Hearing aids, like canes or orthopedic shoes, are something you don’t think about a lot when you’re young. But maybe you should.You probably either know someone who needs hearing aids, or you’ll need them some day yourself. About 30 million people in the United States, aged 12 and older, have hearing loss in both ears, and about two-thirds of people end up with hearing loss, which can range from mild to severe, by their 70s. But talking to your parents or grandparents about getting hearing aids can be tough — I’ve done it. They might not like the idea of sticking things in their ear canals or confronting the difficult realities of aging and health. They surely shy away from the price tag of hearing aids, which can cost thousands of dollars and are not covered by insurance or Medicare. But plugging tiny and exorbitantly expensive speakers into your ears isn’t the only way. Your mom might already own hearing aids without even knowing it.Hearing aids have never been more accessible — or futuristic. In April, a company called Nuance started selling glasses that double as hearing aids thanks to microphones and beam-forming speakers built into the frame. Although at $1,200, they’re not cheap, they cost far less than a pair of prescription hearing aids, which tend to range from $2,000 to $7,000.The Nuance glasses joined an increasingly crowded market of FDA-regulated over-the-counter hearing aids that includes everything from the latest Apple AirPods Pro, which gained the capability through a software update, to bean-sized buds from Sony. Prices for these devices start as low as $100, and you don’t need an audiologist to help set them up. Hearing aids have never been more accessible — or futuristic.You can also buy something that’s legally considered a personal sound amplification product (PSAP), which is not designed to treat hearing loss but does make things louder. Some of them can play music and handle phone calls too. In the age when earbuds are ubiquitous, these devices appeal to all ages.“It’s good that we’re seeing people in their 30s, 40s, and 50s, talking about it, because it’s totally changing the paradigm for them of engaging in hearing care earlier,” Nicholas Reed, a faculty member at the NYU Grossman School of Medicine, told me.I’m a millennial, but I’ve also dealt with hearing loss my entire life. A bad stretch of childhood ear infections left me mostly deaf in one ear and pretty spotty in the other. I learned to read lips as a teenager and avoid conversations at loud parties in college. Some surgery in my 20s brought me closer to normal, but I could still use a little help. I’ve spent the past few weeks trying out the Nuance glasses in various settings. They’re remarkable, not only because they feel almost indistinguishable from my regular glasses but also because I forget they’re hearing aids. Made by EssilorLuxottica, the company behind Ray-Ban and dozens of other glasses brands, the Nuance glasses employ some of the same technology that the Ray-Ban Meta glasses use to play music and help you talk to AI. And while the Nuance glasses don’t currently offer the option to stream audio, they do help you hear what your friend is saying in a loud bar.The AirPods Pro 2, which retail for $250, work equally as well. After Apple announced last fall that a software update would unlock an accessibility setting — it’s appropriately called Hearing Aid — I started using it all the time, toggling between listening to podcasts to ordering cold brew in a crowded coffee shop. In instances where I may have needed to ask people to repeat themselves in the past, I hear them fine the first time. I just have to wear AirPods all the time, which makes the glasses solution even more appealing. For most people, hearing loss typically starts in your 50s and gains momentum in your early retirement years. If you’ve ever been to a busy restaurant with your parents or grandparents, you know this can be alienating for the person left out and frustrating for the hearing person, too. The social isolation can lead to loneliness and anxiety, which can hasten cognitive decline and lower life expectancy.Nevertheless, neither traditional clinical hearing aids or the newer category of devices are easy fixes. Once you start wearing any sort of hearing aid, it takes time to adjust, and you might need help tweaking the sound as you get used to it. That’s one reason why so many people avoid it — only one in five who need hearing aids actually have them. You can’t put them in your ears and immediately have perfect hearing. Your brain adjusts over time, and so it may take weeks or months to adapt to the new frequencies hearing aids help you hear.Still, it’s a worthwhile project.“Sensory input is so key to our existence, but we just sort of overlooked it for so long,” Reed said. “It’s something that’s vital to your existence and how you connect with other people.”It’s not clear how the latest hearing aid innovation will move the needle on adoption. Even though over-the-counter hearing aids have been available since 2022, when the FDA implemented new regulations for the devices, it’s still an uphill battle to get people to wear them. “Sensory input is so key to our existence, but we just sort of overlooked it for so long.”— Nicholas Reed, faculty member at the NYU Grossman School of Medicine“We are not seeing large increases in hearing aid uptake since over-the-counter hearing aids have become available,” said Tricia Ashby, senior director of audiology practices at the American Speech-Language-Hearing Association (ASHA). “And I have to say that mimics other countries who had over-the-counter hearing aids before the US did.”Given the fact that the older people who need them most are potentially less likely to try the latest technology, it might still take a few years for over-the-counter hearing aids to go mainstream. Given the precedent set by companies like Apple and Nuance, though, it’s possible that more devices will add hearing assistive features to existing products. You can imagine a future where you wear earbuds that are the interface for your voice assistant as well as your lifeline on a loud plane. You might have glasses that project walking directions onto your field of view and help you hear which direction traffic’s coming from when you have to cross the street. These kinds of features together only get more important as you get older and need a little more help.“We are in an age now where you’re thinking about optimizing aging, and how do you do it?” Reed said. “And it’s things like this.”A version of this story was also published in the User Friendly newsletter. Sign up here so you don’t miss the next one!See More:

