Romanian audio wizards Meze have done it again. Their latest creation, the 105 AER open-back headphones, manages that rare balancing act of looking like industrial art while delivering sound that makes your favorite tracks feel brand new. Having spent years establishing themselves as the audiophile’s secret weapon with models like the Empyrean and 109 Pro, Meze’s more accessible $399 offering proves they understand something fundamental: great sound doesn’t need to come wrapped in mortgage-payment pricing.

The 105 AER sits in that sweet spot where serious audio enthusiasts and casual listeners converge. These aren’t your average commuter cans (open-back designs rarely are), but rather stay-at-home companions designed for those moments when you want to disappear into your music collection. Meze has crafted these with the clear intention of delivering an experience rather than just a product, and it shows in every aspect from unboxing to extended listening sessions.

Designer: Meze Audio

Let’s talk design, because these things are gorgeous. The name “AER” itself comes from the Romanian word for “air,” perfectly capturing the essence of these open-back headphones. This linguistic nod to Meze’s Romanian heritage isn’t just clever branding; it genuinely reflects what these headphones are all about: openness, spaciousness, and transparency in both physical form and sonic character. The 105 AERs feature a distinctive webbed pattern on their polymer earcups that gives them an almost architectural quality. Unlike their pricier sibling, the 109 Pro with its walnut wood cups, the 105 AER goes for an all-black aesthetic that feels simultaneously understated and premium.

The velour earpads aren’t just there for comfort (though they excel at that during marathon listening sessions); they’re part of a carefully considered approach to how these headphones interact with your ears both physically and sonically. The entire assembly weighs in at a neck-friendly level that makes you forget you’re wearing them after a few minutes.

Connectivity comes via a detachable Kevlar-reinforced OFC cable that terminates in a standard 3.5mm connector, with a 6.3mm adapter included for those with more serious amplification setups. This single-cable approach keeps things simple compared to the multiple cable options that come with Meze’s flagship models. The package includes a hard EVA carrying case that protects your investment without taking up half your backpack. These practical considerations reflect Meze’s understanding that even “serious” audio gear needs to integrate into real-world usage scenarios.

The 105 AERs deliver what many reviewers have described as a “fun tuning” with emphasized bass that never drowns out the mids. This isn’t the clinical flatness some audiophile brands pursue; instead, Meze has opted for a more engaging presentation that makes everything from jazz to electronic music sound lively and immersive. The midrange reproduction is particularly noteworthy, with vocals and acoustic instruments presented with a natural timbre that avoids the artificial coloration cheaper headphones often introduce. Treble response is crisp and detailed without becoming fatiguing during longer sessions, striking that delicate balance between revealing detail and remaining pleasant to listen to.

While many manufacturers chase either ultra-analytical sound or bass-heavy consumer profiles, Meze has carved out their own space with a presentation that prioritizes musical enjoyment over technical showboating. The open-back design creates a soundstage that extends beyond the physical confines of the headphones, giving music room to breathe in a way that closed-back models simply cannot match. This spatial quality makes them particularly well-suited for genres like classical, jazz, and well-recorded rock where instrument placement and room acoustics are integral to the experience.

The 105 AER is priced at $399, positioning it as an accessible option for those seeking audiophile-grade sound without the premium price tag of higher-end models. Compared to Meze’s 109 Pro, the 105 AER offers a brighter treble and a more energetic sound signature, making it an excellent choice for listeners who prefer a lively and engaging audio experience. While the 109 Pro might offer richer bass and a more luxurious design, the 105 AER holds its own with its clear mids and non-fatiguing treble.

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There was a time in my life (let’s not talk about what year it was) when I thought I would be a rockstar. I learned to play the guitar on my own and I was practicing all the pop-rock songs that I wanted to sing in case I can audition for some band or some contest. One of my complaints though was that the guitar I had was a generic brown guitar when I wanted to have something pink or purple or more colorful. However, most classical or acoustic guitars were just simple, monochromatic, and dare I say, boring. With the advent of new technologies and innovative methods of manufacturing, the ability to create highly customized and personalized products has never been more accessible. This shift has touched nearly every industry, from fashion and home decor to healthcare and now, even musical instruments.

