Tag Archives: speaker

Fyne Audio’s Speaker Uses Hidden Glass to Tame Ringing

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A glass diaphragm is an unlikely detail to get excited about in a speaker that looks like expensive furniture. Yet it’s the detail that makes Fyne Audio’s F1-10 Anniversary interesting to me. Beneath the walnut finish is an attempt to solve a familiar audio problem: keeping the speaker’s own unwanted vibrations from coloring the music it’s supposed to reproduce.

Offered as a limited-edition passive stereo pair, the floorstanding speakers also address how serious hi-fi fits into an actual room. Their acoustic geometry aims for more coherent sound and less fussy placement. Fyne is making just 30 pairs, so the practical thinking comes wrapped in a decidedly exclusive package.

Designer: Fyne Audio

Hand-built in Scotland, the Anniversary revisits the original F1-10, launched in 2017. Its curved birch-plywood enclosure wears glossy burr walnut and walnut veneers, with solid-wood trim and champagne-gold details. I like that it looks unapologetically like furniture. The grain gets as much visual attention as the driver, although this isn’t a solid-walnut sculpture. Internal bracing is part of the cabinet’s engineering, too.

The most unusual component is a 75mm aluminosilicate glass dome inside the high-frequency driver. Fyne chemically strengthens the thin glass and says its damping suppresses unwanted resonances. The idea is to hear less of the diaphragm’s ringing and more of the recording. Its size also lets it operate down to the 750 Hz crossover, extending its contribution into the vocal range rather than restricting it to the highest notes. That’s a material choice I can appreciate without pretending I’ve heard the result. Its real advantage over alternatives still needs independent listening and measurement.

The driver layout matters just as much. Fyne’s IsoFlare system places the high-frequency unit at the center of the bass/midrange cone, rather than separating them across the cabinet. The goal is to make those frequencies behave more like one source, helping voices and instruments hold their positions in the stereo image. For listeners, the intended benefit is a presentation that stays coherent beyond one precisely chosen seat.

Up top, the integrated SuperTrax super tweeter fires upward into a shaped diffuser that redirects high-frequency output around the room. That upper driver uses a thin carbon diaphragm, giving the Anniversary two very different material approaches to reproducing the upper end of a recording. Fyne claims this adds spaciousness and atmosphere. The sculptural assembly gives the speaker an unusual silhouette, but it has an acoustic job beyond looking expensive. Importantly, its 360-degree dispersion applies to that high-frequency system, not the entire speaker. It isn’t a promise of identical sound in every seat.

At the bottom, a downward-firing port meets the BassTrax diffuser, which spreads its output around the base. Fyne says this makes room positioning less critical. I’m more interested in that practical intention than another enormous frequency-range number. A design that acknowledges furniture and walls makes sense, though I wouldn’t read the claim as permission to ignore placement altogether.

The tonal controls are an especially sensible touch. Separate adjustments let owners change high-frequency energy, presence, and super-tweeter output by up to 3 dB either way. That gives people some say in how the speakers suit their room and preferences. These aren’t automatic room correction, but I’d rather have useful adjustment than be told there’s one universally correct balance.

Reality arrives with the dimensions and price. Each cabinet stands about 49 inches tall and weighs nearly 130 pounds, so this is a deliberate installation, not something you casually shuffle around. Gear Patrol reports a $50,000 price for the pair, and you’ll still need external amplification. The woodwork may help the speakers belong in a living room, but it won’t make them disappear.

I like the willingness to make the engineering visible, from the prominent central driver to the odd little structure on top. At this price, though, a fascinating materials list is only the beginning of the conversation. I’d want an audition in a room resembling my own before treating any promised improvement as a reason to buy. Beautiful cabinetry earns a place on the shortlist, not an exemption from listening.

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A Speaker That Clips to City Poles and Leaves No Mark

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Walk down almost any street in an American city without your headphones in, and you will notice how little of that walk actually belongs to you sonically. The traffic has its own noise, the storefronts have their looped playlists, and if you want communal music, you generally have to buy a ticket, walk into a bar, or wait for a permitted block party. Public space in this country is loud, but it is rarely shared, and shared sound almost always costs something.