May 13, 20256 min readDeep Math from String Theory Appears in Clashing Black HolesResearchers have shown that abstract mathematical functions from the frontiers of theoretical physics have a real-world use in modeling gravitational wavesBy Ramin Skibba edited by Lee BillingsAn illustration of two black holes about to merge and emitting copious gravitational waves. Chris Henze/NASA/SPL/Getty ImagesA decade ago astrophysicists at the Laser Interferometer Gravitational-Wave Observatory (LIGO), operated by the California Institute of Technology and the Massachusetts Institute of Technology, managed to detect subtle ripples in spacetime called gravitational waves, released by a pair of black holes spiraling into each other, for the first time. That impressive discovery—which earned the 2017 Nobel Prize in Physics—has since become commonplace, with researchers regularly detecting gravitational waves from myriad far-distant celestial sources.And as the numbers of gravitational-wave observations have increased, physicists’ careful modeling is revealing new details about their mysterious origins. Some of the most intriguing gravitational-wave events, it turns out, could arise not from catastrophic collisions but rather from near misses. Furthermore, these cosmic close calls might be best understood using concepts derived from string theory—a notional theory of everything that posits that all of nature is fundamentally composed of countless, wriggling subatomic strings. This arguably marks the first linkage to date between a core mathematical aspect of the arcane theory and real-world astrophysics.At least, that’s the conclusion of an international team of researchers that applied geometric structures inspired by particle physics and string theory to the behavior of black holes when the colossal objects closely pass and deflect each other. Such interactions between black holes or neutron stars (compact remnants of exploded massive stars) can be studied through the deflection angle, the energy released through the near miss and the momentum of the objects’ recoil—all of which may be discerned in gravitational waves. The team’s results were published in the journal Nature on Wednesday.On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.Black Holes as ParticlesIn their study, the researchers used an obscure class of abstract mathematical functions to solve the formidable equations involved in determining the radiated energy from a near miss. “You need these new functions, which, in math and mathematical physics, have been studied intensively but, to date, have not appeared in any real physical observable. That’s what makes it quite interesting,” says Jan Plefka, a theoretical physicist at the Humboldt University of Berlin and a co-author of the new study. Those obscure functions, known as six-dimensional Calabi-Yau manifolds, had never been shown as directly relevant to descriptions of real astrophysical phenomena before.In the years since LIGO’s initial detection, two additional major gravitational-wave observatories, Europe’s Virgo and Japan’s Kamioka Gravitational-Wave Detector (KAGRA), have come online. Together, they form the international LIGO-Virgo-KAGRA collaboration and have amassed detections of nearly 300 gravitational-wave events over the past decade, mostly from colliding pairs of black holes. Also called black hole “mergers,” such events are the cacophonous moment when these dense gravitational behemoths smash together to form a single, larger beast. Plefka and his colleagues are studying different interactions known as “scattering” events, which occur when paired black holes slip by each other, usually in prelude to their eventual coalescence. During these close encounters, the clashing gravity of the black holes causes each to accelerate past the other, generating a significant gravitational-wave signal, but the objects are sufficiently separated to avoid merging.It’s no coincidence that this resembles elementary particles deflecting each other. “You can use the techniques developed for the scattering of microscopic objects to describe this scattering of macroscopic ones,” Plefka says. Considered from far enough away, well beyond the event horizon—that pivotal region within which neither matter nor light can escape—a black hole can be modeled as a particlelike point with mass and spin, albeit one that generates gravitational rather than electromagnetic waves.On that basis, Plefka and his colleagues applied techniques from quantum field theory that are more typically used to analyze the behavior of elementary particles. “We’re building on decades of work that has been done to make predictions for collider experiments,” says Gustav Mogull, a particle physicist at Queen Mary University of London and one of Plefka’s co-authors.Closer to Complex RealitiesThe team’s goal was to bring its numerical approximations as close as possible to mirroring reality—which, of course, tends to be more messy. To do that, Mogull, Plefka and their team toiled to crank up the complexity of their calculations. In this work, the researchers incorporated five levels of that complexity—to what is known as the fifth post-Minkowskian order of precision—for describing the scattering angles of black hole pairs, their radiated energies and their recoils.This is where the Calabi-Yau geometric structures, normally associated with string theory, come in. In string theory, Calabi-Yau geometries involve the compactification of higher dimensions. Here, they are not merely abstractions but instead emerge from the researchers’ calculations of black hole scattering. It’s perhaps ironic that string theory, notoriously derided as untestable, has given rise to mathematical structures of relevance to measurable physics far from the rarefied realm of strings.A visualization of two black holes scattering off each other and emitting gravitational waves, which are rendered in shades of blue (darker shades correspond to higher energies). This visualization was computed with the aid of advanced mathematical functions known as Calabi-Yau manifolds.Mathias Driesse/Humboldt Universtität zu BerlinAny mathematical function is associated with some kind of geometry, Mogull explains—and as the function increases in complexity, so, too, does its geometry. In the case of something basic, such as the sine or cosine functions used in trigonometry, that geometry is a simple circle. Elliptic functions, on the other hand, imply a doughnut-shaped geometry called a torus, which is also a Calabi-Yau onefold. It turns out that the functions Mogull, Plefka and their team developed for black hole scattering are associated with Calabi-Yau threefold structures, which involve six-dimensional surfaces. “I don’t think the appearance of Calabi-Yaus