where a lot of music tech is quietly drifting anyway, and this concept leans straight into it.
Of course, as a student project, it dodges the questions about latency, model size, and whether this thing would melt without an external GPU. But as a piece of design thinking, it lands. It treats AI as an invisible assistant, not the star of the show, and gives the spotlight back to the interface and the person poking at it. If someone like Teenage Engineering, or honestly any brave mid-tier hardware company, picked up this idea and pushed it into production, you would suddenly have a very different kind of beginner tool on the market. Less “click here to generate a track,” more “here, touch this, hear what happens, keep going.”
On first glance, Korg’s Phase8 looks like something Love Hultén might have dreamt up after a late night with a kalimba and a soldering iron. It has that same altar like presence, where every screw and surface feels intentional, and the exposed steel bars read more like a kinetic sculpture than a row of notes. You do not just see an instrument, you see a machine that wants to be played, prodded, and prepared with whatever objects are lying around your studio.
The result is a tabletop artifact that feels half lab instrument, half folk relic. Phase8 invites the same sort of ritualistic interaction Hultén builds into his one off consoles and synth shrines. You can sequence it like a modern groovebox, but it really comes alive when your hands, a pencil, or even a river stone start interfering with those vibrating tines.
Designer: Korg
This whole thing runs on what Korg is calling “Acoustic Synthesis,” which is a fancy way of saying it hits stuff. Under each of those eight steel resonators sits an electromagnetic hammer that physically strikes the bar when triggered. A capacitive pickup then captures the resulting acoustic vibration and sends it back into the synth engine for shaping. It is a completely different path from the usual oscillator-filter-amp chain. The entire unit weighs a solid 1.71kg and measures just 231mm wide, giving it the dense, purposeful feel of a piece of lab equipment, not a lightweight music toy.
That physical interaction model is the entire point. Korg explicitly tells you to pluck, mute, and strum the resonators. They even encourage placing found objects on them to create new textures. An “AIR” slider on the side lets you boost or dampen the raw acoustic response, effectively mixing between the pure electronic signal and the sound of the physical object vibrating in the room. This haptic approach is a clever rebellion against the menu-diving and screen-staring that defines so much modern gear. It demands your physical attention.
Of course, this is a Tatsuya Takahashi project, so the experimental nature is backed by serious engineering. It has a polymetric sequencer, full MIDI and USB-C implementation, and even CV input for talking to modular rigs. At $1,150, it is not an impulse buy, but it also signals that Korg sees this as a proper studio centerpiece. They built an instrument that feels alive because, in a very real sense, its sound generation depends on physical, vibrating matter.
AI music tools usually start on a laptop where you type a prompt and wait for a track. That workflow feels distant from how bands write songs, trading groove and chemistry for text boxes and genre presets. MUSE asks what AI music looks like if it starts from playing instead of typing, treating the machine as a bandmate that listens and responds rather than a generator you feed instructions.
MUSE is a next-generation AI music module system designed for band musicians. It is not one box but a family of modules, vocal, drum, bass, synthesizer, and electric guitar, each tuned to a specific role. You feed each one ideas the way you would feed a bandmate, and the AI responds in real time, filling out parts and suggesting directions that match what you just played.
A band rehearsal where each member has their own module means the drummer taps patterns into the drum unit, the bassist works with the bass module to explore grooves, and the singer hums into the vocal module to spin melodies out of half-formed ideas. Instead of staring at a screen, everyone is still moving and reacting, but there is an extra layer of AI quietly proposing fills, variations, and harmonies.
MUSE is built around the idea that timing, touch, and phrasing carry information that text prompts miss. Tapping rhythms, humming lines, or strumming chords lets the system pick up on groove and style, not just genre labels. Those nuances feed the AI’s creative process, so what comes back feels more like an extension of your playing than a generic backing track cobbled together from preset patterns.
The modules can be scattered around a home rather than living in a studio. One unit near the bed for late-night vocal ideas, another by the desk for quick guitar riffs between emails, a drum module on the coffee table for couch jams. Because they look like small colorful objects rather than studio gear, they can stay out, ready to catch ideas without turning the house into a control room.