That is the quiet problem sitting underneath Mariami Kurtishvili’s graduate thesis at Berlin’s Universität der Künste. Public sound, whether staged in ancient amphitheaters, Renaissance opera houses with their tiered balconies of privilege, or today’s private venues, has always been organized around who gets to listen and who pays to host the listening. In ancient amphitheaters, the best seats were reserved outright for the political and religious elite, a hierarchy of hearing built directly into the architecture. Building anything permanent on a public street, meanwhile, means permits, city approval, drilled holes, and money most students and artists simply do not have. So how do you hand a city communal sound without owning a wall, renting a stage, or damaging a single streetlamp?

Designer: Mariami Kurtishvili

Kurtishvili’s answer, developed under architect Gustav Düsing at UdK Berlin, is the Orchid Sound System, a set of stainless steel high frequency horns clipped onto galvanized steel buckles, the same kind used to hold together scaffolding or shipping crates. She presented the project, titled “Sound Systems: Building Sonic Territories,” as her master’s thesis in the design-build track this past October, advised by Düsing alongside Dr. Susanne Hauser and Julian Schubert. Instead of speakers bolted into walls or drilled onto poles, these horns wrap around whatever the city already has standing, light poles, traffic signal posts, exposed pipes, and hold on without a single screw or drill mark. When the installation ends, the pole looks exactly as it did before anyone arrived.

The name is not decorative. Epiphytic orchids grow on trees but never draw nutrients from them the way a parasite would; they simply use the tree as a place to exist, giving nothing back but their presence. Kurtishvili’s horns behave the same way toward a city’s infrastructure. They borrow a pole’s height and stability for a few hours, and in exchange they hand back sound, message, and a kind of temporary meaning to a piece of street furniture nobody usually looks at twice.

I like that the project refuses to be monumental. It would have been easy to design a sculptural, permanent object meant to announce itself as art. Instead, the horns are meant to disappear once the show ends, and the listening sessions Kurtishvili staged around Berlin worked because of that restraint. People did not gather to admire an object. They gathered because sound had, briefly, become public property again, attached to a pole a few dozen strangers happened to already be standing near, and that shared presence is exactly what she says the project was chasing.

Americans already understand a version of this instinct, the boombox on a stoop, the car stereo at a cookout, the speaker someone drags to the park. What Kurtishvili adds is intention, plus an actual design solution to the cost and damage those informal gestures usually require once you try to scale them into something organized. Nobody has to own the pole. Nobody has to rent a venue. The horns simply attach, perform for an evening, and disappear.

Whether the Orchid Sound System ever leaves the thesis stage for actual manufacturing is still an open question, and student design-build projects rarely make that leap cleanly. But the underlying claim, that a city’s existing bones can host culture without a single new structure being poured or permanently bolted down, is worth borrowing regardless of who eventually builds it. Public space keeps getting more commercial and more watched. A speaker that clips onto a lamppost, plays for a night, and vanishes without a trace is a small, hopeful answer to that drift.

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The Concrete Canvas Speaker That Refuses to Hide Its Wires

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Most audio equipment is designed around the premise of concealment. The drivers are hidden, the wiring is tucked away, the internal mechanics are sealed behind pristine panels of wood or brushed aluminum, and you’re meant to forget that any of it exists. You just press play and trust the box. Hagar Guri, an industrial designer, has a different idea entirely.

A-PQ 31.37 is a suspended open-baffle loudspeaker system that does the opposite of hiding. Built from concrete canvas, a flexible, fabric-reinforced material that stiffens into a rigid, curved shell when hydrated, the speaker hangs from steel cables and puts everything on display. The driver is exposed. The wiring is visible. The rear radiation surface, the structural elements, the mechanical connections: all of it is part of the visual experience, not an afterthought buried behind a grille.

Designer: Hagar Guri

The material choice alone is worth pausing on. Concrete canvas is not a typical choice for audio equipment. It is the kind of material you would expect to see in emergency shelters or civil engineering projects, not hanging in a listening room. But that is precisely what makes it interesting here. It is dense, rigid, and visually raw in a way that synthetic plastics and MDF simply are not. The curved form it takes in A-PQ 31.37 manages to look both industrial and surprisingly refined, which is not an easy balance to strike.