was that unexpected within our community. I would say this represents confirmation of something that people had suspected but was yet to be verified,” Mogull says.To demonstrate the utility of their approach in their study, Plefka, Mogull and their colleagues compare their approximations of black hole scattering angles to other, presumably more precise ones that were derived from numerical simulations. Such simulations can be time-consuming to run, even on state-of-the-art supercomputers—hence the search for accurate approximations. The team’s highest-order approximation closely matches the results of supercomputer number crunching for cases of black holes that gently deflect each other across great distances. But when the black holes come closer to a head-on collision, the team’s calculations begin diverging from the numerical simulations.Such work may seem to be a purely academic exercise, but in fact, the research could prove vital for making new discoveries. Signals from scattering black holes and neutron stars should be within reach of the next generation of gravitational-wave detectors that are set to come online in the late 2030s. These detectors, which will also need a new generation of models called waveform templates to discern true gravitational-wave signals from a sea of cosmic and terrestrial noise, include the proposed Einstein Telescope in Europe and Cosmic Explorer in the U.S. The latter, like LIGO, is supported by the National Science Foundation, and so far these kinds of gravitational-wave projects have avoided being directly targeted by the Trump administration’s aggressive proposed cuts to federally funded science.The work’s prospect for enhancing our understanding of gravitational-wave sources excites scientists who are gearing up for this new wave of detectors. They include Jocelyn Read, a physicist at California State University, Fullerton, who works with the Cosmic Explorer project. “Next-generation facilities can measure nearby signals with exquisite fidelity,” she says. (Here “nearby” means “within a few billion light-years.”) “So having very accurate and precise predictions from our current theories is definitely needed to test them against those kinds of future observations,” Read adds.Yet she also urges caution when assessing the significance of Plefka, Mogull and their colleagues’ work. “If they’re talking about implications for gravitational-wave astronomy, there are a few more steps that are needed,” she says. And their team has competitors, too, including some who have been deploying numerical simulations of their own.These kinds of approximate methods could eventually inform the waveform templates that are so crucial for filtering out noise in upcoming gravitational-wave detectors, Plefka says. Geraint Pratten, a LIGO physicist at the University of Birmingham in England, agrees. “I think it’s a heroic calculation by the group. It will provide a lot of insight into how we can structure next-generation waveform models,” he says. Pratten adds that more work will need to be done to move past the new study’s limitations. For example, the paper focuses on black holes without spin and those that undergo “unbound” scattering, which means that they deflect each other and never meet again. In reality, most, if not all, black holes are thought to spin, and usually scattering events precede an eventual merger.But in any case, he believes some gravitational waves from black hole and neutron star deflections will eventually be detectable, such as through observations of globular clusters, where these dense objects are packed together in a small space, cosmically speaking.For Plefka, Mogull and their peers, this macroscopic version of quantum field theory is still a young field, and there are many new types of astrophysically relevant calculations that they and others can do. These esoteric Calabi-Yau structures, formerly on the frontier of theoretical physics, could be just the beginning. “You’ve had this whole new class of mathematical functions—these theoretical things that had appeared in string theory,” Mogull says. “And we’re saying, ‘Look, this is tangible. This [radiated energy from scattering] is something you can try to detect, try to measure. This is real physics now.’”

At Sotheby's Modern Evening Auction last night, Frank Lloyd Wright's double-pedestal lamp broke a record when it sold for $7.5 million after an 11-minute battle between bidders. The iridescent lamp, in shades of gold, green, blue, and purple, is now the most valuable Wright work ever sold at auction, more than doubling his previous record. The price is four times what the lamp sold for when it was last on the block in 2002. Courtesy Sotheby'sFormally titled "An Important Double-Pedestal Lamp for the Susan Lawrence Dana House, Springfield, Illinois," the piece was initially commissioned for one of Wright's early residential homes. There are just two versions of this lamp in existence: the one that sold last night and one that Illinois Governor Jim Thompson and the Dana-Thomas House Foundation acquired in 1988 for the permanent collection of the Dana-Thomas House, which is now a museum.Courtesy Sotheby'sThe lamp is made from iridized and opalescent glass and bronze in a brass-plated “colonial” zinc frame. Wright designed the work in 1903 and it was executed by the Linden Glass Company in Chicago the next year. The lamp's gold, amber, and green shade features geometric patterns and the "sumac motif," a prairie plant Wright used as design inspiration throughout the Dana-Thomas House. Parts of the lamp gently move: the two vertical blue-green glass panels on each side have hinges. Sotheby's notes that these panels may reference Japanese “shoji” screens—believed to repel evil spirits—which Wright admired during visits to Japan.Courtesy Sotheby's Overall, this sale is a boon to the architect's already storied legacy. Jodi Pollack, Sotheby’s chairman and co-worldwide head of 20th century design notes that the sale, "celebrates not only a remarkable piece of American design but a landmark moment in the legacy of one of the most visionary architects in history."She continued: "A true testament to his genius, the lamp stands as a beacon of the American pursuit of design, innovation and progress that reflects Wright’s lasting influence on American architecture and culture." Annie GoldsmithSenior EditorAnnie Goldsmith is the senior editor and digital lead at ELLE Decor, where she covers design, culture, style, and trends. She previously held positions at The Information, covering technology and culture, and Town & Country, writing about news, entertainment, and fashion. Her work has also appeared in Vogue, Rolling Stone, and the SF Standard. 