Each module’s color and texture match its role: a plush vocal unit, punchy drum block, bright synth puck, making them easy to grab and easy to live with. They read more like playful home objects than intimidating equipment, which lowers the barrier to experimenting. Picking one up becomes a small ritual, a way to nudge yourself into making sound instead of scrolling or staring at blank sessions.
MUSE began with the question of how creators can embrace AI without losing their identity. The answer it proposes is to keep the musician’s body and timing at the center, letting AI listen and respond rather than dictate. It treats AI as a bandmate that learns your groove over time, not a replacement, and that shift might be what keeps humans in the loop as the tools get smarter.
One thing that the world has been learning the past few years is that people deal with grief differently. That’s why we can never judge how people react to death of loved ones, beloved pets, other living creatures, and even life changes. Artists and creative people in particular sometimes have profound ways of honoring whatever it is that they have lost.
When a 65-year-old oak tree in Steve Parker’s front yard died from a fungal disease called oak wilt, he wanted to create a tribute to this tree that served as a refuge for migratory birds in their area. What he created was a sound sculpture, a record player that could play actual discs with bird songs, a fitting honor to the life and legacy of the tree.
Parker cut the trunk of the diseased tree into “wood cookies” or cross-sectional slices. He then carved grooves directly into the discs to create playable records. He then built a victrola or record player that is specifically designed to play the wooden records. This player is placed on a pedestal and the round tree slices are displayed on the walls behind it.
What plays on the wooden records is equally special. He etched the songs of migratory birds that once nested in the oak tree. You hear a scratchy, wooden sound which actually reminds you of that branch that would hit the side of an old farm house, which can be nostalgic or creepy depending on your experience of it.
Creating these wooden records wasn’t easy. Live oak is notoriously difficult to work with because it cracks as it dries, and many woodworkers avoid it entirely. But Parker saw those imperfections as part of the piece’s authenticity. Those cracks and warps in the sound aren’t flaws, they’re features that honor the tree’s natural character even in death.
But the wooden records are only part of “Funeral for a Tree.” Parker also created a companion sculpture called “Sheng Shrine”: a plant-like, valve-driven instrument built from salvaged brass valves from euphoniums and trumpets, copper tubing, and breathing bags. What makes this piece particularly moving is what animates it: CPAP machines and ventilators, the same medical equipment used to help people breathe when they’re ill.
These breathing machines give life to discarded Chinese shengs (mouth organs). The sheng is traditionally associated with the phoenix, and the word itself means life, voice, and sound in Mandarin. Parker collaborated with sheng virtuoso Jipo Yang, who interpreted the bird calls and performed short compositions around them. The sounds you hear include the clicks of tiny relays, the grunts of air pumps that almost sound like snores, and the wheezing as air pushes through the reeds. It’s mechanical yet deeply emotional.
There’s another layer to this work that makes it even more poignant. Parker realized that his grief for the tree echoed the loss of his father to cancer. Both were slow, inevitable declines where care could not prevent loss. When his father was really sick, Parker’s family monitored his breathing to assess his comfort and sense where his body was going. Those CPAP machines and ventilators in “Sheng Shrine” carry those memories. They’re devices associated with life support, transformed into instruments that give breath to dead instruments playing songs for a dead tree.
What makes “Funeral for a Tree” so powerful is that it’s not Steve Parker performing a requiem for the tree. It’s the tree performing its own memorial service. The wood itself becomes the instrument, the bird songs it once sheltered become the music, and the breath that once rustled through its leaves is replaced by mechanical breathing that keeps the dirge alive.
In transforming something most people would haul away as waste into a functioning musical instrument, Parker reminds us that grief doesn’t have to be silent or passive. Sometimes the most profound way to honor a loss is to let it speak for itself, to give it voice and breath and let it tell its own story. In doing so, he’s created something that transcends the personal: a meditation on memory, loss, and the ways we try to hold onto what’s gone.
