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The 2025 NAMM Show is over. Every year music gear manufacturers, ranging from iconic synth brands like Korg, to boutique guitar pedal makers like Walrus Audio, and even companies making fog machines and knobs descend on Anaheim to show off their latest wares. It is chaos in all the ways that you’d expect a convention to be — miles-long lines for coffee, hordes of strangers jockeying for position around new products, food options that range from barely edible to instant heart attack. But NAMM is also a special beast. If you’ve ever wondered what eight out-of-sync drummers, two finger tapping guitar solos, an acoustic slide blues riff and a simple ukulele ditty would all sound like simultaneously vying for your attention, well, this is the only place to experience that particular brand of hell. But, now that my legs and, more importantly, my eardrums have finally started to recover I’ve had a chance to reflect on some of the best things I saw on the show floor. Here are the 10 things that grabbed my attention the most.

Eternal Research Demon Box

Eternal Research launched a successfully funded Kickstarter campaign back in September, but this was the first time I was able to see the Demon Box in person. Think of it like a supercharged version of the Soma Labs Ether featured in a handful of our gift guides. The Demon Box doesn’t make any sound on its own, instead it features three pickups that turn EMFs (electromagnetic fields) into music — or at least audible noise. Run a cellphone, power drill or a tuning fork across the top and you’ll get unique whines, hisses, clicks and beeps that only that device could produce. But where the Ether is basically just a microphone, the Demon Box is an instrument designed for live interaction and controlling other devices. In addition to outputting audio, it can also convert those electro magnetic fields into CV (control voltage) for controlling eurorack synths or MIDI for triggering a visual synthesizer, or all three simultaneously. There are tons of options out there if you want a buzzy sawtooth bass, but if you want to turn the invisible radiation emitted by a TV remote into a centerpiece of a multimedia performance, this is basically your only option.

Circle Guitar

The Circle Guitar is impractical. It costs over $12,000 (insert grimacing emoji). But it’s also just insane fun. Instead of playing it with a pick or finger plucking the strings (though, you can do that if you want), the strings are strummed by movable plectrums you mount inside a spinning wheel. There are sixteen slots allowing you to design your own strumming rhythm, and then there are six sliders under the pickups for controlling the volume of each string individually. This allows you to create complex, robotic rhythms like a drum machine, but on your guitar. And, what’s more, you can sync it to a DAW to make sure you’re in lockstep with your backing track, even when it stutters and pauses. It’s a completely unique creation that has already drawn the attention of artists like Ed O’Brien of Radiohead.

Akai + Native Instruments

One of the biggest announcements out of NAMM wasn’t really a new product, but two titans of the industry joining forces. Several of Native Instruments (NI) Play Series synths and genre-specific Expansion Pack sound kits are being ported over to Akai’s new MPC 3.0 platform. While the availability of some existing soft synths on some existing hardware might not seem like a big deal at first, it greatly expands the sonic palette of the MPC and gives NI another foothold in the world of standalone music hardware after giving it go on its own with the Machine+. The selection of sounds is limited at the moment, with three synths (Analog Dreams, Cloud Supply, and Nacht) and just one expansion (Faded Reels) available. But two more synths and four more expansions will be added soon and, if all goes well, I’m sure more will follow.

Korg HandyTraxx Play

The HandyTraxx Play is the first and only portable turntable that I know of with built-in effects. It has a DJ filter, a delay and even a simple looper which can, in theory, negate the need for a separate mixer and even a second turntable in some cases. While I can not scratch, I’ve always wanted to learn, and the all-in-one portable nature of the HandyTraxx Play, including a speaker and battery power, is pretty appealing to someone who just wants to dip their toe in and doesn’t want invest a ton of money and space in a separate mixer and dual turntable setup. Plus, Korg designed the Play in conjunction with the late Toshihide Nakama, the founder of Vestax and builder of the original Handy Trax (two words, one x), an icon in the world of portablism.

Donner Essential L1 Synthesizer

Over the last few years Chinese music gear maker Donner has started to really expand its offerings, going from mostly digital pianos and some bargain bin guitar pedals, to shockingly decent DSP effects, drum machines and even a pocketable groovebox. The L1 is the latest in its growing line of synths and it has a lot of promise. It’s based in large part on the Roland SH-101, an iconic instrument from the ‘80s that found particular favor among artists like Aphex Twin, Orbital, Depeche Mode, KMFDM, and Boards of Canada.