Open-baffle speaker design has existed for decades in audiophile circles, and the community tends to be evangelical about it. The principle is straightforward: without a closed enclosure, sound radiates both forward and backward, creating a more open and spacious listening experience that many describe as more natural. The trade-off is usually in low-frequency performance, which requires careful driver selection and signal processing to compensate. Guri addresses this through a custom control unit built into the system, incorporating digital signal processing, preamplification, and analogue controls. It is a complete system, not just a sculptural object with wires attached.

And yet, calling it a sculptural object is not wrong. The speakers are suspended from steel cables and appear almost detached from the floor, interacting with the surrounding architecture rather than sitting against it. It changes the relationship between the listener and the object. You are not looking at a box tucked into a corner. You are looking at something that occupies the room intentionally, that asks to be seen.

Exposed fasteners and typographic elements extend the material language across the system, which tells me Guri was not just thinking about the sound or the form in isolation. The details are consistent. The control unit belongs to the same visual world as the speakers. That kind of coherence at the system level is harder to achieve than it looks, and it is one of the reasons A-PQ 31.37 feels like a fully resolved idea rather than a student experiment that went interestingly sideways.

The broader conversation A-PQ 31.37 is pushing into is one the design world has been circling for a while: what does it mean to make technology honest? So much of our electronics culture is built around the aesthetics of smooth surfaces and hidden complexity. The sleeker and more seamless a product looks, the more sophisticated it is supposed to seem. Guri is suggesting the inverse: that visibility, the kind that shows you exactly how something is built and why it sounds the way it does, can be its own form of refinement.

Whether or not this becomes an influence on mainstream speaker design is genuinely hard to say. Audio equipment is a conservative category. Audiophiles are notoriously attached to conventions that go back generations. But for anyone following the intersection of material research, acoustics, and spatial design, A-PQ 31.37 is exactly the kind of project that makes you reconsider what a speaker is supposed to be. Not just something you listen to. Something you actually look at, and think about, too.

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Bang & Olufsen’s New Speaker Concept Is a Ritual, Not a Device

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Most speakers are designed to disappear. They sit on a shelf, blend into a bookcase, or hide in a cabinet, quietly doing their job until you need them and then fading back into the background. Mårten Malmnäs, a graduate from the Umeå Institute of Design, designed something that pushes back against all of that.

The Beosound Tableau is a wall-mounted audio object developed in collaboration with Bang & Olufsen. Malmnäs calls it “a fireplace for music,” an instrument not just for listening, but for living. The moment I read that, I had to stop. Because I’ve never heard a speaker described that way before, and suddenly, I couldn’t think of a more fitting comparison.

Designer: Mårten Malmnäs

Think about what a fireplace actually does. Yes, it produces heat, but that’s almost beside the point. A fireplace creates presence. It becomes the thing a room organizes itself around. People pull their chairs toward it, conversations happen because of it, and its absence is genuinely felt. That’s a completely different design brief than “fits on your desk” or “connects to your phone.”

Malmnäs started the project with a design probe, a research method that explores the relationships people have with their homes, and from that came a set of experiments around values and behaviors. Eight experimental directions emerged from the ideation phase, spanning different input and output formats. Three of those directions clearly answered the design responsibilities he’d set for the project, and their shared qualities pointed toward one resolved object.

Here’s where it gets interesting. The original concept for the Tableau was screen-based, but a method called Wizard of Oz testing, where a human simulates the system to observe how people actually interact with it, pushed the design somewhere more honest. The interaction model shifted from screens to navigation by sound. And the principle that came out of it became the foundation of the whole concept: the most honest interface for a music object is music itself.

That’s a provocative idea. We’ve spent years layering more and more visual UI on top of audio experiences. Every streaming service competes on the complexity of its recommendation algorithm, the visual polish of its playlist covers, the grid of album art. Malmnäs argued the opposite, that sound should speak for sound. The result is the Sonic Token, a physical object that mediates between the listener and the Tableau. Tactile, intentional, and completely different from scrolling a touchscreen.

The Tableau is positioned as a focal thing for the home. An object to gather around and tend to. That language is deliberate, and it’s also a little radical. “Tending” to an audio object implies care and attention, a relationship rather than a transaction. You don’t tend to a Bluetooth speaker. You don’t gather around an app.

