Analogue’s products – which include the Game Boy-emulating Analogue Pocket – take the dark art of emulation to another level. For the Analogue 3D, this has required four years of work recreating the original Nintendo N64 hardware to ensure 100 per cent compatibility with the nearly 400 games available on the original system. Introduced in 1996 and discontinued in 2002, nearly 33 million N64s were sold before it was replaced with the GameCube.

Thanks to timing, software tie-ins and the 64-bit system’s inherent laser-focused playability – a time-honoured Nintendo trope – the N64 is embedded in Gen X’s core menus. Excellent multiplayer capabilities – around 70 per cent of all games released for the console had a multiplayer function – made gaming more social than ever before.

Although the Analogue 3D faithfully replicates the tech, can it also evoke the tug of nostalgia? Supplied in a hefty box with four wireless 8BitDo 64 controllers and a selection of four classic titles (for copyright reasons you’ll need to use original game cartridges).

With The Legend of Zelda: Ocarina of Time, GoldenEye 007, F-Zero X and Super Mario 64 on hand, covering every base and genre, we paired the Analogue 3D with the latest version of the Sky Glass smart TV.

As expected, the Analogue 3D makes a formidable retro machine. For a start, there’s 4K output, ably managed by the new hardware with a plethora of graphic controls that allow different levels of upscaling, screen stretching for modern TV formats and even emulation of the warm glow of a cathode ray tube.

Simple black and white menus allow a deep dive into the console’s settings, whilst the game carts remain plug and play like the original. Analogue reckon the 3D will handle most third-party cartridges – the internet is awash with unofficial ‘flash carts’ – but their focus has been on ensuring 100 per cent original compatibility.

The hardware itself is robust and low-key, evoking the form factor of the original (with four original controller ports) plus a few useful additions – Bluetooth connectivity, an SD card for game saves and updates, Wi-Fi, USB-C for power, etc.

Plug the Analogue 3D into the Sky Glass via HDMI and fire it up, and within seconds you can be playing a game; Nintendo and its trusted army of developers were masters of gaming simplicity, streamlining menus and ultra-addictive gameplay.

Many of the original games ran in just 320 x 240 pixels (although the hardware could handle double that) for smooth gameplay and framerates. Given that the iPhone display in your pocket has around 50 times more pixels, older eyes have a fair old time trying to pick out the details on what was once considered the crispest, most HD gaming display available.

For the most part, this doesn’t matter, because what the 3D manages superbly is the feel of these iconic titles. It was an era before bloated software, vast armies of developers and Hollywood-rivalling budgets. Instead, the 3D provides picture-perfect replicas of the N64’s myriad and enticing game worlds.

You’ll enjoy masterfully designed levels, split screen multi-player action and pixellated carnage, soundtracked by the throaty crunch of chiptune music and sound effects. The new controllers mimic the look and feel of the originals while also bolstering known weak points, and deliver fluid movement and accuracy.

As well as being a true plug-and-play machine, the Analogue 3D is also pitched at those keen to look under the hood of old technology. Updates and enhancements are planned, with scope for a burgeoning community of Gen X nostalgics to assemble and trade war stories from back in the day.

There’s a big games library out there and unlike today’s blockbusting AAA titles, with their time-sapping 100-plus hours of gameplay, the earlier console generations were about casual, social gaming experiences. For fans of the original – especially those with a few cartridges stashed in the attic and an untapped well of muscle memory – the Analogue 3D is an exceptionally fine example of retro tech that balances fun with nostalgia.

Analogue 3D, $249.99, 8BitDo 64 controller, $39.99 each, Analogue.co, @Analogue.co

That hasn’t harmed the tactile experience of the ‘unboxing moment’ in any way, shape or form, nor has the gradual increase in recycled materials in the products themselves. For example, the MacBook Air enclosure is 100 per cent recycled aluminium, as is the Mac Studio, with the Air also using 100 per cent recycled rare earth elements in all magnets and 100 per cent recycled copper in the main logic board.

However, much of this important work is necessarily out of sight and out of mind for the consumer – recycled aluminium looks no different to the virgin material, while rare earth elements are buried deep within the devices. But there are other areas where material innovation, savings and efficiencies can play a major part, as well as help shape design.

Enter the Apple Watch Ultra 3, the newest flagship Apple wearable with material innovation that’s proudly laid bare. For the first time, the case of the Ultra 3, and that of the titanium Apple Watch Series 11, are made entirely via 3D-printing, using 100 per cent aerospace-grade recycled titanium powder.

The end result is a spectacular demonstration of how multiple strands of design and research came together to create change. First up, the 3D-printing process – devised and productionised by Apple’s own metallurgy team – uses half the titanium of previous generations of Watch Ultra, where the case was milled from a solid billet of the metal.

Instead, the Ultra 3 uses high-grade powdered recycled titanium, meaning there’s barely any wastage and what remains goes back into the production cycle. On top of this, the energy efficiency of the process has been dramatically reduced.

Focusing on a small element of a very premium product might appear to be a lot of effort for relatively minimal overall benefits. However, according to Sarah Chandler, vice president of Environment and Supply Chain Innovation at Apple, ‘we are now at the point where we are solving the hardest problems – we need to take some really big swings’. What starts with Apple Watch could soon be rolled out into other devices, with correspondingly larger savings.

But we’re getting ahead of ourselves. ‘We have a long history at Apple of designing with the environment in mind – it's one of our core values,’ says Chandler. Chandler and her team have devoted huge amounts of research and development into realising the new cases, describing the project as a ‘tremendously innovative 3D-printing process’.

‘Our hope is that [this] can really change the system, change the approach, change how products are made, and help lead the way for others,’ Chandler says.

Her colleague Kate Bergeron, vice president of Hardware Engineering, describes it as a ‘multi-year journey’. ‘In fact, if we want to go back to the nascent 3D-printing industry, I would say it’s been decades,’ she adds. In essence, the titanium powder is placed on an outline in layers of 60 microns.

A laser solidifies each layer before more powder is added, and the process repeated. ‘We have 900 layers in the UltraWatch, which is just insane,’ says Bergeron, pointing out that ‘we had to invent how we were going to make the parts and invent the material at the same time’.

The other challenge is scale. 3D-printed metal is not uncommon, but applications tend to be very high-end and specialised – think aerospace, military, Formula 1 – so to make the process work on ‘Apple scale’ is a big deal. Naturally, this new additive process has resulted in the same levels of surface quality that Apple Watch owners expect, but what they won’t be able to see are the innovations made possible by the new process.

‘In the Ultra, one thing that we were able to incorporate this time around was additional water sealing,’ says Bergeron. ‘We were also able to make the antenna windows interlock more effectively with the titanium, which we couldn't do using machining. I would say our industrial designers are already thinking about crazy and exciting things they can design that we would never have been able to make before.’

This same process is also being deployed under the skin in the iPhone Air, where a new titanium USB-C port enclosure was 3D-printed using the same method, helping achieve its impossible silhouette.

Apple is keen to stress this is systemic change, not just technology for the sake of it. ‘We are trying to find something that can really be an unlock,’ says Chandler. ‘We don't want to just do something once, we want to do it because it becomes the way the whole system works.’

‘We wouldn't develop anything like this as a one-off solution,’ Bergeron clarifies. ‘We look at 3D-printing as a roadmap to the future and so we are absolutely excited to take this technology and apply it in other places where it will make sense. Now that we have this in our toolkit… we can turn it into the next level of innovation.’

Apple Watch Ultra 3, from £749, Apple.com

Apple iPhone Air, from £999, Apple.com

The ecosystem works well but there was room for another piece of kit. Enter Reform RX, manufacturer of upscale Pilates machines and now newly acquired by iFIT. Co-founded by Yvie McGaffin, who becomes the new director of Product Marketing for Pilates at iFIT, the company will build on its model portfolio with two new versions of the Ultra series smart reformers, the Ultra 1 Reformer and Ultra 1 Reformer RX-S.

Drawing on the company’s experience building commercial-grade Pilates reformers, the new Ultra models are sleek, compact and finished with high-end materials to complement a variety of interior schemes. Naturally, they also feature the signature screen through which users can access the full range of iFIT workouts, training sessions and progress tracking.

According to iFIT’s CEO Kevin Duffy, the new NordicTrack Ultra Reformer Series is ‘about unlocking a new way to move. We are bringing the Pilates studio experience home and expanding what’s possible for our members through expert instruction and workout personalisation on our reformers.’

Wallpaper* spoke to McGaffin about the new machines and what it’s taken to bring them to market.

Wallpaper*: What design decisions had to be made to transform the Reform RX experience into the home?

Yvie McGaffin: When we began designing for the home, our goal was not simply to shrink a commercial reformer. We wanted to reimagine what the experience could feel like outside of a studio setting. In a studio, reformers live in shared spaces filled with movement and energy. At home, it becomes something more personal. It transforms into a space to slow down, connect with your body, and focus on each movement with intention.

Every material, line, and interface was chosen to integrate naturally into a home environment. It needed to look as beautiful sitting still as it does in motion. The Ultra 1 Reformer is quiet, sculptural, and designed with the care you would expect from a piece of fine furniture, balancing form and function in equal measure.

W*: Is it a matter of altering the scale and materials to better fit home studios?

YM: Scale and materials were part of it, but the real change came from rethinking how a reformer should live in someone’s home. When we created the Smart Spine system and push-button resistance, we were not just making it more functional. We wanted to make the experience simpler and more inspiring. These innovations transformed the way people interact with the machine, both visually and physically.

The maple and walnut wood detailing and chrome accents on the footbar and toggles were intentional design choices. They celebrate craftsmanship and precision, showing that performance equipment can also be beautiful. Our goal was for users to feel how seamless and intuitive reformer Pilates could be when thoughtful design meets innovation.

W*: What are the key innovations of the new model?

YM: The Ultra Reformer Series redefines what Pilates equipment can be. The Smart Spine system replaces traditional exposed springs with an enclosed, intelligent design that enhances both safety and aesthetics. It senses and responds to movement through iFIT’s connected interface, allowing every session to adapt to the user in real time.

The push-button resistance feature builds on that same idea of simplicity and control. With one touch, resistance adjusts automatically when the carriage is safely docked. It keeps users focused on movement and rhythm instead of mechanics.

We also engineered the glide to be nearly silent. That quietness helps users find full concentration and connection in their practice. True innovation in Pilates, in my view, should make movement feel effortless and technology should support you without distraction.

W*: How does Reform Ultra fit into the iFIT model? Is there cross-compatibility with other machines in terms of how workouts are structured?

YM: Becoming part of the iFIT family has opened up incredible possibilities for Reform RX. This launch expands the Ultra product line and introduces Pilates as a key part of iFIT’s connected ecosystem.

Each Ultra Reformer session connects to iFIT’s digital platform, adapting to the user’s progress and creating a personalised experience. Pilates now sits alongside iFIT’s most popular modalities, such as treadmills, bikes, and rowers. This allows users to move between workouts while maintaining one continuous and cohesive training journey. It is an exciting step that brings together thoughtful design, advanced technology, and the artistry of mindful movement.

W*: What are the key challenges behind designing a machine for this kind of Pilates in terms of safety, structure, strength, and aesthetics?

YM: Designing the Ultra was about finding the right balance between power and precision. Pilates is such a thoughtful and controlled form of movement that every design choice had to respect that.

Safety was always the first priority, but beauty was never an afterthought. The enclosed Smart Spine, the smooth glide, and the blend of wood and metal were all created to feel stable, supportive, and elegant.

The biggest challenge was making something so technical feel completely natural. The goal was for the equipment to fade into the background so the focus stays on movement. When a reformer moves with you rather than against you, that is when design truly serves its purpose.

W*: Will Reform RX continue to supply commercial machines?

YM: Yes. The commercial line continues under the Reform RX name through Freemotion Fitness, an iFIT Inc. brand. The Ultra 1 Reform RX-S is designed for professional studios and gyms but can also be used in home settings for those who want a studio-level experience.

NordicTrack Pilates Ultra Reformer, more information at NordicTrack.com, @NordicTrack

In addition to marking a century of Bang & Olufsen, the Beolab 90 Titan Edition also marks a decade since the speaker originally debuted. To celebrate the unconventional form factor of the flagship, the Titan Edition pares the structure back down to the bare essentials, removing the acoustic veils to showcase the hand-finished aluminium cabinet – all 65kg of it – that houses the power.

The specifications are certainly impressive; the Beolab 90 delivers 8,200 watts per speaker, thanks to its array of 18 premium drivers. ‘More than a celebration of our legacy, this edition showcases a level of craftsmanship and bespoke capability that only Bang & Olufsen can create,’ says B&O’s CEO Kristian Teär, ‘It is a bold statement of what’s possible when artistry, technology and vision converge.’

The Titan Edition also has polished base panels to contrast with the raw finish of the exposed frame, with the tweeter housing machined from a single block of solid aluminium and each individual fastener polished and engraved with ‘1925’, the year of Bang & Olufsen’s inception.

This new Atelier edition will be the first of five projects created to celebrate Bang & Olufsen’s centenary year. With the ‘standard’ speakers coming in at £141,000 per pair, the Titan Edition will no doubt add another level of expense. For diehard fans of the brand, the Beolab 90 Titan Edition represents a new peak of sound and design.

Beolab 90 Titan Edition, details on request from Bang & Olufsen flagship stores, Bang-Olufsen.com @BangOlufsen

Audio Pro W-Generation speakers

Sweden’s Audio Pro has unveiled a new line of compact speakers, the W-generation. Consisting of 12 new speakers, ranging from the compact, portable cylindrical A10 MkII W through to the desktop Audio Pro C20 W and up to the flagship A38 W and A48 W, the overhauled range includes a new app and interface as well as expanded streaming support.

All of the new speakers can now hook into a wide range of streaming services, including but not limited to Spotify, Napster, Tidal and Amazon Music, with the capability to group speakers across multiple rooms as well. The W-Generation also includes the ability to tune each speaker to best suit individual rooms, with full backward compatibility with earlier Audio Pro products. The cleaner, less fussy design extends to a harmonised palette of colours and grille fabrics.

Audio Pro A10 MkII W, £220 (sale price £130), Audio Pro C20 W, £450, Audio Pro A38 W, £700, AudioPro.com, @AudioProSound

Node Atom Speakers

Node’s range of Atom speakers comprises the newest products from the British audio brand. Designed and manufactured at the company’s Cambridge base, the Atom range starts with two models, the Atom 525 Standmount and the Atom 650 Floorstander. Sharing the same design language, with a pronounced backwards lean, the new speakers have been shaped for maximum visual impact as well as acoustic performance.

The latter is enhanced by the internal ‘MonoCells’, a complex lattice structure located within the speaker, created through additive manufacturing and serving as both structure and acoustic damping system. The company has also developed a special textile for the Atom’s exterior, blending felt, foam and woven fabric to minimise vibrations and give the front of the speaker a smooth, flawless finish.

The speakers also feature polished aluminium detailing, creating a sculptural, architectural form factor that’s intended to complement any interior style. The new range will be available from January 2026.

Node Atom, more information at Node-Audio.com, @Node_Audio

WAF Audio SP-02

WAF – Waves and Frequencies – is a new audio company based out of New York and Ontario. Founded by furniture designer Zoë Mowat and industrial designer, DJ and audio enthusiast David Shaw, the company has now introduced its second product, the SP-02 two-way passive loudspeaker. The new speakers are made in Canada and incorporate a six-inch woofer from SB Acoustics and a tweeter from Scan-Speak.

Compact and austere, yet with infinite flexibility for colour customisation beyond the four standard lacquer finishes – WAF will accept any RAL or Pantone reference – there’s also an optional 15-inch riser for more placement options.

The company aims to ‘demystify hi-fi’, and old-school audiophiles might recognise WAF as a tongue-in-cheek but deeply sexist acronym (‘Wife Acceptance Factor’). Understandably, the new company wants to reclaim WAF as ‘something more inclusive’.

WAF SP-02, $2,600/pair, available via WAFAudio.com, @WAF_audio

Arendal Sound 1528 Tower 8 Limited 10th Anniversary Edition

Swathed in mighty slabs of rosewood, this limited edition is Norwegian manufacturer Arendal Sound’s celebration of a decade of its 1528 Tower 8 speakers. Each 143cm tall speaker has a unique piano-lacquered rosewood finish, intended as a deliberate nod to the country’s tradition of midcentury and modernist design, while under the hand-polished skin, there’s an award-winning floor-standing speaker system.

