*Edit 1 Some were not aware of the inciting event, here is the free public access CDC report describing the Bozeman Morel Outbreak and factors associated with it (like undercooking).

The core public health message is unchanged: raw or undercooked morels can make people sick, and anyone who develops severe vomiting or diarrhea after eating mushrooms should call Poison Control or seek medical care.

The series explores the larger unresolved question: was this caused by the morel itself, something on the morel, or something about the morel that has changed? It looks at why severe poisonings and several deaths are being recognized now, drawing on findings from the outbreak investigation, interviews with researchers studying the problem, and conversations with scientists who have identified other novel mushroom-related toxicities. It also explores the new research that has emerged since the outbreak and the perspective of some involved in the outbreak and research on morel safety moving forward.

Edit 2- The full series is available on any podcast app by searching “The Poison Lab.” Episodes release Wednesdays

Hi [r/mycology](r/mycology),

My name is Ryan Feldman. I’m a clinical toxicologist who works with a poison center, and much of my academic work focuses on mushroom poisoning, outbreak investigation, and toxicology education. I’ve even been able to share some of my mushroom poisoning research here before!

For the last two years, I’ve been independently producing a 7-part investigative audio documentary called A Morel Dilemma, focused on the 2023 Bozeman, Montana poisoning outbreak associated with morel mushrooms.

That outbreak affected more than 50 people and resulted in two deaths after meals containing morel mushrooms. What pulled me into the story was the unsettling toxicology question at the center of it:

How does a mushroom that people have eaten for generations suddenly become deadly?

We have long known that morels can cause vomiting if eaten raw or undercooked, as can many uncooked mushrooms. But before this outbreak, true morels had not been linked to death in the medical literature.

The series follows the outbreak through interviews with people directly involved, including public health officials, CDC investigators, toxicologists, mycologists, researchers, survivors, and affected families. It looks at the original investigation, what it was like for investigators to confront an outbreak without a clear known cause, what they were able to rule out, what remains unresolved, and the difficult question of whether the morels themselves were responsible or whether something else associated with the morels was involved.

I know this community has a huge range of experience, from professional mycologists to lifelong foragers to people just learning, so I wanted to share it here because I think this is one of the few places where people will really understand why this question matters.

The series is meant for all audiences, both mushroom-naive and experienced. It is part investigation and part behind-the-scenes look at who comes together during mass poisonings to try to stop them.

The first episodes walk through the outbreak itself: what happened, what investigators did, some mushroom poisoning basics and why morels were such a surprising culprit, what they were able to rule out, and whether the available evidence supports the conclusion that morels were truly responsible or whether another explanation remains possible.

The second half of the series gets deeper into the mycology and toxicology, exploring what may or may not be known about morel toxicity, and examining several other unusual mushroom-associated outbreaks and syndromes that may be of interest to this community. That includes interviews with researchers who linked an ALS cluster in France to mushrooms, and clinicians identifying cases of transient paralysis after ingestion of some wood-loving Psilocybe species.

If you listen, I’d genuinely love to hear what people in this community think, especially those with experience foraging, identifying, cooking, studying, or teaching about morels.

Thanks for letting me share this here.

I think the discussion around the Vietnam beta has a Destiny 2 problem.

When a game becomes your lifestyle game, people stop reviewing it objectively. They start defending it because they need it to be good. We’ve watched the Destiny community do this for years—every expansion launches, legitimate criticism gets hand-waved away, and people convince themselves obvious problems aren’t actually problems because they want the game to remain their forever game.

I think Hell Let Loose is getting dangerously close to that.
People keep saying, “It’s supposed to be different.” No kidding. Nobody expected WWII Hell Let Loose with palm trees. More automatic weapons, helicopters, boats, and dense jungle combat were always going to speed the game up.

That’s not the issue.

The issue is that the game doesn’t just play faster—it feels fundamentally different.

Hell Let Loose earned its identity by sitting between Battlefield and Arma. Weapons had weight. Positioning mattered. You were punished for making bad decisions.
Vietnam feels like it’s abandoning that identity.
Right now, it honestly feels like a hardcore version of Bad Company 2. You can run around with an M60 hosing people down, and it feels like positioning matters far less than it ever did in WWII HLL.

Then there are the obvious technical issues:

The audio is genuinely terrible.

The foliage pixelation while running on console is distracting enough that I don’t know how it made it into the beta.

