Laughing Hyena
  • Home
  • Hyena Games
  • Esports
  • NFT Gaming
  • Crypto Trends
  • Game Reviews
  • Game Updates
  • GameFi Guides
  • Shop
Tag:

music

youtube music with paywall background
Esports

Spotify removes 75 million “spammy” songs as it cracks down on AI-generated music

by admin September 27, 2025



Spotify has announced a sweeping crackdown on AI misuse and spam uploads, confirming it has already removed more than 75 million “spammy” songs in the past year.

The platform said this move is part of a broader effort to protect artists against impersonation, fraudulent uploads, and the spread of low-quality AI-generated tracks. Spotify also outlined new rules and tools designed to safeguard artist identity and improve transparency for listeners.

The changes come as generative AI continues to reshape the music industry, raising concerns over spam, deepfake vocals, and deceptive uploads.

Article continues after ad

Spotify

Spotify’s new rules & spam filter explained

Spotify has introduced a new policy specifically addressing AI voice clones and vocal deepfakes. Unauthorized impersonation of an artist’s voice will not be permitted unless it is officially licensed. The company is also expanding its measures to stop fraudulent uploads made to appear under another artist’s profile.

Back in July, it was reported that Spotify was publishing AI-generated songs of several different musicians who had died years before.

Article continues after ad

To combat mass uploads and track manipulation, Spotify will roll out a new spam detection system this fall. The filter will identify accounts engaging in tactics such as duplicates, artificially short tracks, and other spam strategies, then prevent those tracks from being recommended.

Article continues after ad

AI disclosures in credits

Spotify is supporting a new industry standard for AI disclosures in music credits. This will allow artists and labels to indicate how AI was used in the creation of a track, from vocals to instrumentation. The disclosures will be displayed across the app as they are provided by distributors and partners.

Instagram: The Velvet Sundown

Spotify said the updates are designed to ensure artists remain in control of how AI is used in their work, while maintaining trust for listeners as the technology becomes more widely adopted.

Article continues after ad

Back in June, Spotify listeners began to discover a new band by the name of The Velvet Sundown, and many quickly accused it of being entirely AI-generated.

Article continues after ad

The band responded on social media in an attempt to deny those accusations, but they later revealed they were, in fact, AI.



Source link

September 27, 2025 0 comments
0 FacebookTwitterPinterestEmail
Suno’s upgraded AI music generator is technically impressive, but still soulless
Product Reviews

Suno’s upgraded AI music generator is technically impressive, but still soulless

by admin September 26, 2025


When it’s not trying to fend off lawsuits from major record labels, Suno is still working on refining its AI music creation tool. The latest model, Suno v5, is an obvious technical improvement over its previous version, v4.5+. But it still can’t seem to escape the bland emptiness that pervades most AI art.

There are some across-the-board upgrades in audio quality that are undeniable, like fewer artifacts and clearer separation between instruments. Some tracks produced using v4.5+ can smush all the melodic parts together in a way where the lines between guitar, bass, and synth are muddy at best. But with v5, the mixes are much cleaner.

During a demo, Henry Phipps, a Suno product manager, pointed to a song we had the model generate that included a flute-like synth with what sounded like a ping-pong delay effect on it: “I’ve never heard that before in previous models… what that says to me is that the model understands that this is an isolated sound that’s being affected and needs to be reproduced faithfully in different parts of the stereo field.” Since Suno isn’t actually applying effects in the traditional sense, this means the model is identifying a particular instrument and approximating the sound of a stereo delay because it’s decided that is what it should sound like.

There are no edges to any of the Suno vocals. Everything is bathed in reverb, layered with harmonies, and perfectly on pitch. Even if you explicitly tell it not to do these things, the model just ignores you.

Suno also claims that v5 has a better understanding of genre, though that claim seems questionable from my testing. With some of my prompts like “modern avant R&B with glitchy, but funky drums, atmospheric melodic parts, and breathy vocals,” neither v5 or v4.5+ seemed to be the clear winner in delivering what I had in mind (mostly Kelela’s Take Me Apart). They both got close, giving me downtempo tracks with some moody synths, but they lacked the weirdness I was hoping for.

Neither could Suno quite figure out what I was looking for with “early ‘90s lo-fi indie rock recorded on a 4-track cassette recorder with off key vocals and slightly out of tune guitars” either, but v5 was definitely more off target. Despite everything I tried, I could not get Suno to spit out anything that sounded even remotely like Pavement. The loose slacker noise pop I associate with Slanted and Enchanted was nowhere to be found. Instead, I got bombastic “indie” rock with chunky riffs and clean driving power chords. Suno v5 kept serving up songs that sounded more like Arctic Monkeys than anything released before the turn of the century.

Similarly, in my testing, v5 seemed to struggle with era- or decade-specific prompts at times. When I asked for “late 1970s krautrock,” v4.5+ basically nails it outside of the vocals (more on that later). But v5 often delivers ‘80s-tinged synthpop and tracks that are distinctly more modern sounding, even if they have some of that classic krautrock DNA.

What I will say is that the arrangements that Suno’s v5 model creates are much more complex. Compared to v4.5+, there are more one-off musical flourishes that keep things from getting too repetitive and more varied song structures. Where v4.5+ is usually content to stick with a basic verse-chorus-verse structure (with a bridge tacked on for good measure), v5 would often have pre- or post- chorus sections, multiple bridges or breakdowns, and generally build over the course of a track offering more of an arc than just distinct sections.

It also occasionally delivered interesting results when remixing existing tracks. I uploaded a song from an EP I released a few years back (which probably should have tripped its copyright filter) and look, I’m not going to lie, I kind of liked the way it transcribed parts of my guitar solo into a recurring synth motif and turned my big chord pads into driving arpeggios.

But what was missing in all of these covers of my song that I asked Suno to create was the raw, lo-fi nature of the track that I recorded in my living room at 3AM about six years ago. And that’s kind of a running theme here. While Suno can mimic some of the superficial features of an old recording or a human performance like tape hiss or breaths, it always feels inauthentic.

Phipps admits that he hasn’t heard the vocal model recreate the unique imperfections of a real human performance. In its early messaging about v5, Suno touted its “emotionally rich vocals” and “human-like emotional depth,” but that phrasing is now absent from any public-facing materials. Instead, the company has now chosen to describe the vocals as “natural, authentic,” chalking the change up to a “stylistic choice.”

