Summer is the best time to start hosting parties, and if you’re planning on doing just that this year, you’re going to want to make sure you have everything you need to throw some ragers. What’s the most important thing you need for a great party in addition to the “vibe”? Oh, nothing. Just some amazing music and a way to share it. Case in point? A party speaker that’s up to the task that won’t force you to spend all of your savings. Sound like a plan Head to Amazon to get the JBL PartyBox for $249, down from its usual price of $349. That’s $100 off and a discount of 29%. See at Amazon Party all night for a great discount The JBL PartyBox is everything you need to get people moving and the party jumping. And it’s powerful enough to fill your space with 100 watts of signature JBL sound. It’s also compact enough to carry over your shoulder. It even comes with a padded strap so you can sling it across your back like a messenger bag. That makes it convenient for beach trips, park hangs, or just moving from room to room too. It also includes a built-in bottle opener, which sounds like a gimmick until you actually need one mid-party and realize how smart that feature is. Because someone’s going to have to bring a drink with a lid that doesn’t twist off, and that’s gonna harsh your vibe. This is more than just a speaker. It’s also a light show in a box, which you’ll soon find out when you start using it in earnest. Whether it’s a quiet night with friends or a full-on celebration, it’s a small touch that makes a big visual impact. And if you’re the karaoke type or know someone who is, you’ll love the wireless microphone that comes included. Tweak the bass, treble, and even echo effects, which makes this speaker double as your own personal DJ booth or karaoke machine. It’s also made to handle real life. With IPX4 splash resistance, it can stand up to light rain, poolside splashes, or accidental drink spills. The 6-hour battery life keeps things going long enough for most parties, and if you’ve got another compatible JBL speaker, you can pair them together for an even bigger sound experience. All this for under $300? You’ll want to get yours as soon as possible before the heat wave and the summer parties begin. See at Amazon

NPR Project May 23rd, 2025 Code Design, General Development Clément Foucault html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Wing it! Early NPR project by Blender Studio. In July 2024 the NPR (Non-Photorealistic Rendering) project officially started, with a workshop with Dillo Goo Studio and Blender developers. While the use-cases were clear, the architecture and overall design were not. To help with this, the team started working in a prototype containing many shading features essential to the NPR workflow (such as filter support, custom shading, and AOV access). This prototype received a lot of attention, with users contributing a lot of nice examples of what is possible with such system. The feedback showed that there is a big interest from the community for a wide range of effects. However the amount of flexibity made possible with the prototype came with a cost: it locked NPR features within EEVEE, alienating Cycles from part of the NPR pipeline. It also deviated from the EEVEE architecture, which could limit future feature development. After much consideration, the design was modified to address these core issues. The outcome can be summarized as: Move filters and color modification to a multi-stage compositing workflow. Keep shading features inside the renderer’s material system. Multi-stage compositing One of the core feature needed for NPR is the ability to access and modify the shaded pixels. Doing it inside a render engine has been notoriously difficult. The current way of doing it inside EEVEE is to use the ShaderToRGB node, which comes with a lot of limitations. In Cycles, limited effects can be achieved using custom OSL nodes. As a result, in production pipeline, this is often done through very cumbersome and time consuming scene-wide compositing. The major downside is that all asset specific compositing needs to be manually merged and managed inside the scene compositor. Instead, the parts of the compositing pipeline that are specific to a certain asset should be defined at the asset level. The reasoning is that these compositing nodes define the appearance of this asset and should be shared between scene. Multi-stage compositing is just that! A part of the compositing pipeline is linked to a specific object or material. This part receives the rendered color as well as its AOVs and render passes as input, and output the modified rendered color. The object level compositor at the bottom right define the final appearance of the object In this example the appearance of the Suzanne object is defined at the object level inside its asset file. When linked into a scene with other elements, it is automatically combined with other assets. From left to right: Smooth Toon shading with alpha over specular, Pixelate, Half-Tone with Outline This new multi-stage compositing will be reusing the compositor nodes, with a different subset of nodes available at the object and material