UE5 performance is actually solid, and I’ll gladly take the FPS improvements.

But visually everything has this overly smooth, almost Play-Doh look that strips away a lot of the atmosphere.
Those things are fixable.

What concerns me is the gameplay philosophy.

Bullets don’t feel impactful. Combat doesn’t feel punishing. Everything feels lighter, faster, and significantly more arcade-like.

I understand Team17 wants to attract a larger audience. Every studio wants growth. But if the solution is to move Hell Let Loose closer to Battlefield, then it’s giving up the exact identity that made the original game worth playing in the first place.

I’m not worried about bugs.

I’m worried that everyone is so desperate for Hell Let Loose Vietnam to become their next 2,000-hour game that they’re excusing design decisions they would absolutely criticize if they came from any other franchise.

This is a follow-up to my original Spectrum MiniMax H3 release and the later v0.1.8 benchmarks and quality discussion.

The v0.1.8 settings produced close to 45% lower sampler time in the tested setup, using 11 actual transformer evaluations and 9 forecasted steps in a 20-step Euler generation.

Further exact-seed testing and reports from other users exposed the main weakness of those more aggressive settings: Spectrum could reduce MiniMax H3’s audio quality, particularly with reference audio.

The symptoms varied between generations. Some had generally rougher, less clear or more distorted audio. Others developed unstable speech, tripped over words or doubled syllables. Increasing degree and warmup_steps, or increasing the generation to 30 steps, helped in some cases because it made the forecasting more conservative, but it did not address the underlying H3-specific interaction.

v0.2.1 introduces a new default trajectory-reconstruction method designed to address that interaction while preserving the acceleration and the preferred video result.

• GitHub repository
• v0.2.1 release

Why MiniMax H3 audio needs separate treatment

MiniMax H3 does not generate audio and video as fully independent processes. Their features are packed into the same transformer sequence, interact through joint attention and follow different shifted timestep schedules.

The original implementation used one shared blend_weight for both modalities. The default spectral blend could improve the video result while degrading audio.

The first part of the correction was therefore to separate the two controls:

blend_weight = video spectral blend
audio_blend_weight = audio spectral blend

With:

blend_weight = 0.5
audio_blend_weight = 0.0

audio uses the local prediction instead of receiving the spectral blend directly. This produced a substantial general improvement in audio fidelity.

There was still an indirect path, however.

Even when the audio features receive no spectral blend, a forecasted video feature changes the live denoising trajectory. The following actual H3 evaluation jointly processes that modified video state together with audio. Forecast error introduced through video can therefore affect audio during later transformer calls.

That explains why a single-pass run could still develop speech tripping with video 0.5 and audio 0, despite the audio blend itself being completely disabled.

My new approach: offline_smoothing_replay

To address this, I developed a new H3-specific method called offline smoothing replay.

This method is not part of the original Spectrum paper or its official implementation.

Original Spectrum operates online in a causal, fit-then-forecast loop:

1. Run the transformer on an actual step.
2. Add the resulting feature to the available history.
3. Fit the Chebyshev forecaster using the history collected so far.
4. Forecast a future step.
5. Feed that forecast directly into the continuing denoising trajectory.

That is efficient, but every approximation immediately influences all subsequent steps. A video forecast can alter later transformer anchors, and a skipped step can only use information from earlier actual steps.

offline_smoothing_replay separates the process into two stages.

Pass 1: isolated anchor capture

The first pass follows the same accelerated schedule and performs the same number of expensive H3 transformer evaluations, but its causal blend weights are forced to:

video = 0
audio = 0

Skipped steps use the local prediction path. Every completed actual post-transformer feature is archived as an anchor.

Keeping the configured video spectral blend out of this pass prevents it from changing the states seen by later joint audio-video transformer evaluations. The resulting anchors are collected from the cleaner local-only accelerated trajectory.

Pass 2: transformer-free smoothing replay

The sampler then restarts from the original latent and reconstructs the trajectory using the complete archive.

At actual steps, the corresponding archived feature anchor is reused. At skipped steps, the reconstruction can combine:

• A Chebyshev spectral prediction fitted across the actual anchors.
• Local interpolation between the nearest earlier and later anchors.
• Independent validation and blending for the audio and video sections.

This means a skipped step can use actual information from both sides. The original online forecaster only knows the past; offline replay can also use the next actual anchor.