What makes the L1 particularly intriguing is that it’s the first entry in the company’s new Snap2Connect (S2C) system. The keyboard attaches to the synth magnetically, allowing you to leave it behind if you want, or use it as a separate MIDI controller with your DAW or another synth. But Donner also says it plans on adding other instruments to the S2C system, so you could buy a module based on, say, a Juno-60 one day and just slap it on to the keyboard you already own.

Enjoy Electronics DeFeel

The DeFeel is hard to explain. The company calls it a “modular monotony degenerator,” which is both extremely accurate and extremely unhelpful. Basically, you stick this thing between your sequencer and your synthesizer and it mangles the incoming CV to generate fills, stutters, and all manner of barely controlled chaos. In short, it takes that rock-solid sequence you’ve programmed and makes it less monotonous. It can resequence your sequence or add modulation. You can draw modulation curves using the 4.3-inch touchscreen, or even turn it into an X/Y pad for live performance. It’s designed mostly with eurorack synths in mind, but it’s also available as a standalone unit in a classy wooden case.

Melbourne Instruments RotoControl

The RotoControl might not seem like the most exciting device at first. It’s a MIDI controller with eight knobs and keys on the right side, and a handful of other buttons on the left for navigating the device. But what makes it special is that those knobs are motorized — if you change a parameter in your DAW or softsynth, that is reflected physically on the controller. That might sound a little gimmicky, but it’s actually incredibly useful.

See, knobs on a controller or synth generally come in two flavors: pots and encoders. A pot, or potentiometer, has a beginning and end. So, if you change a preset or switch instruments, it may no longer reflect the actual setting in question. Encoders have no beginning or end. Since they don’t point to a concrete position in space, there’s no need to worry about a disagreement between knob position and an actual parameter value. But they’re also less than ideal for live performance. Judging how far you need to turn to get that filter sweep just right is difficult, and encoders generally have a less smooth response than a pot. Melbourne solves this by just moving the pots to where they’re supposed to be.

Roli Piano & Airwave

I’ve been saying for a few years that I’m going to finally learn how to play piano. But, I’m a busy dad of two, a part-time bartender and a full-time freelancer. I don’t really have the time or disposable income, frankly, to treat myself to piano lessons. And the app-based or video options I’ve tried have been a bit underwhelming. I don’t know that the Roli Piano and Airwave are for sure more effective than Melodics or Duolingo at teaching how to play, but it seems like there’s more potential there. Where most music education apps are basically glorified versions of Guitar Hero, Roli uses the Airwave’s camera to track your whole hand, letting you know if you’re out of position, if your wrists are at the wrong angle or if you’re using the wrong fingers. It’s probably not as good as having a real professional teaching you the ropes, but it’s probably better than a repurposed video game bolted on to some rudimentary music theory lesson.

Oh, and once you feel comfortable enough with your playing, the Roli Piano and Airwave combine to create what is probably the most extensive MPE controller on the market.

Entropy & Sons Recursion Studio

Video synthesizers are not new, but they’re also not the most common things on the planet. And the Recursion Studio from Entropy & Sons is probably one of the most capable I’ve ever seen. For one, this is not some simple visualizer where a basic clip of animation is manipulated, all of the visuals are generated live, algorithmically. In addition it can process incoming video, distort images and react to incoming audio, it even has multiple oscilloscope modes builtin.

For those that like to get their hands dirty there are over 300 modules that can be combined to create custom visual patches. But there are also about a 1,000 presets on board so you can quickly get some visuals up immediately to go with your synth jam. And the company is constantly updating the device and adding new features.

SoundToys SpaceBlender

SoundToys is one of the biggest names in effect plugins out there. They’re used by everyone from Radiolab’s Jad Abumrad to Kenny Beats and Trent Reznor. The company’s Decapitator saturation plugin is one of the best things to ever happen to drums and EchoBoy is a must have delay. But, it doesn’t introduce new effects terribly often. SuperPlate was added to the roster in mid 2023, but that was the first new addition since Little Plate in November of 2017 — the company takes its time.

