Sony has revived its Walkman lineup with three Android 16-powered high-end music players ranging from $1,900 to $5,900, topped by the gold-plated NW-WM1ZM3 with 256GB of storage. The Register reports: The Japanese giant named the new models the NW-WM1ZM3, NW-WM1AM3 and NW-ZX900. All can store and play many codecs, including MP3s, WMA, and FLAC files, plus others like Direct Stream Digital (DSD) and Apple Lossless, which use various tricks to avoid nasty artefacts accruing during the digitization process. Sony also says it has used "key components made from oxygen-free copper" because that apparently delivers "uncompromising sound quality." The machines also include "screws featuring a low-resistance gold-plated treatment ... providing a stable ground connection that delivers powerful bass, an expansive soundstage and smooth, extended high frequencies." Sony claims even the cabling it's used in the devices "further reduces noise and preserves signal integrity for rich, detailed sound." They're also housed in carefully-milled slabs of copper -- gold-plated in the case of the NW-WM1ZM3 -- because that apparently improves sound, too. And then Sony's gone and spoiled it all by offering Bluetooth connectivity, a notorious music-mangler, in addition to wired headphone ports. Sony's US site lists all three devices, which run Android 16 and include Wi-Fi so they can access streaming music services. All are USB-chargeable and Sony claims their batteries allow 30-odd hours of music playback.

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Amazon has removed Alexa voice control for the 3.5mm aux input on several older Echo speakers, meaning users can no longer ask Alexa to play or pause audio coming through the wired connection. It's unclear why the feature was removed. The Verge reports: Ars Technica points to this Reddit poster claiming they received a message from Amazon and says an unnamed spokesperson confirmed the change. When contacted by The Verge, Amazon did not provide an on-the-record statement. The message does not include any explanation for why the feature was removed. It also doesn't mention any changes to audio output functionality like connecting an external speaker to an Echo Dot, and it appears that control of the port from within the app's settings menu still works.

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BrianFagioli writes: Audacity 4.0 has been released with a rebuilt Qt interface, a new clip-editing model, customizable workspaces, native high-DPI rendering, and a new AUP4 project format. The open source audio editor also adds ASIO playback and recording support to official Windows builds, while bringing major changes to recording, playback, plugins, and project handling. The overhaul comes with some tradeoffs. Audacity 4.0 currently lacks several features found in Audacity 3, including Time Tracks, Note and MIDI tracks, Mixer, Macro Manager and scripting pipe, VAMP and LADSPA plugin hosting, and play-at-speed. The developers say they plan to bring the missing functionality back in future releases.

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BrianFagioli writes: Perplexity has built a local artificial intelligence engine designed specifically for Apple silicon and the Qwen3.6-35B-A3B model. Called Lily, the engine uses a Rust runtime and custom Metal kernels, with neither PyTorch nor MLX in its execution path. Perplexity says Lily averaged 23 percent faster prompt processing and 35 percent faster token generation than MLX-LM on an M5 Max MacBook Pro with 128GB of unified memory. Lily is more specialized than MLX-LM, which supports a much wider range of models and architectures. Perplexity says it plans to release Lily as open source, but the code is not available yet, leaving its performance claims dependent on internal testing for now.

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An anonymous reader quotes a report from Wired: Sonos has a new app. Stop me if you've heard this one before. The smart speaker company, long a darling of the audio industry, undid much of the goodwill it earned with its multiroom speakers through a bevy of software updates that broke its app in 2024. Almost all app users hated it, citing the loss of features like volume control and accessibility tools meant to help blind people use the wireless speaker system. Sonos eventually owned up to the mistake, considered bringing back the old app again, then booted its CEO and marched its new leaders out to apologize profusely to win back the company's furious customers. Now, Sonos says it has a brand-new app update, infused with lots of generative AI features. The company also announced a new soundbar and its second pair of over-the-ear headphones. Sonos representatives say it doesn't want to be seen as a speaker company anymore, but as something bigger and more holistic. "For years people have been seeing us as a speaker company," says Brandon Holley, the interim hardware lead at Sonos. "What we actually are is an audio operating system." The company is calling that operating system Sonos 27, and it manifests in a few ways. [...] This is a lot of change for Sonos, something the company hasn't always handled gracefully. Sonos' home systems already aren't the easiest to set up, sometimes requiring separate apps for older products. The company may be rejiggering itself as an "audio operating system," but its software has long been the source of its troubles with getting its products to work right. Will AI smarts fix that? Maybe for its newer devices. But anyone with an existing system may still struggle. The AI features on products and in the Sonos 27 app will be opt-in, meaning you can avoid them entirely. "That really is our new approach to our app release," Patel says. "We're going to bring our customers along. We're going to listen more." That would be a good plan. Sounds like Sonos' speakers will be listening more, too. Sonos is emphasizing a more "customer-centric feedback listening approach" after the backlash to its previous redesign. Improvements include easier tab navigation, better room sorting, revamped volume controls, and new system-health tools for diagnosing connection problems. The centerpiece is Sonos 27voice, a generative AI voice assistant that can handle conversational music requests, connect with services like ChatGPT through Model Context Protocol, and power customizable "Sonos Custom Agents" for tasks such as automatically activating certain speakers. "Obviously AI is something that's very hot these days," Sonos software VP Sid Patel said. "So we have integrated various pieces of AI into our system." However, the features will only work with the newer S2 app, and Sonos cautions that "not every product will support every new feature," with detailed compatibility information coming later. Sonos is also branding its multiroom networking technology Sonos Fabric, which what Patel calls "the magic that has existed for what Sonos was built on." New Fabric features include portable surround, which lets users temporarily move speakers between rooms and have them automatically configure themselves for surround sound, and Headphone Linking, which lets users seamlessly switch audio between Sonos speakers and headphones.