But even that feels like a stretch. While, yes, compared to v4.5+ the vocals feel more human, they’re still stiff. Phipps explained that “when we perceive a vocal out of Suno [v4.5] to be emotionally flat, I think it’s because it’s just missing some detail that gives it that edge,” and that the higher fidelity of the v5 model delivers that detail.

It’s hard to argue with the technical aspects of that claim — vocal performances are more detailed — but they’re still all painfully generic. Every rock vocal ends up sounding like Imagine Dragons or Mumford and Sons, every R&B song like a sleepwalking Adele or a charmless Ariana Grande.

There are no edges to any of the Suno vocals. Everything is bathed in reverb, layered with harmonies, and perfectly on pitch. Even if you explicitly tell it not to do these things, the model just ignores you. I asked v5 for an “unprocessed emotional solo A cappella female vocal performance with no reverb, no harmonies, no effects, just dry vocals.” The two songs it delivered were bathed in reverb, included additional vocalists harmonizing with the first, and one even had what sounded like a bass accompaniment. (Though, it may have been a voice approximating a bass.) But Phipps wasn’t surprised. The “models don’t yet understand descriptions of specific effects and recording techniques. The way the vocal is performed is most influenced by the lyrics and the general mood,” he said.

So, I fed Suno lyrics that were just different enough from the Rolling Stone’s “Gimme Shelter” to avoid getting flagged for copyright infringement. At first brush it seemed to have all the elements that make the original so devastating. A powerful female vocalist shouting over a full, bluesy arrangement, but it had all of the emotional impact of a dentistry textbook.

When I listen to the “Gimme Shelter,” it’s the way Mary Clayton’s voice cracks as she belts out “rape and murder” during the bridge that causes me to choke up. It’s Robert Smith’s completely out-of-tune warble that conveys the desperation in “Why Can’t I Be You” and the tangible exhaustion in Kurt Cobain’s breath right before he delivers the last line in “Where Did You Sleep Last Night” that tells you this is a man struggling with real demons.

In general, trying to make Suno sound “bad” — out of tune, raw, off key, sloppy — was futile. For all the company’s talk about how “natural” the new model’s vocals sound it lacks the imperfections that often carry the emotional weight of a performance. Suno’s virtual vocalists still sound detached. Model v5 might understand that a particular lyric should be sad, but it has no actual emotional connection to the words, because it’s a pile of code, not an artist.

Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.

  • Terrence O’BrienClose

    Terrence O’Brien

    Posts from this author will be added to your daily email digest and your homepage feed.

    PlusFollow

    See All by Terrence O’Brien

  • AIClose

    AI

    Posts from this topic will be added to your daily email digest and your homepage feed.

    PlusFollow

    See All AI

  • CreatorsClose

    Creators

    Posts from this topic will be added to your daily email digest and your homepage feed.

    PlusFollow

    See All Creators

  • EntertainmentClose

    Entertainment

    Posts from this topic will be added to your daily email digest and your homepage feed.

    PlusFollow

    See All Entertainment

  • Hands-onClose

    Hands-on

    Posts from this topic will be added to your daily email digest and your homepage feed.

    PlusFollow

    See All Hands-on

  • MusicClose

    Music

    Posts from this topic will be added to your daily email digest and your homepage feed.

    PlusFollow

    See All Music

  • ReportClose

    Report

    Posts from this topic will be added to your daily email digest and your homepage feed.

    PlusFollow

    See All Report

  • ReviewsClose

    Reviews

    Posts from this topic will be added to your daily email digest and your homepage feed.

    PlusFollow

    See All Reviews

  • TechClose

    Tech

    Posts from this topic will be added to your daily email digest and your homepage feed.

    PlusFollow

    See All Tech



Source link

September 26, 2025 0 comments
0 FacebookTwitterPinterestEmail
Aria PRIME tokenizes $100M Korean music catalogs
GameFi Guides

Aria debuts $100M music IP tokenization via Story Protocol

by admin September 22, 2025



Aria launches Aria PRIME with Story Protocol, tokenizing $100M Korean music catalogs to bring cultural IP into institutional investment markets.

Summary

  • Aria PRIME launches as an institutional platform for tokenized IP
  • First deal brings $100M in Korean music catalogs onchain with Story Protocol
  • Platform plans to expand into other cultural assets like film and art

Aria is moving $100 million in Korean music catalogs onchain through Story Protocol, opening a new market for tokenized cultural IP.

Aria made the announcement on Sept. 22, introducing Aria PRIME, its institutional platform for managing and investing in high-value intellectual property. The launch, done in partnership with Story Protocol (IP) and Contents Technologies, will bring tokenized access to music rights that represent more than half of South Korea’s global music distribution market.

Aria PRIME: turning culture into capital

Film franchises, music catalogs, and other entertainment rights are just a few of the extensive IP portfolios that Aria PRIME is designed to manage. Rights holders benefit from increased liquidity and more transparent ownership structures when these assets are tokenized into fungible units, and institutional investors can access them with the help of blockchain infrastructure.

The Story Layer 1 blockchain, a network designed for IP tokenization, powers the platform. Assets created as Intellectual Property Real-World Assets can be divided into fractional ownership, produce royalties, and be integrated with smart contracts for remix and licensing rights. This design enables both financial utility and new creative models.

Funding and ecosystem growth

Earlier in September, Aria secured $15 million in seed and strategic funding at a $50 million valuation, with support from Polychain Capital, Neo Classic Capital, and the Story Protocol Foundation. The company earns fees from token launches, trading, and IP vault management, but is currently reducing costs to drive adoption.

The $100 million Korean music catalog is Aria PRIME’s first step toward a larger institutional IP market. Cinema, art, and other genres might be added in the future, making cultural intellectual property a scalable financial asset.

By bridging capital markets and entertainment, Aria is positioning IP to function not only as creative output but also as investable capital.



Source link

September 22, 2025 0 comments
0 FacebookTwitterPinterestEmail
Disturb the peace with "It's Going Down Now" official music video
Esports

Disturb the peace with "It's Going Down Now" official music video

by admin September 21, 2025


Today, SEGA and ATLUS released an official music video based on Persona 3 Reload. The music video uses the advantage battle theme, "It's Going Down Now", blending live-action performances from Lotus Juice and Azumi Takahashi with in-game visuals.