levels. This is an opportunity to streamline the workflow between material nodes editing and compositor nodes. Grease Pencil Effects can eventually be replaced by this solution. Final render showing 3 objects with different stylizations seamlessly integrated. There are a lot more to be said about this feature. For more details see the associated development task. Anti-Aliased output A major issue with working with the a compositing workflow is Anti-Aliasing (AA). When compositing anti-aliased input, results often include hard to resolve fringes. Left: Render Pass, Middle: Object Matte, Right: Extracted Object Render Pass The common workaround to this issue is to render at higher resolution without AA and downscale after compositing. This method is very memory intensive and only allows for 4x or 9x AA with usually less than ideal filtering. Another option is to use post-process AA filters but that often results in flickering animations. Left: Anti-Aliased done before compositor based shadingRight: Anti-Aliasing is done after compositor. The solution to this problem is to run the compositor for each AA step and filter the composited pixels like a renderer would do. This will produce the best image quality with only the added memory usage of the final frame. Converged input One of the main issues with modern renderers is that their output is noisy. This doesn’t play well with NPR workflows as many effects require applying sharp transformations of the rendered image or light buffers. For instance, this is what happens when applying a constant interpolated color ramp over the ambient occlusion node. The averaging operation is run on a noisy output instead of running on a noisy input before the transformation. Left: Original AO, Middle: Constant Ramp in material, Right: Ramp applied in compositor (desired) Doing these effects at compositing time gives us the final converged image as input. However, as explained above, the compositor needs to run before the AA filtering. So the multi-stage compositors needs to be able to run on converged or denoised inputs while being AA free. In other words, it means that the render samples will be distributed between render passes convergence and final compositor AA. Engine Features While improving the compositing workflow is important for stylization flexibility, some features are more suited for the inside of the render engine. This allows builtin interaction with light transport and other renderer features. These features are not exclusive to NPR workflows and fit well inside the engine architecture. As such, the following features are planned to be directly implemented inside the render engines: Ray Queries Portal BSDF Custom Shading Depth Offset The development will start after the Blender 5.0 release, planned for November 2025. Meanwhile, to follow the project, subscribe to the development task. For more details about the project, join the announcement thread. Support the Future of Blender Donate to Blender by joining the Development Fund to support the Blender Foundation’s work on core development, maintenance, and new releases. ♥ Donate to Blender

To what extent should we attempt to tame nature, in the name of personal comfort? Already our homes are purpose-built to keep out weather and provide interior climate control. We commute in vehicles that keep us cool in summer and warm in winter. We shop, dine and view entertainment in temperature-controlled facilities.While camping, and attending outdoor events like barbecues and music festivals, we're at the mercy of the elements. Many would say that's an integral part of the experience. But for those who find the lack of comfort, the lack of control over nature, intolerable, there are companies ready to sell you a solution.Solo Stove, the outdoor gear manufacturer known for their smokeless fire pits, has expanded into other camping gear. Their new offering is the Solo Windchill 47, a drinks cooler with a built-in air conditioner. That you use outside. "At the push of a button, it turns icy temps inside the cooler into frigid, dry air-conditioning—thanks to a built-in heat exchanger, high-powered fan, and water pump," the company writes. "And yes, it's real air-conditioning. Upgrade your cooler setup with the Solo Windchill 47 to keep the chill coming—anytime, anywhere." You can also use it to charge your phone (of course). While I find the product obscene, that's due to my personal preferences. I live on a rural property, enjoy being outside and try to work with nature, accepting that I will get sweaty when I'm working outside in July. While there is an element of mild suffering to it, it makes that moment when you take a break inside, and feel the cool air of an A/C or a fan, that much sweeter.However, Solo Stove is based in Texas, which experiences more 100-degree-plus days than my region; perhaps Texans view summer as a war on their comfort. And for plenty of Americans, I'm guessing hauling around a 40-plus-pound cooler with built-in lithium ion batteries is a small price to pay for keeping cool. Even at $650 to $700 depending on battery options, the Windchill 47 will find a ready market. "Glampers" will be thrilled.