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Australia's official music charts will no longer accept songs that are largely or entirely AI-generated, requiring eligible releases to be "substantially human made." The BBC reports: The Australian Recording Industry Association (ARIA) said the new code would help "promote the human nature of artistry." It follows a controversy around a cover of Madonna's Like A Prayer by Australian DJ Josh Fawaz which recently topped the ARIA dance singles chart and peaked at number 2 on the country's overall chart. The song has become a staple of commercial radio station playlists and been streamed more than 48 million times on Spotify alone. Fawaz later added generative AI credits to the song after a backlash. ARIA said that Australian artists were competing for attention "in the most crowded market in history" and that it was "not interested in promoting or celebrating the success of AI-generated music that does not contain human artistry." Under the new rules, AI assistance can still be used, but humans must have written the song, and have performed the lead vocal and primary instruments. AI can also still be used for mastering songs and, for example, using drum machines and auto tune. [...] Artists will be required to declare AI use when they submit a song for chart consideration. ARIA said that if it later emerged music was largely AI-generated it could retrospectively adjust chart positions, and if the piece topped the charts, it may request that awards given for reaching Number One were returned. Artists and their representatives will be able to challenge their exclusion. ARIA chief executive Annabelle Herd said: "These changes reflect our intent to remain dynamic and promote the human nature of artistry in what is, to say the least, a rapidly developing space. Artists already use AI tools in their work, the charts can and should evolve to keep room for that, but music generated wholesale by services built on artists' recordings is a different matter." She added: "A chart that rewards unlicensed AI output would undercut the very basis of the recorded music we exist to represent."

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An anonymous reader quotes a report from The Guardian: The release of a new album by Taylor Swift might be a cause for celebration among her fans, but such events have also been linked to a more sombre phenomenon: an increase in fatal car crashes. The team behind a new study say it sheds light on the impact of distracted driving. Writing in the journal Jama Network Open, [Vishal Patel, first author of the study based at Harvard Medical School] and colleagues report how they focused on the release of 10 major albums, launched between 2017 and 2022, selected for having the highest number of Spotify streams over a single day. [...] The team found streaming volume for the top 200 songs in the US was 43% higher on the date of major album releases compared with the days surrounding the releases -- although such data does not reveal whether the music was being streamed in a car. [...] The researchers used data from a population-based registry of fatal US motor vehicle crashes to look at the number of traffic fatalities on the dates these albums were released, as well as for the 10 days either side. After taking into account the day of the week upon which the album was released, as well as federal holidays, and time of year, the researchers found the number of US traffic fatalities showed a relative increase of 15.1% on the date of major album releases, compared with similar days either side. "This is equivalent to approximately 182 fatalities in the US attributable to the release days of the 10 included albums," the team writes. Patel said the release of a new album could distract drivers because accessing music is a search task, not a single button press. "You unlock the phone, open the app, find the release, read down a tracklist, tap the right song. That's several seconds of looking at a screen," he said, adding unfamiliar music also demands more attention, while research has suggested listening to new, high-energy music measurably degrades driving performance. The researchers add the rise in traffic fatalities was greater among certain groups -- such as younger drivers, male drivers, people who were driving alone, and people driving cars with a built-in infotainment platform. The authors say the results suggest that "online music streaming through smartphones may significantly contribute to distracted driving and traffic fatalities."

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