Guitars, long seen as both functional tools and expressive art forms, are no exception to this trend. Leveraging the precision and flexibility of 3D printing, The 3D Print Zone has developed a groundbreaking modular guitar system that redefines what customization can mean for musicians. This system allows players not only to experiment with the shape, size, and aesthetic of their instrument’s body but also to adapt its functionality to suit individual playing styles and ergonomic needs. By separating the guitar’s essential components, such as the neck, pickups, and bridge, from the outer body design, this modular approach empowers users to reimagine the visual identity of their instrument without sacrificing playability or sound quality.

Designer: The 3D Print Zone

At the heart of this design is a central core that integrates the neck, pickups, and bridge—components critical for the instrument’s playability and tone.This core ensures precise alignment and structural integrity. Surrounding this is a customizable outer body, which attaches via mating slots and rails. This configuration enables users to experiment with various body shapes and styles without compromising the guitar’s fundamental performance.

The modular nature of the guitar opens the door to endless creative possibilities.Musicians can design bodies that reflect their unique style, from classic silhouettes to avant-garde forms.The use of 3D printing technology simplifies the fabrication process, making it accessible for enthusiasts to bring their custom designs to life. This exemplifies how additive manufacturing can revolutionize instrument design, offering musicians tools to create personalized instruments that align with their artistic vision. As 3D printing technology continues to evolve, it holds the promise of further transforming the landscape of musical instrument fabrication, making customization more accessible and fostering innovation in the field.

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Can you think of one smartphone brand that’s also a leader in the audio space? The knee-jerk response would probably be Apple for obvious reasons – the company’s acquisition of Beats by Dre helped cement its place in the audio hardware industry (after the iPod’s sunsetting relevance). What other company can you think of? Sony? Well, their Xperia lineup isn’t as impactful as it once was. You COULD say Samsung, given that they acquired Harman, which owns Harman Kardon, JBL, and AKG, but it’s not like Samsung’s taken those brands forward or developed them into something great the way Apple has with the AirPods and AirPods Max.

The only other company firmly entrenched in the smartphone and audio space is probably Nothing, with their series of ‘Ear’ TWS earbuds, but the company has big plans for the future, with the launch of the Headphone (1) on the 1st of July, along with the hinghly anticipated flagship Phone (3).

Designer: LFD Official

It seems only natural for the company to build vertically in an industry it’s currently a part of. The Ear series has a bunch of SKUs, both regular and budget-friendly… and Nothing’s done the same for its phone too. That being said, it’s spent its time analyzing and mastering the supply chain in a way that makes launching a headphone a lot easier now, after 3 years of being in the public eye.

“It’s our first over-the-head headphones,” Carl Pei said yesterday at SXSW in London. “A lot of our users have been asking for it.”

A video on Nothing’s YouTube channel earlier last month saw the internal team discussing the upcoming headphones, stating that they managed to strike a balance between premium-grade sound and a budget-friendly price tag. No concrete details have been mentioned as far as actual features or specs are concerned (there’s no mention of glyph lighting either), so we’re flying absolutely blind into this announcement.

It is, however, a tad bit funny that Nothing didn’t choose to name their product the Nothing Head (1) following the nomenclature from their Ear line. I’m sure the marketing team had their own reservations, but we’re now certain that it’ll be called the Nothing Headphone (1). The headphone will also supposedly be the first product as a collaborative venture between Nothing and British audio company KEF.

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In a remarkable feat of engineering at the nanoscale, physicists at Loughborough University have crafted what they believe to be the world’s smallest violin. You would think that this is just some random fun thing that they’re doing because they can. But while it is indeed fun and creative, there’s a bigger, purpose, so to speak. This miniature marvel, barely wider than a human hair, was created using cutting-edge nanolithography technology, opening doors for advancements in various scientific fields.