A nominee for the Top Global Hit From Japan award at MUSIC AWARDS JAPAN 2025, “It’s Going Down Now” is the most streamed song from Persona 3 Reload’s lauded original soundtrack, having amassed over 100 million plays on Spotify. The Persona 3 Reload original soundtrack was also the winner of the Spotify Streaming Category at the 2024 PlayStation Game Music Awards.   
Persona 3 Reload is a captivating, reimagined take on the genre-defining RPG, reborn for the modern era with a revamped battle system, cutting-edge graphics, and enhanced audio featuring an all-new English voice-over. As of today, it has a Metascore of 86 (Xbox), 89 (PC), and 87 (PS5) on Metacritic.Persona 3 Reload review — Midnight strikes thriceWhat if I told you that there’s an extra hour hidden between every day? When the clock hits midnight, time stops, electronics cease to function, and most people transmogrify into eerie coffins. If you could experience this Dark Hour, what would you do? Would you covet this experience onlyGamingTrendDavid Flynn

Persona 3 Reload is currently available on PC, Xbox Series X|S, Xbox One, PlayStation 4, and PlayStation 5. The game is coming to Nintendo Switch 2 next month, with a demo available now. For more on Persona 3 Reload and all things ATLUS, stay tuned to GamingTrend.



Source link

September 21, 2025 0 comments
0 FacebookTwitterPinterestEmail
DAAPrivacyRightIcon
Product Reviews

This Apple Music promotion gives new subscribers three free months of the Family Plan

by admin September 14, 2025


Apple Music is running a promo in which new subscribers can get three free months of the Family Plan tier. That’s a savings of $51, which is nothing to sneeze at. After this lengthy free trial is up, it costs $17 per month.

The Family Plan allows six different users to access the platform. It offers cross-device support and each user is tied to an Apple ID, so their favorite music won’t mess with anyone else’s algorithm.

Apple

Remember to cancel at the end of the free trial if you aren’t digging it. 

$0 at Apple

Apple Music actually topped our list of the best music streaming platforms, and for good reason. It sounds great and it’s easy to use. What else is there? All music is available in CD quality or higher and there are plenty of personalized playlists and the like. The platform also operates a number of live radio stations, which is fun.

The service is available for Android devices, but it really shines on Apple products. To that end, the web and Windows PC apps aren’t as polished as the iOS version. It doesn’t pay artists properly, but that’s true of every music streaming platform. Apple Music does pay out more than Spotify, but that’s an incredibly low bar.

Offer for new subscribers redeeming on eligible devices. Auto-renews at $16.99/mo until cancelled. Requires Family Sharing. Terms apply.

Check out our coverage of the best Apple deals for more discounts, and follow @EngadgetDeals on X for the latest tech deals and buying advice.





Source link

September 14, 2025 0 comments
0 FacebookTwitterPinterestEmail
How Styngr aims to take the hassle out of licensed music for games
Esports

How Styngr aims to take the hassle out of licensed music for games

by admin September 12, 2025


Adding licensed music to video games has a reputation for being a notoriously complex and challenging process. But California-based company Styngr aims to make it a whole lot easier.

The company was founded in 2020 with the goal of allowing developers and publishers to seamlessly integrate licensed music into their titles, with Styngr taking care of all the tricky negotiations with music companies.

To help on that front, Styngr has brought in Stephen Cooper, former CEO of Warner Music Group, to act as chairman.

Cooper’s tenure at Warner lasted from 2011 to 2023, and saw the company’s revenues more than double to over $6 billion, partly as a result of Warner moving quickly to embrace streaming under his watch.

Stephen Cooper, chairman of Styngr

Cooper thinks that historically, the music industry has been stricken with “technophobia.”

“At the end of the ’90s, when Napster came around, as opposed to understanding file sharing and what they could do with that, they sued,” he says. And when Spotify emerged a few years later, he adds, “they were scared to death of that.”

“They are just so worried about tech, and they’re so worried about creating new precedents that they just hunker down and resist.”

“Being an outsider to music, it was easier to cope, because I hadn’t been marinated in music for my entire career,” says Cooper, who has worked in various industries, including telecoms and chemicals.

“So when Spotify came out, I’m like to my team at Warner, ‘Hey guys, we’re going all in on this’, because not being from music, I could see being able to rent all of the world’s music for $10 a month ultimately was better than somebody buying five albums a year.”

Like it eventually learnt to embrace streaming, the music industry has gradually opened up to the opportunities in video gaming – although the process for securing licensed music is often still mired in bureaucracy.

Licensing issues

Alex Tarrand, the co-founder of Styngr, explains that typically, a ‘sync’ licensing model is used in video games. A sync is where a music track is licensed for use with specific visual content, like an advert, film, or game.

The trouble is, securing a sync takes a lot of time, says Tarrand. “Songs are owned by multiple entities,” he explains. “There’s the label side, there’s the publishing side, there can be multiple composers or writers on a song. It’s a lengthy process […] and requires a lot of expense and agreement.”

Alex Tarrand, co-founder of Styngr

Cooper agrees that the process is convoluted, “particularly on the music publishing side, where the publishing rights are, more often than not, fragmented amongst any number of distributors.”

He notes that any party involved could block the entire process. “I could own 1% of the publishing rights of a song, and unless I go along with a deal, I can stop that song from being used anywhere.”

All in all, it’s a “super complex, highly lawyered” operation, he says, and one in which games companies often question the value that’s being added by licensed music.

“Music overvalues what they think they’re bringing to gaming, and gaming undervalues what music can do for them, and so they’re the proverbial ships passing in the night,” Cooper concludes.

But he thinks that if the process can be opened up, there’s huge potential for the use of licensed music in games. “When people have an opportunity to weave the music they want into games in the way they want it, it enhances […] the user experience, and we’ve got data that shows it extends session length. It enhances retention.”

He sees a particular opportunity for online games focused on user-generated content (UGC), whereby in a similar way to Spotify, users could choose the songs they want to match with their creations, or to listen to while they play with friends.

“For the games creators, for the platforms business, and on the music side, it will open up a listening sector that eventually will be a critical sector by way of discovery of new music,” says Cooper.

It could also be an incredibly valuable source of data for the music industry, giving them insights into how artists are being received and how music is being discovered. “In virtually any business that ends up ultimately interfacing with consumers, particularly in entertainment, that data is the 21st century gold.”

How does Styngr work?

Tarrand describes himself as the platform and tools guy. “I just build tech stuff,” he says, having previously worked on things like mobile game advertising platforms. Meanwhile, the other co-founder of Styngr, VY Esports’ Oleg Butenko, “comes out of the world of music and gaming,” Tarrand says.