Remember when technology felt magical instead of invisible? When gadgets had personality, and your favorite album came with artwork you could actually hold? The ’90s gave us tactile experiences that today’s sleek minimalism often forgets. Now, designers are bringing back the spirit of that era with products that blend nostalgic forms with modern capabilities. These aren’t dusty relics pulled from storage bins. They’re reimagined essentials that capture what made the ’90s special while delivering the performance we expect in 2026.
Millennials grew up straddling two worlds: an analog childhood and a digital adulthood. These seven products speak directly to that experience, offering familiar shapes and rituals wrapped in contemporary functionality. From music players that look like mixtapes to flame lamps crafted with instrument-making techniques, each piece proves that nostalgia and innovation make better partners than we realized. Whether you’re rebuilding your retro haven or just want technology that sparks joy instead of anxiety, these designs deliver that perfect balance.
1. Samsung AI OLED Cassette and Turntable
Samsung Display dropped two conversation starters at CES 2026 that blur the line between tech demo and actual product you’d want in your living room. The AI OLED Cassette takes the classic tape deck silhouette and transforms it into a smart speaker with two tiny 1.5-inch circular OLED displays sitting exactly where those spinning reels used to hypnotize you. The left screen handles playback controls while the right displays a digital waveform that dances with your music. Both screens respond to touch, so you can skip tracks or adjust settings without fumbling for your phone.
The Turntable goes bigger with a 13.4-inch circular OLED touchscreen that mimics an actual vinyl record player. This isn’t just about displaying album art. The screen becomes an ambient art piece, showing visuals that match your playlist’s mood. Picture hosting friends while your turntable displays swirling colors that sync with jazz or geometric patterns that pulse with electronic beats. The AI integration suggests new music based on what you play, learning your taste over time. These aren’t production models yet, but they showcase where display technology could take us when designers stop making everything a black rectangle.
What We Like
The cassette’s standalone functionality means you can discover and control music without an external device.
The touch-sensitive displays offer direct interaction that feels intuitive despite the retro packaging.
AI-powered recommendations built into the device eliminate the need for phone connectivity.
The turntable’s 13.4-inch display transforms any room into a visual experience.
Ambient visuals that match your music create an atmosphere impossible with traditional speakers.
These remain concept devices without confirmed production plans.
Pricing would likely put them in premium territory beyond typical smart speakers.
The cassette’s small 1.5-inch display might prove difficult for detailed control.
Relying on AI recommendations could frustrate users who prefer manual curation.
The turntable’s large circular display demands significant surface space.
Without physical media playback, purists might question calling it a turntable.
2. Harmony Flame Fireplace
Real fire indoors sounds risky until you see how this brass lamp handles it. Craftsmen who typically make musical instruments apply those same meticulous techniques to create a safe fireplace that fits on your dining table or patio. The brass box burns bioethanol, an eco-friendly fuel that produces actual flames without smoke, odor, or the mess of traditional fireplaces. Light reflects off the polished brass surface, creating shifting patterns as the flames dance. This turns functional lighting into moving art that changes throughout the evening.
The connection to musical instrument craftsmanship shows in the details. Each lamp gets hand-finished, ensuring the brass develops its signature warm glow. Bioethanol burns clean enough for indoor use while providing the psychological comfort of genuine fire. No installation means you can move it wherever the mood takes you. The flame’s unpredictable movement offers something screens can’t replicate: organic beauty that never repeats itself. This addresses a specific ’90s memory: when gathering around fire pits or candles created natural gathering spots before everyone retreated to separate screens.
Handcrafted by musical instrument makers ensures premium build quality.
Bioethanol fuel burns clean without smoke or unpleasant odors.
Safe for indoor use brings real fire into spaces traditional fireplaces can’t reach.
No installation required means portable ambiance anywhere you want it.
The brass surface creates mesmerizing light reflections as flames move.
Eco-friendly fuel choice aligns with modern environmental consciousness.
What We Dislike
Bioethanol fuel requires ongoing purchases, unlike electric alternatives.
Open flames still demand attention and caution around children or pets.
The brass construction places it in a higher price bracket.
Fuel consumption costs add up with regular use.
Limited heat output makes it more about ambiance than warmth.
Brass requires occasional polishing to maintain its signature shine.