Most of the first trailer for Ironheart reminds viewers of what we learned in Black Panther: Wakanda Forever: that Riri Williams (Dominique Thorne) is a genius. Under pressure and threat of danger, she figures out a way to escape an elevator death trap, establishing her credibility as the greatest engineering mind since Tony Stark. But there’s one thing that Riri Williams has in common with most people, including those watching the trailer at home. As her friend puts it, “You know nothing about this man.” The man in question is Parker Robbins, played by Anthony Ramos. He appears in the trailer as a sort of morally dubious benefactor to Riri, but the most notable part of him is his unique style of dress. In most scenes, Robbins wears a leather cloak, which appears to have mystical powers. Marvel Comics readers (and Marvel Snap players) recognize Robbins as “The Hood,” a relative newcomer to the world of comics but a character with the power to shake up the MCU. Robbins made his debut in 2002’s The Hood, written by Brian K. Vaughan (Y: The Last Man, Saga) and penciled by Kyle Hotz. As part of Marvel’s mature-readers MAX line, The Hood took a sideways glance at the Peter Parker archetype, giving us a likable everyman who operated in the world of Marvel’s criminals. When Parker took a burglary job to pay for his sick mother’s treatment, he discovered a mystical cape and pair of boots, clothing that granted him the powers of flight and invisibility. While that initial story made Parker more of a normal guy who makes bad choices in difficult situations, subsequent tales have leaned into soap opera, transforming him into more of an unrepentant supervillain. In Daredevil, he sought to become the new Kingpin of Crime and he regularly butted heads with the New Avengers. During the Secret Invasion and Secret Wars storylines, Parker became a member of the Cabal, a sort of evil Illuminati, alongside villains such as Norman Osborn and Doctor Doom. Later, he joined the Thunderbolts and clashed with Hawkeye, then the team’s leader. More recently, stories about the Hood have emphasized his mystical powers, tying him to Ghost Rider and Doctor Strange’s arch-enemy Dormammu. And that’s where Parker has real potential to change the MCU. Magic has always been a key part of the MCU, ever since Thor and the first scene of Captain America: The First Avenger. More recently, movies such as Spider-Man: No Way Home and shows such as Agatha All Along have explored the magical side of the universe, indicating how it underpins everything the characters do. As seen briefly in the Ironheart trailer, the MCU version of the Hood has those same mystical powers and, if the brief shot of Parker writhing as runes form on his back is any indication, the powers may overwhelm him. Clearly, the abilities are greater than even he realizes. Furthermore, rumors have once again suggested that Mephisto, the Marvel Universe’s equivalent to Satan and a character tied to the comic book version of the Hood, will finally appear in Ironheart, played by Sacha Baron Cohen. Yes, people have been saying that since WandaVision but, given the recent Mephisto name drop in Agatha All Along, it now seems more likely. All of which raises a question: Why all this magic in Ironheart, a show about a technical genius who uses her science skills? The answer is that this clash between technology and magic has long been a theme in the Marvel Universe, going back to Iron Man‘s battles with the Mandarin, a far more magical (and far more racist) character in the comics. The bigger question involves the show’s depiction of Parker Robbins. A veteran of Hamilton and, more recently, Twisters, Ramos knows how to play a fresh-faced and likable character. Will he be able to keep audiences on his side, even as he goes deeper into the dark arts? Or will he quickly become an unrepentant villain, like his comic book counterpart. Join our mailing list Get the best of Den of Geek delivered right to your inbox! Ironheart comes to Disney+ on June 24, 2025

Today we have the fourth dev release of the Godot 4.5 cycle, following hot on the heels of Godot 4.5 dev1 released in March, the Godot 4.5 dev2 released earlier in April and the Dev3 release the end of April. These releases add new features and improvements to the Godot engine leading up to the final Godot 4.5 release. These are pre-beta releases and obviously are not supposed to be used for production work. There is also a new Godot Engine asset bundle showcased in the video, the Godot StarNova Bundle on Gumroad but be sure to use the code SN40 at checkout to save $40 off! In Godot 4.5 Dev4 the following are the highlight new features: Progress on initial C# support for web platforms Embedded window support on MacOS 3D physics interpolation moved to SceneTree Variant can now be exported Stackable outlines/shadows on Label Specular occlusion from ambient lights Key Links Godot 4.5 Dev 4 Release Announcement Interactive Changelog Godot Web DotNet Update You can learn more about the Godot 4.5 dev4 release and see several of the new features in action in the video below. In addition to the Godot StarNova Bundle, there are also Unity and Unreal Engine bundles, which can be converted to work with Godot and other engines and tools. The SpaceNova and StarNova Unreal Engine as well as the Unity SpaceNova and StarNova bundles. Use code SN70 and SN40 for each bundle respectively to save a huge amount. Using GFS links to purchase the bundles helps support us (and thanks so much if you do!). If you are looking at using the Unreal or Unity assets in another game engine, be sure to check out the following conversion guides:

PROS: Very affordable price points Great sound quality Charming, playful design Great battery life CONS: No interactive control dial Microphone picks up surrounding noise RATINGS: AESTHETICSERGONOMICSPERFORMANCESUSTAINABILITY / REPAIRABILITYVALUE FOR MONEYEDITOR'S QUOTE:CMF by Nothing continues to impress with its ability to balance design, performance, and affordability, and the Buds 2 and Buds 2 Plus are perfect examples of that philosophy in action. CMF, the design-focused sub-brand of Nothing, has proven time and again that great sound and great design can coexist in harmony without breaking the bank. With their playful aesthetics, the Buds 2 and Buds 2 Plus are CMF’s latest audio offerings that pack a surprising number of features into an impressively affordable price point. The Buds 2 and Buds 2 Plus, along with Phone Pro 2, the latest offerings from this innovative brand, showcase just how deeply CMF’s philosophy is embedded into their products. Designer: CMF by Nothing Aesthetics The CMF Buds 2 and Buds 2 Plus follow a natural evolution of the design language introduced with the Buds Pro 2 last July. While both models share a nearly identical form, there are subtle differences that set them apart. One prominent feature is the rotating dial on the upper left corner of the charging case, which mirrors the design of the Buds Pro 2. However, unlike the customizable Smart Dial found on the CMF Buds Pro 2, which lets you twist to adjust volume, manage playback, and press for functions like noise cancellation and Voice Assistant, you can do none of these with the dials on the Buds 2 and Buds 2 Plus. They are intended for lanyard attachment or simply as a satisfying tactile feature for fidgeting, with no interactive