The minuscule musical instrument measures a mere 35 microns in length and 13 microns in width. To put that into perspective, a micron is one-millionth of a meter. This makes the violin so tiny that it could comfortably sit within the width of a single strand of human hair, which typically ranges from 15 to 120 microns. Crafted from platinum, the ‘violin’ is more of a microscopic image etched onto a small chip rather than a playable instrument.

Designer: Loughborough University

The creation of this incredibly small structure was made possible through the use of a sophisticated nanotechnology system at Loughborough University, featuring a state-of-the-art nano-sculpting machine called a NanoFrazor. This groundbreaking instrument from Heidelberg Instruments employs a technique called Thermal Scanning Probe Lithography (t-SPL).

At its core, the NanoFrazor utilizes an ultra-sharp, heatable probe with a tip radius of less than 5 nanometers to directly write intricate nanostructures onto a substrate coated with a thermally sensitive resist material. This process allows for incredibly high precision, achieving lateral resolutions as fine as 15 nanometers and vertical resolutions down to 2 nanometers. This makes it a versatile tool for advanced research across diverse applications, including the fabrication of quantum devices, nanoscale electronics, nanophotonic structures, and even biomimetic substrates for cell growth. This combination of precision, in-situ monitoring, and versatility makes the NanoFrazor a powerful instrument for pushing the boundaries of nanoscale engineering.

While the Loughborough University team acknowledges that their tiny violin isn’t capable of producing any melodies, its creation serves a significant purpose. This project acts as a testbed for the university’s new nanolithography system, allowing researchers to explore its capabilities in building and analyzing structures at the nanoscale. Experiments like this pave the way for potential new technologies and developments in areas such as advanced computing and innovative methods for harvesting energy.

This incredible achievement highlights the power of nanotechnology and the ingenuity of researchers pushing the boundaries of what’s possible at the smallest scales. While we might not be hearing any tiny tunes from this violin anytime soon, its existence represents a significant step forward in the world of nanoscale engineering and its potential applications for the future.

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Learning guitar has always had a certain mystique, the kind that draws in people eager to strum their favorite tunes or just jam along with friends. There’s an undeniable thrill in picking up a guitar for the first time, imagining all the songs you’ll soon be able to play. Yet, as any beginner quickly discovers, getting started isn’t always as simple as it seems, and the obstacles can pile up before you even learn your first chord.

It’s easy to think that buying a guitar is the only real hurdle, but the reality is a little more complicated. The cost of amplifiers, cables, and other must-have accessories can catch new players off guard. And even once you’ve assembled all your gear, the price of private lessons or music school can feel out of reach, especially if you’re just hoping for a casual hobby. Many turn to YouTube tutorials as a budget-friendly option, but these videos only go so far.

Designer: Haneul Kang

Forming good habits early on is crucial when learning guitar, but beginners practicing on their own often pick up bad techniques without realizing it. Things like awkward wrist angles, clumsy picking, or crooked finger placement creep in and become hard to reverse over time. The problem with online videos is that they can’t watch you play or tell you when you’re making a mistake. You’re left guessing whether your posture is correct or your rhythm is steady.

That’s where PIEK, a clever AI-powered guitar tutor concept, comes into play. Shaped like a familiar guitar pick, PIEK clips onto your guitar headstock and uses a camera and smart sensors to analyze your hand movements. It’s not just watching; it’s learning with you, offering instant feedback so you can catch and fix bad habits before they stick. Practicing feels less like guesswork and more like having a patient guide by your side.

PIEK SOLO is the compact version of the device, designed for quick, mobile use. It attaches right to the headstock, tracking your picking hand with a camera and sensors that notice everything from your picking strength to your finger patterns. The connected app beams feedback straight to your phone, so you know whether your technique is on point or needs a little nudge. Its lightweight build and simple design mean you can clip it on and start learning right away, wherever inspiration strikes.