Figma announced 'Sites' at Config 2025, which lets users create simple static websites from designs. Imagine a website generator like Framer or Webflow, but embedded inside Figma.The buzz is serious. Sites could become the de facto tool for quick marketing campaigns or small personal websites. But what if you need Sites to integrate with your existing design systems, custom components, and production code?Figma SitesFigma Sites is a visual developer tool similar to Webflow or Framer. It's focused on letting designers build websites without coding or leaving Figma.Its greatest strength is its integration with the Figma ecosystem. For designers already comfortable with the platform, Sites offers a path to deploy a design as a live website quickly.Easy interactivity and AI-enhanced codeFigma Sites includes numerous presets for everyday website interactions and effects. For instance, you can add a hover effect to a button or a typewriter effect to a text block.A future version of Sites will also include an AI tool for generating code.Responsive design and hands-off infrastructureFigma Sites can also display your design in desktop, tablet, and mobile layouts side by side. The preview version (press shift + space) and the published version are both fully responsive websites.Press the Publish button in the top-left corner once you’re ready to deploy the design into a working website. After some quick validations (it can even help with auto layout), Figma Sites will deploy your project to a generated URL. For a fee, you can wire up a custom domain.Coming soon: CMS and Code LayersRight now, Figma Sites translates your design into HTML and CSS. The team's future improvement, "Code Layers,” will take a user prompt and transform it into React and Tailwind CSS.Another future improvement is a CMS feature inside Figma Sites. This would allow users to manage their website content more efficiently. The idea of a fully integrated design-to-publish tool with an internal CMS is very appealing.Going from Figma to website to complete applicationSimple site builders are great for getting something online, but aren’t great at creating fully integrated applications that mesh with an existing codebase. This is a familiar problem.The challenge lies in moving beyond a static page built with HTML and CSS. What happens if you need this new site to use the Next.js framework and the App Router patterns that your team has adopted? Can you leverage your company's custom components? Is there a way to add complex user interactions? These limitations become significant hurdles for any product beyond a basic landing page or marketing campaign.Visual Editor: stepping beyond simple sitesBuilder.io's Visual Editor satisfies this larger need. Figma Sites gets you something fast without ever leaving the Figma ecosystem. Visual Editor gets you something nearly as fast, but it connects designs directly to your production codebase on one canvas.The core idea is different. Visual Editor is for feature-rich applications where your existing production codebase and design systems are first-class citizens.Figma Sites was engineered to transform a Figma design into a static site using no third-party tools and the most minimal toolchain possible. Visual Editor was engineered to transform designs into production applications at the enterprise scale:Figma-like precisionVisual Editor gives you a familiar, precise visual editing experience, but you're building interactive applications, not just static mockups. Use prompts to generate UI, then fine-tune it visually. The output isn't just a picture; it's code that works.Solving handoffsImport Figma designs with a click, and Builder translates them into interactive code using your component library. The CLI deeply integrates with your specific framework and codebase patterns, generating clean, maintainable code that developers want to work with. It respects your tech stack.On-brand generation, every timeStop worrying about brand drift. Because Builder understands your codebase, it uses your actual design system context—your colors, typography, spacing, and components—automatically ensuring everything generated is consistent and on-brand. No more manual checking.Dual workflows (develop & publish)Builder offers flexibility. Developers can use it to build new UIs that integrate directly with application code. Marketers or designers can use the 'Publish' workflow to create and update content visually using pre-built components, without needing a developer or a new deployment. This addresses the content bottleneck, too.Smashing workflow silosVisual Editor provides a unified canvas for design, development, and content updates. It fits into existing developer workflows (like Git) rather than trying to replace them, enabling better collaboration across the entire digital team.Getting started with Visual EditorReady to see the difference? You can try Visual Editor and experience how it connects to a real codebase.Open the Visual Copilot Figma plugin. Install it from the Figma Community if you haven't already.Select a layer or design in your Figma file that you want to bring into Builder.io.Click the "Export Design" button within the plugin.Click the "View Code in Builder" button. This will open your design directly in the Builder.io Visual Editor.(Optional) Enhance in the Visual Editor: Use AI prompts or manual controls to add interactivity, connect data, or refine the design within Builder.Generate code with the CLI: Copy the provided CLI command from Builder.io and run it in your local project's terminal. The CLI will analyze your codebase and generate the integrated, production-ready code components.The best way to understand the power of Visual Editor is to experience how it generates code that uses your components and fits your workflow.ConclusionFigma Sites is a big step forward for Figma. If you already work with the platform, you get all your favorite Figma features and a near-frictionless path to simple, real websites.Sites fills an essential market need. But you might find the tool underpowered if your team faces the challenges of integrating designs with a complex codebase, maintaining brand consistency across an extensive application, or enabling collaboration between large, diverse teams. In those cases, Builder's Visual Editor is the enterprise-grade solution. It provides a robust, integrated visual development environment that respects your code and scales with your product.Further reading Introducing Visual Copilot: convert Figma designs to high quality code in a single click.Try Visual CopilotGet a demo

