Sony’s got a Pulse

If there was ever a time to go back to basics, though, it’s now. Sony’s new Pulse headsets appear to be a solid continuation of the 2023 pair, once again delivering custom “studio-inspired” planar magnetic drivers, courtesy of Audeze. Sony reckons these now-larger drivers offer “exceptional sound separation and spatial accuracy.” And bass. Lots of it. Particularly the Pulse Edge, which supposedly doubles the magnet volume compared to the Pulse.

They’re a wireless bunch of cans, primarily using PlayStation Link to deliver your sound on a padded platter. Sony promises lossless, ultra-low latency audio, and the ability to freely switch between other devices that support Link. We’re talking the PS Portal, other PS5s, PCs, and Macs. Bluetooth connection is also an option.

Read More: PlayStation’s Pulse Elevate speakers are coming soon to a PS5 desktop near you

Both Pulse pairs feature integrated mics (this is a gaming headset, after all) that include AI-enhanced noise rejection so your mates don’t have to hear your parents getting divorced in the background. The headsets also come with a new design to improve comfort and rotating earcups to allow the cans to lie flat on the table.

Neither pair are currently up for sale, and Sony isn’t giving the price away just yet. Everything seems to be pointing to the Pulse Edge being the more expensive of the two, while the regular Pulse will be more affordable. That one will launch in “select markets” starting this holiday season, while the Edge lands in early 2027.

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You’ll notice the word ‘qualifying’ in that last sentence. It’s not enough to stop by Vodacom World at Stand E522 in Hall 5 from 24 to 27 September. You’ll also have to give the company a little cash, one way or another. Do it right, and you’re in the running for its World of Collectables augmented reality game.

World of Vodacom

World of Collectables is something the company hasn’t really described, beyond it being “an augmented reality game that allows visitors to hunt for virtual collectables.” Since most Comic Con attendees are doing that anyway, adding some phone inspection on the way probably won’t slow them down very much. At stake are prizes worth R150,000.

These include “a Sony PlayStation 5 Digital Edition, Nintendo Switch 2, Xiaomi Electric Scooter, Apple MacBook Neo,” and a smattering of phones, wearables, and other tech to be named later. There’s a separate giveaway, with a Sony PlayStation 5 up for grabs.

There’s always a catch, and this is it: To participate, visitors must spend at least R600 at the Vodacom World stand. That’s the price of entry to the World of Collectables hunt. For the giveaway, anyone who upgrades their Vodacom contract at Comic Con Africa is automatically entered.

It’s not exactly something you can skip, either. World of Collectables and the PS5 giveaway both require in-person attendance. Your odds of winning are slightly better if you target the company’s prize pool instead of the console. Most visitors already on the network (with a contract upgrade in the bank) will probably choose to do both, however.

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Hisense goes big, real big

All three are currently scheduled for a global launch, though we’ll see the C3 Ultra and Ultra Max turn up first, with the Pro to follow later. We’ve reached out to Hisense to confirm exactly when South Africa is on the guest list. The country is invited, though an official local launch date isn’t known. They’ll likely turn up sometime at the end of September or the beginning of October. Local pricing wasn’t known at the time of writing.

They certainly won’t come cheap. These essentially replace your TV, with most of a regular screen’s functions running on Hisense’s Vidaa OS. Whichever model you pick, you’re getting a 5,000:1 contrast ratio with an IRIS lens. Each produces a 300in image, though it’ll go as small as 100in if you left your mansion keys in your other pants.

Read More: Toshiba TVs return to South Africa, with help from Hisense

Each features a Devialet-tuned audio system and a built-in subwoofer. The biggest differentiators between the Pro, Ultra, and Ultra Max are how bright they get. The Pro is rated at 3,000 ANSI lumens, while the Ultra bumps that to 4,000. At the top end sits the C3 Ultra Max, rated for 5,000 lumens.

It’s not just South Africa wondering how badly this’ll hurt their wallets. Hisense is keeping even the global pricing for the C3 range under wraps. With the C3 Ultra and C3 Ultra Max on track to release this September globally, we can expect pricing — even a dollar figure — to land sooner rather than later. Prepare your wallets.