The PIEK DUO takes things a step further for those who want even deeper insights. Instead of clipping onto the guitar, DUO is a freestanding device that sits in front of the player, using a wide-angle camera to track both hands. Its LED strip pulses like a metronome that adjusts to your tempo, giving you a visual cue to help lock in your groove. With its AI-driven rhythm detection, DUO knows exactly when you’re falling behind or rushing ahead, and will let you know.

For the most thorough experience, you can use SOLO and DUO together, watching both hands in real-time. This dual setup means you get feedback on your fretting and strumming, making it easier than ever to smooth out those early rough patches. For anyone who’s struggled to learn guitar on their own, or who found traditional lessons out of reach, PIEK offers a fun, affordable, and smart new way to practice.

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The return of the Beosystem 3000c is a moment that vinyl lovers and collectors can savor. This system revives the legendary Beogram 3000 series, a name that once transformed the landscape of high-fidelity listening in the 1980s. The new Beosystem 3000c is a sophisticated blend of past and present, restoring the signature Bang & Olufsen experience with contemporary craftsmanship and technology.

Taking a closer look, the Beosystem 3000c is not simply a tribute but a genuine resurrection of the original. Each unit begins with authentic Beogram 3000 turntables from the 1980s, meticulously restored and upgraded by skilled craftspeople. Paired with the crisp, modern sound of Beolab 8 speakers, this set bridges decades, offering a seamless connection between analogue warmth and digital clarity.

Designer: Bang & Olufsen

The Beogram 3000 series has long been a benchmark in turntable design, particularly for pioneering the tangential tracking tonearm. Unlike traditional arms that swing in an arc, this linear approach keeps the stylus at the perfect angle for high-fidelity playback. The result is a listening experience that remains faithful to the original recording, immersing you in the depth and richness intended in the studio.

When first released in 1985, the Beogram 3000 was a revolution in both form and function. Its slim profile broke away from the bulky silhouettes typical of the era, introducing a sense of elegance and modernity to the turntable world. Today, the Beosystem 3000c translates that vision into the present, with solid walnut and cool aluminum finishes that feel both timeless and undeniably luxurious.

One of the most striking visual details is the signature patterned platter, which serves as the centerpiece of the design. The raised base beneath the turntable creates the impression of the system floating gracefully above its surface. Designer Steve McGugan’s intent was to evoke a sense of weightlessness, a hallmark of Bang & Olufsen’s design language that continues to inspire.

The Beosystem 3000c offers the tactile pleasure of spinning vinyl as well as the convenience of streaming. With Beolab 8 speakers by its side, you can enjoy the crackle of your cherished albums or switch to your favorite digital playlists without missing a beat. This system is crafted for music lovers who appreciate both tradition and technology.

For those who value exclusivity, the Beosystem 3000c is offered as a limited edition with only 100 units available worldwide. Each piece is engraved with its own edition number and comes with a certificate of authenticity, making it a true collector’s item. The Beosystem 3000c transforms a music system into a rare opportunity to own a masterfully remastered icon, destined to become the centerpiece of any refined audio collection.

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Apple killed the iPod in 2022, the same year they launched the Watch Ultra – a weird cosmic irony that closed one chapter while opening another. But what if these timelines crossed? A designer’s concept for the iPod Nano Ultra imagines this collision: titanium-wrapped music player meets rugged adventure device, all without the digital quicksand of modern smartphones.

The concept feels almost rebellious in 2023, when devices seem engineered primarily as attention-harvesting machines rather than tools that serve discrete purposes. This iPod Nano Ultra would measure just 7.8mm thick – credit card compact but packing up to 4TB of storage, essentially carrying a small data center in your pocket.