controls. The CMF Buds 2 features a transparent rotating dial, providing a contrast against the sandblast-textured case that adds a playful touch. On the other hand, the CMF Buds 2 Plus sports a matte metallic finish on its dial, giving it a more sophisticated and refined look. This contributes to the cohesive, design-driven ethos of CMF by Nothing, which is echoed across products like the CMF Phone 2 Pro. Both models are housed in square-shaped cases with rounded edges, which creates a soft and approachable aesthetic that feels modern and tactile. The CMF Buds 2 Plus have a rubber-coated texture, offering a more premium, grippy feel. On the bottom left of the case, you’ll find the iconic CMF by Nothing branding in its signature Ndot font, giving the design a clean and minimalist finish. Opening the case reveals the earbuds arranged diagonally inside, securely held by magnets, with the Bluetooth pairing button located at the bottom right corner between two buds. The earbuds themselves feature a simple design, with shiny plastic housings and matte stems. A circular mark on the top of the stem indicates the touch-sensitive area, though there are no markings at the bottom of the stem, unlike the Buds Pro 2. The CMF Buds 2 come in Light Green, Black, and Orange, while the CMF Buds 2 Plus are available in Light Grey and Blue. We received the Orange Buds 2 and Blue Buds 2 Plus for review. The Blue variant, which has a deep navy hue with a hint of purple, is particularly striking. However, the Blue Buds 2 Plus do show oil smudges more easily, which is something to keep in mind. Ergonomics The charging case for the CMF Buds 2 and Buds 2 Plus is not the smallest, measuring 53.3 x 53.3 x 23 mm, but the textured surface makes it feel pleasant and solid in hand. I found myself often fiddling with the rotating dial. It’s surprisingly enjoyable, even without the clicking tactile you get to enjoy on the Buds 2 Pro, adding a playful element to the experience. Taking the earbuds out of the case and putting them back in is simple and effortless. Weighing in at just 4.5 grams, the earbuds are lightweight and sit comfortably in my ears, with the medium silicone tips that come pre-installed. Of course, fit is different for each individual, and for those who need a different fit, smaller and larger silicone tips are also included in the box for a more customized fit. The fit of the CMF Buds 2 and Buds 2 Plus is particularly impressive. I wore the Buds 2 and Buds 2 Plus continuously for over eight hours, and they remained comfortable the entire time. What’s even more surprising is that I usually struggle with getting other earbuds to stay securely in my left ear, but both pairs of these earbuds sat firmly in place, whether I was running, cycling, or doing light yoga. They felt stable and snug, providing a comfortable fit that didn’t shift or cause any irritation, even during more intense activities. Performance The CMF Buds 2 and Buds 2 Plus both deliver impressive sound quality, especially considering their price points. The Buds 2 features an 11 millimeter PMI (Polymethacrylimide) diaphragm driver, while the Buds 2 Plus steps things up with a 12mm LCP driver (Liquid Crystal Polymer). Both support AAC and SBC codecs, while the Buds 2 Plus also includes LDAC support for high-resolution audio. Out of the box, both earbuds lean toward a bass-rich sound signature. The low end is prominent but does not overpower the mids and highs. If you want to enhance the bass even further, you can activate Ultra Bass Technology 2.0 in the Nothing X app. This feature lets you boost the bass on a scale from one to five, depending on your preference. The Buds 2 are tuned to emphasize bass more than the Buds 2 Plus. The CMF Buds 2 produce deep and punchy bass that enhances genres like hip-hop and EDM. On the other hand, the Buds 2 Plus offer a more balanced sound profile, with clearer mids and more detailed highs. Both options, however, are geared toward listeners who enjoy a bass-forward experience. The CMF Buds 2 features Dirac Opteo tuning, which helps improve clarity and spatial sound characteristics by optimizing how audio is delivered to your ears. This feature is not available on the Buds 2 Plus. Instead, the Buds 2 Plus offers Personal Sound powered by Audiodo. This function uses a short hearing test within the Nothing X app, where tones are played across various frequencies for each ear. Based on your responses, the app creates a personalized audio profile that adjusts frequencies you may have difficulty hearing. This results in a more tailored and balanced listening experience. Both models work with the Nothing X app, which gives you access to adjustable EQ settings, ANC modes, and control customization. The EQ interface lets you fine-tune bass, mids, and treble across five intensity levels. Unlike Nothing’s flagship audio products, you do not get access to the advanced EQ with granular tweaking. However, the app does include several preloaded sound presets for quick selection. Touch controls are also customizable through the app. You can assign different commands to double taps, triple taps, tap and hold, and double tap and hold for both left and right earbuds. Changing the function assigned to a single tap is not supported. The touch-sensitive area is located near the top of the earbud stem, which may require some practice to hit accurately. A convenient addition would have been the option to mute the microphone during calls with a tap gesture. Both models feature active noise cancellation. ANC works well and introduces no noticeable white noise or hiss in quiet settings. You also get transparency modes to let in surrounding sound when needed. The Buds 2 and Buds 2 Plus are equipped with six HD microphones. Call quality is clear in quiet environments. However, in noisy conditions, background sounds such as wind or nearby conversations are often picked up, which can affect clarity during calls. Dual connectivity is supported by both models, allowing you to stay connected to two devices at the same time. I tested them with two smartphones and also with a phone and a laptop, and switching between devices worked smoothly and without delays.  In-ear detection generally functions reliably, though it can be a little too sensitive at times. I’ve occasionally experienced playback pausing even when the earbuds remain securely in my ears. A small adjustment typically gets the audio going again. That said, this doesn’t appear to be a widespread issue based on user feedback from the Nothing Community, so it may just be an isolated case in my experience. Battery life is another strong point. The Buds 2 offer up to 14 hours of playback with ANC turned off, and up to 61.5 hours including the charging case. The CMF Buds 2 Plus, meanwhile, provide 13.5 hours of playback on a single charge, and up to 55 hours with the case, also with ANC off. With ANC turned on, I consistently got around 8 hours on the Buds 2 and about 8.5 hours on the Buds 2 Plus, primarily listening to streaming music and occasional videos in quiet environments. Battery performance will vary depending on volume and background noise. Fast charging is supported through USB-C. A 10-minute charge provides up to 7.5 hours of playback on the Buds 2 and 8.5 hours on the Buds 2 Plus. While there is no wireless charging support, this is understandable for earbuds in this price