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Starship 14 will instead see the massive rocket travelling to orbit for the first time. Assuming everything goes as planned, of course. In addition to being a test flight, this launch will see the rocket deploy Starlink V3 satellites in orbit before it returns to Earth.

Starship of dreams

SpaceX’s mission plans are already pretty solid. Instead of “safe suborbital trajectories,” the rocket will travel to a height of 275 kilometres above the planet. It’ll conduct six orbits before returning to the ground. As was the case previously, it’ll touch down on the ocean. This time, the planned arrival point is in the Pacific, near Chile.

“The Starship upper stage’s primary objectives include the first orbital insertion maneuver, the deployment of 26 Starlink V3 satellites, a deorbit burn using a single Raptor engine while in space, and a controlled reentry, descent, and splashdown in the Pacific Ocean.”

SpaceX’s ambitions hinge on its rocket making it to orbital insertion, something that will be assessed once the launch is in flight. It’ll only take place once “the flight control team has ensured there is sufficient redundancy on hardware critical to doing the subsequent deorbit burn at the end of the mission.”

Hardware and software upgrades are being tested on this launch. Improved heat shielding, as well as SpaceX’s first reused components (heat tiles from Ship 40), will be making the run. As ever, there will be a live stream of the launch. It’ll begin at 01h45, South African time, on 23 September. That’ll be 30 minutes before the 19h15, 22 September launch window opens at Starship’s launch location.

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Meta announced the (gradual) rollout of its One subscription, as well as what features subscribers can expect for their larger monthly sum. It seems, at least in the company’s Core plan, to fold features from the first three individual options into one place.

Meta One more subscription?

If you already use one or more of the company’s service-specific subs, expect those features to remain the same. There’s a slight discount to be had if you stick everything under one payment, but Meta is also punting its AI at the same time. This means “more media generation with Meta AI, including creating and editing images and generating videos powered by Muse models, and more use of in-app AI tools like Restyle on Instagram.”

There are two different tiers to choose from. Core slightly bumps up Meta AI access. The Premium package throws a lot more video generation options your way. The company is very specific — almost panicked — about the current free access to its apps and services remaining unchanged. Its announcement reiterates several times that the base experience will continue as before.

Existing pricing for the WhatsApp, Instagram, and Facebook-only packages appears unchanged. If you’re keen on the One Core plan, expect to pay R130 ($8) a month. For Meta One Premium, that’ll run you R325 ($20) each month. The upside? More of Meta’s AI at your disposal. The downside? More of Meta’s AI at your disposal.

The Meta One subscription doesn’t just target individual users. Business users can expect a slightly different configuration of prices and options, starting at R250/m ($15/m) and climbing all the way to R8,200/m ($500/m). At the basic level, users get enhanced access to the company’s support lines, plus “a verified badge, [a] verified channel on [the] WhatsApp Business app, and impersonation protection.”

If you choose to hand over eight grand a month, you’ll nab “our highest levels of feature access and Meta Business Agent capacity for teams managing at scale.” In between, there are team management tools, scheduling, and deeper analytics functions.

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Say bye-bye, Baby Shark

If you want it that way, of course. If you’d rather your annual Spotify Wrapped be as accurate as possible, kids’ tracks and all, that’s fine too. To remove them from your personal taste profile, find the new “include kids and family music” toggle in Settings (on by default) and turn it off.

If you’re worried about the previous eight months of kids’ music contributing to this year’s Wrapped, don’t be. Flicking the switch will automatically remove all the previous streams from this year’s profile and leave only the good stuff behind. You’ll still be able to search, stream, and build playlists centred around your kids’ taste at any time.

Read More: Spotify may allow users to create a Jam without paying up first

Turning that toggle off is easy enough. Just hit your profile picture, head over to Settings, and hit Content and display. Seek out the “include kids and family music” toggle and turn it off. Spotify mentions that the setting — whether you’re toggling it on or off — may take up to 48 hours to take effect.

The feature is rolling out globally to both Free and Premium members. Keep your app up to date, and the feature should reach your device soon, if it hasn’t already. The setting is mobile-only for the present.

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But there is a problem. South African company law does not regulate its use by boards. This matters in relation to the rules governing directors’ duties and responsibilities.