3. RetroWave 7-in-1 Radio
This radio looks like something you’d find in a ’90s camping supply catalog, but its capabilities extend far beyond FM stations. Seven functions pack into one device: Bluetooth speaker, MP3 player, AM/FM/shortwave radio, flashlight, clock, power bank, and SOS alarm. That combination addresses both daily listening and emergency preparedness, making it relevant whether you’re hosting a backyard party or riding out a power outage. The retro aesthetics make it attractive enough to keep visible instead of buried in an emergency kit.
Bluetooth connectivity lets you stream modern playlists while the USB and microSD slots enable offline playback. The shortwave radio capability feels especially ’90s, when scanning international stations offered a window into distant cultures. Hand-crank and solar charging mean it works when the grid doesn’t. The built-in flashlight and SOS alarm complete the emergency features. This versatility reflects the ’90s ethos of multipurpose tools before planned obsolescence became standard. One device replacing seven separate gadgets creates less clutter while ensuring you’re covered for various scenarios.
Seven functions in one device reduce clutter and redundancy.
Hand-crank and solar charging provide power independence.
Shortwave radio access connects you to international broadcasts without the internet.
Bluetooth and MP3 playback bridge nostalgic form with modern features.
Emergency SOS alarm and flashlight add genuine safety value.
The nostalgic design makes it attractive for daily display.
What We Dislike
Multiple functions mean compromises compared to specialized devices.
Hand-crank charging requires significant effort for limited power.
Solar charging depends on the weather and sunlight exposure.
The retro aesthetic might feel too utilitarian for some home styles.
Shortwave reception quality varies dramatically by location.
Seven functions create a learning curve for optimal use.
4. Perpetual Orrery Kinetic Art
This mechanical solar system model channels the elegance of 18th-century European craftsmanship into a desktop sculpture that never stops moving. Inspired by grand orreries that once graced aristocratic libraries, this version uses intricate mechanisms similar to sophisticated wristwatches to recreate planetary orbits. Planets circle the sun at their relative speeds while the moon goes through visible phases. Even the Tempel-Tuttle comet makes its elliptical journey, appearing periodically like its celestial counterpart.
The kinetic aspect transforms this from static decoration into living art. Watching planets trace their paths provides the same meditative quality as observing aquarium fish, but with educational value built in. The mechanical movement connects to ’90s educational toys that made learning tangible rather than screen-based. Every gear and orbit gets carefully calibrated, turning astronomy into something you can observe daily at arm’s reach. The brass and metal construction gives it substantial weight and permanence, qualities often missing from modern tech gadgets designed for planned replacement.
The premium craftsmanship commands a significant investment.
Delicate mechanisms require careful handling and placement.
Dust accumulation on moving parts needs occasional attention.
The large footprint demands dedicated display space.
Mechanical complexity means difficult repairs if something breaks.
Some might find it too ornate for minimalist aesthetics.
5. Side A Cassette Speaker
This Bluetooth speaker disguises itself as a transparent mixtape, complete with Side A labeling and visible “reels” inside the clear shell. The cassette shape isn’t just cosmetic nostalgia. It comes with a clear case that doubles as a display stand, letting you prop it up like you once displayed your most treasured mix. Bluetooth 5.3 handles wireless connectivity while a microSD slot allows offline playback of MP3 files. The sound tuning deliberately evokes the warm, slightly compressed character of actual tape playback rather than clinical digital precision.
At under fifty dollars, this hits the sweet spot between genuine functionality and affordable nostalgia. The transparent shell reveals internal components, mimicking see-through electronics that defined ’90s youth culture. You can actually read the Side A label, adding to the mixtape illusion. The compact size fits easily in bags or pockets, making it practical for travel or outdoor use. This succeeds because it doesn’t try to be an audiophile device. It embraces the cassette’s original purpose: sharing music you love in a format that carries emotional weight beyond pure fidelity.
The transparent shell and Side A label nail the mixtape aesthetic.
Bluetooth 5.3 provides reliable wireless connectivity.
microSD playback works offline without phone dependency.
Warm sound tuning captures cassette character instead of sterile precision.
The clear case converts into a functional display stand.