Just 25 pairs of this highly prized loudspeaker will be produced, aimed at those with substantial spaces to fill (30 sq m and up).

1528 Tower 8 Limited 10th Anniversary Edition, £10,000/pair, Arendal Sound, ArendalSound.com, @ArendalSound

Devialet Mania Opéra Rouge and Phantom Ultimate

Devialet now has new editions of its key products available. First up is the Devialet Mania Opéra Rouge, a rich garnet-red version of the French company’s portable Bluetooth speaker. Supplied with matching dock, the Opéra Rouge is part of an ongoing range celebrating the Opéra de Paris and features a gold-plated frame. Designed to supply immersive 360-degree sound, regardless of placement, the Mania has a ten-hour battery life and integrated Amazon Alexa.

The company has also recently revealed the latest version of its signature Phantom speaker, the Devialet Phantom Ultimate. Available in two sizes, 108 dB and 98 dB, Phantom Ultimate comes in several finishes, Deep Forest, Light Pearl, and Opéra de Paris (shown here).

Refined and updated inside and out, with a new app that helps shape the sound depending on the source – music, movies or podcasts – Phantom is a freestanding speaker designed to take centre stage.

Devialet Mania Opéra Rouge, €1,090 / £990 / $1,199
Devialet Phantom Ultimate 108 dB, from €3,200 / £2,800 / $3,800
Ultimate 98 dB, from €1,500 / £1,400 / $1,900

Devialet.com, @Devialet

KEF Coda W

KEF has announced the launch of its newest all-in-one speaker, the wireless Coda W. Available in five finishes (Vintage Burgundy, Nickel Grey, Moss Green, Midnight Blue, and Dark Titanium), the compact Coda W has been designed with vinyl lovers in mind. Incorporating a large 5.25-inch driver with an integral tweeter, the 200W speaker incorporates dedicated amplifiers and uses Bluetooth 5.4 for low latency.

Wired connections are also available, with an RCA (line) input for turntables, complete with integrated phono pre-amplifier for direct connection. A subwoofer output allows you to pair the Coda W with a compatible KEF subwoofer.

KEF Coda W, £799/pair, UK.KEF.com, KEF.eu

WiiM Sound

A newly launched smart speaker system, the WiiM Sound aims to go head-to-head with in-house offerings from the like of Apple and Google, as well as established players like Sonos. The 100W smart speaker is distinguished by its prominent circular display, a 1.8-inch touch screen that serves as a portal to album art, controls, custom wallpaper and even elements like a clock face.

WiiM has given the Sound full connectivity options, including both Google Assistant and Alexa, as well as access to key streaming services and Bluetooth connectivity. A separate voice-activated remote unit can also be used. The cylindrical form incorporates a four-inch woofer and dual tweeters, with WiiM’s ‘AI RoomFit’ algorithm analyses the surrounding space and tweaks the EQ to fit. Twin Sounds can also be paired for a broader soundstage.

WiiM Sound, available soon from WiiMhome.com, @WiiMhome

The rise of AI seems to have changed all that. LG’s ThinQ series has evolved to keep pace with the shiny new definition of ‘smart’. Last year, the company released the ThinQ ON Home Hub, a centralised voice-activated device that serves a similar function to an Alexa or Google voice assistant, only with direct connectivity to LG’s suite of enabled appliances, from televisions and projectors, to lighting systems, fridges and robot vacuums.

In Seoul, LG has a popular ThinQ show home, where the voice activation powers of the system can be sampled. Crucially, the company is opening up the device’s API (Application Programming Interface) to other manufacturers, allowing for cross-pollination between other smart devices – one of the Achilles’ heels of early, so-called walled garden systems.

So what kind of future does LG envisage? Connectivity and intelligence are all very well but applying them in useful but not intrusive ways is the key to making a smart home more appealing. This ‘LG AI Appliances Orchestra’, as the company calls it, is a symphony of small smart enhancements that add up to a cohesive overall service.

For example, LG’s new range of washing machines use AI to weigh the contents of a wash and automatically select the most efficient programme – its dryers can even detect fabric type to avoid damaging clothing. Both appliances can signal progress and any potential problems via the LG app, as well as customising start-up screens and melodies to signal the end of a wash cycle.

LG’s new robot vacuum incorporates mopping and steam cleaning, as well as better object recognition and navigation. The oven can be automatically pre-heated – the ThinQ AI can even recommend healthy recipes – while LG’s new ridges can notify you when temperatures drop or the door is left open. The company has even gone beyond the home with the Spielraum concept car, co-developed with Kia, to showcase how the exact same AI assistant could be taken with you on the road.

Hubs like LG’s ThinQ ON simply offer a portal into new ways of interacting with objects that were once out of sight, out of mind and only edged into our consciousness when we actually needed to use them. That’s not necessarily progress, unless there’s a significant accompanying premium like energy efficiency or genuine convenience. Regardless, universal voice control is coming, whether we like it or not.

Hot on the heels of the ON Home Hub, LG revealed a conceptual Smart Home AI agent, a glimpse at what a future robotic housekeeper might look like in service of the company’s end goal, the ‘Zero Labour Home’. Anyone familiar with the social and technological history of domestic labour might scoff at the idea that the emotional labour of household management can be offloaded onto a cute little robot, even if ‘Affectionate Intelligence’ and empathy are its prime directives.

Whether the future is robot-driven or just app-based, companies like LG won’t stop striving for better ways to conduct their orchestra of appliances. Together, LG hopes, they’ll play a tune of greater efficiency for all.

More information at LG.com

The output of Hultén’s Gothenburg workshop is like nothing else. Typically starting with an existing synth or electronic instrument, each build deconstructs the interface, adds layers of new ways of modulating and manipulating the sound, all wrapped up in idiosyncratic but beautifully crafted cabinets that fetishise the knobs, dials, and screens.

In addition to reshaping, rewiring and combining synths old and new, Hultén has also tackled vintage video games and even retro-fitted an Aston Martin Lagonda with a custom integrated synth set-up. Projects featured in the new book include Pink Lab, which blends a Taiga by Pittsburgh Modular Synthesizers along with a Microcosm glitch pedal and an Arturia KeyStep controller, along with analogue cogs.

There’s also the Soma Lab, a colossal wall-mounted synth that draws inspiration from the 1960s-era modular hi-fi systems Dieter Rams designed for Braun, and Charlotte, a desktop machine that combines a Moog Minitaur synth with a ferrofluid visualizer and resembles something out of Dr Strangelove.

Limited to 600 copies, the 152-page hardback monograph is an inspirational journey through the work of a true master of both analogue and digital realms.

Love Hultén, Works II, $49 plus shipping, LoveHulten.com, @LoveHulten

The anodised and brushed aluminium slab can be controlled via smartwatch, voice assistant, existing home automation or the dedicated app. Named for the Hekla volcano in Iceland, it’s a fully Dolby Atmos enabled unit, capable of delivering spatial audio from its carefully placed array of drivers.

Along the front of the unit there are seven speakers, with two on each side and four on top, enabling the Atmos processing to create a spatial sound picture from music, games and movies. Weighing in at a hefty 15.5kg, the 12cm high Hekla is just over a metre long and 30cm deep. Hekla can also be paired with external subwoofers if more bass is your thing. On top, the simple rotary control nob deals with playback with additional controls available through the app.

The new Beosound Premiere from Bang & Olufsen

Also making its debut and aiming straight for the high-end interior market is the newest soundbar offering from Bang & Olufsen. The Beosound Premiere is as plush as its name, with a form factor that deploys all of the company’s expertise with different material finishes and combinations.

Debuting in Natural Aluminium, it’ll also be available in Gold Tone finish in early 2026, followed by a Black Anthracite model in the Spring. Although the speakers form an integral part of the form factor, the company is also offering a range of interchangeable fabric speaker covers and – for the first time – wooden speaker covers in oak and dark oak, both milled from a single piece of wood complete with grain and texture.

On board, the Beosound Premiere marks the debut of Bang & Olufsen’s new patent-pending ‘Wide Stage Technology’, the company’s own take on three-dimensional spatial audio listening. This creates the illusion of additional speakers, bolstering the Premiere’s ten onboard drivers to expand the sound to fill the room. Designed to be wall or table-mounted, the Premiere also has Dolby Atmos.

In addition to the metal and wood finishes, the Beosound Premiere subtly integrates 90 LEDs into the soundbar’s cabinet, making it glow in time with settings adjustment.’ Beosound Premiere is a sculptural masterpiece and a bold expression of acoustic artistry,’ says Kristian Teär, CEO of Bang & Olufsen, ‘Sculpted from our signature aluminium, it embodies Bang & Olufsen’s century long heritage of pioneering audio innovation in harmony with timeless design.’

The aluminium itself was developed in collaboration with B&O’s dedicated works at Factory 5 in Struer, Denmark. At the heart of the soundbar is a tweeter designed for project sound upwards. Finished in turned aluminium, complete with 1,925 perforations to mark B&O’s centenary year, it exemplifies the company’s renewed focus on highly crafted products.

If that wasn’t enough, there’s also a limited run of 25 Beosound Premiere Haute Edition, developed with B&O’s Atelier service. Identified by the flowing pattern that has been milled into the cabinet to evoke sound waves, each Haute edition takes 17 hours to shape on the milling machine before being hand finished. It comes in a presentation box with a limited edition Beoremote One.

Mu-so Hekla, €3300 / $3600 / £3000, Focal, Focal.com, @FocalOfficial

Beosound Premiere, £3,900, Bang & Olufsen, Bang-Olufsen.com, @BangOlufsen

Haute Edition, £11,000, from selected Bang & Olufsen stores

For the first time, Transparent is taking itself in a different direction, with the new Aroma Diffuser, launched today (6 November 2025) in order to ‘expand the sensory landscape of the home’. The fragrance diffuser follows the aesthetic template established by the company’s audio products, using hard-wearing materials like glass and aluminium for longevity and ultimately recyclability.

According to co-founder and creative director Per Brickstad, ‘Fragrance gives us the ability to experience powerful, instant emotions and memories. We’ve engineered this device in honour of that beautiful sensory phenomenon – to enrich homes in a natural, clean and timeless way.’

The Aroma Diffuser resembles an elegant lantern, with a cylindrical form and clear glass reservoir that shows how much fragrance oil and water is remaining. The diffuser uses ultrasonic technology to combine the fragrance with water in order to create a fine aromatic mist that is dispersed from the top of the unit.

Although the system is designed to be open source and therefore compatible with all room perfumes, Transparent will launch with a set of its own curated natural oils. Unsurprisingly, the inspiration is very Scandinavian, with scents based on pine, red cedar, and spruce.

The glass and aluminium form factor was partly inspired by laboratory equipment, giving the unit a technical, polished appearance. The Aroma Diffuser is also designed to be completely dissembled for cleaning and maintenance, even upgrades, in line with the company’s approach to modular, circular design principles.

First orders will be made through the Kickstarter platform, where Brickstad, who co-founded the company with Martin Willers and Magnus Wiberg, began Transparent back in 2012. ‘Returning to Kickstarter is a way of reuniting with the community that brought Transparent to life over a decade ago, Brickstad says, adding that the product will become available via the company’s website and other design retailers in due course.

Transparent Aroma Diffuser, £280 / €300 / $300, Kickstarter.com, Transpa.rent, @Transpa.rent

The series is currently using the third iteration of the race chassis, GEN3, but the GEN4 – due to debut on track in the 2026/27 ABB FIA Formula E World Championship (the 13th season of the sport), has just been revealed. With more than 50 per cent more power than the GEN3 car, the new machine will accelerate races and require a massive overhaul of this incredibly strategic approach to racing. The car itself has been made from 100 per cent recyclable materials, with 20 per cent of each car using recycled content.

Other GEN4 innovations include active all-wheel drive and two different aerodynamic set-ups, one for qualifying sprint sessions and another for the longer race itself. The strategic power management element of E racing is also improved by a base power output of 450kW during races, with up to 600kW in the limited ‘Attack Mode’ zones, equivalent to over 815hp (for comparison, a Formula 1 car puts out a total of around 1,000hp).

The new battery also has more capacity, up to 55kW, which should make for more dynamic and unpredictable race strategies. Regenerative braking, an essential part of Formula E, has been improved and made more efficient. Over the next couple of years, GEN4 will be developed and refined by the key players in Formula E, Porsche, Nissan, Stellantis, Jaguar, and Lola.

‘The GEN4 is far more than a race car. It represents over a decade of progress, innovation, and ambition in electric racing,’ says Marek Nawarecki, senior circuit sport director at the Fédération Internationale de l’Automobile. ‘Co-developed with the FIA, it stands as the most advanced, demanding, and sustainable machine we’ve ever built, redefining what’s possible in performance and environmental responsibility.’

FIAFormulaE.com, @FIAFormulaE

The EP–40 Riddim is similarly devoted to world-building, only this time the inspiration comes from a more 20th-century source, the realm of sound-system culture, and dub-infused, dancehall and reggae-driven beats. Riddim, as its name suggests, brings the beat back, with a performance-focused layout and an onboard selection of sounds that includes heavy bass and leads and even the sound of dub sirens.

In all, this colourful little slab is a powerful beat-making machine, with over 300 original samples, along with sequencer and effects. The Swedish company has tapped contemporary artists for their sounds and music to stuff into the onboard memory. Aficionados of the scene will recognise Jamaican producer King Jammy, as well as legendary producer Mad Professor, and other names, including Japanese band Mighty Crown.

The layout of the screen and the button graphics harks back to the poster art and lettering of early reggae album covers and the whole ensemble is struck through with TE’s ridiculous attention to detail. The accompanying merch includes a gig bag and even socks.

The EP-40 is joined by the EP–2350 Ting, a handheld performance microphone that can be used in conjunction with the Riddim or as a standalone device. Evoking the microphones that were once paired with megaphones to form a key part of the sound-system palette, the Ting has four onboard effects.

Effects include the all-important reverb, and the Ting can be hooked up to any device via a 3.5mm jack. The coiled cord, push-to-talk button and side lever for modulation all evoke old-school devices, with a crunchy, lo-fi quality that makes everything sound great.

EP–40 Riddim and EP–2350 Ting, £299 for both(launch offer) at Teenage.Engineering, @TeenageEngineering

So far, so good, for B&O has always pitched itself towards the upper end of most audiophile budgets. The Danish company has also a long history of refurbishing its more iconic and complicated pieces via its Recreated Classics series, which includes turntables and CD players. In fact, the company has accommodated out-of-warranty repairs and refurbishments for well over 60 years, but Reloved extends this commitment to circularity.

The service starts with a focus on more contemporary products at a variety of price points. The initial ‘Reloved drop’ focuses on just five products: the Beoplay P2 and A2 portable speakers, the Michael Anastassiades-designed BeoSound Edge, the BeoSound 3000 CD player (David Lewis, 2000), with its distinctive ‘curtain’ opening mechanism, and the Beogram 2000 record player, originally designed by B&O mainstay Jacob Jensen and produced between 1974 and 1976.

Even though it’s drawing on products from across the decades, Reloved works on the basis of available parts, as well as what B&O calls ‘contemporary relevance’ – hence the appearance of both a record player and a CD player in the selection. More products will be added in the months to come.

Even though they’re fully functional and refurbished, every product in the Reloved series will be graded according to material condition (mint, excellent, or good) and will be covered by a three-year warranty. Dorte Vestergaard, who heads up the Reloved programme at Bang & Olufsen, describes the initiative as the ‘continuation of a story that began a century ago – a belief that design and sound should endure. This programme allows us to preserve our heritage by refurbishing our original pieces and helping them find new homes, ready to be loved again.’

Reloved is currently open to customers in the EU, UK, Norway, and Switzerland, with other countries due to be added next year. The aim is to put out monthly product drops, so keep checking the site.

Reloved products are available at Bang-Olufsen.com, @BangOlufsen

Sonoforma founder Mike Nopper has drawn inspiration from classic mid-century pieces and old-school hi-fi furniture. Hand-crafted in Nicaragua, the cabinets feature prominent grain, refined joinery and premium handles and hinges. The Serenada combines a Celestion Vintage 30 G12 speaker with a traditional ¼” input for a guitar with a long storage tray for the guitar itself, as well as additional storage and is available in three wood finishes, Claro, Rosado, Oscuro.

The new Rhapsody is more compact, with a small drawer set beneath a 10” Celestion Greenback speaker, with the option to have the speaker exposed or set behind a woven grill cloth. Given that guitars are common furnishing items, Sonoforma has set out to deliver pieces that serve interior design as well as sound. ‘It’s furniture that finally respects both the player and the room,’ says Nopper, ‘siting at the intersection of design, music, and lifestyle.’