Many countries already regulate AI through binding legislation. For example, the European Union, South Korea and Vietnam adopted comprehensive AI laws. Other countries such as China introduced more targeted AI regulations.

As a company law researcher, in a recent paper I looked at four company law implications of AI use in South African boardrooms:

• whether by consulting AI the board will be regarded as having complied with its fiduciary duties
• whether directors can rely on the business judgment rule in section 76(4) of the Companies Act when AI-assisted decisions result in negative consequences for the company
• whether directors can lawfully delegate their functions to AI, and rely on AI-generated advice without incurring liability for incorrect decisions made by those systems
• who is liable when AI errors cause harm to third parties. In other words, who is legally responsible for the consequences of decisions that AI makes?

My findings show that current South African law provides little guidance on these issues. As AI becomes part of everyday business, this gap is becoming a legal and governance challenge. Clear legal rules are urgently needed to prevent a legal vacuum being created in South African boardrooms.

How AI can assist boards

There are different ways in which boards can use AI to manage companies and make decisions.

The simplest form is assisted AI. It performs administrative tasks while directors retain control over decision-making. It can compile meeting agendas, call meetings and draft reports. This allows directors to focus on strategic decisions.

Augmented AI can analyse large amounts of information, identify trends and predict the likely outcomes of different business decisions. For example, it could analyse data and evaluate the risks of a merger and recommend the best course of action. The AI provides recommendations, but the board still makes the final decision.

The most advanced form is autonomous AI, which can make decisions and carry out tasks without constant human input. Boards could, for example, authorise an AI system to make investment decisions within set parameters and independently monitor markets and execute trades.

AI has important limits

Although AI has advantages in supporting corporate decision-making, my research found that it has limitations too. These may affect the reliability of AI-generated recommendations.

AI systems learn from existing data. If that data is inaccurate or biased, AI’s recommendations could also be biased. This is a concern in South Africa, where historical inequalities remain reflected in many datasets.

A 2024 study by the Centre of Excellence in Financial Services suggested that AI used in South African banking could perpetuate racial bias. If companies rely on it without proper oversight, AI could repeat or worsen existing discrimination patterns.

Another challenge is that many AI systems operate as a “black box”. They may produce sophisticated recommendations, but even their developers may struggle to explain how the AI systems reached a particular conclusion.

A further limitation is that AI lacks human qualities essential for effective board leadership, such as empathy, intuition and emotional intelligence.

Can directors delegate their functions to AI?

South African company law allows directors to delegate certain functions to others. But they cannot relinquish their ultimate responsibility for managing the company. They remain accountable for board decisions.

My research argues that the same principle should apply to AI. Directors should be allowed to delegate their functions to assisted AI and perhaps augmented AI, provided they properly supervise the AI system and do not relinquish their responsibilities.

But delegation to autonomous AI should not be allowed. If directors delegated their functions to it, they would be giving AI decision-making powers and giving up their responsibilities.

Directors cannot simply accept AI recommendations. Company law requires them to exercise independent judgment. They must also act in the company’s best interests. If they can’t understand how AI reached a recommendation, how will they determine whether it is in the company’s best interests?

In my view, directors should therefore have some AI literacy. They do not need to understand the coding in detail. But they should have enough AI literacy to understand how the AI works. This will enable them to properly supervise the delegation of their functions to AI.

Who is liable when AI gets it wrong?

An important legal question is determining responsibility when AI causes harm.

Imagine management uses AI to assist in recommending an investment to the board. The board approves the investment based on that AI-generated recommendation, but the investment results in substantial losses. Who should be held liable?

The AI system itself cannot be sued because it is not a legal person. It cannot own property, pay damages or appear before a court.

Responsibility could potentially fall on the company, the software developer or directors who relied on the AI system. Directors might be held liable if they failed to supervise the AI system properly, but the Companies Act does not clearly define where responsibility begins or ends.

This uncertainty creates risks. Companies need legal certainty before investing in AI. Directors need clear guidance about their duties, while those affected by AI-driven decisions need to know who is accountable if something goes wrong.

Without clear legal rules, disputes are likely to increase as AI becomes more common in corporate decision-making.

South Africa should act now

South Africa has taken some steps. The National Artificial Intelligence Policy Framework promotes ethical, transparent and human-centred AI. The Draft National AI Policy is pending. It was published for public comment in April 2026 but was withdrawn after fictitious AI-generated sources were discovered in the reference list.