Under fifty dollars makes it an impulse purchase or an easy gift.
What We Dislike
The small size limits bass response and overall volume.
Tuned warmth might frustrate those wanting a flat frequency response.
The microSD slot only accepts MP3 format, not lossless files.
Battery life likely won’t match larger speakers.
The novelty factor might wear off after initial excitement.
Compact dimensions mean less impressive sound than larger alternatives.
6. Portable CD Cover Player
This device solves a problem streaming services created: what do you look at while listening to music? It plays audio CDs while displaying the album artwork in a dedicated pocket, reuniting the visual and auditory experience that made physical media special. The built-in speaker and rechargeable battery mean it goes anywhere, but the minimalist design also makes it worthy of permanent display. You can even mount it on the wall, turning it into a rotating art gallery that changes with your listening mood.
The combination of portability and display functionality sets this apart from typical CD players. Album artwork wasn’t just decoration in the ’90s. It provided context, told stories, and often became iconic imagery tied to the music itself. This player acknowledges that streaming thumbnails can’t replace holding a jewel case while listening to a new album for the first time. The built-in speaker eliminates setup complexity. Just insert a CD, position the artwork, and press play. That simplicity reflects the ’90s plug-and-play mentality before every device demanded app downloads and account creation.
Dedicated artwork display reunites visual and audio elements of albums.
Built-in speaker provides true portability without additional equipment.
A rechargeable battery eliminates cord clutter for placement flexibility.
Wall mounting capability transforms it into a rotating art display.
Minimalist design works as decoration even when not playing.
Playing physical CDs forces intentional listening instead of endless skipping.
What We Dislike
CD collections take up storage space; streaming eliminates.
Built-in speaker quality likely can’t match dedicated audio systems.
The format limits you to CDs you actually own or purchase.
Wall mounting requires an additional bracket sold separately.
Physical media scratches and degrades over time.
Younger users might not own any CDs to play.
7. Invisible Shoehorn
This stainless steel shoehorn with transparent stand brings utilitarian elegance to something usually hidden in closets. The long handle eliminates back strain when putting on shoes, a small relief that compounds over the years of daily use. The polished steel surface glides smoothly without snagging socks or stockings. When placed in its clear acrylic stand, the shoehorn becomes sculptural, looking nothing like its typical function. It hides in plain sight as an attractive decoration rather than an obvious utility.
The transparent stand concept reflects ’90s fascination with revealing function through form. See-through electronics, skeleton watches, and visible mechanics all shared this philosophy: showing how things work makes them more interesting. A shoehorn seems mundane until you consider how many people strain their backs daily because they don’t have one handy. The long stainless steel construction ensures durability measured in decades rather than years. This represents the opposite of disposable culture: buying something once and using it daily for life.
The long handle protects lower backs from repeated strain.
Polished stainless steel prevents sock snags and tears.
The transparent stand creates a sculptural display from mundane objects.
Durable construction ensures decades of reliable use.
Unique aesthetic makes it acceptable for visible placement.
The smooth surface glides effortlessly for easy shoe wearing.
What We Dislike
The minimalist aesthetic might be too subtle for those wanting obvious function.
Stainless steel shows fingerprints and requires occasional cleaning.
The transparent stand adds bulk compared to wall-mounted options.
Higher price point than basic plastic alternatives.
The long design requires dedicated storage or display space.
Some might find the “invisible” concept pretentious for a shoehorn.
Bringing It All Together
These seven products share a common thread beyond ’90s aesthetics: they make technology feel approachable again. Each one prioritizes tactile interaction and visible personality over disappearing into seamless ecosystems. You can actually touch controls, see mechanisms working, and display these devices proudly instead of hiding them. That philosophy defined ’90s product design before everything became black glass rectangles designed to vanish into backgrounds.
Millennials bridge generations that experienced distinct technology eras. These products honor that position by combining familiar forms with modern capabilities. Whether you’re streaming through a cassette speaker or watching planets orbit on your desk, you’re participating in design that values presence over absence. The ’90s taught us that objects could spark joy and conversation. These seven products prove that the lesson still resonates in 2026, offering alternatives to invisible technology that serves function while sacrificing soul.