range. Sustainability CMF by Nothing has clearly put a lot of thought into making the Buds 2 and Buds 2 Plus durable enough to last well beyond your typical upgrade cycle. Both models go through extensive durability testing. From a 1-meter drop test, plug and unplug tests for the charging port (tested up to 5,000 cycles), to temperature stability under extreme conditions, ranging from -40°C to 75°C for 96 hours. The earbuds themselves are IP55 rated, so they’re protected against dust and splashes, making them a reliable pick for sweaty workouts or rainy commutes. The charging case, on the other hand, carries a more modest IPX2 rating. That means it can handle the occasional drip, but it’s definitely not made for water exposure. It’s also worth noting that CMF’s packaging is plastic-free, which is a great step in the right direction. Still, we’d love to see them go a bit further, incorporating recycled or biodegradable materials in the earbuds or case would push their sustainability story even further. Durability helps keep these earbuds in use longer, which is a win for the environment. But with just a bit more focus on materials, CMF could take its eco credentials to the next level. Value At $59 and $69, respectively, the CMF Buds 2 and Buds 2 Plus deliver exceptional value for money. Both models offer well-tuned audio, thoughtful design, reliable performance, and a feature set that can easily compete with earbuds that cost significantly more. In terms of sound, they stand out in the budget segment with punchy bass and good clarity. The value becomes even more apparent when you consider the feature list. Both models include IP55-rated earbuds for water and dust resistance, a customizable EQ through the Nothing X app, and Ultra Bass Technology 2.0 for those who want to boost low-end performance. The rotating dial on the case, which serves both as a lanyard attachment point and a fun tactile element, adds a bit of personality and playfulness to the design. For those who prefer a more neutral sound signature and are not fans of bass-heavy tuning, the Realme Buds Air 7 are a strong alternative. Priced at around 299 Chinese yuan, which is approximately 41 US dollars, they come in a stylish transparent moss green version. However, the charging case is bulkier, and the earbuds are not officially available in the United States, which might be a drawback for some. Verdict CMF by Nothing continues to impress with its ability to balance design, performance, and affordability, and the Buds 2 and Buds 2 Plus are perfect examples of that philosophy in action. Both models deliver surprisingly rich audio for their price. Unique design choices like the tactile rotating dial, sturdy build, and IP55 water resistance make these earbuds feel far more premium than their modest price tags suggest. Battery life is excellent, and the Nothing X app adds a lot of flexibility. At these price points, the Buds 2 and Buds 2 Plus punch well above their weight. In fact, when it comes to affordable true wireless earbuds, these might just be the best in their class. If you want earbuds that look great, sound great, and won’t drain your wallet, these are hard to beat. The post CMF Buds 2 and Buds 2 Plus Review: Playful, Talented, and Affordable first appeared on Yanko Design.

Ready for more racing? This month’s free update from the Polyphony team comes with four new cars to rip around on your favorite GT7 circuits: the ’17 Ferrari 812 Superfast, ’01 Chevrolet Corvette Z06, ’12 Suzuki Carry KC, and ’21 Honda CR-V e:HEV EX Black Edition. In addition, three new events are coming to World Circuits and Sophy, the AI racing agent, has been expanded to support the Circuit de Barcelona-Catalunya Grand Prix Layout. Update 1.59* for Gran Turismo 7 is available as of today Wednesday, May 14 at 11:00pm PDT / May 25 at 3:00pm JST / 8:00am CEST. Play Video New cars ’01 Chevrolet Corvette Z06 (C5) (Can be purchased from Brand Central / Used Cars) The peak of the 5th gen Corvette line-up revives the classic Z06 moniker. In 1999, a hardtop model was added to the Chevrolet Corvette C5 lineup. Though it removed the detachable roof and rear hatch from the coupé, this model utilises the increased rigidity from the new design to improve driving performance. Its dedication to performance is further evident from the fact that selecting the hardtop model included an automatic upgrade to the Z51 handling package and manual transmission. What’s more is that even with all these features, it was still cheaper than the standard coupé model. It’s no wonder that enthusiast drivers flocked to it despite its somewhat niche appeal. From 2001, the hardtop Corvette was equipped with a 384.6 BHP LS6 engine, an improved version of the LS1, and was renamed the Z06. The Z06 name was taken from a race package option code that had existed for the C2 Corvette. It featured a full titanium exhaust which is very unusual for a production car, along with reinforced suspension components with a specially tuned wheel alignment, and was only available with a manual transmission. However, in exchange for this wealth of equipment, there was a significant increase in the price. This made it the most expensive model yet, exceeding even the price of the convertible, which made it less obtainable to the users who had previously been attracted by its sturdy hardtop body and spartan equipment. Even so, further improvements were made to the Z06, with the maximum output increased to 405.3 BHP in 2002. Achieving over 394.5 BHP in a small block engine was an unprecedented feat, making it one of the fastest mass-production cars in the world. View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image ’17 Ferrari 812 Superfast (Can be purchased from Brand Central) Adopting the classic V12 FR layout, this Ferrari achieves blinding speed while retaining usability. The 812 Superfast was released in 2017 as a successor to Ferrari’s historic tradition of front-engined 12-cylinder models. The 812 name itself refers to the engine’s power and layout, being ‘800 PS, 12 cylinders,’ while the Superfast moniker was carried over from the legendary ‘500 Superfast’ itself produced in 1964. The body styling was conceived by Ferrari’s own Styling Centre. With a long nose and short deck, the body proportions are typical of a 12-cylinder front-midship layout, however the refined aerodynamics and details give it the elegant aura of modern Ferrari design. The 788 BHP and 718 Nm (73.3 kgfm) produced by the naturally aspirated 6.5L V12 unit are routed to the rear tyres through a 7-speed DCT transaxle. The car is also notable for being the first Ferrari model to incorporate an electric power steering unit. Additionally, the running gear features an evolved version of the 4-wheel steering setup found on the previous F12berlinetta model, dubbed the ‘Virtual Short Wheelbase 2.0’ system. The prime benefit of this system is it allows the nose to turn in sharply on even the tightest corners, despite the relatively long 2,720 mm wheelbase. With trunk space behind the seats and a spacious cargo area in the rear end, the 812 Superfast may be the perfect supercar for grand touring. View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image ’21 Honda CR-V e:HEV EX・Black Edition  (Can be purchased from Brand Central) The 5th generation model of this popular SUV is the first to feature a hybrid system. In the 1990s, Honda