Nopper’s background is in design engineering for pro-audio sound systems, with a side order of working in the furniture industry. ‘At the core of Sonoforma's mission is the belief that musical equipment should not only perform impeccably but also enhance the aesthetics of its environment,’ he explains, ‘we’ve stripped away assumptions about portability and rugged durability meant for touring gear. [Instead], by reconceptualizing guitar cabinets and amplifiers from the ground up, Sonoforma aims to redefine their role in both studio and residential settings.’

Sonoforma Rhapsody and Serenada, more information at Sonoforma.co, @Sono.forma

Hence the resurgence in popularity (and price) of older compact cameras, as enthusiasts rush to rediscover all the highly competent camera hardware that was developed over the last decade but overlooked in favour of smartphone sensors and image processing.

We’ve rounded up five of the finest pocketables available today, along with an analogue outlier for those looking to ditch digital altogether.

Ricoh GR IV

The newest iteration of a longstanding photographer’s favourite, this year’s Ricoh GR IV replaces the GR III, which debuted back in 2019 and is still highly prized. Incredibly compact and lightweight, with the capability to power-on in around half a second, the GR IV is the kind of camera pros keep on hand.

A new sensor and new 18.3mm F2.8 lens improve image quality, with no less than 53GB of onboard memory, full wireless connectivity and manual controls, it’s a true pocketable powerhouse.

Ricoh GR IV, £1,200, Ricoh-Imaging.co.jp, @Ricoh_GR_official, Amazon.co.uk

Leica Q3 43

For some, nothing less than a camera bearing the legendary red dot will do. Whilst Leica is still best known amongst photographers for the M Series – now featuring an electronic viewfinder for the very first time – the company has a long history of making compact cameras dating back to the dawn of the digital age.

The newest compact model from the German manufacturer is the fixed lens Q3 43, with a 43mm focal length and full compatibility with Leica’s pro-grade FOTOS app.

Leica Q3 43, £5,900, Leica-Camera.com

Fuji X Half

A curate’s egg of a camera that you'll either love or hate, the Fuji X Half attempts to bridge the divide between digital convenience and analogue feel. ‘Dedicated to distraction-free creativity’, in Ricoh’s words, the X Half comes with a number of film-simulating filters as well as a unique 3:4 vertical format.

This mimics ‘traditional’ smartphone image-making with the benefit of a far more sophisticated 32mm lens, with the added creative benefit of combining two images in a single frame. This 2-in-1 option can consist of a still and a video, allowing for endless juxtapositions and experiments.

Weighing in at just 240g, the X Half also has Film Camera Mode, a way of focusing the mind by reintroducing the limitations of film. In this mode, the rear LCD viewfinder is disabled and you’re restricted to taking just 36, 54 or 72 images before you can ‘develop’ the results on the X Half app. The analogue style ‘film advance’ lever must also be operated between each shot.

Fuji X Half, £629, Fujifilm-x.com, Amazon.co.uk

Sony RX100 VII

Sony’s flagship compact is ideal for vloggers and videographers as well as traditional stills photographers. With an onboard 24-200mm Zeiss zoom lens, the ability to take stills at up to 20 fps, 4K video and a host of other features, the RX100 VII is one of the most comprehensively equipped compact cameras on the market.

A sophisticated auto focus system can track fast moving objects and even the individual eyes of your subject, with shutter speeds of up to 1/32,000 second, on-board image stabilisation, support for vertical video and external microphones and much, much more.

Sony RX100 VII, £1,049, Sony.co.uk, Amazon.co.uk

Canon Powershot G7 X Mark III

Another long-established prized performer in the ultra-compact sector, Canon’s G7 range continues to hold its value. The latest G7 X Mark III weighs in at 304g yet crams in 4K recording, a 24mm 4.2x zoom lens, exceptional video quality and even the ability to stream directly to YouTube.

The addition of a silver/black colourway nods to Canon’s classic 35mm SLRs and adds another layer of desirability, as does the ultra-pocketable form factor.

Canon Powershot G7 X Mark III, £995, Canon.co.uk, Amazon.co.uk

Lomo MC-A

Finally, an analogue option from the long-standing 35mm film faithfuls at Lomography. The Austrian company has upgraded their mainstay to include a retractable 32mm lens, full autofocus, an onboard LCD display with self-timer and other functions, onboard flash and more.

Probably the most significant update the strictly analogue Lomo ethos since the medium format LC-A 120 camera was introduced in 2014, The new MC-A brings the colour, grain and atmosphere of 35mm into a compact, affordable package. It's an encapsulation of Lomography's stated mission to celebrate the joys, idiosyncrasies and occasional fails of analogue.

Lomo MC-A, £449, Shop.Lomography.com, @Lomography

Attempting to right these wrongs is the starting for a new digital platform, Layer Canvas, a start-up initiated by Deviant Art founder Angelo Sotira. With industrial design by Will Howe at Demo, the Layer Canvas is billed as the first true dedicated platform for digital art, a museum-quality 1.1m2 display contained within an aluminium frame that’s distinct from a regular flat screen.

In fact, the Layer Canvas is a computer you hang on your wall, incorporating not just a high-definition museum grade screen but all the processing power required to drive generative artworks – ‘painted in code’. The aluminium frame conceals a dedicated GPU that enables the canvas to run real-time code-based art from a growing library of unique pieces, all curated by the platform.

‘The clarity is on another level compared to video,’ says Howe, ‘there’s no compression or artefacts.’ In fact, this kind of all-in-one platform has never existed before, beyond using a powerful computer hooked up to a separate screen.

The team approached artists working with code to find out what they wanted from a dedicated platform, and this was the result, a very intentional surface for art – with no sound, no family photo albums, weather, TV or other distractions. The 1:1 ratio was also a deliberate move away from the filmic 16:9 and other traditional media ratios.

Howe’s studio was also involving in the branding and business plan, in addition to the industrial design. Back when he was working at Map Project Office, Howe was on the team that developed the Sky Glass television, a project that brought plenty of close involvement with the fast-moving display sector.

‘It’s a very high-performance back-lit LED panel,’ the designer says of the Layer system, ‘it’s always on and has anti-glare coating and a high contrast true black display to do the art justice.’ Other aspects of the design focused on performance and precision, such as the relatively thick panel, rather than a tech-centric sophistication. ‘The 1:1 ratio takes it away from the language of television,’ Howe says, ‘it’s designed to hang on the wall, or on a picture rail just in front of a wall, or even as a room divider.’

To achieve the latter, the rear panel had to look as good as the front, so a gridded design was chosen to make it feel more sculptural and elegant, with Donald Judd cited as an inspiration. ‘It feels more like an ornament for the home, not a fixture that’s just stuck on,’ Howe says. ‘We didn’t want it to feel like a piece of tech – it’s totally passive.’ Layer’s CCO Ben Wolstenholme describes the panel as being like a fireplace – a ‘reassuring presence.’

The art itself is perhaps something of an acquired taste. One of the driving forces behind the project is the American artist and coder Casey Reas, a professor in the Department of Design Media Arts at the University of California, Los Angeles, as well as a practitioner and the co-creator (with Ben Fry) of Processing, an open source ‘software sketchbook’ that is the computational heart of much of the work on display. ‘At the beginning, we went to some of the foundational people in generative art,’ says Wolstenholme, ‘Casey said that ‘I’ve waited all my career for this…. basically, it’s the best their art has ever looked.’

Many of the available pieces, including works by Reas, Andreas Nicolas Fischer, Anton Dubrovin, Arttu Koskela and more, evolve slowly, as if an abstract expressionist canvas was subtly shifting and changing throughout the day. Some run through cycles, others never repeat, and a ‘playlist’ can be created on the accompanying app with mood recommendations.

Many of the pieces are interactive, with parameters that can be changed via the app, ranging from forms and colour through to the speed of iteration. What’s more, Layer’s subscription model allows for artists to receive royalties based on how long each piece is ‘viewed’ by the subscriber base. Canvas is a progressive platform in more ways than one.

Layer.com, DemoStudio.co.uk

No longer a plucky little tech start-up but a full-on powerhouse, Phone (3a) Lite showcases a company with its pedal to the metal, continuing to punch above its weight, yet also highlighting some of the conundrums of the modern tech era.

The original Nothing ethos – sparse, minimal aesthetics, a straightforward, unfussy product range and a tight-knit community – are somewhat at odds with the realities of the market. It’s not that consumers demand regular tech and aesthetic upgrades, but that they’ve been conditioned to accept them, and Nothing is in danger of falling in line with the ultimately unsustainable maxim that newer = better.

With that said, Phone (3a) Lite will doubtless boost the brand’s visibility with its neat distillation of the Nothing ethos into a much more affordable price point. It’s very obviously a Nothing product, even if it is a tad more rugged and less self-consciously transparent than earlier devices. Phone (3a) Lite is available in straightforward black and white colourways, with a simplified version of the Nothing ‘Glyph Interface’, Glyph Lite, providing visual notifications on the rear of the case.

Like all Nothing phones, the (3a) Lite prioritises the connection between hardware and software design, running the latest Nothing OS 3.5 sitting on Android 15 (the high-end phones will soon switch to OS 4.0 / Android 16, with (3a) Lite following in early 2026). Three years of OS updates and six years of security updates are included. The 6.77” screen is generously large, giving the whole device a high-end feel (albeit at a time when leading players are pivoting back to smaller, thinner devices as an expression of premium values).

The triple-camera system uses a 50 MP main sensor by Samsung with the AI image editing tools found in the rest of the range. Full manual control and RAW capture is also available straight out of the box, along with the Google-developed Ultra XDR photo format. Motion Capture and Night Mode are also available, along with a 16 MP front selfie camera. The main camera can shoot 4K video at 30fps.

All this represents a substantial upgrade from the earlier Phone (2a), the closest competitor in the Nothing arsenal. The large size also allows for a hefty 5000 mAh battery, with 5W of reverse charging ability for earbuds and other devices. Perhaps mindful of the target audience, Nothing claims the Phone (3a) Lite can manage 22 hours of YouTube playback or 9.5 hours of gaming on a single charge.

Curiously, Phone (3a) Lite’s biggest competitor is another runner from the Nothing stable, the CMF Phone 2 Pro. The latter starts at £249 and shares the exact screen dimensions, although with double the memory of the equivalently priced (3a) Lite.

Nothing Phone (3a) Lite, £249 / €249 (8+128GB) / £279 / €279 (8+256GB), Nothing.tech, @Nothing

Avoiding this clash of cultures was the impetus behind Bionic Labs, a Paris-based design studio founded by George Gibbens with the ambition of matching – even exceeding – the highest quality hardware with accessories and enhancements for the desktop. As Gibbens states, ‘good design should disappear into daily life’, and the output from Bionic Labs has tracked this ethos from the outset.

The first product from the Labs was a stand for the Apple Vision Pro, a carefully shaped object that started off as a 3D-printed titanium form, then was endlessly refined and revised until it resulted in the functional stand you see here. Capable of storing the headset, battery pack and neatly coiled cable, the base is made from matte-finished milled aluminium with the stand available in polished stainless steel. A black finish is also available.

Gibbens has expanded his portfolio to include vertical stands for the MacBook – useful when working with an external monitor and keyboard – and a dock designed for the highly-rated Apple AirPods Max over-ear headphones.

With the maxim ‘Make Something Wonderful’ in mind at all times, Gibbens has also shaped another pair of handy Mac accessories, the Magic Duo Tray and Magic Duo S Tray. These allow one to combine an Apple Magic Keyboard and Trackpad together in one unit, either stacked or horizontally, further decluttering the desktop.

Also coming soon is an all-aluminium Vision Pro Travel Case to go with the new Vision Pro Tray, an extravagant take on the desk tidy for Apple’s AR headset. Other items in the Bionic Labs catalogue include chargers and monitor stands, all sharing a unified, elegant aesthetic that shows Apple’s hardware at its best.

AirPods Max Charger, €185, Vertical Laptop Stand, €180, Apple Vision Pro Stand, €295, bioniclabs.org, @gobionic

The viewfinder itself uses a 5.76-megapixel screen for the highest possible image quality, along with a full suite of exposure data on display, without overlapping the actual image itself. Describing the innovation as a ‘milestone’ for this camera system, the new model joins the extant digital and analogue M cameras with their standard optical rangefinder.

The M EV1 is best paired with Leica’s fast Summilux and Noctilux lenses, both of which offer very shallow depths of field, and the system also assists when making pictures using telephoto, macro and even ultra-wide-angle lenses. The first digital M was 2006’s M8 and since then the ‘M’ range has expanded to include a variety of models that include the black-and-white only M11 Monochrom and the analogue M-A.

All models share an aesthetic, even if the details differ, and are handmade in Germany. The premium feel includes the precisely milled metal case and leatherette covering – here finished with a unique pattern to distinguish it from the rangefinder models. The new EVF has a real-time exposure preview for even more creative control and can be finely adjusted to suit variations in user’s eyesight.

The viewfinder is paired with a touch panel on the rear of the camera and operation of the latter ceases when the eye sensor detects the use of the EVF. The M EV1 has integrated focus assist and a focus zoom option for fine-tuning manual focus, the operation of which can be triggered by the lever on the front of the camera, along with the digital zoom function.

The M EV1 comes with Leica’s Maestro III chip for image processing, along with 64GB of internal memory (and an SD card slot, of course). Connectivity via cable, Wi-Fi and Bluetooth links the camera with Leica’s FOTOS App for additional processing, with low-energy Bluetooth capable of automatically uploading images to a smartphone as you shoot. Another key technology is Content Credentials (also used on the M11-P and M11-D), a digital signature system that can trace post-processing and track the image’s origins.

Leica M EV1, £6,840.00 / €7,950.00 / $8,995.00, Leica-Camera.com, @Leica-Camera

Now Danish studio Swift Creatives is on the case, only this time there’s even more of an android element. Conjured up by the studio’s Innovation Lab, this trio of wooden bots – Beamer, Hover and Bot – combine richly crafted and turned Danish wood with subtle notification-activated motions.

These motions are intended to tug at our emotions, not alarm us with lights or vibration, with what the studio calls ‘Kinetic Tech’. Each of the three smart objects has its own motion, with tilting, twisting and nodding ‘heads’ that serve as a visual (and gentle audio) cue that something has happened – be it a message notification, a delivery or whatever you desire.

The three are compact (153mm for Beamer, 164 mm for Bot, and 170mm for Hover), designed to slot into shelves of ornaments or among desktop devices. With their soaped and smoked oak finish, Swift Creatives describe the bots as a blend of ‘Danish design tradition with embedded sensors and software’.

‘In Denmark, we’ve always had a strong tradition of craft and natural materials, thanks to the work of designers like Kay Bojesen,’ says lead designer Lars Lynggard, ‘These wooden bots extend that heritage into the connected age, making technology that children, parents, and even grandparents can welcome into their space.’

Swift Creatives incubated the project in the firm’s Innovation Lab, what it describes as an ‘internal playground for future thinking’. Every aspect of the designs, from initial concept designs to prototypes and the final beautifully crafted oak objects was done in house.

‘The Innovation Lab is all about staying curious, experimenting, and making ideas tangible,’ says Carsten Eriksen, the studio’s CEO Founder, ‘Beamer, Hover, and Bot are perfect examples of how a small concept can evolve into something that blends design, craft, and technology – and can also be warm, visible, and joyful at the same time.’

The Wooden Bots are concepts only. SwiftCreatives.com, @SwiftCreatives_story

These are the viewers who eschew the physical inconvenience of a physical television and don’t want their viewing – whether communal or individual – defined by any single space. Projection solutions therefore need to be simple to set up, capable of being slung in a bag alongside a smart speaker and – preferably – powered by a battery as well as the mains.

Vibe by XGIMI ticks all these boxes. The new brand’s first product, Vibe One, is described as a ‘lifestyle companion’, portable tech that can create cinematic feel regardless of the space. The intention was also to keep the tech specs high so there was no equating ‘entry-level’ with ‘low budget’, presumably setting up a pathway to XGIMI’s larger and more powerful models down the road.

To date, XGIMI has sold 7 million projectors around the world since 2013. The company is clearly hoping to conquer all corners of the projection market and recently unveiled a commercial-grade model at IFA Berlin 2025.