Bandcamp has addressed the AI slop problem vexing musicians and their fans of late. The company is banning any music or audio on its platform that is "wholly or in substantial part" made by generative AI, according to its blog. It also clarified that the use of AI tools to impersonate other artists or styles is “strictly prohibited” by policies already in place.
Any music suspected to be AI generated may be removed by the Bandcamp team and the company is giving users reporting tools to flag such content. "We believe that the human connection found through music is a vital part of our society and culture, and that music is much more than a product to be consumed," the company wrote.
The announcement makes Bandcamp one of the first music platforms to offer a clear policy on the use of AI tech. AI-generated music (aka “slop”) has increasingly been invading music-streaming platforms, with Deezer for one recently saying that 50,000 AI-generated songs are uploaded to the app daily, or around 34 percent of its music.
Platforms have been relatively slow to act against this trend. Spotify has taken some baby steps on the matter, having recently promised to develop an industry standard for AI disclosure in music credits and debut an impersonation policy. For its part, Deezer said it remains the only streaming platform to sign a global statement on AI artist training signed by numerous actors and songwriters.
Bandcamp has a solid track record for artist support, having recently unveiled Bandcamp Fridays, a day that it gives 100 percent of streaming revenue to artists. That led to over $120 million going directly to musicians, and the company plans to continue that policy in 2026.
This article originally appeared on Engadget at https://www.engadget.com/entertainment/streaming/bandcamp-prohibits-music-made-wholly-or-in-substantial-part-by-ai-130050593.html?src=rss
Sure, the AirPods Max come in colors – but there’s something so cold and un-emotional about anodized aluminum. It grabs your eye, but then immediately lets your eye wander once your fingers have run past its cool matte surface. Aluminum’s only purpose was to help build devices that were sleek and thermally advantageous. The problem, however, is that the AirPods Max aren’t ‘sleeker’ than your average headphone. Again sure, the MacBook Air looks so much thinner than the other average laptop – but aluminum in headphones achieves nothing. It adds weight, makes the head feel heavy, and doesn’t even look as eye-catching as some of its plastic-based counterparts.
Saffy Creatives recognized this and decided to give the AirPods Max a rather fitting makeover. After reinventing the Apple Watch as a G3-inspired retro-dream, they’re back with a redesign for the AirPods Max that looks oh-so-gorgeous it makes me want to try licking the headphones – obviously in a non-creepy way.
Designer: Saffy Creatives
What Saffy Creatives did is clever because it doesn’t change the AirPods Max silhouette – just its material treatment. Fair warning, the images ARE made using AI, but to be honest, AI is used more as a rendering tool here than it is as an imagination aid. The device looks exactly the same, except the parts made from metal are now replaced with dual-tone transparent/translucent plastic. The headphones here adopt Apple’s iconic Bondi Blue color scheme, with the outer cans giving a look into the headphones’ inner mechanics (just as Jobs intended with the iMac G3). A cloudy white element breaks the transparent shell, adding almost a halo of sorts around the can while also meaningfully separating the materials that would be probably impossible to injection-mold otherwise.
The old colorful Apple logo also finds itself on both the outer cans – something Apple wouldn’t be caught dead doing with their metal headphones. Is the detail almost too distracting? Some Apple purists would probably say it is – but nobody buys headphones because they look boring. Every audio-lover worth their salt wants headphones that make a noise, whether it’s through audio drivers, or through visuals.
The rest of the headphone remains fairly the same. The cups stay exactly the way they originally were, with the 3D mesh we’ve come to love. Similarly, the headband retains its mesh cushion too, however, the outer plastic frame also gets translucent/cloudy white plastic treatment to match the overall vibe. The result is a pair of headphones that are as gorgeous as any of Apple’s turn-of-the-millennium products – when Jobs and Jony Ive probably had more fun than they ever had making products.
Obviously such a pair of headphones will never exist (and I do wish Nothing had done a better job with their transparent design), but if there’s some maverick YouTuber looking to mod the AirPods Max, this weirdly nostalgic build is definitely worth a shot. After all, it’s nothing a 3D printer could churn out in a few hours. You’re not really changing the geometry either – just the material.