SpaceBlender is SoundToys’ take on an ambient granular reverb. It’s not really a straight granular plugin, that chops up your audio and spits it back out in little bits, instead it’s a bunch of delays that get combined and smeared into something ethereal. It even has an interactive envelope designer that you can manipulate to not only hone the shape of your reverb, but even has potential as a live performance tool. SpaceBlender isn’t quite ready for release just yet, but even in this early sneak peek it sounded phenomenal and seemed pretty stable.

This article originally appeared on Engadget at https://www.engadget.com/audio/the-10-best-things-i-saw-at-namm-140044601.html?src=rss 

When Wuthering Waves launched about half a year ago on iOS, Android and Windows, there were serious issues on day one. While some can be forgiving when a game launches, especially a live-service game that will get lots of updates, the errors that many experienced were catastrophic. However, developer Kuro Games didn’t give up on the title, and it has more than recovered from its launch, even becoming a nominee at The Games Awards last year.

For those who aren’t familiar with Wuthering Waves, it’s an open-world, free-to-play action RPG similar to Genshin Impact in many ways. However, its combat is more focused on spectacular combos, perfectly-timed parries and dodge counters after avoiding attacks at the right moment. Some players say that the combat is inspired by Devil May Cry games. Heck, there’s even a reference to Vergil’s (modded) chair in the game.

Wuthering Waves suffered from a disastrous launch. Many people had performance issues, experienced crashes and dialog text was often cut off. It wasn’t uncommon to see people complaining that they couldn’t play at all despite being excited about its graphics. Some also criticized the voice acting, which reminded me of ASMR-style vocals and didn’t fit the usual video game voice acting direction. Fortunately, Kuro Games apologized quickly and promised to make things right.

In fact, someone took a picture of Kuro Games’ Guangdong, China office between 10 and 11PM. The lights were on, and the company seemed to be taking its vow to improve the game seriously.

Over the next few months, Kuro Games would work hard at fixing the most pressing issues while also introducing much-needed quality-of-life fixes. The first highlight of this improvement process was giving all players another free standard banner 5-star character and 5-star standard banner weapon box. After that, they even let users get a limited 5-star character, Xiangli Yao, for free when they played an event to a certain point. The game even has 120FPS mode on PC, something all other games made by direct competitor miHoYo don’t have, except Zenless Zone Zero.

Plus, as of the 2.0 update, it has come to PS5. Limited character Camellya finally became playable during November, much to the delight of many after months of waiting. Wuthering Waves made it to the final rounds of The Game Awards’ best mobile game category but didn’t win, losing to Balatro.

Kuro Games also released the drip marketing for a new area Rinascita early on to build hype, and many gamers were excited to visit it. Kuro Games’ early efforts to fix things paid off, as even the latest character teasers looked better and even provided crucial information like character roles, playstyles and materials. These teasers allowed players to farm resources ahead of time if they wanted, instead of relying on leaks.

I play the game in Mandarin Chinese dub and text, so I didn’t catch this detail. But an upcoming character, Zani, actually speaks in an Italian accent (with some Spanish and Greek influence, apparently) if you choose the English dub. When the game first launched, the English voices sounded incredibly forced since some of the voice actors were British but were forced to adopt American accents. Zani’s Italian accent is a major improvement in voice acting direction, and now I’m more willing to give the English dub another chance.

(Zani also recommends you eat pineapple pizza, though. But don’t judge me, because I like that stuff. Sorry, not sorry.)

Now that the 2.0 update is out, I saw some players calling it a wonderful experience. As for me, I’m definitely enjoying the update and have been farming for my characters. I haven’t finished the available story missions yet, but I do think Kuro Games has improved its writing compared to the first chapters. I noticed the tendency to show more than what I’ve experienced playing Genshin Impact and Honkai: Star Rail, both games that often utilize black screens with text. Wuthering Waves tends to stay away from those. I admit that the story isn’t completely riveting, but I’m still having fun exploring Solaris-3. The word salad from the first chapters has been reduced, allowing me to take in the story without being overloaded by too many new terms.

I also play Genshin Impact and can appreciate the differences between them, as Wuthering Waves’s combat system satisfies an itch Genshin Impact’s doesn’t. Farming is quick, and the story is improving. The events are fun, except for the Tower of Adversity endgame mode and the Pincer Maneuver event series that comes back once in a while. Maybe it’s a skill issue, but I find these modes rather challenging if you don’t have the latest featured character or a featured recommended element. The Depths of Illusive Realm roguelike mode needs some more variety, but I suspect that’s in the works as it rotates back in soon.