Designer: Alexios Kamaris

What’s so interesting about a potential iPod revival (with the Ultra tag and extra features), is the fact that it’s everything the iPhone wishes it could be. No Instagram, TikTok, X, or any other algorithmic rabbit holes designed to monetize your attention span. Just the core Apple features that uplift any device and provide ACTUAL use. Maps gives you offline navigation through all 63 US national parks with voice directions, but without constant pings from work emails or group chats. The Ultra Wideband chip lets you unlock doors by simply approaching them, while Apple Pay and Wallet keep your essentials digital without dragging along the entire attention economy. The integrated e-SIM provides connectivity when needed without transforming every quiet moment into an opportunity for notification bombardment. And yes, there’s Apple Intelligence too – something no iPod ever had or will ever have.

The hardware speaks a language of considered minimalism. Gone is the iconic click wheel, replaced by the Watch Ultra’s Digital Crown and Force Touch controls that offer tactile feedback without sacrificing screen real estate. That screen pushes 2500 nits of brightness – brighter than most laptops and phones, ensuring visibility whether you’re summiting a mountain or just checking playlists on a sunny park bench. Thunderbolt 5 connectivity means lightning-fast transfers, while the titanium chassis provides 10-meter water resistance for those inevitable encounters with puddles, sinks, and surprise rainstorms. The 12MP f/1.8 camera won’t replace your iPhone’s computational photography suite, but it delivers Smart HDR and stabilization in a package you can forget is in your pocket.

The concept cleverly repurposes Apple’s strengths while sidestepping its weaknesses. “Smart Collection” widgets appear contextually based on location and activity, weather alerts before rain, translation help when traveling abroad, and boarding passes at airports, without requiring constant management or becoming digital fidget toys. Voice-to-text and text-to-voice features, alongside a walkie-talkie function, offer communication without the infinite scroll.

Battery life stretches to 14 hours in Power Save Mode, because a device meant to accompany adventures shouldn’t require midday charging rituals. The AVX cable promises audiophile-grade sound, acknowledging that music deserves better than compressed streams through cheap earbuds. However, Bluetooth 5.4 (and probably some level of WiFi connectivity) means you can still use AirPods with the iPod, tapping into Spatial Audio – something you probably wouldn’t be able to do with wired earphones.

This iPod Nano Ultra represents the road not taken in consumer tech – a path where devices enhance specific experiences rather than demanding total attention. Its 4TB storage capacity would hold your entire music library in lossless quality, every photo worth keeping, and still have room for files that would otherwise clutter cloud services. The design challenges our acceptance of the smartphone monoculture, asking whether we might be better served by purpose-built tools that excel at fewer tasks rather than mediocre companions that do everything while owning our attention.

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Nothing sparked the buzz for transparent earbuds, debuting its inaugural product under Car Pei’s leadership. Beats later derived inspiration from the see-through aesthetics for its version with the Studio Buds earbuds. Now, Danish gaming peripheral maker wants to explore the trend with a peppy see-through pair of earbuds that appeal to gamers as well as the young generation who love to flaunt their style without giving up on the quality of products they own. These buds bring back the memories of the Fire Orange Nintendo 64 video game console in translucent orange colorway.

The Arctis GameBuds Glorange gaming earbuds are appetizing at first glance with the inviting orange hue that triggers your taste receptors. However, they are not meant to be munched down; rather, enjoy the equally tasty sound in your ears. These ultra-limited edition buds are a must-have version of the award-winning Arctis GameBuds released last year that the gaming and audio fanatics swore by for their feature set.

Designer: SteelSeries

The new Glowrange version joins the original black and the PS5-inspired White variant. Honestly, I would take this one any day above the other two in an earbud for its pure uniqueness. This limited edition version, inspired by the flagship pro-grade headphones, is designed from the ground up, centered around a custom chipset. On the inside of the charging case is the inscribed text “GLHF” which I’m sure takes inspiration from Nothing’s “GLYF” interface. Steel Series already has an upper hand in the gaming headset market, and the Artis GameBuds reiterate that position. Giving them a cool limited edition color twist will further strengthen their position in the gaming earbuds market.