There’s a specific moment that happens when you first hear deep bass done properly. Your brain needs a second to process what’s happening because the sound doesn’t match what you expect from a speaker that size. I experienced that exact moment at CES 2026 while listening to Brane Audio’s Party Pro prototype, and for the sake of the rest of the hotel guests, Brane only limited the demo to 10 seconds and played its audio at 25% capacity. The sound is so thundering (especially the base notes), Brane had to quite literally hold its speaker back to avoid noise complaints.
Brane Audio structured their CES presentation strategically, starting with the Brane X to establish their credibility against established competition. Then they unveiled the Party Pro, and the difference was staggering. The low-end reproduction didn’t just sound powerful; it revealed details in familiar tracks that had been buried under inadequate bass response for years. Only after the demo did they mention the kicker: we’d been listening to a single RAD2 driver at half capacity. The shipping version with two drivers will hit four times harder, which means this might legitimately be the first speaker good enough to make your neighbors consider moving.
Designer: Brane Audio
That single driver, the RAD2, is the whole story here. It’s the second generation of their Repel-Attract Driver tech, and the numbers are just absurd. They claim a 30-fold deep-bass advantage over conventional drivers, which sounds like marketing fluff until you hear it for yourself. The genius is in how it handles the lowest frequencies. Instead of just producing a generic boom, it articulates the bass, letting you hear textures and notes in the sub-100Hz range that are usually a muddy mess. You start hearing things in your favorite songs you swear were never there before, which is a wild and slightly surreal experience.
Closer look at the RAD2 Driver
The way it prepares for that bass is mechanically fascinating. The original RAD driver in the Brane X used a small air pump to create the necessary pressure differential. For the RAD2, they’ve engineered a system of small mechanical legs that physically push the driver cone outward to prime it before the music even starts. This pre-tensioning creates the pressure needed for its massive excursion without the lag or potential noise of a pump. It’s a clever bit of electromechanical engineering that solves a very specific physics problem, and watching it happen is almost as impressive as hearing the result. It’s a purely functional design choice that looks incredibly cool.
This level of mechanical control allows for some seriously smart audio processing. Brane’s team explained that the speaker’s internal DSP analyzes the incoming audio in real-time to identify the resonant frequency of each specific track. It then adjusts the driver’s behavior to perfectly match that frequency, essentially tuning itself to every song it plays. This is a huge leap beyond simple EQ presets. The speaker is actively collaborating with the music, ensuring that the bass response is not just powerful but also perfectly in sync with the artist’s original intent. It explains why the bass felt so integrated and clean, rather than being a loud, detached layer on top of the music.
So you take that resonant frequency matching, add the mechanical priming system, and then remember the demo was at quarter-power. The final Party Pro, with its two drivers, will displace a full 1000cc of air, which is an immense amount of sound pressure from a portable enclosure. Brane is essentially breaking Hofmann’s Iron Law, that old rule about deep bass, small boxes, and power efficiency being mutually exclusive. They’ve found a way to have all three. This technology is a new blueprint for how to generate low-frequency sound. I walked away from that demo feeling like I’d just seen the audio equivalent of the first flat-screen TV. The Party Pro will hit shelves later this year, with a price range between $1000 and $1500. You honestly may need to take permission from your Homeowner’s Association before you buy one!
Fender made guitars and amplifiers legendary. Portable Bluetooth speakers seemed like an odd pivot until I saw the ELIE 6 at CES 2026. The design language reminded me immediately of brands like Vifa or Bang & Olufsen, that distinctly Nordic approach where simplicity becomes sophistication. A perforated grille, a wooden handle, clean geometric proportions. Nothing about it shouted “look at me,” yet I couldn’t stop looking.
Audio demos at trade shows rarely impress. Convention center acoustics murder nuance, and most companies crank volume to compensate. Fender’s team played it differently. They let the ELIE 6 perform at moderate levels, and the three-driver configuration with its dedicated subwoofer produced soundstage depth I didn’t expect from something this compact. The wood on that top panel carries particular meaning for anyone who’s held a Fender guitar. It’s actual fretboard wood, the same material musicians touch every time they play. That detail transforms a carrying handle into something that connects this speaker to decades of musical heritage while maintaining the almost-IKEA minimalism that makes it fit anywhere.