The King V Code on Corporate Governance for South Africa 2025 also recommends that boards should ensure that AI is used ethically, transparently, fairly, securely and with clear human oversight.

In my view, these developments are important, but they are not enough. The Companies Act should be updated to reflect AI’s growing role in corporate decision-making.

The Companies Act should require directors to supervise decisions made by AI. Ultimate human control of the AI system should be legally required.

My research argues that provision should be made for directors to rely on assisted and augmented AI, but not autonomous AI, subject to the directors supervising the AI and exercising an independent judgment.

The Companies Act should require directors to have a sufficient level of AI literacy. Boards should appoint at least one member with AI expertise. Companies should be required to appoint a designated AI officer responsible for the safe, ethical and unbiased use of AI.

Companies should also consider taking out insurance against potential liabilities arising from AI-generated decisions.

• Rehana Cassim is a Professor in Company Law, University of South Africa
• This article first appeared in The Conversation

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If you’re looking for a well-made, decent-sounding speaker that has the versatility and feature set to survive trips outdoors, the Sonos Play fits that role well. If you already have a few Sonos speakers around your house, the Play will slot right into your existing system with the added bonus of being easier to carry to your Sonos-less rooms. For those reasons, it makes an even better entry point into Sonos’ ecosystem than the Move 2.

But if you’re not really interested in Wi-Fi streaming and just want a decent Bluetooth speaker, other dedicated options cost less than the R9,000 the Sonos Play asks for, without sacrificing much.

Built to last

The Sonos Play, as with any other product from the company in the last six years, is exceedingly well-built. Sonos has honed its minimalist, utilitarian design language to a fine point. From the start of the unboxing experience to any time you lay your hands on it, you’re reminded that this is a premium device. Glance at your invoice if you need further reminding.

The rubber coating on the base of this 1.3kg speaker means it’s less likely to slip, but other areas, like the top, tend to hold onto fluff that will need to be brushed, picked, or rinsed off — thanks, IP67 rating. We can’t speak to how long it will last if it lives in direct sunlight, or if you’re keen on habitually caressing it.

That IP67 rating means it will survive outside in the rain, or even a dip in the pool. Although Sonos don’t recommend playing music underwater. It also says the Play is drop-resistant, but we didn’t have a chance to test that.

Being a Sonos speaker means a lot of how you’ll interact with it can be done through the app. When that isn’t an option, the Play has a few physical buttons up top for basic controls. Play/pause, volume up and down, and a button to mute/unmute a voice assistant are present.

You’ll find a removable ‘utility loop’ around the back that should make transport a little easier. Also behind are the Bluetooth pairing button, a physical microphone kill-switch, the large power button, and a USB-C port.

Pay up, now pay more

That USB-C port plays many roles. You can charge the Play if you’re away from the included charging cradle. You can use it to charge something else, like your smartphone. Or you can plug in one of Sonos’ laughably expensive adapters.

This one costs around R1,200 and adds a wired Ethernet connection for increased network stability and a 3.5mm aux line-in for connecting a suitable audio source. This one costs about half as much and drops the Ethernet connection. When you’re already paying R9,000, having to pay extra to use the built-in features feels like a slap in the face.

You’ll also need to purchase a separate charging adapter if you don’t already have a spare. The included charging cradle terminates in USB-C and requires at least 18W to charge the Play. Thankfully, any adapter should work; you don’t need the expensive Sonos-branded adapter.

Staying power

Sonos has somehow managed to cram as much battery life into the Play as it did in the much larger Move 2. It claims you’ll get 24 hours of listening time from the Play, but that will depend on your listening habits. If, like us, you enjoy your music loud, then you should expect less play time.

Over multiple sessions with the volume set at around 50 (sometimes higher), we managed a respectable 18 hours of cumulative listening. That’s several hours short of the quoted 24, but it’s still fairly decent for a speaker this size. Especially considering the quality of its output. Charging back up to full is almost frictionless; just plonk it back on its cradle.

Listen here

The Sonos Play is most at home connected to your Wi-Fi and streaming music from one of the many supported services. Apple AirPlay 2, Spotify Connect, and Tidal Connect are supported for connecting to the Play via those respective apps.