Bang & Olufsen has always occupied a rare space in the audio world, where design and sound hold equal weight, and where a product can belong in a design museum and still deliver extraordinary sound. But even by B&O’s standards, the Tableau concept asks a genuinely new question: what if the speaker were the focal point of the room, rather than just a feature of it?

There are fair questions about how a concept like this survives beyond a graduate show. The hands-on, material-driven process Malmnäs used, with 1:1 mock-ups and rigorous testing of the Sonic Token’s form and function, suggests this isn’t a vague idea dressed up in renders. It was built and tested as a real object. Whether it eventually reaches production or stays as a collaborative concept between a student designer and one of the world’s most revered audio brands is another matter.

But the value of the Beosound Tableau isn’t only in whether it ships. It’s in the question it refuses to let go of: why have we settled for speakers that ask nothing of us? The alternative, a speaker that earns its place on the wall, makes music feel like a gathering, and treats sound like something worth being present for, sounds like exactly what the living room has been missing.

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The Lexon x Jeff Koons Collaboration Makes Functional Art Worthy to Adorn Your Living Room

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Lexon has always operated in that precise zone where design meets desire, making objects that earn their place on a shelf by being genuinely useful and genuinely beautiful at the same time. Its speakers, lamps, and accessories carry a recognizable visual language: clean geometry, thoughtful materiality, the feeling that someone spent serious time thinking about how the thing would live in a room. The French brand has built that reputation over decades, and its collection reads like a masterclass in giving everyday objects enough personality to be noticed without screaming for attention. A collaboration with Jeff Koons, one of the most significant artists of our time, reads as a logical extension of everything Lexon had already been building toward. The purpose here is accessible art through design and technology, bringing high-concept sculpture into everyday functional objects.

Jeff Koons’ Balloon Dog sits at the heart of contemporary art discourse. The sculpture, which lives permanently at The Broad in Los Angeles and has circled the globe through exhibitions and record-setting auction appearances, carries a cultural electricity that very few artworks can claim. Lexon and Jeff Koons have reimagined that masterpiece into two functional objects: the Balloon Dog Lamp and the Balloon Dog Speaker. The Chromatic Collection, introduced in 2026 as a time-limited edition available only this calendar year, expands the original collaboration with eight distinct models. The Lamp arrives in Platinum, Gold, Blue, and Red, while the Speaker comes in Gold, Blue, Red, and White. Each piece is crafted from optical-grade polycarbonate and carries Koons’ signature engraved on the front feet. Pre-orders are available on lexon-design.com at $800 per piece, with monthly shipping slots.

Designer: Lexon x Jeff Koons

Click Here to Buy Now: $800. Hurry, limited edition! Pre-orders capped at two pieces per color, per product, per collector

The collaboration was developed with The Broad, the Los Angeles museum that permanently houses Koons’ original Balloon Dog sculpture, and the first edition of this Lexon x Jeff Koons partnership proved that appetite is global: those pieces sold into collector hands across more than 90 countries. The Chromatic Collection expands that first chapter with eight new models in a broader color range, keeping the Balloon Dog form fixed while giving collectors fresh reasons to acquire. Every unit carries a certificate of authenticity with a hologram that matches one on the packaging box, creating a dual provenance trail designed to hold value over time. At $800 per piece, the Balloon Dog Lamp & Balloon Dog Speaker Chromatic Collection represents an entry point into owning a time-limited edition whose value stands to increase as the collection completes its run and moves to secondary markets.

Balloon Dog Lamp

Transparent optical-grade polycarbonate forms the entire Balloon Dog Lamp, and the material connects directly to the logic of Koons’ original sculpture: the pristine surface quality, and the way the form catches and refracts light. The lamp packs 400 individual LEDs capable of producing nine distinct colors and nine animation modes, all controlled through intuitive gestures on the nose. Brightness adjusts seamlessly from ambient glow to full 200-lumen output, and the battery delivers five hours of runtime at 75% brightness. USB-C charging keeps the lamp self-contained on any surface. The four physical colorways of the lamp itself, Platinum, Gold, Blue, and Red, each shift character dramatically depending on which LED color state is running, giving a single object dozens of distinct visual configurations. Lexon’s proprietary Easy Sync Bluetooth technology allows unlimited Balloon Dog Lamps to synchronize their lighting effects in real time, which makes a full four-color set a genuinely compelling proposition for collectors building installations.