These buds are the first of their kind to feature on-the-fly parametric EQ, which should excite audiophiles who love the freedom of tweaking the sound to the last detail. The buds have a dual connectivity option on Bluetooth 5.3 and ultra-low latency 2.4 GHz. That gives you a tactical advantage in competitive gaming bouts. The wireless option comes in handy for connecting with gaming consoles like Xbox and PS5, which don’t have Bluetooth support. The on-ear button can switch between the two modes easily, making them perfect for gaming, work, or editing tasks. The included 2.4GHz dongle can be stored in the charging case, adding another perk for geeks.

The battery on the buds lasts 10 hours of gaming sessions and another 30 hours with the charging case. Support for fast charging means three hours of listening time with just 15 minutes of charge. The 360-degree spatial audio brings every audible detail to life. Another unique feature native to the app is the collection of over 200 game-centric audio presets.

These are one of the most comfortable earbuds to wear, given their donor’s proven data of over 62,000 ear scans to arrive at the ergonomic form factor. The most exciting part, the Arctis GameBuds Glorange earbuds can be bought right away for $160. Better do that fast, else they’ll run out of stock!

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Once in a while, you see software and services companies trying their hands at making hardware with mixed success. Microsoft, for example, has had a hit-or-miss history when it came to physical products, as the Zune, Windows Phones, and Surface Duo demonstrate. Meta’s attempts outside of Quest VR headsets, which it just acquired from Oculus anyway, are also a mixed bag, with the Portal crashing hard and the Ray-Bans’ fate still undecided.

At the same time, however, there are virtual products that seem perfect for a physical counterpart, especially when it comes to streaming media. A dedicated Netflix tablet or set-top box, for example, could remove a few of the intermediary steps in downloading and setting up Netflix. The Car Thing could have been Spotify’s entry into that market, but its limited reach meant it would be a flop right from the start. Now, someone has tried to show exactly what Spotify should have probably done, and you can even make one yourself rather than waiting for something that will probably never come to pass.

Designer: Fatih Ak/AKZ Dev, Pimoroni for Pimoroni Presto

To be fair, Spotify was primarily designed for use on smartphones, only expanding to web browsers and smart speakers later. In theory, you can control everything from your smartphone, even when you’re at your desk, but that also brings up the risk of getting distracted. It also means you can’t really enjoy seeing beautiful album art while a track is playing, at least without constantly unlocking your phone or keeping its display always on.

PrestoDeck brings a simple yet useful 4-inch touch screen whose sole purpose is to let you play and control your Spotify music. Unlike other DIY projects, this one just provides the custom software to run on a Pimoroni Presto, a device powered by a Raspberry Pi Pico designed to be a general-purpose desktop companion. Other than a right-angle USB-C cable for aesthetics, you don’t have to buy anything else for this project. The true cost is in setting up the software.

In addition to technical processes like flashing the Pimoroni software onto the Presto and setting up the tools to transfer PrestoDeck to the device, the biggest hurdle for most people will be setting up a Spotify dev account, which is only available to Spotify Premium subscribers. This is an absolutely necessary step in being able to control Spotify playback as well as get data like a track’s album art, and it might be just as stressful as soldering wires on circuit boards.

The end result, however, is a rather sleek and professional-looking device that you might have been an actual Spotify product. It’s definitely a missed opportunity for Spotify and its hardware partners, though that does leave the market open to more adventurous experiments that won’t really care if their Car Thing equivalent flies or flops.

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Apple officially discontinued the iPod series in 2022, ending perhaps the most game-changing product in the company’s entire history. Sure, you could debate that the iPhone radically changed life as we know it, but the iPhone was only possible thanks to the innovations found in the iPod. In fact, Steve Jobs tested the merits of an iTunes-based phone with the original Moto Razr, only to then decide it was time for Apple to make the phone from top to bottom.