Vibe One integrates playful elements like a choice of two highlight colours (Cloud Ash and Blue Spark ) and an onboard ambient lighting mode. The twin 3W speakers come from JBL and also allow the unit to function as a standalone Bluetooth speaker.

On board you’ll find 1080p projection with the OS handled by Google TV, together with onboard Netflix. A built-in stand facilitates positioning, as does the automatic keystone function and (optional) portable battery (although the mooted 1.2 hours of playback won’t make much of a dent in most boxsets). Nevertheless, the price point and unfussy design make this machine worthy of further attention.

Vibe One, Vibe by XGIMI, $199 / €249 / £219, XGIMI.com

All this sweet industrial music is the sound of a hand-tooled production line, of multiple squads of dusty, visored, apron-wearing craftspeople building the 79-year-old company’s next generation of instruments: the American Professional Classic series.

‘People have this idea that when we mass-produce guitars, you throw a piece of wood in a giant machine and it spits out a guitar at the other end,’ says Allen Abbassi, director of Product Management at Fender Musical Instruments Corporation. ‘Nothing could be further from the truth. We do take advantage of modern technology with CNC machines that cut the bodies and necks initially. But there are over 150 hand processes that our operators perform on these guitars when they’re building them.’

After a protective goggle-sporting tour of the Corona facility – where the action is louder than many of the gigs I’ve been to – 52 miles east of Fender’s corporate HQ in Los Angeles, I can confirm that Stratocasters, Telecasters, Jazzmasters and Jaguars are indeed built, with care and precision, from scratch over some 22 days, starting with sawmilled hunks of ash, alder and rosewood. And also what Abbassi says is true: ‘The guys in the factory [are] artisans.’

Fender doesn’t just build guitars in the USA. The company’s factories in Mexico, China, Indonesia and India take care of more volume-focused models, including the Squier sub-brand, while Japan is another source of more specialist models. Corona, however, remains the motherlode, the most visible demonstration of the art and craft of modern guitar making.

‘The computerisation is really just to nail the geometry and the math,’ says Justin Norvell, president of Fender’s Americas division, talking of the iconic curves and contours of the company’s foundational rock’n’roll guitars, when we meet the following day in his Hollywood office. ‘Then hands blend everything and make everything work and get everything to fit – and wake it up as a product.

‘It’s not just the ingredients coming together,’ this tattooed C-suite rock stan continues. ‘It’s a system, and it’s the way that we put it together. If I make a meal next to a master chef out of the same recipe, mine’s not gonna be as good as theirs. So that love, that hand care – sanding off the edges of the fretboard that makes your hand fit like your best pair of jeans – is all-important to what makes these instruments iconic.’

With this new range, that iconography continues. The American Professional Classic series is ‘kind of a little brother to the American Professional series’, explains Abbassi. He’s standing, cradling one of the box-fresh new instruments, shiny racks of others behind him, in a demonstration space outside a Fender HQ meeting room labelled ‘Johnny Marr’ (one of the company’s ambassadors).

‘The “Classic” part is that all these guitars have a vintage vibe to them. In the 1950s and 1960s, Fender used very specific parts and styles of pick-ups. All these guitars represent that very well – they have vintage-style bridges and tuners. So they have this really beautiful, bell-like, chime-y sound that Fender’s known for,’ he says, pealing out a chord. ‘All the instruments are very personal,’ Abbassi adds. ‘They can be used for virtually any kind of music, from rock to funk to blues to punk.’

And they’re ready to rock. For all their design studio beauty, with a (relatively) accessible starting price-point of $1,499.99/£1,499 (€1,799, AUD2,599, ¥242,000), ‘these are road-worthy, ready-for-the-stage guitars that you could grab right off the hook [in] a store and go right to a gig and play’.

That vintage DNA is equally represented in the new series’ look. The colourways are also heritage: in the mid-20th century, Fender ‘borrowed’ from American car companies, spraying exactly the same lacquer paint on their guitars. ‘Lake Placid Blue Metallic was probably on some old Ford,’ says Abbassi. ‘Firemist Gold, Sherwood Green Metallic – these are all colours from the 1950s and 1960s.’

To put a contemporary spin on these heritage hues (which also include Dakota Red, Butterscotch Blonde and what Abbassi accurately describes as ‘the most ubiquitous and fan-favourite Fender colour of all time’, 3-Colour Sunburst), Fender has, paradoxically, found something ‘new and exciting’ by fading some of them, just as those old automobile lacquer paints would have faded.

The team researched washed-out, 70-year-old guitars online and at storied dealers such as Norman’s Rare Guitars in Tarzana, California. Then they chose the hues they wanted, finessing those with paint company TCP, with ‘samples flying back and forth’ (‘make it five per cent darker’); it sometimes taking ‘eight to ten versions’ to arrive at the right shade.

‘So they have almost a patina to them. For instance, this [Stratocaster] HSS strap here,’ continues Abbassi, pointing to another instrument, ‘is a Faded Black. It’s almost like a beautiful, blue-hued charcoal.’

‘Or an old T-shirt,’ chimes in Joey Brasler, VP of Product Management, with a grin. ‘That’s what it’s supposed to be.’ Explaining further, he says: ‘Justin’s the one that came up with the faded black. He ran to his office and came back with – literally – an old T-shirt. So we took pictures of it…’

‘I have a vintage black Clash T-shirt that I bought in Tokyo,’ says Norvell, sat at his desk in front of a Shepard Fairey stencil rendering of Joe Strummer, another previous Fender collaborator. ‘It’s the idea that a brand-new black T-shirt isn’t the same as a faded, worn one. It’s that aesthetic [that speaks to the fact that] so many of our instruments are heirlooms. They live for decades. People are still playing ones from the 1950s. A lot of your favourite artists are still playing the guitar they had forever. How do you imbue the age into something, but without necessarily really beating it up? So it was the idea of ageing these vintage colours… How can we reinterpret them… in a new way that is still aesthetically comfortable?’

All that vintaging? It’s about evoking serious use and serious love. These are not museum pieces, or art pieces. They’re certainly artful, but of fundamental importance is the guitars having both utility and a baked-in, respectful feel of heritage. As Norvell puts it: ‘The history of Fender is littered with cultural moments that are the soundtrack of people’s lives – whether that’s Buddy Holly on The Ed Sullivan Show, The Beatles on the [Savile Row] rooftop, [The Clash’s] London Calling, or Hendrix playing ‘The Star-Spangled Banner’ at Woodstock or lighting his guitar on fire [at the Monterey Pop Festival in 1967].

‘This culture map of music is inexorably linked to Fender,’ the exec continues. ‘So harkening to the past in that aesthetic way makes a lot of sense – and puts you more in touch with that past. Things that are classic or vintage, we don’t view as necessarily just old. They’re the icons that are timeless, not just timely.’

That timeliness is working in other ways, too. After years when guitar music – whether hard rock, indie or pop-leaning – has felt moribund and, frankly, unfashionable, there’s a resurgence afoot.

That’s embodied in younger British artists such as this week’s Mercury Music Prize winner Sam (no relation) Fender and The Last Dinner Party, and in insurgent American acts such as Geese or Turnstile, the latter the Baltimore hardcore outfit who are fronting the American Pro Classic campaign. It’s embodied, too, in the widening appeal, outside the US, of country music – a sound that’s embodied by the Telecaster.

‘Country’s been huge,’ acknowledges Norvell, adding that that’s certainly been good for FMIC business. But he also cites ‘pop artists choosing to grab guitars, like Olivia Rodrigo’, plus artists who are ‘bubbling up – you can feel that there’s a groundswell occurring. There are small things, too – the shoegaze revival, nu-metal revival – [where] you can feel the guitar tide level is coming up. But also,’ he adds with a defiant, true-believer flourish, ‘it never went away.’

And of course, this is also the year of the world-wowing Oasis comeback tour. Post-Live ’25, does this music obsessive – who is, naturally, himself a guitarist, his own cherished instruments propped against the wall in his office – think we’ll see a generational bounce of new players? He nods.

‘[With] all of these bands that have dusted it off and come back out, the Gen X-ers are bringing the kids,’ Norvell says – an observable fact to which anyone who witnessed the enraptured, all-ages audiences at this summer’s Oasis shows around the world can attest. ‘But the kids have grown up on this stuff, too. And are inspired by it. It’s definitely something we’re hopeful of – and it feels like it’s happening. You can sense that the guitar is entering another cycle of relevance and coolness.’

The Fender American Professional Classic Series is available globally now. For more information, please visit Fender.com, @Fender

Jonathan Marcoschamer, Founder and CEO of OpenSeed, describes the Iris Pod as a support for professional workers in high-stress environments, with a focus on healthcare-based workspaces as well as the expected corporate and hospitality clients. ‘We’re thrilled to introduce the much-needed Iris Pod to the world,’ says Marcoschamer, [it provides] a solution that not only addresses a real problem but also serves as a gateway for countless people to begin meditating and accessing higher states of mental wellbeing.’

In development for three years, the compact structure creates an all-enveloping ‘womb-like’ space in which to retreat completely from daily noise and stress. With integrated vibro-acoustic technology, along with light and aromatherapy options and piped-in custom soundscapes and guided meditations, OpenSeed reckons that it’ll take just 12 minutes for the Iris Pod to increase the subject’s alpha waves, traditionally associated with a more restful state.

The idea of ‘designing for human recharge’ underpinned Fuseproject’s approach. ‘[We wanted to] seamlessly connect human-centered design with the science of wellness,’ says Béhar, ‘The pod is designed to be an intentional and intimate wellness refuge where calm and connection are realized. A new aesthetic created with felt and wood materiality complements its surroundings while maintaining its design-forward presence.’

To achieve all this, the Iris Pod is well insulated against sound, with vibro acoustic flooring to match the felt-lined walls. The bent wood structure and bracing is an aesthetic match for upscale office interiors, and the Pod itself has a soft locking mechanism and a ‘do not disturb’ indicator.

‘Fuseproject has been an extraordinary partner throughout the OpenSeed journey,’ Marcoschamer says, ‘Their unique ability to bridge design and wellness helped us bring a bold vision into reality, shaping a product that’s now ready for the world. From the very beginning, they understood this was never just about building a meditation pod - it’s about building a movement to make wellness accessible to professionals everywhere.’

The Iris Meditation Pod builds on the company’s initial Pod design to create something better suited for integration into a workspace without appearing too corporate or ‘appliance-like’. To date, OpenSeed has worked with major companies like Morgan Stanley, Deloitte, Fairmont Hotels, and the Canopy Co-working spaces to install the product.

Fuseproject.com, @FuseprojectSF

Tuux.mx, @Tuux.mx

OpenSeed.co, @theOpenSeed

But can old technology be made smarter? That’s the core ambition of the Ollee Watch project, a unique development kit that aims to transform the humble Casio into a modern, multi-functional device without losing any of its classic aesthetics. Designed for several key models, including the F-91W and A158W (both from 1989), the project has been in development for the past 18 months by a long-term fan of the brand, Gregor Simeonov.

The Ollee watch is sold as a kit, a simple replacement circuit board and optional NFC tag (Near-Field Communication ) that can be installed in a watch in a matter of minutes. ‘Everything was done in-house – from the hardware design to all of the firmware running on the watch module itself,’ says Simeonov, an electric engineer. That firmware includes the kind of functionality that was simply inconceivable back in the late 80s, including fitness and activity tracking.

It's not as if Casio has ever scrimped on technical accomplishment – the VDB-200 model had a touchscreen interface way back in 1997, whilst generations of 80s and 90s schoolchildren were in thrall to the C-80 calculator watch from 1980, or the CD-40 Databank watch from 1983.

Simeonov describes the original A158W as ‘an amazing time piece - the combination of aesthetics, functionality, build quality and no hassle battery life, all at a reasonable price… [It’s] a quiet engineering marvel in my opinion and the embodiment of “less is more”.’

The new module allows the Casio to be paired with a dedicated smartphone app (available on both Android and iOS), using the original LCD screen to display a variety of new information and functions, ranging from world time, timers and alarms and even a step counter. If you install it into one of the black resin-bodied watches, you can also use the NFC tag to trigger programmed actions.

‘The hardware itself took four iterations to get right,’ Simeonov explains, ‘Once the bugs were knocked out in the first version, the following revisions were more to experiment with feature sets - for example one version had a working compass, while another version had double RGB LEDs - neither of these variants made it to production.’

Although this kind of kit-based electronics project is aimed at perennial tech tinkerers, it serves as a welcome reminder that with the right motivation, old school electronics can have an even longer lifespan than first envisaged.

For more information visit OlleeWatch.com, @OlleeWatch

To highlight the extremes of available tech we’ve found two new projectors at opposite ends of the scale, even though both lay a claim to portability. First up is the ultra-compact Dali 1 from Chinese brand Wanbo. Offering a maximum screen size of 100 inches and a more achievable 40-inch screen (the throw ratio is a medium 1.25:1 – for every 1 foot of image width the projector needs to be 1.25 feet away), it supports HD (1280 x 720).

In this age of 4K streaming, that’s on the low end of image quality, and the sound – allocated to twin 5W speakers – isn’t exactly going to replicate the cinema experience either. Audiophiles might want to stream wirelessly to Bluetooth speakers or headphones or even use the 3.5mm audio jack to plug the Dali 1 into a regular system.

With that said, any additional paraphernalia lessens the little white cube’s size advantage. Weighing in at less than a kilogram, the Android-based Dali 1 doesn’t skimp on features. Switch it on and an automatic screen adaptation sequence will run to sort out size, shape and focus of the image. Key streaming platforms can be accessed directly from the device, which can also mirror your phone screen via AirPlay.

For a more grandiose experience, consider the Nebula X1 Pro, billed as the ‘world's first mobile theatre station with 4K laser projection.’ On board this mighty wheeled machine (which weighs in at nearly 33kg) are four speakers and two integral sub-woofers.

The front pair of speakers fold out to create a true stereo image, while two additional wireless surround speakers are stowed at the rear and can be placed to create a massive soundstage with Dolby Atmos compatibility. The audio system has a total output of 400 watts, and the wireless speakers have eight hours of battery life and charge when docked.

The X1 Pro projects up to a maximum size of 300 inches (25 feet), with a full suite of adaptive image settings to control brightness and alignment. Soundcore also offers a 200-inch inflatable screen if you don’t have a handy wall (or sail) to project onto. Soundcore claims near-silent operation thanks to an internal liquid cooling system, and the X1 Pro comes with Google TV built in. An HDMI port allows access to virtually all other sources. Now all you need is the space.

Wanbo Dali 1, £129, Amazon.co.uk

Soundcore Nebula X1 Pro, $4,999.99, pre-orders via Kickstarter.com, Soundcore.com

It’s been nearly a decade since Apple’s first AirPods ushered in the era of untethered listening – an innovation that transformed how we move through the world with sound. Early iterations were imperfect, often prone to sound leakage and inconsistent audio quality, but the category has since evolved dramatically.

Today’s leading models pair airtight comfort with advanced noise cancellation, refined acoustics and smart design, though their diminutive proportions still impose practical limits – namely battery life, with most offering under eight hours of continuous playback before a recharge is required. Silicone and foam tips now deliver a more tailored fit and impressive sound isolation, though some listeners may still find prolonged wear less than effortless.

What we’ve tested

In this article, we’ve tested a selection of the best in-ear headphones, looking at elements such as comfort, sound quality, design, charge case, performance, software, and compatibility; every product has undergone extensive testing, and meets a quality benchmark that means we’re happy to recommend them to you.

Running Spotify Premium on the latest Android and iOS devices, we’ve tried out the following in-ear headphones:

• Apple AirPods Pro 2
• Bang & Olufsen Beoplay Eleven
• Bose QuietComfort (2nd Gen)
• JBL Tour Pro 3
• Nothing Ear
• Sony WF-1000XM5

Whether you’re looking for the highest degree of comfort, a secure fit, ultimate sound quality, or the most effective active noise cancelling (ANC), these in-ear headphones provide an excellent choice, whatever your needs.

Bose QuietComfort Ultra Earbuds (2nd Gen)

Apple AirPods Pro 2

Bang & Olufsen Beoplay Eleven

Sony WF-1000XM5

JBL Tour Pro 3

Nothing Ear

The company’s X Ultra device is worn strapped around the waist: a battery-powered motor at each hip, linked by a carbon fibre and titanium alloy armature to a fastening fitted just above each knee, responds to input from sensors/algorithms to push or lift your leg forward with less effort than required by human power alone.