set their sights on creating cars for leisure activities, dubbing the category ‘Creative Movers’. The first such model was Odyssey which released to widespread commercial success in 1994, and was followed in ’95 by a high ground clearance SUV model. This was the first generation CR-V. From then, the CR-V became a long-selling hit, especially in the North American market. Eventually reaching the model introduced here, the 2021 model which is based on the 5th generation CR-V originally introduced in 2016. The model notable feature of the 5th generation is the introduction of a hybrid powerplant, the first ever in the series. This system combines a 2L Atkinson cycle engine with 2 electric motors, able to operate in both series or parallel. This highly efficient system also allows the petrol engine to provide power when cruising at high speeds. The availability of a 4-wheel drive option with this hybrid system further contributed to the CR-V’s popularity. Aesthetically, many characteristics have been carried over from the previous generation model, but the body has been slightly enlarged to increase leg room for rear passengers, improving their comfort. Additionally, the car is also able to carry a large amount of luggage with over 1,100L of cargo space available just by folding down the back seats. The petrol model also featured a 3-row 7-seater layout. The fifth generation CR-V is not only a refined SUV, it also features numerous driver assist systems like collision avoidance braking and adaptive cruise control. This makes it a perfect choice not only for leisure but for everyday driving as well. View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image ’12 Suzuki Carry KC  (Can be purchased from Brand Central) A quintessential example of the ‘micro-truck’ trend that’s sweeping the globe. Japan’s micro-car segment, known natively as ‘kei’ cars, has grown into an indispensable tool for everyday life. The kei segment of course features many passenger models, along with SUVs and sports cars too, but there are also a large number of commercial vans and trucks which support infrastructure. The Suzuki Carry is one such microtruck that reflects commercial kei cars as a whole. The Carry has a long history behind it, which stretches back to its birth in 1961. The 10th generation model was introduced as a full model change in 1999 in order to meet changes to the kei car certification standard introduced in 1998. The model introduced here is the 2012 model, the final model of the 10th generation following several other facelift models. The body has been enlarged over the previous generation, now measuring 3,395 mm long and 1,475 mm wide. The engine is located under the feet of the occupants in a semi-cabover configuration, and has a displacement of only 658 cc though the initial line-up did also feature turbocharged models. The Carry is available in a number of different model grades to fit purpose and price, but the KC is the most luxurious, featuring power steering and air conditioning as standard equipment. Along with a rear-wheel drive layout, it was also available with four-wheel drive allowing it to perform to its fullest even in the snow or on uneven mountain roads. The kei truck’s adorable aesthetics and excellent usability have also earned it attention from overseas. Preowned Carrys have found themselves to be popular for agriculture and farming in the U.S. where right-hand drive models are automatically qualified road-worthy 25 years after their initial release. A small body housing enormous potential, the Carry is yet another example of a uniquely Japanese car finding worldwide appeal. View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image World Circuits (New Events) The following new events have been added to ‘World Circuits’: Lightweight K-Cup: Eiger Nordwand American Clubman Cup 700: Autódromo de Interlagos Ferrari Circuit Challenge: Deep Forest Raceway ​​ Gran Turismo Sophy The next-generation racing AI agent, ‘Gran Turismo Sophy’ is now available on the following courses. Look for the Sophy icon in ‘Quick Race’ and ‘Custom Race’ on each track to test your skills against Sophy Circuit de Barcelona-Catalunya Grand Prix Layout. Scapes ‘Shooting the perfect square’ has been added as a featured Curation in Scapes, enabling square-photos with geometric backgrounds for social media. *Internet connection and Gran Turismo 7 game required for update.

In an industry where typefaces are designed to be used by thousands, a radical new concept has emerged that turns conventional type distribution on its head. David Březina, managing director at Rosetta Type, has created a typographic experiment called Only Yours: a typeface system that generates unique variants available exclusively to individual customers. The premise is brilliantly simple yet revolutionary: nine new variants of the typeface are released every day. Once purchased, a variant is permanently removed from circulation, ensuring that no one else will ever own that specific design. "The idea for a typeface that would be different for each customer has been on my mind for a few years," explains David. "According to surveys, most designers do not know how to use OpenType features and hence letter alternates. I'd been working on a still-unreleased typeface called Sacco, and at some point, it was so easy to create more and more letter alternates that it seemed like a shame to keep them tucked away somewhere in the font where no one would look." This observation sparked a more profound question: what if instead of hiding alternates within a font's features, the alternates themselves became the foundation for entirely unique typeface variants? Inspired by Dylan The concept lay dormant, though, until a surprising moment of inspiration. "I sat on it for a few years," recalls David. "The project seemed intimidating in scope, and I didn't really see a good reason to do it. "Then I went to see Bob Dylan, who's known for constantly rewriting his songs, in concert. It occurred to me that having so many perceivably different variants would bring more authenticity to the users. They could each have a unique font, in the same way concert-goers can attend a unique performance." This parallel between the legendary musician's ever-evolving performances and the notion of typographic uniqueness crystallised the concept. What began as design work in December 2025 led to a soft launch at the Automatic Type Design conference in Nancy, France, in February 2025. Science behind the system Only Yours isn't merely a stylistic exercise; it's grounded in David's PhD research on letter similarity perception. "I studied how they are clearly different, yet, in a well-designed font, they also look visually coherent," he explains. Technical implementation is where things become fascinatingly complex. Rather than designing alternative letters, David took a more fundamental approach. "Similarity perception is explained in terms of distinctive visual features that are shared by some of the letters, but not necessarily all of them," he explains. "More shared features mean stronger perceived similarity between the letters. It occurred to me that I could hack into this system and design alternates, not for the letters as we're used to from contemporary fonts, but for the individual features." While keeping some aspects of the generation process proprietary, David