Alternatively, you can stream Apple Music, Spotify, Tidal, or YouTube Music through the Sonos app itself, provided you’ve connected the service to your Sonos system. Deezer is also supported for its three or four users out there. The Play will stream files up to 24-bit/48kHz over Wi-Fi from services that support it.

While Bluetooth 5.3 is supported, it’s limited to the SBC or AAC codecs. No LDAC or aptX support, unfortunately.

If you crack open the Play, you’ll find three Class H amps powering a pair of angled tweeters and a single mid-woofer. There are also a few far-field microphones that use beamforming and multichannel echo cancellation to listen for voice commands if you’ve set that up. Or you can physically disable them with the switch on the back.

Those mics are also what allow for Sonos’ automatic TruePlay calibration. As long as they’re enabled, the Play will constantly adjust its output based on where you place it. While we kept it disabled for most of our review, when it’s on, the changes are subtle and usually make a positive difference. The Play will need to be connected to Wi-Fi for that feature to work properly. That is true for most of the features in the Sonos app.

The angled tweeters handle high-frequency response and mean the Play manages better stereo separation than other single-enclosure speakers, like the Roam 2. The mid-woofer handles midrange and bass.

As for how it sounds, the Play provides some width to its mixes but won’t hold a candle to any stereo pair. You could always buy another Play and pair them up in the app or over Bluetooth. But you’re probably not too concerned about width if you’re looking at the Play.

The Play can feel a little light in the low end. It doesn’t have a lot of oomph, but there’s enough upper bass that the bassline of I Want You Back by The Jackson 5 is still present and groovy. It offers a rather balanced mid-range, so podcasts sounded smooth and natural, as did Chris Jones’ vocals in Long After You’re Gone.

Conversely, the treble sounded a little pushed back, or recessed, to our ears. As a result, we missed some of the bell-clarity that we enjoy in the first few minutes of Mike Oldfield’s Tubular Bells – Pt. 1, and the tinkle and fizz in the first few seconds of Daft Punk’s Lose Yourself to Dance. The recessed treble also meant that Michael Jackson’s Billie Jean didn’t make our ears bleed at higher volumes.

Sonos Play verdict

The Sonos Play won’t top either list of the best Bluetooth or smart speakers, but the fact that it features on both should be enough for folks looking for a single speaker to fill both duties. It’s got plenty of features and is also a decent, if pricey, point of entry to the Sonos ecosystem.

If you’re leaning more to one side of the portable or permanent speaker scale, Sonos offers the Roam 2 and Era 100, both of which are cheaper than the Play. The Roam 2 trades versatility and price for a speaker that will (probably) fit in your pocket.

If sound is a priority for you, the Era 100 offers better oomph in the low-end, more detail, and better dynamics throughout the mix. There’s also the Era 100 SL if you aren’t interested in TruePlay or voice assistants.

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*Time travel not included

Nintendo officially opened pre-orders for the Electric Ocarina this morning, on both the official US site and Hori’s own. It answers one of the biggest questions we’ve had since the Ocarina of Time Direct — how much does it cost? $50 if you’re living in the United States. Convert that to Rands, and you’re looking at paying around R810.

There’s no official word from Nintendo SA on whether we’ll get a local supply of the Electric Ocarina. With the number of licenced Hori products scattered across the local store, though, we’re guessing it will turn up eventually. If not, there’s always Amazon. It’ll likely bear a slightly higher price than the one we actually want.

Read More: The Legend of Zelda: Ocarina of Time remake hits Switch 2 on 5 November

The toy (it is a toy) allows owners to use it in Free Mode and do their best to recreate the songs from the game. The actual game can be set up to listen for melodies in the real world and translate them in-game. If that’s too much work, auto-play mode allows players to choose from one of twelve songs and play them automatically.

The ocarina is slated to release on 5 November alongside the game in the States. We’ve reached out to Nintendo’s local distributor to try and gauge whether the toy is headed for our shores anytime soon. We hadn’t heard back at the time of publication, but we’ll update this article when we do.