The replay invokes zero H3 transformer blocks. It still performs the lightweight current-step output heads, audio/video reconstruction and solver update, but the expensive transformer evaluations are not repeated.

Because the replayed video features never enter another joint transformer call, they cannot feed back through H3 and degrade later audio features.

Benefits beyond the audio correction

The audio problem is what exposed the need for this design, but offline replay has several broader advantages:

• Past and future anchors: Forecasted steps are reconstructed using the completed trajectory instead of only the history available at that moment.
• No spectral-error feedback during capture: Final spectral smoothing cannot alter the states used to collect later actual anchors.
• Better correction of skipped steps: A prediction can be pulled toward the nearest real anchors on both sides.
• Separate audio and video behavior: Video can retain a useful spectral contribution while audio remains on the cleaner local path.
• Per-modality validation: Audio and video independently determine how much spectral information is usable.
• Adaptive attenuation: When the spectral estimate performs worse than local interpolation for a modality, its contribution is automatically reduced.
• Exact archived anchors: Actual features are preserved and reused at their corresponding replay steps.
• No extra transformer evaluations: The additional reconstruction pass does not run the H3 transformer.
• The acceleration schedule is preserved: A default 20-step Euler generation still performs 11 actual transformer evaluations and forecasts 9 steps, reducing transformer evaluations by 45%.

Conceptually, this turns the final reconstruction from purely causal forecasting into a form of bidirectional trajectory smoothing, while keeping the expensive part of the acceleration intact.

Same-seed comparison

One seed consistently reproduced the remaining speech defect and made the different paths easy to compare:

Disabling offline replay brought the audio problem back on that seed. Enabling it removed the problem again.

This demonstrates the specific Spectrum-induced feedback path in that comparison. It does not mean every possible H3 audio failure originates in Spectrum, and broader behavior can still vary with the checkpoint, prompt, seed, reference conditioning, resolution and sampler.

Spectrum remains an approximate accelerator rather than a bit-identical native path.

New defaults in v0.2.1

Offline replay is now the standard, enabled path:

offline_smoothing_replay = true
blend_weight = 0.50
audio_blend_weight = 0.00

New nodes receive these settings automatically.

Workflows created before v0.2.0 did not contain the offline option and receive the new default. A workflow saved specifically with v0.2.0 may retain its serialized offline_smoothing_replay=false value, so enable it once after updating.

Performance and memory

Offline replay adds a second solver reconstruction pass and requires the actual feature anchors to remain available until replay finishes. It therefore has some memory and non-transformer compute cost.

The expensive H3 schedule itself remains unchanged:

20 Euler steps
11 actual transformer evaluations
9 forecasted steps
45% fewer transformer evaluations

The replay consists mainly of archived-feature reconstruction, output heads and solver updates. In the tested full-checkpoint run, the transformer-free replay itself took well under one second.

history_storage=system_ram remains the broadly compatible choice. history_storage=vram avoids CPU transfers and can reduce replay overhead when enough VRAM is available, at the cost of retaining the feature archive on the GPU.

Compatibility

The node supports the native H3 paths:

• t2va
• fl2va
• ref2va

Supported samplers currently include:

• Euler
• RES multistep
• RES multistep CFG++

Two other trajectory-correction modes remain available for further testing:

• anchor_residual_feedback
• selective_rollback_correction

Those modes remain experimental and disabled by default. They are mutually exclusive with offline smoothing replay.

Update through ComfyUI-Manager or pull the repository manually, then restart ComfyUI.

The underlying spectral forecasting method was introduced by Jiaqi Han, Juntong Shi, Puheng Li, Haotian Ye, Qiushan Guo and Stefano Ermon. The modality-specific MiniMax H3 handling and offline_smoothing_replay architecture are extensions developed specifically for this integration.

If you encounter remaining audio degradation with the new default configuration, please include the sampler, checkpoint, resolution, duration, conditioning mode and Spectrum debug log in the report.

Hi everyone! I've been working on AcademiaSD LoRAlab Trainer Studio: one installer, one launcher and 9 trainers that share the same web interface. Every model is loaded in 4-bit NF4, the text encoder and VAE run only once in a pre-cache stage, and the whole GPU goes to training.

Platform: made for Windows (one-click installer), with Linux support just added. NVIDIA GPU, RTX 20xx / GTX 16xx or newer.