The pair had worked together on a prior project, Tarrand explains, and “all the while, we had been talking internally about the world of music and gaming and why they don’t meet, and why the two don’t interface with one another.”

The conclusion was that there wasn’t a technical interface between them. “You interface with other industries through technology,” says Tarrand. “You interface with them through SDKs [software development kits] or APIs [application programming interfaces].

“This is how you deal with analytic firms. This is how you deal with the entirety of the advertising industry and the programmatic industry. You deal with them through tech.”

Hence Styngr has built technology that slots into video games and directly connects the music and game industries. “The front end is made to meet developers where they’re at and socket into their technology however they want to do it,” explains Tarrand.

“We have plug-ins in environments that take 15 minutes to put in. We have SDKs for those that like to have very cleaned-up code libraries. And then we have APIs for people [for whom] the last thing in this universe they want is another SDK inside of their game.”

“We do all the brutally complex stuff”

Alex Tarrand, Styngr

Most importantly, rather than game publishers having to directly negotiate sync licenses with music publishers for individual games and songs, Styngr negotiates blanket deals with both major and indie labels for millions of music tracks, which it then distributes.

“We do all the brutally complex stuff, right?” says Tarrand. “We map the label rights to publishing rights. We do this by geography: we ensure that no matter where a user is, they’re getting the music that they’re authorised to listen to by country – because the rights change in almost every country.

“We do royalty reporting, we do usage reporting. And then that’s data that we expose not only to the rights holders, because they need it to function, but we also expose it to the game devs, so that they can get insights into what their users like.”

In addition, the music streams are eligible for the Billboard charts, which Tarrand says is “very meaningful for the recorded music industry.”

In terms of how the music is used within games, Tarrand explains that there’s a range of options, from an in-game radio station, to users picking individual tracks, to highly tailored selections that are curated by the game developers themselves.

In addition, because the music is handled on the server side, brand new songs from artists can be dropped in almost as soon as they become available.

Practical applications

So, where is Styngr being used? “The biggest call has been in UGC ecosystems, because they’re as much social environments as they are gaming environments,” says Tarrand.

“One of the largest ecosystems we work in today is Roblox. We’ve also done a lot of work on the Java side of Minecraft as well.”

Styngr has been used in Roblox

Which leads to the next question – who is paying for this? Is it the user, or the publisher? Tarrand says there are various different models. In one, creators would pay a percentage of their revenue to add music to their creations. Another sees users paying for specific music for emotes.

But Tarrand says the applications go well beyond that. “We have sports titles that map to real-world anthems that they use inside of stadiums,” he says, adding that Styngr is even talking to the people behind fantasy games who “want stuff that’s a little bit more ethereal.”

There’s also the option for free music streams that are subsidised by advertising, which Tarrand thinks will be most applicable to the mobile world.

All in all, Cooper concludes that this new way of connecting the music and games industries could be transformative for both. “It puts the two ships passing in the night on course to actually meet each other and exchange a series of benefits.”



Source link

September 12, 2025 0 comments
0 FacebookTwitterPinterestEmail
BAFTA Games in Concert announced, celebrating 20 years of award-winning music
Esports

BAFTA Games in Concert announced, celebrating 20 years of award-winning music

by admin September 12, 2025


BAFTA has announced BAFTA Games in Concert, a live event celebrating two decades of BAFTA-nominated and award-winning games music.

BAFTA announced the concert in a press release on September 11, 2025, revealing its world premiere will take place on January 31, 2026, at the Royal Festival Hall in London.

The concert, held in collaboration with Nibbs Events and Esk, will feature the BBC Concert Orchestra, under the direction of Journey and Assassin’s Creed Syndicate composer Austin Wintory, playing music from “key nominees and winners” of the BAFTA Game Awards’ Music category over the last 20 years.

That means attendees can look forward to music from Everybody’s Gone to the Rapture, Baldur’s Gate 3, Hitman: Contracts, Tomb Raider: Legend, Assassin’s Creed, Cuphead, and Journey, with additional “special guests” and selections to be announced in the lead-up to the event.

BAFTA has described the concert as a “musical journey,” teasing that it will “synchronise visuals, gameplay, and imagery, along with live performance.”

“It’s often stated how solitary composing can be, so it’s an utterly thrilling opportunity to gather a big orchestra together, a gaggle of amazing composers, and the audience for whom all it’s made,” said Wintory.

“I feel very honored to have been asked to help put together, and also conduct, this concert celebrating the immense spectrum of games music which has passed through the BAFTA halls the last couple of decades.”

BAFTA Games in Concert will also embark on a UK and worldwide tour in 2026, with details on these dates to be confirmed on the official website “soon.”

Tickets for the London world premiere are now on sale, with prices starting from £28.

“Games scores capture the hearts and imaginations of millions across the globe,” said BAFTA CEO Jane Millichip.

“This concert, and the forthcoming international tour, are a brilliant way to extend the celebration of the BAFTA Games Awards and unite fans, artists, and industry figures.

“We are proud to recognise the exceptional talent of the composers and invite fans to join us in fabulously immersive evenings of games music from this January onwards.”



Source link

September 12, 2025 0 comments
0 FacebookTwitterPinterestEmail
DAAPrivacyRightIcon
Product Reviews

The best DACs for Apple Music Lossless in 2025

by admin September 9, 2025


Apple Music is one of the few streaming services that offers high-resolution audio (aka “lossless”) at no extra charge. But enjoying that extra quality on your phone usually requires some extra hardware. That is the purpose of this guide, — to help you find exactly what you need depending on how you prefer to listen. Every product listed below will help you squeeze more audio quality out of your Apple Music subscription. In fact, whatever music service you use, your listening experience will be enhanced. Best of all, most of these recommendations are compatible with Android, Mac and Windows devices, too.

Fortunately, as data plans become more generous and technology advances, listening to these larger-files in their full glory is less of a challenge. There are still some hardware hurdles though, especially if you use AirPods (or any wireless headphones) as Bluetooth technology is theoretically capable of delivering some higher-resolution audio, and Apple products don’t support the required technology (codecs such as Aptx, LDAC etc.). Confusingly, there are also different levels of “lossless” on Apple Music, with standard “CD quality” audio and then “Hi-Res Lossless” files that are recorded at even higher data rates. But don’t worry, we have a solution for you below, no matter how you prefer to listen to your music.