While the 1.8kg X Ultra – the most advanced of a line of Hypershell products, and at £1,599 the most expensive – does not make you move faster, the company claims that independent testing shows it gives a 20% reduction in physical exertion when walking and a 39% reduction when cycling.

Hypershell sees the market for the X Ultra being two-fold: for enthusiastic walkers, who want to sustain their time spent in the great outdoors, and those who – through some mobility issue – would benefit from the assistance. The company does, however, stress that it is not a medical device, unlike other exoskeletons used in physiotherapy.

Kent Xu, head of brand for Hypershell, argues that while the company’s development of the right tech has made the X Ultra possible – not least of compact 1000w motors with an impressive torque-for-weight ratio – its message is less one of gadgetry so much as advocating for exoskeletons’ lifestyle benefits.

‘It’s about bringing people more confidence, that they can walk further, or that they can [walk as they used to] if they now tire easily or have any pains,’ he says. ‘The big challenge for us is that people may have heard of exoskeletons in an industrial or medical setting but the idea [of a leisure version] is still very new to most. They have no idea what it would be like to use or what benefit it would bring.’

Xu argues that the market for consumer exoskeletons is currently akin to the first e-bikes – initially considered oddities but increasingly appreciated for the blend of performance and recreation that they offer and now expected to be a $50bn a year market by the end of the decade. It’s just a matter of time before the wearing of exoskeletons – as strange as they look – will be normalised too.

That said, he concedes that aesthetics will be an important part of the success of the X Ultra – some 15,000 units of which have been sold since the start of this year - not least because 'consumer exoskeletons are such a new category [of wearable tech] that people are going to look at anyone wearing one. We don’t want wearers to feel weird, so a functional elegance to the design is important'. The answer? A product with the right touch of Bondian Q department cool about it.

Improvements are planned with future versions of Hypershell’s exoskeleton, including extended battery life - the company claims around 30km per battery in the device’s standard ‘eco’ mode, though this is considerably reduced in its most powerful ‘hyper’ mode – and plans for a lighter-weight, breathable 3D printed cushioning, currently in development. The device also has a ‘fitness’ mode that actively resists movement - for those who want to make walking a bit harder.

1. Roland TR-1000 Rhythm Creator

A major release from Roland, originators of the modern era of drum machines back in the early 80s. The new Roland TR-1000 Rhythm Creator is a powerhouse of beat making, a vast device that incorporates an analogue sound engine, replicating the original sonic library of the TR-808 and TR-909 drum machines, along with fully digital sampling, editing and manipulation tools. There’s literally nothing this machine can’t do, and its size and price reflects that.

Roland TR-1000 Rhythm Creator, £2,279, Roland.com, Andertons.co.uk

2. Beat Buddy 2

Those who desire a more portable source of rhythm, without crunchy analogue textures or world-class sampling, consider Singular Sound’s new Beat Buddy 2. This is essentially a practice tool for guitarists and other pedal-using musicians, capable of providing backing tracks, fills and intros that can be programmed in various combinations using a selection of different drum sounds. An optional pedal board, the Super Switch, provides even more flexibility.

Beat Buddy 2, $499, SingularSound.com

3. Boss PX-1

The undisputed masters of the guitar effects pedal, Boss, have ventured into controversial territory with the new Boss PX-1. Following the same physical format as the Roland’s subsidiary’s long-running range of compact pedals, first introduced in 1976, the PX-1 packs a digital core that allows for up to 16 digital recreations of classic effects, including the CE-2 chorus that started it all, the PN-2 tremelo and the DD-2 digital delay. It’s controversial because only eight effects are baked in and the rest require an additional payment. Such subscription models are frowned up in audio circles, and it remains to be seen if Boss will continue to expand the PX-1’s abilities in the years to come.

Boss PX-1, £229, Boss.info, Andertons.co.uk

4. Demon Box

The Demon Box is a machine offering a fresh approach to sound design. Based around the concept of transforming electromagnetic fields into audio waveforms, the Demon Box works when paired with an object like a cell phone, a power drill, an electric toothbrush, etc., into sound and MIDI note information. You can even tune into the background hum of invisible electronic noise to conjure up soundscapes.

Demon Box, $999, Eternal Research, EternalResearch.com

5. Chordcat

The Chordcat is a compact groovebox from AlphaTheta designed to conjure up chord progressions, drum patterns and sketch out the bare bones of a song. Progressions and patterns can be transferred to a computer, or the Chordcat can be used as a MIDI controller to drive external gear. Powered by mains or batteries, the emphasis is on portability and accessibility.

Chordcat, £239, AlphaTheta, AlphaTheta.com, theDJshop.co.uk

6. Vector Synth

The Vector Synth is a hugely flexible synthesizer that uses a combination of physical controls and a responsive touch screen interface for sound design. The possibilities on offer are endless, whether as a standalone device or as part of a larger system, with onboard effects adding another layer of manipulation.

Vector Synth, €1,165, Beetle Crab Audio, BeetleCrab.Audio

7. Zoom H6studio

Zoom have launched the latest in the long line of ‘H’ series handheld multitrack recorders. The H6studio can record six simultaneous tracks of audio, with high-quality onboard microphones and four versatile inputs. Aimed at musicians, podcasters, filmmakers and anyone interested in the remote capture of perfect audio, it can also be used as an audio interface.

Zoom H6studio, £384, ZoomCorp.com, Andertons.co.uk

8. CDJ-3000X

Formerly branded as a Pioneer, AlphaTheta’s CDJ-3000X is the industry standard DJ performance device. A heavy-duty machine designed for live performance as well as the studio, the CDJ-3000X offers expansive connectivity to cloud services and streaming platforms, as well as the ability to display 16 tracks simultaneously on the 10.1” touchscreen to facilitate selection and mixing.

CDJ-3000X, £2,399, AlphaTheta.com, Andertons.co.uk

9. Akai MPC Live III

Finally, a new iteration of Akai’s evergreen MPC, which first arrived in 1988 and quickly became a mainstay of hip-hop production, amongst other genres. The newest model is the MPC Live III, an all-in-one workstation that offers everything you need to create a track from scratch. Powerful sampling facilities are paired with sequencing and effects, with the MPC’s signature grid of pads updated and enhanced for the new generation. The latter also makes the MPC a powerful live performance machine, while the onboard speaker and battery allow you to work anywhere.

Akai MPC Live III, £1,399, AkaiPro.com, Andertons.co.uk

To celebrate 60 years of the Radiofonografo, Brionvega has a numbered limited edition of 60 units, created in collaboration with the Italian artist and designer Elena Salmistraro. The company has kept the radiogram in production, ensuring its status as a design classic (its presence in the collection of MoMA NY and Milan’s Triennale Design Museum helps as well), while also subtly updating its performance for the modern age.

The Milan-based manufacturer has stopped short of giving the unit a full digital makeover, however, but keeps a palette of bold colours (white, orange, red, blue and ciliegio cherry wood) in a nod to its 1960s heritage.

The new edition introduces a new colour palette to the range, with soft green surfaces paired with details in a warm tobacco finish, including the dials and buttons and the speaker grilles. These sit above a matte black aluminium base, with a smoked turntable cover protecting the Pro-Ject sourced turntable and Ortofon stylus.

‘I had the honour of working on an object that, still today, represents an unsurpassed example of design and ingenuity,’ says Salmistraro, ‘From the very beginning, my approach was guided by the utmost respect for the original work: a project that requires neither functional nor formal changes, because it is perfect in its essence.’

That perfection extends to AM/FM radio only, and 125W + 125W of output. External sources can be input via regular RCA connectors and there’s also a headphone jack. Anyone wanting modern streaming solutions should look elsewhere, or else take a cue from famous owners like David Bowie, who relished the Brionvega’s physical presence as much as its sound (just as Achille Castiglioni intended).

The company also offers a reissue of Mario Bellini's classic 1971 Totem hi-fi system (albeit with added DAB and USB) and Richard Sapper and Marco Zanuso’s 1964 ts502 radiocubo. In recent years, the company has revived its design collaborations, working with Michael Young on a smart speaker. As has been the case for the past 60 years, the Radiofonografo is handmade in Italy.

Brionvega Radiofonografo 60th anniversary, price on application, Brionvega.com, @Brionvega

This new collaboration is a case in point. The McIntosh MA8950 x Virgil Abloh Integrated Amplifier was created especially for the new exhibition, ‘Virgil Abloh: The Codes’, at the Grand Palais in Paris. The amplifier was developed with McIntosh Laboratory, Inc, an all-American audio firm with a stellar reputation for high quality and robust, premium devices. The blue VDU displays, hefty cabinets and sheer sonic power have made the company a force to be reckoned with since it was founded in New York in 1949.

The McIntosh MA8950 x Virgil Abloh amp illustrates the company’s handcrafted process, with a bold orange finish that references many of Abloh’s more experimental pieces. The origins of the collaboration date back to early 2020, when Abloh – who had a long personal association with the audio brand – reached out to McIntosh to discuss a potential artistic proposal.

Now that device has been brought to life in this vivid one-off, an amplifier that stands alone but also acknowledges the importance of music and culture to Abloh’s practice over the years. Revealed to the world on 30 September 2025 – which would have been Abloh’s 45th birthday – the amp can be seen at ‘Virgil Abloh: The Codes’ (tickets here), which runs throughout Paris Fashion Week and ends on 9 October 2025.

VirgilAbloh.com, @VirgilAblohArchive, @VirgilAbloh

McIntoshLabs.com, @McIntoshLabs

First things first. The smart home didn’t really work, did it? Even Google admits as such. Ten years or so after the first devices appeared touting connectivity and controllability, the much mythologised ‘internet of things’ remains the domain of a small but dedicated coterie of home hackers and tech enthusiasts. For the rest of us, add or remove one element from this carefully constructed house of cards and you’re in danger of demolishing the whole edifice.

Enough of all that. The big news for late 2025 is the replacement of the Google Assistant with Google Gemini, part of the creeping AI-ification of every facet of our lives. Perhaps this one will be a little different. Many of us – this writer included – use Google Assistant more than we know. Like Alexa or Siri, Assistant sits within our phones and smart speakers and can usually be relied upon to deliver a weather forecast, perform a simple calculation, answer a question or stream a radio station.

And yet. Assistant often acts like a glorified gopher, with responses like ‘I found a website that might be useful’ when it can’t drag up the answer itself. Gemini will change all that, in ways that can scarcely be imagined. According to Google, this step change ‘turns the page on the last era’ and introduces a new age of ‘helpful, proactive’ home AI.

From the outset, Gemini for the home will manifest itself in a more familiar, conversational and natural way, with ten new natural language voice models complete with more realistic pacing and cadence. Anyone who’s used Gemini’s voice recognition capabilities will know that it is a very companion-like experience.

What will change the domestic manifestation is the system’s ability to define and utilise context. Not only will we be able to chat back and forth with our freshly Gemini-enabled devices, but the system will be able to infer all sorts of background information from other connected sources – your calendar or contacts, for example.

In addition, these smart(er) capabilities will also be baked into Google’s Nest series of security cameras, both indoor and outdoor, as well as the Nest doorbell, almost a ubiquitous piece of home tech in certain American suburbs. Even Walmart’s ultra-budget ‘onn’ range will be able to hook up to the system.

And what does the system entail? For Google, the overarching ambition is to streamline the use case and make everyone’s vast database of imagery and information more easily searchable. It’s a valid point. Those familiar with the Nest system will know that the currently ‘dumb’ system spews endlessly notifications, triggered by movements indoors and out, be they pets, children or passing cars.

With the ‘semantic scene understanding’ introduced by Gemini, notifications should become incredibly specific: ‘UPS driver left a package on the porch by the chair,’ or ‘a woman in an Amnesty International T-shirt range the doorbell and waited for two minutes.’

All of this data gets distilled into a ‘Home Brief’, a daily summary of what happened in your Nest-equipped home and environs. It’ll be a godsend for homeowner associations and neighbourhood watches, and a way of living a vicarious domestic life while you’re trapped in your cubicle at work. All this is controlled through an updated, streamlined and enhanced Google Home app.

Cameras have been given greater 2K resolution and a wider field of view, all the better to help the system decode what it’s looking at. The term ‘facial recognition’ wasn’t raised at the presentation, but it’s hard not to see how a swift cross-reference between your photos, contacts and calendar to see if anyone unfamiliar has been snooping around.

And of course, all of these watching and listening capabilities can be smooshed together in myriad ways through custom automations. This is where hobbyists have traditionally excelled and the rest of us lost heart after the massive achievement of programming the Christmas lights to switch on when it gets dark. Put simply, an automation is simple programming – if this happens, do that.

These days, ‘programming’ is a bit of a misnomer, as automations can be built by simply asking Gemini to put them together – just enter ‘At night, if no one is home, use lights and TV to make it look like someone’s home’ and hey presto, your eco-system of Google-enabled devices will club together to create a simulacra of a bustling hearth.

Other devices can also be accommodated into this web of connectivity, starting with Google’s own Nest thermostat and extending to a growing family of smart devices. Google’s own products are made with recycled plastic and err on the affordable side, all the more reason to get as many as possible. The former Nest Aware subscription service will be bundled into Google Home Premium, and the company is also striving to consolidate all the Nest app features into Google Home.

Why go premium? It’s all about the data. If you’re onboard with surrendering every bump and rustle of your home to the company’s servers, you’ll have a rich seam of searchable data to draw on. Standard ($10/month or $100/year) subs enable you to save 30 days of ‘event-based video history’, a capability that doubles with the Advanced sub ($20/month, $200/year). If you want summaries and the ability to search this history, you’ll need the Advanced package, which also delivers daily recaps of what’s been going on.

Finally, Google has baked all this capability into a new premium smart speaker, the Google Home Speaker. Available from spring 2026 in Porcelain, Hazel, Jade and Berry, the 360-degree speaker doubles up as a home theatre component, with a newly designed lower light ring that indicates when Gemini Live is active.

So what will this all mean? The law of unintended consequences plays fast and loose with technological innovation, and there are limitless scenarios opened up by having a searchable audio and video database of two months of domestic life. To European sensibilities, it’s all a little Black Mirror (particularly the Jesse Armstrong-penned episode ‘The Entire History of You’ from Season 1).

There’s also the suspicion that the smart home stuff is pitched at the modern American suburban experience, a tech-enabled personal empire of ennui where battles rage against porch pirates and scammers, furniture-shredding pets and thermostat-abusing WFH partners. It suggests whole neighbourhoods of Gemini-enabled ‘mockupants’, frantically and automatically running devices and switching lights on and off to simulate an active home life.

While this announcement was a good opportunity to launch next-generation camera and doorbell models, the biggest takeaway is that Gemini for the Home is coming to us all. That’s right – every single speaker, smart display, doorbell and camera ever made by Google will have these functions enabled in due course. An end to loneliness? Or the start of a deluge of data that threatens to drown us all?

Nest Cam Outdoor (wired, 2nd gen), available in Snow and Hazel, for $149.99

Nest Cam Indoor (wired, 3rd gen), available in Snow, Hazel, and Berry, for $99.99

Nest Doorbell (wired, 3rd gen), available in Snow, Hazel, and Linen, for $179.99

Google Home Speaker, available soon, Home.Google.com, Gemini.Google.com, Store.Google.com

The new LTPO3 wide-angle OLED face also pushes brightness up to 3,000 nits and improves legibility when viewed at an angle, a plus for trail runners and the like who want to take in what they need with a passing glance and avoid running into a tree. A more quotidian advance is the drop of the always-on refresh rate to one second. This means that for the first time, an Apple Watch can show a proper, ever-present ticking seconds hand, a small but oddly transformative shift.

The big news for those planning to get truly remote is that Ultra 3 is the first Apple Watch with built-in satellite communications, letting you send emergency SOS messages, share your location through Find My, or even, in the US at least, exchange short texts when you’re beyond cellular range.

Apple first tested this capability on iPhone, then miniaturised the antenna and radio to fit into a 49mm case. It’s an innovation that, along with its now-100m water-resistance, MIL-STD toughness testing and the Action button’s quick-access emergency siren, boosts the watch’s adventure sports bona fides. Ultra 3 also offers athletes finer GPS accuracy, new cycling metrics, and the ongoing partnership with Oceanic+ for dive tracking.

Battery life has always been the Ultra’s biggest advantage over the standard Apple Watch, for civilians and all but the most ultra of ultra runners, and the third generation stretches that advantage further. Apple claims up to 42 hours of daily use, or 72 hours in Low Power Mode. That puts it comfortably ahead of the Series 11, which does now reach a full 24 hours for the first time.