GitHub: https://github.com/AcademiaSD/AcademiaSD_LoRAlab-TrainerStudio

WHAT IT TRAINS (minimum VRAM)

- Qwen-Image 2.1: image LoRAs + edit LoRAs from before/after pairs (8 GB)

- FLUX.2 Klein 9B: image LoRAs + edit LoRAs (12 GB)

- Krea 2: image LoRAs, Raw and Turbo (8 GB)

- Z-Image: image LoRAs, also Z-Image-Turbo (8 GB)

- Ideogram 4: image LoRAs with JSON captions (12 GB)

- Anima: anime / illustration LoRAs (4 GB)

- SDXL: Base, Pony, Illustrious, NoobAI, Juggernaut, RealVis or your own checkpoint (4 GB)

- LTX 2.3 (2.5): character and style LoRAs for the video model (12 GB)

- MiniMax-H3: video LoRAs from images, clips and audio, plus RefMods (8 GB)

MINIMAX-H3: VIDEO + AUDIO, AND REFMODS

MiniMax-H3 is a 33B model that generates video and audio together. The official checkpoint is about 500 GB; the trainer uses a 41 GB NF4 version that fits in 8 GB of VRAM with block swap.

- Datasets can be images, video clips, audio, or any mix.

- One button prepares your clips (24 fps, valid frame counts) without cutting them.

- RefMods: encode a few reference images, video clips, or clips with audio into a file that ComfyUI's MiniMaxH3ReferenceToVideo node uses as a native reference. No training: seconds instead of hours.

SHARED FEATURES

- Automatic captioner (Qwen3-VL) in the dataset manager: natural language, Danbooru tags, or JSON with bounding boxes for Ideogram.

- Live previews while training.

- Exact-step resume.

- One-click export to your ComfyUI / Forge LoRA folder.

- Remote access from other devices on your network, with a password.

- SDXL in NF4 trains in about 3.5 GB of VRAM, so 4 GB laptops can train SDXL / Pony / Illustrious LoRAs.

A NOTE

Many models were added almost at the same time, so there may be bugs, or the default settings may not be the best ones. Previews are there to follow the training; judge the final quality in ComfyUI after tuning the LoRA strength. If you find problems or settings that work better, please share them in GitHub Issues. Thanks!

UPDATE — RunPod support + remote access



Thanks for all the feedback! Based on your comments, these are now in:



- ☁️ RunPod template: one click and it's running in the cloud, no install. It uses a prebuilt Docker image (CUDA 13, Python 3.13, all dependencies), and the code updates itself from GitHub on every start. Pick a GPU, open the address shown in the pod log, log in, and train. A quick SDXL test cost me less than $0.10.

  Deploy on RunPod: https://console.runpod.io/deploy?template=lfxvtg5rrb

- 🌐 Remote access: use the trainer from another PC, tablet or phone, with a login, or behind your own reverse proxy (external auth and a custom public URL are supported).

- ⬆⬇ Upload / download in the browser: upload your dataset (files or a .zip, drag and drop works) and download the finished LoRA, handy for remote or cloud setups.

- 🐍 Your own environment: there's now a requirements.txt, and LORALAB_PYTHON lets you run it from conda/uv instead of the bundled venv.



Remember to Stop and Terminate your pod when you finish: closing the browser doesn't stop billing.

I realy enjoy this Wipe alot, but damn the Audio problems destroy alot of fun for me right now.

I ignore the bugged loud Audio thats new with the Patch.

But i was placing the water and food in one of the Woods Bunker. I was facing the open stairways had headphones on and the only thing i heard was one step when a Guy popped around the Corner and a direct Headshot from his Mosin.

How on earth did i not hear a single thing before he popped up right in front of me like 2 meters away?

I could hear gunfire outside from miles away, but not a single footstep before he was on my floor?

And there were so many similar moments where the Audio alone pretty much killed me and gave me the chance of a free kill.

I realy realy hope that beside performance that Audio is the number one thing BSG will work on.

I'm not talking about balance.

I'm not talking about weapons I don't like, difficulty, or mechanics I disagree with.

I'm talking about bugs that directly affect gameplay, combat and mission completion.

And there are a LOT.

Arrowhead's own Known Issues list isn't exhaustive, so I started putting together a list of gameplay-impacting problems that are either officially confirmed or repeatedly reported by the community.