Of course, a DAC or dongle is only part of the equation — your headphones or speakers are also just as important. So if you’re looking for the absolute best audio experience be sure to check out our guide to the best headphones. Although these options are wireless, many can be used with a cable, too, making them the perfect pairing for our recommendations below.

Best DACs for 2025

James Trew for Engadget

Fiio’s affordable KA11 dongle contains a DAC with a maximum resolution of 32bit/384kHz — which is well above Apple Music’s top-tier “Hi-Res” lossless format (24bit/192kHz) — so you can be sure that you’re getting every last bit of quality out of whatever you’re listening to. Best of all, the KA11 is powerful, too, with a higher volume output than Apple’s on headphone adapter (more on this below). At around $30, this dongle is the best bang for your buck when it comes to upgrading the audio experience on your iPhone, Android, PC or Mac. There’s even a Lightning version available for those with older iPhones and iPads.

We particularly like the simplicity of Fiio’s KA11 as it’s plug-and-play with no need to charge it. It’s only slightly bigger than a typical headphone adapter and it comes with a rugged, woven cable, so it can handle a lot of wear and tear. There’s even a small LED on the front that lets you know if you’re listening to standard, high, or higher-resolution files so you can be confident you’re getting the most out of your music in real time.

$33 at Amazon

Apple

Yes, it’s the Apple headphone adapter you know and (maybe) love, but it’s worth considering if you want something super lightweight and even more affordable. Apple’s dongle doesn’t support the larger, Hi-Res files available on its music service, but it can handle the standard lossless (24bit/48kHz) format no problem. As you’d expect, it’s available in Lightning and USB-C versions depending on which Apple device you’re connecting it to.

Sure, the most demanding listeners might lament the lack of support for the higher resolutions, and it can be a little quiet with some headphones that are high impedance (typically more expensive “audiophile” models). For the vast majority of users, though, Apple’s dongle will do the job. If you’re not sure, check the manual for your headphones and look for Impedance (often listed as Ohms) — anything below around 150Ohms and you should be fine. Anything above that, and you might want to consider Fiio’s dongle instead.

$15 at Adorama

iFi

While this guide is primarily focused on Apple Music, most of the gear here will unlock lossless audio no matter where you listen. If Tidal is your platform of choice, you might be familiar with the MQA codec, which the company used for its high-resolution audio until eventually switching to FLAC in 2024. MQA might not be as common in streaming anymore, but if you still want to make sure you can listen to music from stores or services that provide it, the iFi GO Link will have you covered, along with the standard Apple Music high resolution audio formats, and anything else, up to 32-bit/384kHz.

$59 at Macy’s

James Trew for Engadget

Sennheiser’s BTD700 is a wireless adapter that plugs into your phone, upgrading its Bluetooth capabilities with the latest high-resolution codecs such as Aptx Adaptive and Aptx Lossless. iPhones don’t support any of these natively, but with this small dongle, you can unlock the full potential of Bluetooth audio and the higher bitrates (and in theory audio quality) Aptx Lossless offers. There’s a small caveat, though: you will need Bluetooth headphones that also support one of these codecs such as these or these (or check the product page of the set you own or are considering).

The BTD700 is simple to use, just plug it in to your phone’s (or other device’s) USB-C port, pair your headphones to it and off you go. An LED on the dongle lets you know which of the six different Bluetooth “qualities” (codecs) you’re enjoying so you will know when you’re listening to lossless audio. The handy part? Once you’ve paired your headphones with the dongle, you won’t need to re-pair if you connect the BTD700 to a PC or Mac. This little adapter effectively gives anything with a USB-C port an audio upgrade, and there’s even a low-latency mode for gaming. Note, there’s no Lightning option here, so if you’re on an older phone you might have to live with using an adapter.

$60 at Macy’s

James Trew for Engadget

If you’re looking to take things to the next level without spending “high-end” money, there’s a lot to love about the Melody DAC from Snowsky. Unlike a simple dongle, the Melody has onboard controls and two headphone jacks. One of those is for regular 3.5mm headphones, but the other is for 4.4mm “balanced” headphones, which means the Melody can grow with you if your audio journey takes you deeper into the world of audiophilia.

The wood finish gives it a classy feel and although it’s light, it still delivers that quality “Hi-Fi” feel. As for sound quality, there’s support for 384K/32bit sample rates, which covers everything Apple Music can deliver. The built-in amplifier can easily go louder than you should probably ever listen and there are other luxuries, too, such as support for inline microphones — so you can still handle calls and take meetings on your phone. We also love that you can tailor the sound to your preference via the Fiio Control companion app.

$40 at Amazon

Fanmusic

While you can squeeze an impressive amount of audio tech into a headphone adapter, a slightly bigger device affords a decent step up in both specs and features. Moondrop’s Moonriver T2i DAC is slightly larger than a pack of gum, and it has a stylish design that doesn’t look like a boring, generic dongle.

Importantly, the Moonriver T2i builds on the success of the company’s Moonriver 2 DAC. The “2” partly refers to the use of dual DAC chips here, which delivers a “balanced” signal. Each channel can handle up to 32bit/384KHz resolution and there are two headphone ports. One for standard 3.5mm headphones and another for 4.4mm connections — making use of that balanced output. If this is your first step into the world of Hi-Fi DACs, you’re totally fine with 3.5mm headphones, but some prefer the 4.4mm connector as it provides more power and potential signal benefits, especially if you’re using a headphone amp.

With the Moonriver T2i you have a couple more practical advantages. For one, there are physical volume controls on the device itself. If you ever felt that the 16 levels of loudness on the iPhone (I just counted) weren’t enough, then the 100 steps of adjustment on the Moonriver T2i (via companion software) eliminate any worries about setting the music to the perfect level. If your headphones have an in-line microphone, the good news is that this dongle will pass that through to your phone or PC so you won’t need a separate device for calls.

Most importantly, the sound that comes out of the Moonriver T2i is bright and bold. You’ll hear audiophiles talk about sound stage, detail and width, all you need to know is that this DAC ticks off all the buzzwords and serves up bright, robust sound that’s going to make any lossless/hi-res music really shine.

$198 at Amazon

FiiO

Who said a DAC needs to be a dongle? If you’re looking for something a little more all-in-one then the SP3 BT active speakers from Fiio are a great option. We like that, for the same price as many standalone DACs, you have everything you need to decode high-resolution music from almost any source with USB-C and Aux inputs for phones along with standard Hi-Fi connections such as optical, RCA and coaxial.