Switch the lamp on and the polycarbonate body stops being transparent and becomes a vessel for pure color. The LED system pushes light through every balloon-twisted segment from the inside, separating the sculptural form into glowing chambers of shifting hue. The animation modes cycle through gradients and pulses that travel the length of the sculpture, creating the impression of movement within a static form. The four physical editions of the lamp, Platinum, Gold, Blue, and Red, each interact differently with the nine programmable LED colors. Platinum and Gold warm the output, while Blue and Red push it vivid, and all four configurations produce enough visual presence to anchor a room in near-darkness.

Balloon Dog Speaker

Ten speakers are packed into the same 29 x 11 x 28 centimeter form as the Lamp, six active drivers and four acoustic boosters, with the transparent polycarbonate shell putting all of that hardware fully on display. The drivers are distributed across the Balloon Dog’s body in a way that uses the sculpture’s geometry to push sound outward in every direction, achieving genuine 360-degree coverage rather than approximating it. Bluetooth 5.3 handles wireless connectivity, TWS technology enables stereo pairing between two units, and built-in microphones support hands-free calls and AI assistant interaction with a connected smartphone. The Speaker arrives in Gold, Blue, Red, and White, a distinct palette from the Lamp that keeps both product lines coherent as a collected set. At $800 with Koons’ signature engraved at the base, it prices like a collectible and performs like a serious speaker.

The drivers and acoustic boosters sit visibly across the interior of the Speaker, their circular grille faces pressing against the clear polycarbonate from the inside, turning the engineering into part of the object’s visual identity. The hardware maps to the Balloon Dog’s body segments, making the internal architecture visible from every angle. Two Speakers paired in TWS stereo, positioned facing each other on a surface, form a symmetrical sculptural arrangement that sits somewhere between a listening setup and an installation.

Purchases are capped at two pieces per color, per product, per customer, and orders move through monthly shipping slots on a first-come, first-served basis starting June 2026. The purchase limit maintains the integrity of this as a limited edition rather than a mass-market release, ensuring the collection reaches a broad international collector base while holding its exclusivity. Both the Lamp and Speaker colorways are locked to 2026 and will not be reissued, establishing clear boundaries for the edition and creating real scarcity in a category where reissues can undermine collector confidence. Pre-orders are live now at lexon-design.com, and given how the first edition performed across more than 90 countries, the window on these eight colorways is genuinely finite.

Click Here to Buy Now: $800. Hurry, limited edition! Pre-orders capped at two pieces per color, per product, per collector.

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This Wall Speaker Lets You Decorate Your Room with Music and Art

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The must-have for your home used to be a choice: a speaker or a digital frame. Good audio gear fills a room with sound but rarely does anything worth looking at. Digital frames look considered and calm on a wall but go completely silent the moment you need them to do something else. It seems obvious, in hindsight, that someone would eventually stop treating these as separate problems.

Monar is that someone. The Monar Canvas Speaker brings both together in a single framed wall piece that plays Hi-Fi audio while displaying art on a built-in screen, and the two functions are genuinely connected. When music plays, the display responds in real time, generating visuals that shift and react to the track. It fills your home with sound. It decorates your wall with art. It does both at once.

Designer: Monar

Click Here to Buy Now: $799 $1299 ($500 off). Hurry, only 122/150 left! Raised over $55,000.

The design draws its visual logic from classical oil painting. Traditional canvas proportions, the kind that have framed masterworks for centuries, informed the 4:5 portrait ratio of the panel, a deliberate departure from the widescreen format most screens default to. That historical reference is not decorative. It is the reason the Monar reads like framed art on a wall rather than a screen that someone forgot to put away.

The outer frame is interchangeable across eight options: premium ABS plastics, natural linen, and brushed aluminium, with one ABS option styled after Mondrian’s primary color geometry. Swapping the frame is a practical feature rather than a gimmick, since the object is permanent décor. If your interior changes, the frame can too.