Cut to a stunning 2 decades later, the iPod’s legacy came to a close when Apple officially discontinued selling it on their website and stores – but we millennials know exactly how crazy the world was for the iPod back in the day. Think queues for blocks, stampedes, and products being sold out for weeks. Although the iPod from the 2000s isn’t particularly impressive by today’s standards, Canadian YouTuber Zac Builds decided to just make his own iPod Video from scratch, with new hardware as opposed to dated tech. I’m talking Bluetooth, better battery, a USB-C port, an SD card to replace the hard drive, and a much clearer, high-contrast IPS screen.

Designer: Zac Builds

Zac starts with a fifth-gen iPod, the so-called iPod Video, a device once synonymous with white earbuds and awkward U2 endorsements. Instead of leaving it frozen in time, he disassembles it with precision. The first mods are visual. He swaps out the click wheel and faceplate for transparent ones from Elite Obsolete, showing off the internal guts like it’s a mechanical watch. The old screen, dim and narrow in viewing angles, is upgraded to a modern panel that’s crisper and much more usable. Side-by-side, the difference is obvious and worth the effort.

Internally, the transformation is far more ambitious. The original mechanical hard drive is tossed in favor of a 256GB SD card, hooked up via an iFlash Solo adapter. That swap alone improves speed, shock resistance, battery life, and storage capacity. Speaking of batteries, Zac replaces the anemic 600mAh cell with a monster 3800mAh one, likely pulled from an old LG phone. It barely fits, but the payoff is real. He reports two weeks of use on a half-charge, so a full charge could realistically stretch across an entire month.

Zac doesn’t stop at cosmetic or practical upgrades. He dives into the circuitry, soldering a USB-C port in place of Apple’s ancient 30-pin connector. With the help of a MUX switch, it handles both power and audio, giving the iPod a single modern port that actually feels current. That part alone is a massive win.

Haptics join the list too. By installing a Taptic Engine from an iPhone 7 and wiring it into the click wheel, Zac adds subtle vibration feedback, transforming the tactile experience into something that feels unexpectedly premium. And then comes Bluetooth. Using a generic transmitter board, he wires it directly into the headphone circuit and routes power from the main battery. Even the hold switch gets a dual-purpose upgrade, acting as a Bluetooth pairing button through a tiny mechanical hack. For those asking, there STILL is a 3.5mm jack on this bad-boy, going to show that the iPod will forever remain an audiophile-first device.

The software overhaul is just as transformative. Out goes the original firmware, in comes Rockbox, an open-source alternative that looks rough at first glance but reveals deep customizability. Audiophiles get granular EQ controls and support for formats like FLAC, ALAC, and APE. It even ships with a playable port of Doom. Best of all, Rockbox removes the iTunes dependency entirely. The iPod now mounts like a USB drive. Music can be dragged and dropped, no syncing, no DRM, no nonsense.

To be honest, that might be the most significant feature on Zac’s iPod 2025. The fact that it isn’t held back by ecosystems and those pesky terms and conditions. It does what an iPod does. It plays music. No subscriptions, no annoying iTunes-based connectivity, and no having your music disabled because of streaming or location restrictions. You OWN the music you play, which in 2025, seems kind of revolutionary.

However, a few flaws still creep in. The professionally 3D-printed transparent backplate from PCBWay looks clean but loses some fine detailing during post-processing. Zac has to trim it with a craft knife to make it fit right. Also, the Bluetooth module has a minor idle power drain, but given the oversized battery, it’s not a dealbreaker.

What Zac has built is a fully modernized music player wrapped in nostalgia and control. It handles Bluetooth audio, charges over USB-C, syncs without iTunes, and has enough battery to forget about charging altogether. I wish it packed wireless charging too, although that does feel like me being a tad bit nitpicky. Zac’s version is the iPod Apple could have made in 2025 if it weren’t so busy fighting battles on app store charges… *bombastic side eye*

The post The iPod Just Got Resurrected with USB-C, Bluetooth, FLAC Support, and No iTunes Lock-in first appeared on Yanko Design.