Charging is also faster. The Ultra 3 delivers 12 hours of runtime from just 15 minutes on the charging puck, and a full charge in about an hour. That speed makes features like sleep tracking easier to commit to. A quick top-up before bed is now enough to carry you through the night.

Apple’s S10 chip also brings smoother graphics and better integration with watchOS 26’s new, love it or loathe it, Liquid Glass OS. Ultra 3 also comes with a couple of new Ultra-only watch faces, including the natty and useful Waypoint which allows you to place custom location markers around a rotating compass.

Apple has long pitched the Watch as both fitness coach and health monitor, and the Ultra 3 and the new Apple Watch 11 lean further into both roles. The headline addition is hypertension notifications, a background algorithm that analyses heart sensor data over 30 days to flag signs of chronic high blood pressure. Apple expects it to alert over a million users in its first year. Alongside this comes Sleep Score, a new 0–100 rating that promises to distil complex data into a simple rating of overnight rejuvenation.

For training, there’s also now Workout Buddy, Apple’s first step into AI coaching. It delivers personalised prompts and encouragement mid-session, tuned to your heart rate, pace and past performance. It’s less drill-sergeant than chirpy running mate and keeps coaching conversational and human rather than prescriptive. Possibly even more useful in OS26 is the ability to create custom Watch workouts on your iPhone’s Activity app, rather than fiddle about with inputting on the watch face.

Apple Watch Series 11: the pragmatic choice?

Apple Watch Series 11’s design carries over the slim, lighter form of last year’s Series 10. Aluminium models use a new Ion-X glass that is twice as scratch-resistant, while titanium options maintain sapphire toughness. Like the Ultra, it now offers hypertension notifications, Sleep Score, and Workout Buddy, all powered by the S10 chip.

With 5G built in and a brighter LTPO3 display, the Series 11 is less about transformation than about polishing the Apple Watch’s obvious credentials, discreet of design, adaptable, slip-under-the-cuff slim and, positioned between Ultra 3 and the SE3, still the ‘Goldilocks’ option for most.

Apple Watch Ultra 3, from £749, Apple.com

Apple Watch Series 11, from £369, Apple.com

Now Orchid is going worldwide. Parker, who is just about to kick Tame Impala’s Deadbeat Tour, which comes to Europe and the UK next Spring, runs Telepathic along with Ignacio Germade, Charl Laubscher, Chris Adams, Sophie Parker and Tom Cosm. From 10 October, the instrument will be available around the globe.

Orchid Drop 3 also marks the arrival of new firmware. New features bolster the Orchid’s claim to be a true ‘ideas machine’, and include the addition of pre-programmed beats, direct from Kevin Parker himself, a new filter effect, the ability to modify and save your own sounds, a loop save and recall function and 10 new synth sounds. There’s also a quantisation function.

On top of all this, Telepathic Instruments has announced Pistil, the software partner for Orchid. Available with purchase of the Orchid or as a standalone piece of software, Pistil is a plug-in that incorporates the Orchid’s synth engine and onboard sounds. These can be manipulated and synched with the device.

Availability arrives at 10am on 10/10. To bolster interest in the device, Telepathic has teamed up with Matt Berry and Jemaine Clement to create an ‘irreverent instructional video’ co-starring the Orchid. They join a roster of artists and musicians already using Orchid, including Kid Cudi, Janelle Monáe, Diplo, Fred Again, Madison Beer, Logic, and Gracie Abrams.

When we met Kevin Parker at a Telepathic Instruments event earlier in the year, he hinted that more machines could be on the way from the company, offering new ways to shape and create sound and music.

Orchid by Telepathic Instruments, $699, Pistil software, bundled with Orchid or standalone plugin, $129, TelepathicInstruments.com, @Telepathic.Instruments, YouTube

Swiss Tool Spirit X Plus Ratchet

Victorinox is best known for its evergreen Swiss Army knife, but those of a more practical bent would be best off getting hold of a Swiss Tool instead. The Spirit X Plus Ratchet model shown here has no less than 38 different functions, including tools to bend wire, open bottles and saw through metal.

Swiss Tool Spirit X Plus Ratchet, £279, Victorinox.com

Hoto 3.6V Screwdriver Tool Set

If you’re looking for a finely honed tool kit, Hoto’s award-winning screwdriver set will supply all your DIY requirements, whilst defying you not to return every last steel bit to its rightful place. A hammer and a measuring tape are also included.

Hoto 3.6V Screwdriver Tool Set, £69.99, HotoTools.com

Knipex Pliers

German brand Knipex makes professional grade tools for all manners of application. These chrome-plated compact combination pliers have a finely machined form and quality ensuring this multi-purpose tool will endure for generations.

Knipex Mini Combination Pliers, Knipex.com

Stanley Safety Knife

It’s a classic for a reason. Stanley’s ‘Safety Utility Knife’ has been the top choice for professionals, hobbyists and homeowners for over a hundred years. Although the name has been genericized, the originals are still amongst the best, with this spring-loaded model capable of hiding the blade in an instant.

Stanley Self-Retracting Safety Utility Knife, £11.20, StanleyTools.co.uk

Zenith 788 hole punch

The Italian firm of Balma, Capoduri & C. has been making stationery for over a century, refining many of its products over decades. The family company’s Zenith 788 hole punch is a good example. Hardly an essential item in the digital age, the mechanical simplicity of this folded metal, enamel painted desktop classic should last for ever.

Zenith 788 hole punch, £35 from LabourandWait.co.uk, BalmaCapoduri.it

Zenith 520 Gold desk stapler

Another enduring archetype from B,C & C, the Zenith 520 Gold desk stapler wouldn’t look out of place in a 30s Hollywood thriller. Featuring solid metal construction and gold-plated finishes on this particular example, the 520 has an enduringly straightforward mechanism.

Zenith 520 Gold desk stapler, £39.95 from GreenStat.co.uk, Balmacapoduri.it

Staedtler Mars 501 180 Rotary pencil sharpener

Staedtler has been making millions of pencils in Nuremberg for nearly 200 years. To keep these traditional writing implements on point, the best solution is the company’s own desktop rotary pencil sharpener. A hand-cranked classic, it takes a variety of diameter pencils and is both practical and soothing to use.

Staedtler Mars 501 180 Rotary pencil sharpener, £37 from CultPens.com, Staedtler.com

As the name suggests, CMF Headphone Pro are over ear wireless headphones. Unlike Nothing’s techy, quasi-transparent design approach, CMF is more about colour and form. The Headphone Pro is available in Dark Grey, Light Grey and a fetching Light Green, with a modular design approach that offers interchangeable ear cushions.

The design is bulbous and friendly, oversized in an almost cartoonish way with soft-touch surfaces, a well-padded headband and glossy earpieces that contrast with the matt pads. A full array of controls is spread between each ear, including a dedicated Action Button that can be customised to provide a shortcut to the Spatial Audio settings or an AI smart assistant.

As with all such devices, Spatial Audio is very much a matter of taste. There’s a choice of Concert Mode or Cinema Mode, both of which add a layer of synthesized ‘space’ via digital reverb and directional tricks. Most of us prefer to hear music reproduced the way it was intended to be heard, so Spatial is bit of a gimmick. Helpfully, the Headphone Pro adds a slider control for bass strength – a throwback to similar controls on Walkman-type players.

Volume is controlled via a Multifunction roller on the right earpad, which can also be used to switch between different levels of noise control (ANC) and the playback controls. In addition to this, the Action Button and the Spatial Audio system are all controlled via Nothing’s straightforward Nothing X app, an effective control centre for all of the company’s audio wares. Sound quality is really pretty good, helped by the strong isolation provided by the oversized earpads.

Headphone Pro is compatible with hi-res audio streaming and the Nothing X app also allows you build a ‘Personal Sound’ profile, which uses a short test program to calibrate your hearing response and frequency reception. This profile is then stored on the headphones but can also be transferred to other audio devices. There’s also deep integration with CMF’s watch and smartphone.

Nothing is claiming a maximum of around 100 hours of playback, providing you don’t have ANC switched on. Endurance halves if you’re taking advantage of the adaptive noise cancelling, but around five minutes of charge can supply another four hours of listening. Power can be transferred from a compatible smart phone, while a full charge takes two hours.

The Headphone Pro is also well equipped for voice calls, with three HD microphones and an Environmental Noise Cancellation system that cuts through background noise to keep your own voice clear. Finally, there’s an aux socket for regular wired listening should you so desire.

If the vaguely Dr Seuss-style form factor appeals, then the amount of functionality baked into the CMF Headphone Pro is truly remarkable for the price.

CMF Headphone Pro, £79 / €99 / $99 USD / $179 AUD, available from nothing.tech, @CMF.tech

Roberts Reva

Roberts started making radios back in the early 30s, starting off in the heart of London’s West End. After the war, the company created an enduring form factor in the RT1, taking advantage of new transistor technology to make a compact portable radio with signature leather bound case and carry handle. Revived in the 1990s, and turning round the ailing company’s fortunes as a result, Roberts has kept up the momentum with a blend of old school retro design and modern.

The latest model to emerge from the Surrey company is the Reva, a trapezoid-shaped desktop model that’s available in Black Leatherette, Pastel Cream Leatherette, or Cherry Wood finishes. A lot of useful options are included, from DAB, DAB+ and FM tuning, 40 presets, Bluetooth connectivity, an alarm, sleep timer, and USB charging port. The Reva has an enduring, friendly form factor, easy to use controls and a clear, dimmable screen.

Also new from Roberts is the compact Revival Mini 2, an ultra-compact DAB radio with all the functionality of the larger model plus the ability to operate off mains or batteries. A new colour display is paired with three different finishes, Midnight blue, Duck egg, and Pastel cream.

Tivoli Audio Model One Digital Gen 3

Tivoli Audio has announced the third generation of its Model One, an industrial-style box that has been given an aesthetic make-over since the last generation. The prominent geometric grille is available in gold (with a walnut case), silver (white case) and black on black, with a single dial/button for operation and a circular screen.

As well as DAB+ and regular FM, Tivoli have also included access to AirPlay and Google Cast, as well as Tidal and Spotify. Bluetooth connectivity is also available to make the most of the high-quality speakers and 20-watt amplifier, along with a 3.5mm aux jack (but no headphone socket, unlike the Reva). Finally, there’s also an alarm clock on board.

Ruark Audio R2 in Sea Mist

Ruark Audio’s evergreen R2 is now available in a new finish, Sea Mist. Paired with a grille of slender strips of Ash, the subtle green – ‘inspired by coastal horizons and crisp winter mornings’ – gives a boost to the zesty retro looks and beautiful materials of this smart radio and alarm clock.

In addition to DAB/DAB+ and FM there’s internet radio, Bluetooth connectivity, Aux and headphone sockets as the ability to charge USB-C devices or play mp3s from an external drive.

Given the reach of rivals like Amazon and reMarkable, Montblanc has a lot of ground to catch up on. It’s hoping to leapfrog to the top tier of the digital paper market by creating the first truly premium experience. That means creating not just the tablet itself, but the new Montblanc Digital Pen.

Developed in collaboration with San Francisco design agency Fuseproject, the pen draws clear inspiration from the Meisterstück, the 1924 fountain pen design that’s synonymous with Montblanc’s image and reputation.

‘When we design for a heritage brand like Montblanc, our job is to honour its past while creating a bridge to its future,’ says Fuseproject’s CEO Yves Behar. ‘Montblanc’s writing culture is legendary. Our role was to translate that culture into a digital experience that feels timeless and captures the emotional richness of handwriting,’

Many of the Meisterstück’s signature elements are present and correct on the Digital Pen, including the crowning emblem and the three metal rings, with a feeling of solidity and heft you just don’t get with an Apple Pencil or a reMarkable Marker. The studio also collaborated on the Digital Pen’s three interchangeable tips, Smooth, Linen and Matte, which offer a variety of writing experiences, unlike the one-size-fits-all approach of its rivals.

When combined with the variable tactility of the nibs, the high-resolution e-ink display promises to ‘deliver a realistic feel of paper’, with sufficient variety to accommodate different writing styles. With Fuseproject collaborating with Montblanc’s team in Hamburg on the Digital Pen, Montblanc set about shaping Digital Paper that met its exacting standards.

According to Felix Obschonka, Montblanc’s director of New Technologies, the intention was to bridge the worlds of digital connectivity and immediacy and the unrivalled feel of writing by hand. ‘While digital tools provide efficiency and convenience, handwriting offers a more immersive, reflective, and emotionally rich experience,’ says Obschonka. ‘It can ground us and inspire us in an increasingly fast-paced world. With the Montblanc Digital Paper, we have found a way to retain all the special qualities of writing by hand, while recognising the need for boundless space and effortless digital collaboration.’

Montblanc Digital Paper is intended for note-taking as well as making annotations on presentations, pdfs, documents and even e-books. The system boasts a search function that works with your handwriting and there are a number of templates included. Files are stored both on the device and synced to the Montblanc Cloud. It’s a premium take on the kind of eco-system others have honed and invested in for many years, so the key to a seamless future and loyal customers will be support and new features.

The Montblanc Digital Paper tablet is available in Mystery Black, Elixir Gold and Cool Grey, The Digital Paper unit can also be paired with Montblanc’s collection of calf leather folios, available in Mastic, Black, Ink Blue and Grey. Finally, the Digital Pen itself is available in Black, Grey and Ivory.

Montblanc Digital Paper, £750, Folios, £170, Digital Pen, £230

Montblanc.com, @Montblanc

Breville Barista Slimline

Breville’s Barista range of espresso machines has expanded by three, with the new models ranging from small to large. Espresso aficionados can start large with the Barista Sense (£599.99) and the Barista Classic (£499.99), but the sweet spot for a small space is the compact Barista Slimline. This machine measures 15.5cm wide, skips the grinder, but still has a 1.1 litre capacity and onboard steam wand.

Smeg ECF03

The more rounded, retro forms of Smeg’s new ECF03 conceal its dual functionality; not only is this a conventional compact espresso machine, but it also has a cold-brew option. The latter uses three customisable temperature settings for those looking to move away from piping hot doses of caffeine. In keeping with Smeg's focus on a forward-looking and bold palette, the ECF03 is available in black, white, cream and blue pastel.

Sage Oracle Dual Boiler

For more sizeable spaces, the new WiFI-enabled Oracle Dual Boiler from Sage is screaming for your attention. There’s a lot going on in this flagship machine, starting with a focus on precise grinding and advanced milk steaming, complete with the ability to change settings for dairy alternatives like oat, almond and soy milks.

Perhaps the only coffee machine to boast a quad-core processor, it also has a 5.7-inch touchscreen to help you navigate your way around the many brew customisation options, on top of the 15 preset drinks for those who want to go straight to a flat white.

Terra Kaffe Demi

Terra Kaffe’s new Demi espresso machine builds on the reputation established by its debut product, the TK-02. While the latter incorporates a large touchscreen, the Demi takes the minimal aesthetic further and swaps out the screen for an integrated invisible display. With industrial design from the Ammunition Group, the Demi is just over 25cm wide and is intended to be hidden away when not in use. The system starts with whole beans and is controlled by a simple stainless steel dial.

Aarke Coffee Maker

Aarke’s elegant Coffee System is now available in a muted matte black finish. The Swedish company’s component-based coffee-making kit launched last year in its signature stainless steel. The Aarke Coffee Maker and Coffee Grinder will be manufactured in the new finish, featuring the same levels of sophisticated engineering and design. Overseen by company co-founders and chief designers Carl Ljungh and Jonas Groth, the Aarke Coffee System fits perfectly into any kitchen.

Loewe’s first foray into over-ear headphones is the Loewe Leo. Right out of the box, the new headphones incorporate the latest suite of technology as well the latest codecs. This includes Hi-Res Audio Wireless support, Spatial Audio, Bluetooth LE, Dolby Atmos, and an Adaptive Active Noise Cancellation system with a full transparency mode. The headphones offer a maximum listening time of 65 hours.

Designed for portability and well as all-enveloping sound, the Loewe Leo has a fold-flat form factor and comes in midnight blue and moonlight beige with a matching protective hard case. There’s also a leather carry bag while the headband and cushions use soft leather, paired with anodised aluminium finishes. The company stresses that ‘most of the components’ in Leo are repairable and/or upgradeable.

All this is powered through Loewe’s own app, with a new profile system, ‘Mimi Sound Personalisation’. Loewe is also offering an integrated AI voice assistant with real-time translation, although it remains to be seen if this’ll match up to the quality of established services.