These speakers didn’t make it to our testing bench, but the SP3 BTs regularly receive praise for their sound and premium build quality at a reasonable price. For Bluetooth listening, there’s support for both Aptx Adaptive and HD along with Sony’s rival LDAC making these speakers something of an audio swiss-army knife. While these speakers will make a perfect companion to your home office or workspace, they can easily find a home in your living room or den connecting to any other music players you might have (for vinyl you’ll still need a pre-amp).

$350 at Amazon

James Trew for Engadget

If you’ve had some experience with DACs and are looking to ratchet things up a notch or three, then the Mojo 2 from British company Chord wants to have a word. At $650, this is definitely in the high-end price range, but the experience and features it offers make it worth considering for serious audiophiles. But the brains behind the Mojo 2 have been making digital to analog converters pretty much since there was digital music to even convert. That experience is what makes the Mojo 2 a favorite among music fans.

Most options in this guide are designed for mobile devices first, the Mojo 2 is more of a hybrid device. The mobile dongles above all take their power from the player you connect them to, which is convenient, but obviously is less kind to your phone’s battery life. The Mojo 2 has an internal cell so won’t tax the one in your phone or laptop. It’s small enough to be portable, but substantial enough to live on your desk.

Unlike most DACs that use off the shelf chips to handle the digital-to-audio conversion, the Mojo 2 uses field programmable gate array (FPGA) technology to create its own custom “chip.” It’s also powerful enough to act as both a DAC and a preamp, driving even power-hungry headphones with ease. We’ve seen FPGA gain popularity in gaming circles for its ability to imitate various consoles, but that same flexibility is what makes it interesting to the audio engineers at Chord.

If you need something that’s capital L loud, then the Mojo 2 will not disappoint. Proceed with caution here. It’s actually powerful enough to drive two pairs of headphones at the same time and has two 3.5mm ports so you can do exactly that. The curious circular buttons can also be used to change sound profiles with an excruciating level of detail.

The Mojo 2 has standard USB-C, microUSB, optical and coax inputs so it’s more flexible than a lot of its competition in this regard. Although it’s worth noting that you can only charge the Mojo 2 via microUSB. Of course, there’s a cable provided for this, but if you’ve fully made the switch to USB-C, it’ll mean you have to guard the charging cable closely.

$643 at Amazon

DAC FAQs

What does DAC stand for?

DAC stands for digital to analogue converter. A digital-to-analog converter takes the digital (D) music from your phone or computer and converts (C) it into analog (A) sound you can hear. All phones and PCs have them, but since handsets moved to USB-C, Lightning or Bluetooth for music, the task of converting that signal was generally outsourced to either your adapter or your wireless headphones.

DACs can be used with phones, laptops and desktops but tend to be much simpler than a regular external audio interface. One basic distinction is that DACs are usually for listening only whereas an audio interface might have ports to plug in microphones and instruments (but an external audio interface is also technically a DAC). Some high-end DACs even include XLR outputs for better connectivity with professional audio equipment.

The best DACs tend to be lightweight, making them more suitable for mobile use, although it still gets a little tricky with the iPhone as you still might need to add another dongle to make it play nice with Lightning. Also, not all DACs support all the higher audio resolutions like DSD. Most standalone DACs require external power or an onboard battery, though some can use the power from whatever you plug them into — in which case expect a hit to your battery life.

Why do I need new hardware to listen to music?

The short answer is, you don’t. You can play “hi-res” audio files on most phones and PCs, you just might not be getting the full experience. If your device’s audio interface tops out at 44.1 or 48kHz (which is fairly common and covers the vast majority of music online) then that’s the experience you’ll get. If you want to enjoy better sounding music at a higher sample rate and bit-depth (aka resolution), you’ll need an interface that supports it and wired headphones, potentially using a headphone amp for an enhanced experience.

It’s worth pointing out that “lossless” and “hi-res” are related terms, but not the same thing and will vary from service to service. Apple uses ALAC encoding which is compressed, but without “loss” to the quality (unlike the ubiquitous .aac or .mp3 file formats). CDs were generally mastered to at least 16-bit / 44.1kHz which is the benchmark that Apple is using for its definition of lossless. In audio circles, a general consensus is that hi-res is anything with a sample rate above 44.1kHz. Increasingly, though, the term is being used for anything 96kHz and above.

This, of course, isn’t only about Apple’s new streaming formats. External DACs and audio interfaces are a great way to get the best sound and upgrade your listening experience generally. Especially if you want to get into the world of more exotic (read: pricey) headphones, as they often even require a DAC to provide enough clean digital signal to drive them. For audiophile headphones, a phone or laptop’s internal sound chipset often doesn’t have the oomph needed to deliver a hi-fi experience, meaning a better DAC could make all the difference in sound quality.

Okay, but can’t I just use the headphone adapter for my phone?

No. Well, yes, but see above. A Lightning or USB-C to 3.5mm headphone adapter often is an audio interface and most of the ones you’re buying for $7 (or that come free in the box) do not support hi-res audio beyond 48kHz / 24-bit. Android is a little more complicated, as some adapters are “passive” and really just connect you to the phone’s internal DAC like old school headphones. Others (active ones) have a DAC built-in and good luck finding out what your specific phone and the in-box adapter delivers. (Hint: connect it to a PC and see if it comes up as an audio interface. You might find some details there if it does).

What about Bluetooth headphones?

Chances are that over the last few years you’ve migrated from wired to wireless headphones (thanks, Apple). The world of Bluetooth headphones changes things a little when it comes to seeking better audio performance. What matters here is twofold, the headphones you’re using (as those will technically be the “DAC”) and the codec — the method used to send the musical data over to the headphones.

It’s also worth checking to see if your headphones support aptX and which version. Look out for aptX HD, aptX Adaptive and (for the highest quality) aptX Lossless which are all better than standard and becoming more common, albeit slowly. It’s worth noting that both your phone or media player and your headphones need to support the same aptX codec. Currently, no iPhone supports any type of aptX, though dongles exist that will offer that functionality.

Other higher-resolution Bluetooth codecs exist, like Sony’s LDAC, but Qualcomm’s AptX has wider support thanks to its prevalence in Android devices. Some high-end wireless headphones might even come with a headphone jack for wired connections when higher-quality audio is needed.