Wireless mics fail when they rely too much on perfect conditions. BOYAMIC 2 fixes that by making every part of the system self-contained. Each transmitter records on its own. Each receiver controls levels, backups, and signal without needing an app. Noise is filtered in real time. Recording keeps going even if the connection drops. Designer: BOYAMIC There’s no need for a separate recorder or post-edit rescue. The unit handles gain shifts, background interference, and voice clarity without user intervention. Everything shows on screen. Adjustments happen through physical controls. Files are saved directly to internal memory. This system is built to capture clean audio without depending on external gear. It records immediately, adapts instantly, and stores everything without breaking the workflow. Industrial Design and Physical Form Each transmitter is small but solid. It’s 40 millimeters tall with a ridged surface that helps with grip and alignment. The finish reduces glare and makes handling easier. You can clip it or use the built-in magnet. Placement is quick, and it stays put. The record button is recessed, so you won’t hit it by mistake. An LED shows when it’s active. The mic capsule stays exposed but protected, avoiding interference from hands or clothing. Nothing sticks out or gets in the way.   The receiver is built around a screen and a knob. The 1.1-inch display shows battery, signal, gain, and status. The knob adjusts volume and selects settings. It works fast, without touchscreen lag. You can see and feel every change. Connections are spaced cleanly. One side has a USB-C port. The other has a 3.5 mm jack. A plug-in port supports USB-C or Lightning. The mount is fixed and locks into rigs without shifting. The charging case holds two transmitters and one receiver. Each has its own slot with magnetic contacts. Drop them in, close the lid, and they stay in place. LEDs on the case show power levels. There are no loose parts, exposed pins, or extra steps. Every shape and control supports fast setup and clear operation. You can press, turn, mount, and move without second-guessing. The design doesn’t try to be invisible; it stays readable, durable, and direct. Signal Processing and Audio Control BOYAMIC 2 uses onboard AI to separate voice from background noise. The system was trained on over 700,000 real-world sound samples. It filters traffic, crowds, wind, and mechanical hum in real time. Depending on the environment, you can toggle between strong and weak noise reduction. Both modes work directly from the transmitter or through the receiver. The mic uses a 6mm condenser capsule with a 48 kHz sample rate and 24-bit depth. The signal-to-noise ratio reaches 90 dB. Two low-cut filter options, at 75 Hz and 150 Hz, handle low-end rumble. These are effective against HVAC, engine hum, or low vibration. Gain is managed with automatic control. The system boosts quiet voices and pulls back when sound gets too loud. Built-in limiters stop clipping during spikes. A safety track records a second copy at -12 dB for backup. This makes it harder to lose a usable take even when volume jumps suddenly. Each setting is adjustable on screen. You don’t need a mobile app to access basic controls. Everything runs live and updates immediately. There are no delays or sync problems during capture. Recording and Storage Each transmitter records internally without needing the receiver. Files are saved in 32-bit float or 24-bit WAV formats. Internal storage is 8 GB. That gives you about ten hours of float audio or fifteen hours of 24-bit. When full, the system loops and overwrites older files. Recording continues even if the connection drops. Every session is split into timestamped chunks for fast transfer. You can plug the transmitter into any USB-C port and drag the files directly. No software is needed. This setup protects against signal loss, battery drops, or app crashes. The mic stays live, and the recording stays intact. Each transmitter runs for up to nine hours without noise cancellation or recording. With both features on, the runtime is closer to six hours. The receiver runs for about fifteen hours. The charging case holds enough power to recharge all three units twice. The system uses 2.4 GHz digital transmission. Its range can reach up to 300 meters in open areas. With walls or obstacles, it drops to around 60 meters. Latency stays at 25 milliseconds, even at long distances. You get reliable sync and stable audio across open ground or indoor spaces. Charging is handled through the included case or by direct USB-C. Each device takes under two hours to recharge fully. Compatibility and Multi-Device Support The system supports cameras, smartphones, and computers. USB-C and Lightning adapters are included. A 3.5 mm TRS cable connects the receiver to most cameras or mixers. While recording, you can charge your phone through the receiver, which is useful for long mobile shoots. One transmitter can send audio to up to four receivers at once, which helps with multi-angle setups or backup channels. The receiver also supports stereo, mono, and safety track modes. Based on your workflow, you choose how audio is split or merged. Settings can be changed from the receiver screen or through the BOYA app. The app adds firmware updates, custom EQ profiles, and gain presets for different camera brands. But the core controls don’t depend on it.The post BOYAMIC 2 Rebuilds Mobile Audio with AI and Onboard Capture first appeared on Yanko Design.