For those who want a step up from the everyday, Loewe has also announced a collectors’ edition, designed in collaboration with jewellers Jacob & Co. The Leo Bespoke edition consists of ten pairs of gemstone-adorned headphones, complete with six-figure price-tag.

Loewe Leo, €1,299, Loewe.tv, Loewe.International

These are not your typical mass-produced earbuds. Each Beo Grace is made from polished aluminium, as is the charging case. The company describes the earbuds as ‘a study in wearable sculpture’, and while we wouldn’t go quite that far, they have a polish and a presence that you won’t find in low-end devices, let alone in a typical branded pair.

Luxury doesn’t just mean the price point, it also means performance and durability. In the case of Beo Grace, the pearl-blasted aluminium finishes are paired with an acoustically advanced 12mm titanium driver. B&O’s own EarSense noise cancelling is now four times more effective than earlier iterations and the company has also incorporated Spatial Audio with Dolby Atmos into the earbuds.

Battery life has been substantially improved. B&O has teamed up with Breathe, a UK-based start-up dedicated to improving battery performance through better monitoring and adaptive charging. This focus on 'battery intelligence' tailors energy use to each individual cell, improving both life and charge speed. For Beo Grace, the inclusion of a custom-designed battery management system has seen results of more than 2,000 charge cycles, more than four times the expected baseline.

As with all premium earbuds, the Beo Grace also offers gesture control, with the ability for users to control the volume by tapping just in front of the ear. Play controls require more force, with a touch and accompanying click to pause, play and skip back and forth, as well as switch between the noise cancellation and transparency modes. The latter uses the six high-precision microphones within the earbuds to create a striking, hiss-free soundscape that's intended to do away with the feeling of wearing earbuds altogether.

The fully charged Beo Grace earbuds should deliver 4.5 hours of listening, with the case adding an extra 12.5 hours. For another layer of tactile luxury, B&O offers a bespoke leather pouch for the charge case, available in Infinite Black, Cranberry Red and Seashell Grey.

Bang & Olufsen Beo Grace, £1,000 / €1,200 / $1,500, leather charge case pouch, £250, Bang-Olufsen.com, @BangOlufsen

1. Suunto Vertical

2. Withings ScanWatch Nova

3. Samsung Galaxy Watch8 Ultra

4. Timestop D-20

5. Coros Nomad

6. Nixon Base Tide Pro

7. Pebble

One of the original smart watches, Eric Migicovsky’s original Pebble watch dates back to 2013, following a hugely successful crowd-funding campaign. With a simple black and white LCD screen and easily adaptable software, it quickly found favour amongst more technical-minded owners.

After selling to Fitbit (which was subsequently acquired by Google), the Pebble dream seemed over. Now Migicovsky is back with a pair of new e-paper devices, powered by a new open-source version of the original PebbleOS, much extended battery life (up to 30 days) and plenty of hackability.

Pebble 2 Duo, $149, Pebble Time 2, $225, Store.rePebble.com

8. Sekonda Active Plus

9. Garmin fēnix® 8 Pro

10. Barrelhand Monolith

Barrelhand’s Monolith is the kind of future-thinking design we can really get behind, even though it has a hint of speculative retro-tech about it. Billed as a ‘mechanical wristwatch engineered for astronauts,’ it’s a handsome piece of industrial design that has actually made it into orbit. Made from 3D printed aerospace alloy and featuring a contrasting crown and strap, the Monolith also contains an Easter egg.

Inside the case is the Memory Disc, a modern-day iteration of the famous Golden Records dispatched into deep space with the Voyager spacecraft in the 70s. Encoded with up to 4.5GB of information (a 'nano-engraved archive ... engineered to safeguard humanity’s linguistic and cultural heritage across the galaxy for millennia'), it adds intellectual heft to a timepiece that weighs just 32g.

Monolith, $8,750, more information at Barrelhand.com

11. Google Pixel Watch 4

For a more prosaic, mainstream watch with embedded intelligence, consider the latest iteration of Google’s Pixel Watch series. Watch 4 has an edge-to-edge domed display, available in two sizes (41mm and 45mm), is water resistant to 50m and has been built to work seamlessly with Pixel phones and Google’s Gemini.

Whether or not you’ve surrendered yourself to an AI assistant, the Pixel Watch 4 still packs a lot of tracking tech, including Fitbit-powered workouts (for which an additional subscription is required).

Google Pixel Watch 4, from £349, Store.Google.com

12. Polar Loop

Finally, a wearable that does away with any visible information altogether. The new Polar Loop is a fitness band with a straightforward and simple premise: no screen, no subscription, and a host of sensors that’ll autodetect exercise and track your sleep while building up an app’s worth of data to sift through without distraction from notifications and widgets. Available in eight different, easily swappable colours, the Loop allows you to keep discrete tabs on your movement.

Polar Loop, £149.50, Polar.com

The original product is now in its third iteration, and the company has lost none of its panache and pocket-friendliness. The new Nothing Ear (3), available in black and white, will be instantly familiar to fans of the brand, with the transparent charging case and earbud stem all present and correct, along with the trademark flashes of red.

What sets Ear (3) apart from its forebears – and its rivals – is the addition of what Nothing calls the Super Mic. This dual-microphone system sits within the charging case and serves as a primary microphone to boost hands-free call quality to hitherto unreached levels.

The new mic system incorporates an ambient-filtering technology that focuses specifically on voice, stripping away extraneous noise for a clear delivery regardless of what’s going on around you. The addition of a new TALK button triggers the new microphone when you’re on a call.

There’s also a secondary function to TALK; for users of Nothing OS, pressing the button opens up Essential Space, Nothing’s picture, note-taking and voice memo app, allowing you to easily mention something you might rely on later. To date, I’ve found Essential Space is usually triggered accidentally, leading to an intriguing selection of weird screen grabs, odd photos and awkward snippets of conversation. Hopefully Ear (3)’s added functionality will give the app new life.

The earbuds themselves also have upgraded microphones, with three directional mics in each bud and a special ‘bone-conduction Voice Pick-up Unit’, or VPU, which translates vibrations from the jaw and ear canal into electrical signals. Nothing has also trained its noise-cancelling using AI, with no fewer than 20 million hours of real-world audio being pumped into the algorithms to create the most responsive software.

Sound quality is undeniably excellent, and the earbuds are comfortable for long periods of use. The tiny battery inside each bud has also been improved, with ten hours of listening time (without noise cancelling) that can be extended to 38 hours using a fully charged case. Pop the phones into the case when it’s plugged in via USB-C and you’ll get ten hours of use in just ten minutes of charge time.

In addition to the pairing with Essential Space, Nothing app users can also access ChatGPT’s conversational mode via the earbuds, should you want something to talk to. The Ear (3) looks set to be another winner from Nothing, which is continuing with a relentless product roadmap.

This year’s Phone (3) took the brand into the premium space for the first time, and the recent Headphone (1) is a bold mix of aesthetic innovation and audio perfection. Ear (3) continue this long-running winning streak.

Nothing Ear (3), £179 / $179 / € 179, nothing.tech, @Nothing

Marcin Rączek, Pent’s founder, concedes that there was much discussion internally about this unexpected sidestep – ‘about no longer being a specialist fitness brand in a specialist fitness sector’. The new speakers include the circular Gulia, cylindrical Chiara and sculptural Aurora and are priced between £3,524 and £6,522. Rączek argues that the range aims to compete less with high-end audio brands, and is more of an extension to the fitness market.

The speakers will only be available through the same distribution network of furnishing showrooms and architects as Pent’s fitness equipment. Pent Audio expects hotel gyms, boutique gyms and yachts to form a large part of its market.

‘Wellness is not just about exercise but also atmosphere, about harmonising a space, and sound is an important part of that,’ Rączek argues. ‘We still care about the sound quality, but audio companies have been relatively closed [worlds] that don’t look beyond the [dedicated] audio customer. This is more about a product appealing to the craft and design sought by the luxury customer.’

The speakers – made of solid woods, leathers, steel and, says Rączek, free of plastic parts, in wireless and wired options – are fully customisable to suit a customer’s interior using the brand’s interactive 3D configurator. And, indeed, Pent’s next move will be the launch in 2026 of home theatre systems and associated comfort-first, connected sofas and armchairs.

‘Again, we don’t see Pent as going up against other major furniture manufacturers – B&B Italia, Minotti and so on – but to be part of the same sector while offering something much more specialised,’ says Rączek. ‘So Pent will be fitness, audio and something more in the future.’

But this blurring of fitness and entertainment – predicated on Pent’s idea of fitness equipment being attractive enough not to be hidden away – has limits, Rączek suggests, not least because tech can quickly date and his vision remains to build products that last, which is why many of the brand’s fitness products (the likes of its treadmill, for instance) are non-electrical.

‘Our competitors [in the fitness space] are all about AI right now, but for us, that could only ever be something that was added to our equipment rather than essential to it,’ Rączek says. ‘I think sometimes people just want to train. They want to be alone, not watch their training as they do it. We don’t want to be too modern.’

PentAudio.com, @Pent_Audio

Zutomayo’s hyperkinetic rock and J-pop is given added piquancy by the group’s mysterious make-up. Founded in 2018, the name is a shortening of the phrase Zutto Mayonaka de ii Noni ('It would be nice if it was midnight all the time’). To date, they’ve released five albums and contributed to a number of soundtracks, with their own videos featuring animation. Led by vocalist ACA-Ne, the other members of the band deliberately keep out of the limelight.

The collaboration with Orion adds a suitably striking colour scheme to differentiate it from the originally all-black SCR-B9, with a textured cream and industrial green finish along with band logo and graphics.

This is a true multimedia station, with cassette deck, CD-player and AM/FM radio, along with Bluetooth speaker capabilities, USB and microSD input for playing mp3s and even a karaoke function thanks to the two microphone inputs, complete with electronic echo effect.

Just like Boomboxes from the classic age, the SCR-B9(Z) allows you to dub from CD to cassette. The band cite the tactile nature of cassettes and CDs, the warm sound and texture of the audio and the overall aesthetic of the big machine as their reason for launching the collaboration, describing it as an ‘all-in-one [player that] connects the past and the future.’

The aesthetic is certainly retro, with an LCD display, knobs and sliders for volume and function, mechanical transport buttons for the cassette deck and two traditional VU meters. ‘It feels like something inherited from someone,’ the band write, ‘It's like a memo of life, connecting the textures of human nature across time and space.’

Stereo output comes from 13.5cm bass speakers and 3cm tweeters, with a bass enhancement function. The CD player will also play mp3 format files.

Another useful function is the ability to record mp3 format from cassettes to the flash drive or microSD card, allowing you to digitise old cassette recordings. The Boombox follows on from Zutomayo’s recent release of a strictly limited-edition pair of Yamaha headphones, the HPH-MT8Z.

Pre-orders are open now and first deliveries should be in spring 2026.

Boombox SCR-B9(Z) by Zutomayo and Orion, ¥42,000 + tax

Zutomayo.net, @Zutomayo, Zutomayomart.net, @Zutomayo_mart

Apple iPhone Air

The speculation is over: welcome to the iPhone Air. Clearly the thinnest iPhone ever made, it’s also being touted as one of the most durable and powerful, thanks to enhanced materials front and back, a full suite of Apple-designed silicon and a massive 6.5” screen.

Just 5.6mm thick, Apple has crammed a lot into the titanium-framed device, including a new Centre Stage front camera, a single lens system that combines AI processing and a 48MP Fusion camera system to deliver the equivalent of four different lens systems in just one unit.

Power management is handled in part by an adaptive mode that intelligently conserves power based on your typical daily usage patterns – Apple reckons the Air’s battery is good for all-day usage. More space has been saved by adopting an eSIM-only design, and there are two custom cases – a MagSafe one and the slim Bumper case – to keep this jewel-like device safe.

One accessory that could prove invaluable is the slender MagSafe battery, which clips to the back of the device, providing enough power to run up to 40 hours of video playback.

Apple iPhone Air, available in space black, cloud white, light gold, and sky blue, 256GB, 512GB and 1TB options are available, from £999, Apple.com

Apple iPhone 17 Pro and Pro Max

Also making their debut were the iPhone 17 Pro and Pro Max, alongside the ‘regular’ iPhone 17. Both phones are powered by Apple’s own A19 Pro chip and include three 48MP Fusion cameras (Main, Ultra Wide, and a new Telephoto). The unibody enclosure is designed for strength and thermal efficiency and with space for the largest ever iPhone battery ever installed. The device will surely need it, as it’s also the most powerful iPhone ever made.

The 6.3” Pro and 6.9” Pro Max also incorporate the Centre Stage front camera system, capable of recording video at up to 4K and with a sensor large enough to take a landscape selfie without rotating the device. The new chipset makes the most of AI-enabled features and the dynamic graphics of iOS26.

Apple iPhone 17 Pro, available in cosmic orange, deep blue, and silver, in 256GB, 512GB and 1TB editions, from £1,099, Apple iPhone 17 Pro Max also includes a 2TB option, from £1,199, Apple.com

Apple iPhone 17

The standard iPhone model tends to be the most popular, without the price premium of the Pro models or the (few) compromises of the new Air. Technology’s relentless march forwards means the iPhone 17 now starts with double the storage of the old base model, 256GB, and there’s also a 512GB option.

The five colours - black, lavender, mist blue, sage, and white – are very fashion forward and durability has also been improved. The base model gets the same enhanced Centre Stage front camera as its siblings, and the Super Retina XDR display measures 6.3”.

Apple Intelligence also takes on more features and functions that ever before – a fact that’s common across the new range.

Apple iPhone 17, from £799, Apple.com

Apple Watch SE 3

The entry level Apple Watch moves on to the SE 3 edition. Improvements include an always-on display, 18 hours of battery life and onboard 5G cellular capabilities. Sleep score is a new metric in the SE 3’s arsenal of health tracking stats, along with enhancements to the Workout app and on-device access to Siri.

Apple Watch SE 3, from £219, Apple.com

Apple Watch Series 11

Power users will appreciate the updates that underpin Apple Watch Series 11. Now boasting 24-hour battery life (up from 18 hours on the Apple Watch Series 10), along with greater durability and 5G cellular, the Series 11 comes in 42mm and 46mm sizes, with finishes including jet black, rose gold, silver, and space grey aluminium, in addition to polished titanium in natural, gold, and slate.

The Hermès edition comes in both sizes with a silver titanium finish. In addition to a Nike fitness band, Apple has also brought out a new colour palette. Health remains the innovation space for Apple Watch, and Series 11 gets updates that include Hypertension Notifications for heart monitoring, a more interactive Sleep Score system and the new Workout Buddy.

Apple Watch Series 11, from £399, Apple.com

Apple Watch Ultra 3

The ultimate smartwatch remains the Ultra model, which now becomes the Apple Watch Ultra 3. Key additions include satellite connectivity (with two years subscription to the Globalstar satellite service included), along with GPS, 5G, diving-grade water resistance up to 40 metres and 42 hours of regular use between charges.

Apple Watch Ultra 3, from $799, Apple.com

Apple AirPods Pro 3

Finally, Apple revealed the new AirPods Pro 3. Combining Active Noise Cancellation with three-dimensional audio, the Pro 3 incorporates new microphones and better awareness of conversation and background noise to provide an extremely high-quality calling and listening experience.

AirPods can now track your heart rate and other fitness metrics, as well as provide a ‘scientifically validated’ hearing test and an enhancing Hearing Aid facility. Apple Intelligence also powers the Live Translation feature that allows two AirPods Pro 3 users to have a simultaneously translated conversation.

Apple AirPods Pro 3, from £219, Apple.com

Dyson PencilVac

First up is the forthcoming Dyson PencilVac. We’ve already previewed this slender piece of industrial design, intended to be world's slimmest vacuum cleaner, the PencilVac is due to go on sale early next year. Just 38mm in diameter, the appliance incorporates a dust compressing system to maximise the amount you can suck up, as well as the usual array of filters.

Dyson Piston Animal Submarine DS60

That elaborate nomenclature indicates the performance capabilities of the new Dyson Piston Animal SubmarineTM DS60, available immediately. Designed for pet-loving households who need a heavy-duty cleaner capable of scooping up long hair and working well in both wet and dry environments, the DS60 incorporates the latest Dyson designed and built Hyperdymium 900W motor.

Dyson Clean+Wash Hygiene

Building on the tech developed for the original wet and dry machine, the Dyson WashG1, the Clean+Wash Hygiene features a simplified design language and working process. Bolder colours emphasise the sculptural qualities of the appliance.