Source link

September 9, 2025 0 comments
0 FacebookTwitterPinterestEmail
Developer IO Interactive on why Bond needs to "earn" his iconic theme music in 007: First Light
Game Reviews

Developer IO Interactive on why Bond needs to “earn” his iconic theme music in 007: First Light

by admin September 8, 2025


Getting your hands on an iconic and beloved entertainment property is surely a blessing and a curse. On one hand, you get the opportunity to mine the history of the franchise and its stories for your own gain, and get to leverage the interest of a dedicated congregation of existing fans. On the other hand… there’s a lot of expectation. People know this franchise. They know this character like a friend. They know how they want it.

This challenge isn’t just present in gameplay and the casting of Bond, but everywhere around the edges. There’s a ‘Bondian’ energy that absolutely must run through this game like lettering through a stick of seaside rock – and one of the departments most under the gun is surely IO Interactive’s audio department, who have to make sure gadgets and guns sound right but also manage one of the most iconic aspects of a 007 adventure: the soundtrack.


To see this content please enable targeting cookies.

Manage cookie settings

“60 years of Bond, there’s a lot of sonic iconography,” admits Dominic Vega, the audio and missions director on 007: First Light. We’re chatting briefly as part of an overarching tour of IO Interactive’s Copenhagen headquarters where I got to see a chunk of Bond’s latest adventure and chat to some of the developers bringing it to life. Much as with the rest of the game, the musical challenge is summarized in its fresh-faced, young version of MI6’s most famous agent. This is a young Bond, and he isn’t yet fully-formed as the super-spy we know. At the same time, an expectation is there: fans want to hear certain sounds and themes.

Or, to put it another way, this Bond has to “earn his themes,” Vega says. “Throughout the campaign he grows, and he’s earning his number – and he’s earning his themes.”

The result is a soundtrack and audio landscape with ambition, and in turn quite unlike anything that IO Interactive has produced before. The moody rumble of Hitman wouldn’t be appropriate here, and nor would the atmospheric face-slap of Kane & Lynch 2’s score. Something different is required – and on top of all that, the studio wants to create a soundtrack that is distinctly Bond but also differentiated from the audio signature of the cinematic Bonds.

For that task Vega’s team has turned to the British composer duo of Joe Henson and Alexis Smith – aka The Flight. This duo has quite a list of credits to their name, including a range of big-name game soundtracks. Specifically, you’ve probably heard their work in Horizon Zero Dawn and Forbidden West, Alien Isolation, and Assassin’s Creed Shadows and Odyssey.

“They’re a really great composer duo with some amazing credits and some amazing music,” says Vega. “They’re a perfect blend of the sort of orchestral mastery that is required for Bond while contributing something modern, something that players I think will attach on to as a fantastic foot forward for the 007 franchise.

“Their sound is somewhere between the orchestra and the synthetics, and so I think they signify as a group and a duo what we’re looking for in bringing a younger Bond who is discovering this world of MI6, this world of spycraft, espionage, and intrigue – and bringing all that to life.”

Audio is as important to Bond as visual. | Image credit: IO Interactive / MGM

Across a few demos, one certainly gets the idea of the gamut of potential soundtrack options. Car chases and gun fights are an example of when First Light takes on a more linear nature, bringing with it a score that is more cinematic by design. In open-ended areas, however, the game needs to be ready to react; its score needs to morph and shape itself to game design that is open-ended enough that you might transition from schmoozing at a party to a brutal hand-to-hand combat scenario in seconds.

That’s a challenge not just for The Flight as composers, but also for the technical team at IO Interactive building the game. Dynamic music is now the norm in games, but the nature of the Bond franchise and its strong melodic identity means its dynamic music arguably needs to be more carefully stitched together, as Vega explains.

“The game is a lot about creative choice, and taking on opportunities in whatever way the player sees fit – and the music should cater to that perfectly, the audio director notes.

“Melody is incredibly hard to get right inside of games because of the interactivity of games, and in First Light we’ve insisted on completing our musical ideas. No matter if the player goes from combat to still really quickly, we need to get that musical motif to close. It’s really hard. And on a spreadsheet it doesn’t look great,” he adds, laughing. “But we find it’s really important.”

This ties into a lot of work done elsewhere to take IO’s technology as part of its Glacier engine and make it conform to the shape required for a Bond game.

“Typical combat music and design wasn’t going to cut it for us,” Vega says. “Music in the Bond universe is angular. It’s mixed meter. It’s off-time. It has space, it has oxygen. It has room for dialogue, and room for impact. We want to embrace that. We’ve refactored a lot of our technology to make sure that not only is it about the melodies, the motifs, and the feeling of being Bond – it’s also about how we assemble that for the player.”

You can expect as much nuance in the music as you’d get in a cinematic Bond effort. | Image credit: IO Interactive / MGM

Fans can expect plenty of classic Bond theme moments reflected in what Vega gleefully calls ‘needle drop’ moments – but the team has also been careful not to overdo it. There’s plenty of original themes, and within that philosophy of Bond ‘earning’ his iconic themes, it’ll only be when he really deserves it that one of John Barry’s most beloved melodies will cut through. The soundscape will also reflect Bond’s globetrotting – you’ll hear in-universe music appropriate to wherever he finds himself, including licensed tracks. Dialogue will also reflect where you are in terms of the use of language and the accents you’ll hear.

There are elements of the Bond sound that are indelible, however. The franchise has its roots in 1963’s film scoring, and in the big band swing vibes of Monty Norman’s seminal ‘James Bond Theme’, which in turn gave the legendary John Barry the template from which he created a truly unforgettable sound. That sound has to be present, Vega says, for both old fans and newcomers alike.

“We’re really proud of where we’ve taken it, but it’s something that… all roads point to Bond, to that iconic sound.

“We have an orchestral sound to our game, but this is a young Bond. This is a Bond that we’re trying to find the orchestra through the soundtrack. We want to be a Bond for a new gaming generation, and we want to present a fresh sound while never forgetting that this is a classic IP that the fans of Bond should feel really satisfied and welcomed in, but also that the new players can be introduced to this sonic iconography that kind of coincides with the the character’s experience.”

There’s an electronic element to the soundtrack that reflects the present day, but there’s a strong belief from Vega that the Bond experience isn’t one that’s synthesized – and the soundtrack needs to represent that.