The audio side makes bold claims for an enclosure that is only 4.9cm deep. Six drivers handle the load: 2 titanium tweeters, 2 midranges using a golden ratio cone geometry, and full-size subwoofers running through a 2.2-channel amplifier. The 20Hz to 20kHz frequency response is ambitious for a chassis this thin, and one definitely worth hearing.

Where the product earns genuine interest is in the everyday texture of using it. Put on an album, and one of 12 lyric display themes animates the words in sync with the music. Switch to the World Gallery and the screen cycles through more than 50,000 digitized artworks, from Van Gogh to Hokusai. Activate Meditation Mode and the visuals shift to ambient scenes timed to calming audio. When no music is playing, it displays personal photos or videos, so it never really goes blank or dormant.

The generative AI tools go further still. Monar’s AI Studio lets you create original artwork through text prompts, uploaded images, or even a musical concept. The result displays on screen, making it possible to have genuinely new wall art on demand without touching a single frame nail. These features run on a points system, with a free tier offering 100 points per month. The World Gallery and Meditation Mode cost nothing extra, regardless.

Paid AI tiers range from $9.90 to $39.90 per month for heavier creative use, and the free allocation covers casual experimentation comfortably. What makes the pricing structure interesting is what it says about the product underneath it: even without touching a single AI feature, the Monar already delivers a fully functional Hi-Fi speaker system and a complete digital frame in one object. That combination alone is something no single product category had managed to pull off before it came along.

A speaker that becomes a painting, a gallery that plays music, a frame that reacts to sound: the Monar pulls off a combination that no single product category has figured out before it. The real question worth sitting with is not whether it works, but how much your walls have been missing something like it.

Click Here to Buy Now: $799 $1299 ($500 off). Hurry, only 122/150 left! Raised over $55,000.

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IKEA’s $10 Speaker Is Tiny, But You Can Pair 100 of Them Together

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Bluetooth speakers have a curious problem. The ones worth owning tend to cost real money, and the ones that don’t cost much tend to sound exactly like they cost nothing. IKEA’s KALLSUP sits somewhere outside that tired formula entirely, not because it defies audio physics at $9.99, but because it was never really designed around audio physics in the first place.

The KALLSUP is a cube, more or less. At 2.75 x 2.75 x 2.88 inches and built from ABS plastic, it has the proportions of a large sugar cube and a silhouette that wouldn’t look out of place on a shelf next to a small succulent. Designer Ola Wihlborg, who wanted the speaker to be “as small and simple as possible,” made something that reads less like audio equipment and more like an object that happens to produce sound when you connect your phone to it.

Designer: Ola Wihlborg (IKEA)

That framing matters. Most portable speakers broadcast what they are through a certain vocabulary: rubberized grilles, cylindrical barrels, carabiner clips, the unspoken suggestion that they’ve survived a kayaking trip. The KALLSUP makes none of those promises. Its face carries a circular grid of perforations, two buttons sit on top flanking a small LED, and the back has a USB-C port for charging. Nothing announces itself as a feature. It just exists, neatly, without fuss.

The minimalism extends to the controls, though that’s where things get slightly puzzling. There are only two buttons: one for Bluetooth and one for playback. No volume control sits on the unit itself, so the connected device handles all level adjustments. Pairing multiple units requires a long press of the play button, not the Bluetooth button, and there’s no manual power-off. These omissions read as deliberate simplicity, but they also feel like the kind of tradeoffs that made a $9.99 price tag achievable.

What the KALLSUP can do is genuinely surprise at this price. The rechargeable battery is advertised to run 9 hours at 50% volume, covering a full workday of background music. Bluetooth 5.3 holds up to 10 meters without interference. The real trick, the one that reframes the product’s logic entirely, is pairing up to 100 units together. One KALLSUP is a desk companion. Four of them, scattered across a room, start to approximate distributed audio.

The yellow-green colorway, one of three available alongside white and pink, sits in that particular register of color that’s neither subtle nor aggressive. It’s the kind of green that shows up in membrane keyboards and silicone phone cases aimed at people who want their objects to feel a little more alive.

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Motorola’s Bose-Tuned Speaker Automatically Follows You Room to Room

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Bluetooth speakers have largely solved the portability problem and mostly failed the living room one. They tend to look like gym equipment that wandered indoors, sit awkwardly on a shelf, and demand a ritual of reconnecting whenever you walk back in the door. The moto sound flow, Motorola’s first portable speaker and the newest addition to the moto things lineup, takes a different angle on all three of those frustrations.