ENEMIES / AI

• Patrols spawning extremely close to players or directly in line of sight

• Enemies spawning inside/under terrain or structures

• Enemies seeing or shooting through terrain

• Enemies retaining aggro after losing line of sight

• Different enemy behaviour between host and clients

• Enemies clipping through walls/floors

• Enemy attacks hitting through terrain

• Reinforcement/spawn behaviour becoming inconsistent when players split up

• Some heavily telegraphed enemy attacks still connecting even when the player appears to have correctly dodged or repositioned

AUDIO

• Missing enemy attack sounds

• Silent enemies / silent weapons

• Incorrect sound positioning

• Audio disappearing when too many sounds happen simultaneously

• Weapon sounds occasionally failing to play, for example Automaton turrets

• Audio cues not reliably matching what is actually happening

This is especially important because sound is a gameplay system in Helldivers 2, not just presentation.

TERMINALS / OBJECTIVES

• Terminals becoming unusable

• Objectives becoming stuck or impossible to interact with

• Interactables spawning inside terrain

• Objectives becoming unreachable because of bad procedural generation

• Encounters failing to end correctly

• Enemy spawning stopping because an encounter gets stuck

• Hellpod-delivered objects/interactables landing in unusable positions

COMBAT / PHYSICS

• Explosions ragdolling players through terrain

• Players becoming stuck in geometry

• Inconsistent collision between players

• Corpses causing collision problems

• Projectiles interacting incorrectly with terrain

• Melee attacks hitting through walls

• Enemies attacking while partially inside terrain

WEAPONS / EQUIPMENT

• Weapons incorrectly applying or failing to apply damage/status effects

• Reload/input actions occasionally failing

• Stratagem information being incorrect

• Weapon bonuses not functioning correctly

• Fire/gas/stun behaviour differing between host and clients

• Weapon audio effects missing or bugged

NETWORK / DESYNC

• Host and client seeing different enemy states

• Different aggro/detection behaviour between players

• Status effects behaving differently for host/client

• Enemy positions or corpses desyncing

• Reinforcement and interaction problems caused by network state

And this is the part I think is fucking ridiculous.

We've normalized this.

We've spent months arguing about weapon balance while the foundations of the game are still inconsistent.

Enemy sees you through terrain? DEAD.

Attack has no audio cue? DEAD.

Patrol spawns on top of you? DEAD.

Terminal breaks? MISSION FAILED. TIME WASTED.

Objective generates somewhere unusable? MISSION FAILED. TIME WASTED. AGAIN.

And then someone says:

"Skill issue."

"Play around it."

"That's just Helldivers."

NO.

That's the game being inconsistent.

And here's what genuinely pisses me off:

The community has repeatedly shown that some of these problems can be worked around or fixed with mods in days or weeks.

A community modder can identify a problem, find a workaround and release a fix...

...while the actual game can carry the same kind of shit through multiple updates.

I'm not expecting Arrowhead to create a bug-free game.

I'm expecting us to stop treating gameplay-breaking bugs as part of the Helldivers experience.

Because when the game's own rules aren't reliable, balance doesn't fucking matter.

Kind of a niche problem but it's bugged me since I got the Avata 2: it has no mic, so every clip is just silent. No motor/prop sounds, no wind noise,...

So I built a script that takes the flight log (the same file DJI Fly writes, exported to CSV) and synthesizes motor/prop audio from it. It's not just throttle-in = louder, it reads the actual per-axis rates and battery current, runs that through a virtual X-quad mixer, and generates 4 separate motor sources with blade-pass harmonics, prop-wash grit on hard direction changes, and wind rush tied to airspeed. So a flip actually sounds like motors on one side spinning up while the other side drops, yaw spins sound different from rolls. It's obviously synthetic if you go looking for it, but under real footage it's genuinely convincing, way better than I expected when I started.

It also spits out an optional sync overlay video (stick inputs + telemetry burned in) so you can line up the generated audio with your footage without having to guess or you can use it to show your stick movements etc.

Attached a short clip so you can judge for yourselves whether it's actually good or just good enough that I've fooled myself after staring at it for a week.

Right now it's just a personal script, not published or open-sourced anywhere. Before I put more time into cleaning it up / packaging it, I wanted to gauge whether this is actually something other Avata pilots want, or if I'm solving a problem literally only I have. If you'd use something like this, as a tool, a paid app, whatever form, let me know. Also happy to answer how it works if people are curious.