Despite any faults, I still play Wuthering Waves daily on Windows and look forward to future content; It’s good enough that I’m taking any faults in stride. Earlier this month, Kuro Games CEO Solon Lee released a letter in Chinese thanking fans and revealing that Wuthering Waves reached its highest single-day revenue when version 2.0 was released. I felt encouraged by the letter, and I can confidently say I’m glad I gave the game a chance last year. Whatever the company has in store, I’m all for it.

This article originally appeared on Engadget at https://www.engadget.com/gaming/pc/im-glad-i-gave-wuthering-waves-a-chance-even-with-a-disastrous-launch-150051043.html?src=rss 

We’re so used to seeing virtual reality depicted nefariously in films like The Matrix, Virtuousity (a forgotten ’90s classic) and The Lawnmower Man, it’s genuinely surprising to see something that treats VR in a potentially positive way. In Flora Lau’s Luz, which premiered at the Sundance Film Festival this week, there’s no major downside to VR, it’s just another way for humans to connect. And in the case of the film’s two lonely leads, art gallery worker Ren (Sandrine Pinna) and pseudo-gangster Wei (Xiaodong Guo), VR serves as a life raft of human connection, something that could help them find peace in a world where they both feel adrift.

Set in modern-day Chongqing (a city so neon-filled and futuristic it seems more sci-fi than real) and Paris, the characters in Luz live alongside technology familiar to us. Smartphones and OnlyFans-esque livestreams featuring young girls are commonplace. But the virtual reality hardware in the film — including ski mask-like goggles, pointed finger sensors that resemble a witch’s nails — is both a step ahead, and slightly behind, where we are today. Luz, both the name of the film and the VR world people visit, is a fascinating artifact of the immersive reality space from several years ago. That was before we knew finger tracking could be the main input mode in a VR/AR headset like Apple’s Vision Pro.

Ren and Wei experience the VR world of Luz as an escape from their real-world troubles, though that ultimately proves futile. Ren tries to connect with her stepmother Sabine (the legendary Isabelle Huppert), an emotionally distant Paris gallery owner who is avoiding any help for a potentially fatal illness. Wei, meanwhile, is trying to reconnect with his estranged daughter Fa, who he can only see anonymously via that aforementioned livestream.

The lead’s storylines intersect during an in-game hunting expedition for a mysterious neon deer, which appears to be the closest thing to “winning” Luz. Wei and Ren reluctantly bond, and eventually they start to find ways to heal their emotional wounds. It’s an intriguing concept, though we don’t spend enough time with both characters hanging out in VR to truly sell their relationship.

Luz doesn’t attempt to deliver a fully CG VR world like Ready Player One (thank god), instead we see a hyper-stylized version of the real world with an abundance of neon lights, floating particles and characters dressed as if they’re about to head to Comic-Con. Obviously, it’s an easier way to convey VR, but the film is also portraying a version of the technology that’s practically identical to the real world. If VR were truly so immersive, why even bother with real life connections? (Stylistically, it reminds me of Ghost in the Shell director Mamoru Oshii’s forgotten Polish sci-fi film, Avalon, which also explored how people can redefine themselves in a VR simulation.)

While Lau goes to great lengths to craft gorgeous VR imagery, what the film really needs is more time for its two leads to sit down and talk to each other, instead of having us infer emotion as they stare off into the distance. At just an hour and forty two minutes, there’s plenty of room for more character exploration. But at least we get some intriguing conversations between Ren and Sabine, with Huppert being her typically charming self. (Perhaps the most unbelievable aspect of the film is that Sabine, a hip presence in the visual arts scene, hadn’t tried VR until Ren convinced her. We’ve been seeing artists adopt VR for installations since 2016, so it’s far from a new concept.)

Luz is close to being a great film, with its strong performances and confidently composed cinematography. But through either restraint or weak screenwriting, we don’t always have a sense of how the leads relate to the world, or even what they think of each other. The overall approach feels too cold and distant for a film that’s ultimately about rediscovering human connection.

This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/sundance-premiere-luz-explores-how-vr-can-help-us-find-connection-in-the-real-world-140005020.html?src=rss