The design makes the first impression. Two Pantone-curated colorways, Carbon and Warm Taupe, wrap the cylindrical body in a twill-textured fabric finish that reads more like a decorative object than consumer electronics. It’s the kind of thing you’d leave on the coffee table without thinking twice, which is precisely the point. Motorola calls it “crafted to be seen and tuned to be heard,” and for once, the marketing copy isn’t entirely hollow.

Designer: Motorola

The hardware inside includes a dedicated woofer, tweeter, and dual passive radiators, producing a 30W output tuned through Motorola’s Sound by Bose partnership. That collaboration, which also appears in the razr fold, applies Bose’s EQ expertise for balanced, detailed sound rather than the bass-heavy thump most compact speakers default to. A companion app also lets you adjust the equalizer to your own taste, available on both Android and iOS.

The moto sound flow also distinguishes itself in terms of connectivity. Beyond Wi-Fi, Bluetooth 5, AirPlay, Google Cast, and Spotify Connect, the speaker uses UWB technology to do something more interesting. Walk close to it with a compatible phone, and it picks up your audio automatically, no tapping required. Run two units together, and Room Shift reroutes music to whichever speaker is nearest, while Dynamic Stereo adjusts left and right channels based on where your phone sits between them.

Those UWB features do carry a fine print worth reading. They require a compatible Android 9 or later phone with UWB enabled, so iPhones and older Android devices don’t qualify. The speaker still works over Wi-Fi and Bluetooth for everyone else, but Room Shift and Dynamic Stereo, the parts that make the pitch most compelling, are locked behind a hardware requirement many buyers won’t check before purchase.

The 6,000 mAh battery covers long listening sessions, and the IP67 rating makes outdoor or poolside use fair game. A dock handles charging instead of a cable, which keeps things tidy. Four built-in microphones manage speakerphone calls. Starting at €199, the moto sound flow enters a competitive space where JBL, Sonos, and Bose already have devoted followings, each with years of speaker-only focus behind them.

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BreakX1 Just Made Karaoke Machines Actually Worth Displaying

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Remember when karaoke machines were those clunky black boxes that looked like rejected stereo equipment from the 90s? Yeah, those days are officially over. The BreakX1 Smart Karaoke by designer Liu Wei just snagged a Silver A’ Design Award for 2025, and it’s proof that home entertainment tech can be both functional and seriously good-looking.

What really sets this thing apart is how it moves. The BreakX1 features an innovative hinge design that connects the screen to the speakers, letting you rotate the screen 180 degrees front to back and 120 degrees left to right. It’s the kind of flexibility you didn’t know you needed until you think about it. Whether you’re belting out power ballads from the couch or standing up for your best Beyoncé impression, you can adjust the angle to actually see the lyrics without doing neck gymnastics.

Designer: Liu Wei

The design inspiration comes from an unexpected place: minimalist automotive design, specifically the clean lines of Tesla and Porsche. That aesthetic shows up in the machine’s sleek, soft curves and compact form. It doesn’t scream “karaoke machine” the way older models do. Instead, it looks like something you’d actually want sitting in your living room, not hidden away in a closet between uses.

Liu Wei, who works with Dongguan Aika Electronic Technology Co., developed the BreakX1 between October 2023 and January 2024 in Shenzhen, China. The device is built for the wireless entertainment era, designed to work seamlessly whether you’re hosting an indoor party or taking the show outside for backyard gatherings. That portability is key because modern life doesn’t always happen in one room anymore.

The tech specs back up the design ambitions. The BreakX1 comes equipped with a 2K HD screen that delivers crystal-clear visuals for lyrics, music videos, or whatever else you want to throw at it. The Red Dot Design Award jury noted that the machine “impresses with its exceptional ease of use and attractive appearance,” which is basically the holy grail for consumer electronics. Too often, devices choose one or the other, but this manages both.