Music affects the overall mood. | Image credit: IO Interactive / MGM

“We’re proud to present a musical genre that is increasingly disappearing from media,” he asserts. “I think that’s something that we take really seriously. I think six French Horns in a hall sounds amazing, and I want to make sure that players have that.

“Some of the best soundtracks I can think of, and if I was to ask a room of hardcore gamers what is your best soundtrack… almost all of them were from composers and people who wanted to show the audience music that is music, right?”

“But then lastly – gamers deserve to hear a swing band. I think a big brass group is awesome, it’s not something you hear every day, and I think when you’re playing Bond, you want it.”

It’s an ambitious musical project – which only makes sense for any composer following in the footsteps of the likes of John Barry and David Arnold, among others. But in all this music talk, there is one other Bond staple missing: what about a theme song? That question provokes the classic ‘not yet’ reaction. You can imagine it, I’m sure. PRs stiffen, and a bit of an awkward shuffle ripples through the room.

“We have some great music announcements to make along the road,” Vega tactfully offers. “We are obviously going for the complete Bond experience.”

This preview is based on a visit to IO Interactive’s HQ in Copenhagen. IOI provided travel and accommodation. I wrote this while listening to this excellent mixtape, for what it’s worth.



Source link

September 8, 2025 0 comments
0 FacebookTwitterPinterestEmail
A hologram of a man speaking to camera within a cylindrical, industrial sturcture in Neyyah.
Product Reviews

This Australian puzzler that took seven years to make is basically Myst with endearingly naff FMVs and music composed by a 10-year-old

by admin September 6, 2025



While Myst and its sequel Riven are omnipresent games thanks to developer Cyan Worlds constantly remaking them, games directly inspired by Myst are few and far between. The most notable example is Jonathan Blow’s maze-obsessed puzzler The Witness, which distressingly will be a decade old come January.

Now though, veteran publisher MicroProse has just released Neyyah. That may read like onomatopoeia for the noise Minecraft villagers make, but it is in fact a first-person 3D point ‘n’ click puzzler, one that doesn’t so much wear its Myst inspirations on its sleeve as have them tattooed all over its body.

Created over seven years by solo developer Adam Gwynaire, Neyyah transports players to not one but several remote islands dotted with strange plant life and mysterious structures. Like Myst, it’s a first-person point and click adventure that involves reactivating arcane machinery by solving puzzles that interconnect in obscure ways.


Related articles

There’s a trailer for the game below. The 3D environments certainly look the part, though I’m less sold on the FMV cutscenes used to tell the story, which have a (somewhat endearing, in all fairness) am-dram quality about them. According to a recent press release, the game’s cast includes Gwynaire’s “ex-wife and stepchildren” alongside several theatrical actors from the home city of Perth, Australia.

Neyyah Launch Trailer – YouTube

Watch On

The press releases mentions an intriguing detail regarding Neyyah’s extensive soundtrack, which features more than 80 individual tracks composed for the game. Around a third of which was composed by Gwynaire. The other two-thirds, however, were created by Zaedyn Turner, who was apparently between 10 and 14 years old during the composition process.

Frustratingly, there isn’t an example of Turner’s work online, though there is a track composed by Gwynaire available on YouTube. It certainly captures that wistful Myst vibe, ie something that would fit on that Pure Moods CD your mum had in the car in the mid-1990s.

Neyyah is available now. While it only has a handful of Steam reviews so far, they currently sit at a 96% positive rating. “If you enjoyed Myst and Riven you are unlikely to find a closer love letter [to] those games than this,” writes user SpudGunMcGee, though BoonMike, who enjoyed the game overall, says that Neyyah’s exacting replication of Myst’s structure “remind[s] me of all the quality-of-life improvements those ’90s games don’t have.”

Keep up to date with the most important stories and the best deals, as picked by the PC Gamer team.

Best RAM for gaming 2025

All our current recommendations



Source link

September 6, 2025 0 comments
0 FacebookTwitterPinterestEmail
  • 1
  • 2

Categories

  • Crypto Trends (1,098)
  • Esports (800)
  • Game Reviews (772)
  • Game Updates (906)
  • GameFi Guides (1,058)
  • Gaming Gear (960)
  • NFT Gaming (1,079)
  • Product Reviews (960)

Recent Posts

  • This 5-Star Dell Laptop Bundle (64GB RAM, 2TB SSD) Sees 72% Cut, From Above MacBook Pricing to Practically a Steal
  • Blue Protocol: Star Resonance is finally out in the west and off to a strong start on Steam, but was the MMORPG worth the wait?
  • How to Unblock OpenAI’s Sora 2 If You’re Outside the US and Canada
  • Final Fantasy 7 Remake and Rebirth finally available as physical double pack on PS5
  • The 10 Most Valuable Cards

Recent Posts

  • This 5-Star Dell Laptop Bundle (64GB RAM, 2TB SSD) Sees 72% Cut, From Above MacBook Pricing to Practically a Steal

    October 10, 2025
  • Blue Protocol: Star Resonance is finally out in the west and off to a strong start on Steam, but was the MMORPG worth the wait?

    October 10, 2025
  • How to Unblock OpenAI’s Sora 2 If You’re Outside the US and Canada

    October 10, 2025
  • Final Fantasy 7 Remake and Rebirth finally available as physical double pack on PS5

    October 10, 2025
  • The 10 Most Valuable Cards

    October 10, 2025

Newsletter

Subscribe my Newsletter for new blog posts, tips & new photos. Let's stay updated!

About me

Welcome to Laughinghyena.io, your ultimate destination for the latest in blockchain gaming and gaming products. We’re passionate about the future of gaming, where decentralized technology empowers players to own, trade, and thrive in virtual worlds.

Recent Posts

  • This 5-Star Dell Laptop Bundle (64GB RAM, 2TB SSD) Sees 72% Cut, From Above MacBook Pricing to Practically a Steal

    October 10, 2025
  • Blue Protocol: Star Resonance is finally out in the west and off to a strong start on Steam, but was the MMORPG worth the wait?

    October 10, 2025

Newsletter

Subscribe my Newsletter for new blog posts, tips & new photos. Let's stay updated!

@2025 laughinghyena- All Right Reserved. Designed and Developed by Pro


Back To Top
Laughing Hyena
  • Home
  • Hyena Games
  • Esports
  • NFT Gaming
  • Crypto Trends
  • Game Reviews
  • Game Updates
  • GameFi Guides
  • Shop

Shopping Cart

Close

No products in the cart.

Close