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That’s not a typo. It may be lacking a proper OLED panel, but TCL does its best impression of the tech here with a fast IPS panel, and QD-Mini LED tech to back it all up. You’re sacrificing unfathomably deep blacks for only slightly shallower blacks, a 300Hz refresh rate, and a price of R5,000 if you’re unlucky enough to snag it off sale.

Versatile as f-

It’s not quite dressed to the nines, but you’ll only need to look at the mostly grey plastic build during assembly. Which we’re glad to say took us all of five minutes, if that. The stand does seem a little too big for this monitor’s 24.5in britches, but the effect is a pleasant one. It’s solid as hell, and does more than just hold it up at eye-level.

It’ll glide up and down that sturdy stand with only a little force on the user’s end to reach the desired height. Tilt it in whichever direction you need to get some much-needed versatility. Flip it sideways, and it even performs in portrait if you’re Shorts-maxxing, or even just reaching for the ports.

Speaking of, the 25G64 is certainly well-endowed in that area. You’ll find two HDMI 2.1 ports ’round the back, though if you’re serious about unlocking its gaming capabilities, the single DisplayPort (1.4) is your best friend. There’s a headphone jack that you may want to use for some external speakers, seeing as they aren’t built-in.

That all supports the flat 24.5in FHD (1,920 x 1,080px) QD-Mini LED IPS panel. You know, the reason you’re here. It’s got a matte coating on top that does nothing for the overall quality, but does minimise glare tremendously. The bezels are thin enough, aside from the bottom bar bearing the ‘TCL’ logo. You’ll fiddle with the settings by way of the four-way nubbin (five if you count ‘in’ as a direction) right under the logo.

Nearly OLED?

Right out of the box, TCL’s 25G64 was gunning for our eyeballs’ attention. So much so that we felt the colours were pre-calibrated to perfection, with our interference only dampening the experience. We did opt for a warm colour temperature, a little unintuitively. Local dimming, too, required a bit of input on our end before we finally settled on ‘Fast’. Go any higher, and you may find yourself running into some ghosting artefacts. Not fun.

This is a gamer’s monitor at heart, but it still runs a tight ship when presented with the odd spreadsheet. We’re rocking a 240Hz refresh rate on our Windows machine with a simple HDMI, which might seem like overkill. It is. We don’t care. But to unlock the 25G64’s 300Hz abilities, you’ll need a DisplayPort 1.4 cable (and a GPU that supports it). Do that, and you’ll gain an immediate competitive advantage over the rest of your mates.

It’s Nvidia G-Sync compatible and supports AMD’s FreeSync tech to lessen any tearing effects. Anyone repping something less capable will know. It lived up to that promise here, as did the 1ms grey-to-grey response time. You’re not quite getting that 10-bit colour at 300Hz with HDR enabled, however, but rather 8-bit. Mozy on down to 240Hz and you’ll get the full 10-bit depth with HDR. If you struggle to see a difference, continue as you were.

The 600 nits peak brightness was a welcome surprise, and never left us wanting for more. You’ll still want to keep those curtains closed if you hope to experience anything close to OLED black levels. It won’t just crumble under a slight bit of glare, though, if holing up in the darkness isn’t an option. If you’re a gamer, that’s unlikely.

Get a hit of that 300HZ refresh rate, and you’ll never go back. It may not be spitting out a 4K image, but HDR does a lot of heavy lifting to make up for it. Funnily enough, it’s those sufficiently deep blacks that are the shining point here, and do well to elevate the experience. Console gamers are still getting many of those perks, but would be overpaying for 300Hz.

TCL 25G64 QD-Mini LED verdict

The TCL 25G64 is the sort of monitor that makes you wonder why you’d bother spending considerably more, unless 4K visuals are a must. The QD-Mini LED panel can’t quite conjure OLED’s perfect blacks, but it gets impressively close while throwing in a ridiculously speedy 300Hz refresh rate, punchy HDR, and great motion handling. For anyone spending most of their time with fast-paced PC titles, it’s a rather tasty combo.

At R5,000, the value argument is harder to ignore. There are some compromises, naturally — FHD at 24.5in isn’t going to win any competitions and 300Hz is wasted on many hardware setups and every console. But if you’ve got the right GPU, the 25G64 gives gamers an awful lot to work with without asking for an awful lot of cash in return.

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