Designer: Fender Audio
That fretboard wood handle is such a clever, confident move. It signals that Fender understands its legacy without feeling trapped by it. Instead of slapping a vintage logo on a generic box, they integrated a core component of their instrument-making craft into a new product category. This approach feels so much more authentic than the retro-for-retro’s-sake styling we see from competitors. The tactile satisfaction of the physical volume knobs on top reinforces this. In an industry obsessed with pushing every control into a smartphone app, providing simple, direct interaction feels like a luxury. This speaker is built to be used, carried, and touched, not just administered from a screen.
Fender packed a dedicated tweeter, a full-range driver, and a separate subwoofer into this compact frame, which explains the audio fidelity. This three-driver setup is powered by 60 watts and, interestingly, a Waves system-on-a-chip. That SoC is the key to delivering higher output with minimal distortion, a common failure point for portable speakers when you push the volume. The battery life is rated for up to 18 hours, which is more than enough for a full day of use, and a quick 15-minute charge gives you another 90 minutes of playback. These are solid, practical specs that back up the premium design.
The real surprise is the four-channel input capability. This is where Fender’s deep understanding of musicians and creators becomes obvious. You can connect and mix audio from four different sources simultaneously. Think about the practicality: a guitarist can plug in and play along to a backing track from their phone, or a small group can mix a mic, an instrument, and a laptop for a small performance. This feature elevates the ELIE 6 from a passive listening device into an active creative tool. It’s a thoughtful, useful function that you simply do not find on other Bluetooth speakers in this category, and it makes the $299 price tag feel entirely reasonable.
Fender Audio could have taken the easy route by making a speaker that looked like a miniature amplifier. Instead, they built something that respects contemporary design while embedding their DNA in a subtle, meaningful way. The ELIE 6 feels like a complete thought. It balances a sophisticated Scandinavian aesthetic with robust audio engineering and genuinely useful features born from a deep understanding of how people create and interact with sound. It’s a strong first step into consumer audio, and it proves Fender is thinking about its future, not just coasting on its past.
In addition to its annual soundbar updates, Samsung debuted two new home speakers at CES 2026. The Music Studio 5 and 7 are Bluetooth and Wi-Fi units designed to blend in with your home decor thanks to their minimalist look. They certainly don’t look like your typical speakers, and Samsung has packed them with features that it says will ensure optimal sound quality from each one.
The Music Studio 5 has a four-inch woofer and two tweeters, and a sound profile that’s optimized by AI Dynamic Bass Control. The design is an interesting interplay between a circle and a square, but the speaker delivers crisp, clear sound — even in the roar of a CES demo area. The Music Studio 5 will also come in a smattering of colors, which could lend a pop to a bookshelf. Controls line the top edge, including one-touch access to Spotify.
Samsung Music Studio 7
Billy Steele for Engadget
If you’re looking for something more robust, the Music Studio 7 is a 3.1.1-channel unit that’s capable of four-direction spatial audio and high-resolution listening. Samsung says you can enjoy tunes at up to up to 24-bit/96kHz and the speaker can be used as part of a turntable setup. The sound here is more robust as I heard noticeably more bass from the 7 than on the 5. The various control buttons are up top here as well, positioned near the front of the speaker for easy access.
You can also use up to four Music Studio speakers as a surround sound setup in your living room. I listened to a brief demo where Samsung was using four Music Studio 7 units in a makeshift home theater. This combo provided great immersion, with lots of detail in the directional sound in the clips being broadcast on the connected TV. Samsung also says you can use up to 10 Music Studio speakers for audio only.
The company didn’t announce any pricing details yet, but that’s likely to come just before the Music Studio speakers are available for purchase. That date is TBD as well.
This article originally appeared on Engadget at https://www.engadget.com/audio/speakers/samsung-music-studio-5-and-7-hands-on-unique-speaker-designs-debut-at-ces-2026-052009007.html?src=rss