Dyson Spot+Scrub Ai robot

The latest robotic vacuum to come out of the Dyson labs is the Spot+Scrub. The focus here is on stain detection, with an onboard AI trained in ‘200 types of household substances and objects’ so that it can revisit stubborn marks again and again until they are no more.

Dyson HushJet Purifier Compact

Launching early next year, the HushJet Purifier Compact is a quiet but powerful air purifier designed to capture airborne particles and allergens from dust to pet dander to pollen. With ultra-quiet operation, thanks in part to turbulence-reducing shape of the nozzles, the HushJet is aimed primarily at bedrooms.

Dyson Cool CF1

Also available now, the CF1 is the latest in the company’s line of bladeless fans. Combining a quiet sleep mode with a greater range of oscillation that ever before, along with low energy consumption despite its ability to push out 370 litres of airflow a second, the CF1 is an excellent performer.

Dyson Purifier Humidify+Cool PH2 De-Nox

The PH2 combines air purification with cooling and a humidifier function, making it a useful multi-purpose machine. Available now.

Dyson V8 Cyclone cordless vacuum

The V8 Cyclone is an evolution of the current V8, with added runtime thanks to improved battery technology and more suction power. A compact cordless vacuum, it’s one of the company’s big sellers.

Dyson Hot+Cool HF1 Remote Link Pre-Heat fan heater

A bladeless fan heater, coming soon, the HF1 is also the first of this segment to be fully connected, allowing users to control the temperature via Dyson’s MyDyson app. An onboard sleep timer and quiet sleep mode make it a good bedroom companion.

Dyson.com

As if by magic, the company has now introduced the new reMarkable Paper Pro Move, a true digital notebook that combines all the convenience and analogue feel of the Paper Pro in a compact 7.3” format. I’ve been trialling the Move ahead of the official launch and talking to the reMarkable team about the new model.

Anyone familiar with reMarkable’s award-winning approach will be instantly at home with the Paper Pro Move. Everything about the new device is identical to its larger flagship sibling, right down to the backlit ‘Canvas’ colour screen. It runs exactly the same software, lightly tweaked to take account of the lesser visual real estate, as well as the same dedicated Marker pen, which clips magnetically to the side of the screen.

The company’s ethos has been well articulated over the years; create a writing tool that allows ‘better thinking through technology’, with minimal distractions yet also seamlessly connectivity through a mature and stable cloud-based file system.

There’s been a certain amount of feature creep over the years, both at the behest of power users and via reMarkable’s own design team, but even though you can supplement the marker with the Type Folio keyboard on the larger models, for the most part the Paper tablet family is about scribbling, jotting, scrawling, sketching and making marks.

According to reMarkable’s CEO Phil Hess, the company has struck a chord with its commitment to a ‘freeform surface’, with the tactile feel of paper but easy to share or keep secure. ‘Paper’s not going away,’ Hess says, ‘but it comes in multiple sizes.’ Hence the introduction of the Paper Pro Move.

Exactly one third the size of the Paper Pro, the Move is genuinely pocketable. Easy to use in both portrait and landscape modes, it comes with a few OS tweaks to make it easier to present and search your files.

The Move was developed alongside the Paper Pro, launched last year, which in turn succeeded the reMarkable 2 (2020) and the original reMarkable 1 (2017). Hess describes how the firm went through 1,000 prototypes of the textured glass surface, exploring the perfect level of pushback against on the nib, whilst also preserving the ideal distance between the tip of the pen and the ink layer, sandwiched beneath ultra-thin layers of glass and film.

‘The Holy Grail of what we were aiming for is the feel of a 3B pencil on Moleskine paper,’ Hess explains, and although there’s a distinct difference between the Paper Pro screen and the reMarkable 2, there’s no denying the pleasure each device gives.

One of the key focuses of the shift to a colour screen was to ensure that there were no trade-offs between the Paper Pro and Paper Pro Move. The latter might be smaller, but it has the same two-week battery life. Ten minutes of charging should get you three days-worth of use.

The Move is 6.5mm thick and weighs 232g, with an aluminium case featuring the same ribbed edges that evoke a stack of paper, just like the larger model (the big Paper Pro is just 5.2mm thick but weighs in at 520g – add in the Type Folio case and it starts to weigh down on you when used as a portable clipboard). By comparison, the Move is small enough to be held in one hand when in use.

Software tweaks include a moveable toolbar than can now be shifted around edges of the screen, and the ability to scale the icons that depict your files. The company has teamed up with a template specialist to create responsive dynamic templates covering every conceivable workplace and creative scenario, from calendars to sheet music, story boarding to strategizing.

File management capabilities have also been bolstered, with a new handwriting search facility. There’s also Slack integration as well as upcoming features that will radically shift the Paper Pro family’s usability for reviewing documents. Thanks to a newly developed file system, updates and edits can be transcribed across devices – any highlights or scribbles you make on a piece of text, for example, will persist in place when you share it.

The handy ‘Read in reMarkable’ browser extension also makes it simple to clip and send articles to your device. These ‘Active Reviewing’ capabilities are supported by AI, which cleans up and simplifies web pages for easier reading.

Unsurprisingly, the compact Move is the most sustainable tablet reMarkable has made so far – 20% of the device by weight is made from recycled material, as is 100% of the packaging. Longevity is a core part of the company’s approach - the reMarkable 1 is still supported with updates, for example.

Power users will want to subscribe to the (essential, in my opinion) Connect service, which keeps notes synced across devices and tablets, as well as invest in the Book Folio case, which not only protects the screen but keeps a tighter grip on the pen. Available in leather and a new mosaic weave, the Folio features integrated magnets that hold the Move tightly in place.

The reMarkable Paper Pro Move has shot straight to the top of my favourite device list. As a minimalist piece of tech with deliberately limited functionality, the Move is at odds with an over-complicated world. Yet it’s been crafted with utility in mind, serving as both sieve and cache for clippings and ideas, a portable filter that only serves to enhance your creative workflow.

reMarkable Paper Pro Move, £399, reMarkable.com, @reMarkable

We’ve already covered products like FiiO’s portable CD player and standalone systems from Ruark and Revo, amongst others, but now there’s another new device to add to the list. Enter the Eversolo Play, a new CD player/ripper from China launched last month at the High End audio show in Munich.

There are two versions of the Play, a Standard edition streaming box and the CD edition, which adds a side-loading tray into the mix. On board there’s a 60W amplifier and a DAC (digital audio converter), as well as full support for internet radio and online streaming services, including Tidal, Amazon Music, and Deezer, as well as the ability to play music from local network storage. You can also direct the Play to pick up music from cloud storage services like Dropbox. A high-speed USB port also allows the Eversolo to tap into an external hard disc.

So far, so good. What sets the CD edition apart is the ability to not only play individual discs but also rip them to the internal storage, expandable up to 32G. All this is controllable via a 5.5” touchscreen and a dedicated app. The former can be switched out to display VU meters and dynamic graphic equalisers. As well as standard speaker connectors and a dedicated sub-woofer connection, the whole ensemble can also be hooked up to a regular hi-fi set up thanks to a comprehensive set of inputs and outputs.

The CD edition of the Eversolo Play is truly a Swiss Army knife of audio streaming, capable of integrating analogue cassette decks and record players along with CD compatibility. For those with an eclectic music collection that embraces both physical and digital formats, the Play comes close to being the perfect future-proof solution.

Eversolo Audio Play CD edition, £736, Amazon.co.uk, Eversolo.com, @EversoloAudio

First up, we have the new Honor Magic V5, the latest in the company’s range of book-style foldable smartphones. The V5 comes in Ivory White, Black, Dawn Gold, and Reddish Brown, and is notable for its extreme slimness – just 8.8mm in profile.

In terms of specification, the Magic V5 can more than keep up with other folding flagships from Google and Samsung, with a Snapdragon 8 Elite Mobile Platform chip at its heart and the expected clutch of AI-powered photographic functions, like a super zoom and enhanced portrait mode. Three cameras – a 64mp Ultra Sensing Periscope Telephoto, 50MP Main, and 50MP Ultra-Wide module – squeeze into the ultra-thin housing, where there is somehow also space for a large 5820mAh battery.

You’ll notice that the Magic V5 amps up the bling much more than its rivals, with gold edging off-setting the rich body colours. The 6.43” outer screen gives way to a large 7.95” inner display – stylus support is available for both. Honor’s MagicOS 9.0 goes the whole hog and incorporates Google Gemini to drive its AI functionality.

Also launched is the new Honor MagicPad3, a new entrant into the relatively rare premium Android tablet sector. Combining a large 13.3” display with a 5.79mm thick frame (the industry is more than happy to blend Imperial and Metric measurements these days), as well as 16GB of memory and 512GB storage.

The new tablet goes up against the top tier of Samsung’s Galaxy Tab S10 range. The Chinese manufacturer has managed to squeeze eight speakers into this skinny frame, ensuring the tablet works especially well as a portable media platform.

Finally, there’s the company’s new flagship laptop, the Honor MagicBook Art 14 2025. Straight out of the box, the available colour spectrum impresses - Mocha Brown, Sunrise White, and, our favourite, Emerald Green, the new MagicBook weighs in at around 1kg and is just 1cm thick with a strong magnesium-titanium body.

With a 14.6” OLED screen, 32GB RAM, and 1TB storage, the MagicBook is pitched at media professionals working with images, sound and video. Onboard there’s a six-speaker spatial audio system and three microphones for video calling.

A particularly nice touch is Honor’s Magnetic Camera system, which turns the webcam into a separate entity that clips to the most suitable part of the screen and can be stored internally when not required.

Honor Magic V5, available in Ivory White, Black, Dawn Gold, and Reddish Brown, from £1,699.99

Honor MagicBook Art 14 2025 laptop, available in Mocha Brown, Sunrise White, and Emerald Green, from £1,499.99

Honor MagicPad3 tablet, available in Grey and White, from £599.99

Honor.com, Community.honor.com, @HonorGlobal

A finely detailed piece of industrial design, the tiny Note Pro is credit card-sized and barely any thicker. Supplied with a leather wallet and magnetically attachable USB-C charge cable, the chief innovation is the introduction of a 1-inch screen that indicates recording status. Made from Gorilla Glass and aluminium, the Note Pro is less than 3mm thick, with a rippling design that’s elegant and discreet.

Further upgrades include a better audio reach thanks to more microphones than the original Note and the ability to continuously record for 50 hours (versus 30 hours in the original). Onboard storage tops out at 64GB and there is also 75 days’ worth of standby battery life. For the first time, the company has also included Apple Find My support to help track lost devices. All this is impressive, but the Note Pro is nothing without a connection to the cloud.

Plaud.ai’s model is based on using existing LLMs (large language models) to process its beautifully captured data, with a bespoke app that handles the cloud uploading and subsequent transcript and/or summary. Out of the box, the Note Pro will work, but the company hopes that power users and big companies will shell out to get access to faster and more efficient AI models. The new hardware and software helps – the Note Pro contains ‘studio grade’ recording hardware and noise isolation algorithms and can automatically detect whether a conversation is a phone call or in-person, for example.

Given the device’s reliance on the app, you could be forgiven for wondering what the point of the physical hardware is at all, given that most smartphones offer access to similar functionality. Cleverly, the Note Pro is effectively asking you to hold two contradictory notions at the same time. The first is the intentionality that a separate physical device can give to a task, just like how a standalone digital camera can help focus the eye on image-making, despite the better sensor and power of your smartphone. The little Note Pro can also connect to your phone to record calls.

The second is the idea that you should succumb to the warm embrace of AI-driven processes. Now we're not suggesting that Plaud's computational abilities bear any relationship to the fiendish combination of brilliance and the ability to erase culture that generative AI has achieved. Instead, there's a case for arguing that this 'soft' use of the results gleaned from processing vast caches of data is one area where 'AI' works rather well. Plaud Intelligence, the company’s cloud-based service, can do an awful lot, not least its ability to support the transcription of 112 languages.

Transcripts come labelled with individual speakers, thanks to the company’s proprietary way of recording audio data and separating speakers. Most importantly of all, your personal Plaud Intelligence database will grow in sophistication over time, taking notes, visuals and voices and ‘weaving them together across time and context’. There's even a 'press to highlight' function that you can use in real time to flag certain areas of conversation for future recall and analysis.

For those whose livelihood relies heavily on tracking who said what and when, the idea of the Note Pro is tempting, especially the ability to off-load great chunks of the working week into a perpetual, ever-evolving database of liability. There are use cases everywhere, including journalism of course, but Plaud’s CEO Nathan Xu, who founded the company in 2021, started off in investment banking. Unsurprisingly, it's in the high-stakes worlds of finance and law where such a device could prove itself to be invaluable.

Pro users will be able to access over 2,000 dedicated templates, many of which have been tailored specifically for meetings and projects in particular industries, from healthcare to law and education. Xu describes Note Pro as ‘not just a note taker, [but] a thinking partner that brings structure, clarity and actionability to everyday conversations’.

To get the most of Plaud Note Pro, you really have to go all in; there are no half measures with this kind of AI-powered information buffet. Sure, you can get an effective transcription from Google Recorder or Apple Notes, and many iterations of common online meeting applications will also summarise and present minutes. Short of a back-to-back comparison, there's no saying whether Plaud beats its rivals in accuracy or speed. However, dipping in and out of a machine-generated transcript is very different to having months of boardroom discussions uploaded, precisely minuted, analysed and scoured for ‘action points’.

Nevertheless, this impressive piece of hardware design feels yoked to AI’s signature verbosity. As a test, I recorded family discussions about a night out on the town. ‘No formal decisions or outcomes were established,’ the Plaud App concluded at the end of its summary, which also noted that it was ‘an informal conversation that touched on several disconnected personal topics’.

These notes, with their analysis and ‘mind map’ diagram, were also substantially longer than the original transcript. Just as you know when someone has padded out a pitch or an email with unwanted AI-generated cruft, the Plaud App won’t necessarily provide a straightforward shortcut in the everyday working environment.

Certain professions – and people – thrive on words rather than actions – this is where the Plaud Note Pro would be in its element. AI proponents might promise a future shaped by labour-saving, but as the Plaud Note Pro so neatly demonstrates, a casual over-reliance on the technology has a habit of generating even more data to digest.

Plaud Note Pro, £169, Plaud Intelligence subscription extra, shipping late September 2025, Plaud.ai, Plaud_official

Hasselblad can trace its origins all the way back to 1841, when Fritz Wiktor Hasselblad set up a trading company that only branched out into photography at the behest of his son in the years that followed. Based in Gothenburg, the company forged an early partnership with Eastman Kodak before evolving into a military camera supplier during the Second World War and then making civilian cameras from 1941.

The company’s first genuine icon came in 1957 with the 500 C medium-format film (120) film camera, a design that stayed in production all the way through to 2006. A famed partnership with Nasa – Hasselblad cameras went to the Moon – as well as pioneering technical innovations like the creation of the first digital compact mirrorless medium-format camera in 2016, have kept the company relevant and in high demand.

Unsurprisingly, the new camera is an upgrade of the existing X2D 100C, bringing with it HDR image processing that’s dedicated to reproducing natural colours in a variety of lighting conditions. Paired with a 100-megapixel sensor with 16-bit colour depth and the capability of capturing no less than 281 trillion colours (yes, that was Hasselblad’s quoted number), the new camera is a powerhouse for professionals.

Designed to be used with a new iOS app, Phocus Mobile 2, the camera and lens are a formidable combination. The latter serves as a remote control with live view as well as an editing platform. The camera itself has 1TB of internal SSD storage, with control via a 3.6in OLED touchscreen and full complement of physical controls in addition to an electronic viewfinder.

The new sensor is matched with a new stabilisation system that’s more than eight times more efficient than its predecessor, enabling long exposures to be taken without the use of a tripod. The camera body is also lighter than the earlier model. The new lens is a 28-76mm zoom that provides a wide range of flexibility from portraits to street photography and landscapes. An ultra-fast autofocus system works hand in hand with the X2D II’s control algorithms. At 138mm long, it weighs in at 894g.

Both camera and lens can be hauled around in Hasselblad’s new Vandra Camera Backpack, a ruggedised 20-litre bag designed to keep every accessory safe and on hand.

Hasselblad X2D II 100C, €7,200, XCD 2,8–4/35–100E lens, €4,800, Vandra Backpack, €429, Hasselblad.com, @Hasselblad