confirms that this feature-based approach allows for remarkable diversity while maintaining design coherence. "Using a reverse-contrast design remotely related to Antique Olive also helped to incorporate some rectangular elements more easily. The coherence does not need to be perfect, after all. Some of my favourite variants come from unexpected violations of the overall coherence." Scarcity as a feature, not a bug In an era of unlimited digital reproduction, Only Yours deliberately introduces scarcity. With over a million variants, the decision to release just nine per day transforms typography selection into something akin to a daily treasure hunt. "We didn't want to design a system for users to pick and choose," David notes. "The value of the project is not in providing all the options. It is in exclusivity. "Originally, I wanted the variant to be chosen randomly for the customers," he added. "But that did not seem right, so we settled on a compromise: offering nine new variants every day, which also turns it into a game. They're never shown again, so if you like one, you better get it." This approach creates a fascinating tension between the digital nature of typefaces and the artificial scarcity that makes each variant valuable. Once a customer purchases a weight from a variant, all weights within that variant become exclusive to them, preventing anyone else from fragmenting their unique typographic identity. Redefining typographic identity When sharing his concept with fellow designers before launch, David received some scepticism. "When I tried to discuss this idea with some friends, graphic designers, in November, they told me that it would be 'totally useless for branding'," he recalls with amusement. I disagree: since every variant is exclusive, it is perfect for branding!" Far from being an obstacle to professional use, the consistency within each variant across weights ensures practical usability while maintaining uniqueness. "Each variant of Only Yours is consistent across multiple weights, so it should work just fine in professional contexts," he asserts. The potential applications extend beyond individual designers. "Creating unique experiences in branding is not new. There is Freitag with their bags, each original, or even Coca-Cola with their named cans, which is a step in that direction," David points out. "Perhaps Only Yours could make it easier in some cases. We could, theoretically, generate thousands of unique variants for someone to licence as a bulk. Or a magazine could get a new variant for each issue." Looking to the future: Softly Yours Building on the success of Only Yours, Rosetta Type has already announced plans for Softly Yours, a rounded version using the same generative framework. "We set the price quite affordable to be more flexible," David adds. "We do have customers who already purchased multiple variants." Overall, this project represents a fascinating intersection of typographic design, computational creativity and exclusivity marketing. In a world increasingly concerned with digital ownership and authenticity, Rosetta Type has created something that feels almost paradoxical: a digital asset that can't be perfectly duplicated. For graphic designers and branding specialists, Rosetta Type offers something truly novel: the guarantee that your typographic voice won't be inadvertently duplicated by competitors. In an industry constantly searching for uniqueness, David has engineered it directly into the fabric of his typeface. As the nine variants change daily and customers claim their exclusive pieces of typographic history, Only Yours and Softly Yours aren't just new fonts. They represent a new relationship between designers and their tools, where scarcity, exclusivity and personal connection have been reintroduced to the digital realm.

Square Enix has finally given up on its Pokémon GO-style mobile spin-off of Kingdom Hearts. The Final Fantasy publisher announced on Wednesday that it was cancelling Kingdom Hearts Missing-Link, which began development back in 2019, because it didn’t think it could deliver on the live-service experience over the long haul. The change of heart comes as Square Enix commits to releasing fewer but better games. Suggested ReadingI Didn’t Play Final Fantasy XVI ‘Right,’ And That’s OK Share SubtitlesOffEnglishview videoSuggested ReadingI Didn’t Play Final Fantasy XVI ‘Right,’ And That’s OK Share SubtitlesOffEnglishMissing-Link was supposed to be a GPS-based RPG that integrated the real world into the series’ familiar action combat and storytelling, and it was originally supposed to launch in 2024. “We wish to convey our heartfelt apologies to everyone who has been looking forward to the start of service,” the publisher wrote in an update. “Although we worked hard on developing and adjusting the game in the hope that it would be enjoyed by lots of players, we determined that it would be difficult for us to offer a service that players would find satisfactory over a long period of time, leading us to the decision to cancel development.” Square Enix confirmed it’s still all-in on Kingdom Hearts IV, but noted in its latest earnings briefing that it plans to be choosier about what it greenlights going forward. On the back of a $217 million drop in net sales last year despite the outsized success of Dragon Quest III HD-2D, the company revealed a three-year plan to “reboot and awaken” long-term growth. It includes “various initiatives to improve productivity by utilizing AI” as well as releasing fewer games. “Under the new management structure, we reviewed all projects at our domestic studios, including HD and SD titles, and decided to discontinue development of some titles and invest additional funds in titles that require refinement, thereby steadily implementing a strategy of selecting and concentrating development resources,” the company wrote in its presentation. It also wants to “establish a mid- to long-term pipeline to achieve a shift from quantity to quality.”Square Enix had recently been flooding the zone with a ton of games—Chocobo GP, Forspoken, Valkyrie Elysium, Foamstars, Visions of Mana—many of which either severely underperformed or just never quite hit. Under this new approach, it looks like the publisher is following in the footsteps of other big gaming companies and retreating into its biggest franchises. The Final Fantasy machine will continue with the final part of the Final Fantasy VII Remake trilogy, Final Fantasy XIV, and eventually Final Fantasy XVII. Alongside Kingdom Hearts IV, Dragon Quest XII also remains in development.It seems safe to expect that Square Enix will continue porting, remastering, or remaking other gems from its back catalog, and reportedly has a new version of cult favorite Final Fantasy Tactics in the works. But outside of its existing heavy hitters, it’s not clear where Square Enix will be pouring its resources next, and whether it still has any appetite for calculated but bold bets on new franchises. One new project might give us a clue. The publisher did reveal a partnership with Japan TV station TBS to “combine the experience and strengths they have cultivated in their respective fields to collaborate on the development of a completely new, original IP game for both domestic and international audiences.” It’ll probably be years, though, before we see what that game ends up being. .