What makes the BreakX1 feel current is its versatility beyond just karaoke. Sure, you can use it for singing your heart out, but it’s also designed for listening to music or engaging in what the specs call “audio visual creativity.” That vague-but-intriguing phrase suggests this is really a multi-purpose entertainment hub that adapts to how you want to use it, not the other way around. The design also addresses a real problem with portable entertainment systems: they usually look temporary or makeshift. The BreakX1’s integrated approach, where the screen and speakers form one cohesive unit connected by that flexible hinge, creates a device that feels intentional. It’s the difference between furniture and something you assembled from random parts.

This isn’t just about making karaoke look better (though it definitely does that). It’s about recognizing that home entertainment equipment has become part of our living spaces in ways it wasn’t before. We’re not hiding our tech in cabinets anymore. It’s out, it’s visible, and we want it to look like it belongs. The BreakX1 gets that shift. Liu Wei’s work represents a broader trend in tech design where aesthetics and function aren’t competing priorities but complementary ones. The rotatable screen isn’t just pretty engineering; it solves the real challenge of making one device work for different body positions and room configurations. The minimalist styling isn’t just trendy; it helps the device fit into more home decor situations.

The Silver A’ Design Award recognition confirms what’s already becoming clear: smart entertainment devices need to be smart about more than just their features. They need to understand that users want equipment that enhances their space, not clutters it. The BreakX1 delivers on that promise while still packing in the technology that makes modern karaoke actually fun. Whether this sparks a wave of better-looking karaoke machines remains to be seen, but it’s a solid start. At the very least, it proves that party tech doesn’t have to look like party tech. Sometimes it can just look good.

The post BreakX1 Just Made Karaoke Machines Actually Worth Displaying first appeared on Yanko Design.

IKEA Just Made a Mouse-Shaped Speaker That Kids Can Actually Carry

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IKEA’s GREJSIMOJS collection started with a dog-shaped lamp that dims when you hold its head for bedtime, turning a light switch into something closer to petting a sleepy puppy. The limited collection is more than just about cute animals, but also about playful behavior baked into everyday objects. That same thinking now shows up in a tiny Bluetooth speaker shaped like a mouse, with four stubby legs and a braided tail that doubles as a carry loop.

The GREJSIMOJS portable Bluetooth speaker is a small, mouse-shaped character IKEA calls a “cute little music friend” for playful people of all ages. It is meant to follow kids from room to room, turning background sound into something they can carry and interact with, while still being a straightforward wireless speaker for parents who just want podcasts in the kitchen or bedtime audiobooks without fumbling with phone speakers.

Designer: Marta Krupińska (IKEA)

Picture a child drawing at a desk, the purple mouse sitting nearby quietly playing an audiobook or favorite songs. Pairing is as simple as connecting a phone over Bluetooth, and the sound is tuned for everyday listening rather than shaking walls. The built-in volume limit protects sensitive ears, so kids can turn it up without parents needing to hover over the controls constantly or worry about hearing damage.

The braided tail makes it easy for small hands to grab and move the speaker from bedroom to living room. Charging happens over USB-C, though the cable and adapter are sold separately, and IKEA says adults should handle that part. The speaker cannot play while charging, which creates a split that lets kids control what they listen to while adults manage batteries and power.

The multi-speaker mode lets the mouse pair with other IKEA Bluetooth speakers supporting the same feature. That means the same music can play from multiple spots, turning a hallway and playroom into one sound zone without complicated app setups. It is an easy way to make dance parties or tidy-up time feel coordinated, even if the tech behind it stays invisible to everyone involved.

The collection’s goal is to inspire play and togetherness across the home, and the mouse fits that mission well. IKEA notes that £1 from every GREJSIMOJS product sold during a set period goes to the Baby Bank Alliance, adding a layer of purposeful giving. More than just decor, the speaker is a small facilitator for shared stories, music, and movement in family spaces without needing complicated setup rituals.

The GREJSIMOJS mouse speaker, like the dog lamp, treats technology as something that should feel approachable and a bit silly rather than cold. Rather than competing with serious audio gear, it is trying to make rooms feel more alive without asking kids to sit still or parents to manage another app. In homes where screens already demand enough attention, a small purple mouse that quietly pipes in sound might be exactly the kind of tech everyone can agree on.

The post IKEA Just Made a Mouse-Shaped Speaker That Kids Can Actually Carry first appeared on Yanko Design.