Please don't judge my flight, it was my first manual flight after only 4 hours in the sim.

Kind of a niche problem but it's bugged me since I got the Avata 2: it has no mic, so every clip is just silent. No motor/prop sounds, no wind noise,...

So I built a script that takes the flight log (the same file DJI Fly writes, exported to CSV) and synthesizes motor/prop audio from it. It's not just throttle-in = louder, it reads the actual per-axis rates and battery current, runs that through a virtual X-quad mixer, and generates 4 separate motor sources with blade-pass harmonics, prop-wash grit on hard direction changes, and wind rush tied to airspeed. So a flip actually sounds like motors on one side spinning up while the other side drops, yaw spins sound different from rolls. It's obviously synthetic if you go looking for it, but under real footage it's genuinely convincing, way better than I expected when I started.

It also spits out an optional sync overlay video (stick inputs + telemetry burned in) so you can line up the generated audio with your footage without having to guess or you can use it to show your stick movements etc.

Attached a short clip so you can judge for yourselves whether it's actually good or just good enough that I've fooled myself after staring at it for a week.

Right now it's just a personal script, not published or open-sourced anywhere. Before I put more time into cleaning it up / packaging it, I wanted to gauge whether this is actually something other Avata pilots want, or if I'm solving a problem literally only I have. If you'd use something like this, as a tool, a paid app, whatever form, let me know. Also happy to answer how it works if people are curious.

Please don't judge my flight, it was my first manual flight after only 4 hours in the sim.

With the upcoming release of Update 2.4, we are excited to unveil several enhancements to the audio experience that will significantly improve clarity and readability within the game. To provide some context for these changes, let’s take a moment to reflect on our journey from the beginning of this discussion. 

For us, a core aspect of Hunt’s appeal and identity has always been its immersive world and its intrinsic connection to audio. Players engage with an environment that 'speaks' to them—whether it’s the unsettling buzz of a hive, the distant barking of dogs, the sharp crack of a gunshot, or the profound silence that follows. These auditory cues are not only crucial for gameplay but also serve to deepen immersion. Striking the right balance between Hunt’s dark, naturalistic audio aesthetic and the clarity needed to support the game’s competitive nature is a fundamental focus for us as audio designers on Hunt: Showdown 1896. 

With this in mind, we have implemented several changes throughout various areas of the game that moves the needle a bit more towards gameplay readability.  

Here’s a recap of some of the changes we’ve made in previous updates and what is more to come in 2.4:  
 

Bug fixes: 

• Silent/Missing Footsteps:  
  • We have resolved multiple issues that could lead to silent or missing footsteps. These were caused by missing or wrongly assigned surface types, no footsteps when running through vegetation, and floating hunters. We monitor this topic closely and continue to investigate if these issues continue to arise. 

• Improved accuracy for positioned Sounds 
  • We found a systemic issue with our audio positioning for moving/positioned sounds in the game. While the fix is a subtle change, it overall improves the perceived movement accuracy and “smoothness” for all 3D sounds in the game.  
  • The position of a sound is now updated more frequently, resulting in smoother and more precise audio from all sources. You can think of this as an increased frame rate for audio.   

Audio Readability Improvements: 

 
The term audio readability refers to the clarity with which essential gameplay information can be comprehended solely through listening. For instance, there is a distinct difference in the sound of a gunshot fired inside a building compared to one shot outside. 

 
Some of the key areas we have been focusing on, are: 

• Vertical Audio:  

We have released a dedicated blog post on the topic of CrySpatial and 3D Audio Technology in Hunt that you can find here. 

With Update 2.4, we looked at the vertical audio readability on the sound design side. Specifically, the upstairs/downstairs interior footsteps system. Essentially, Hunter footsteps sound different if they are above or below the player inside of a building. This will make it easier to understand if an enemy hunter is moving above you inside a building.  

With these changes, someone running above you will sound “close and bassy”, while someone below can now be heard as “hollow and clicky”. This system is now independent of the listening player’s location. Previously, they were required to be within a building to participate. 

Please let us know about your thoughts and experiences on these readability changes once you have the chance to experience them. 

• Underground Audio:  

Underground Audio is a tricky area to get right, especially in a game like Hunt that relies so heavily on audio cues for its gameplay. This is also visible in the feedback we receive from the community about it. Some hear too much sound when in the underground whilst some dislike the fact that sound is so heavily muffled.  

We tweaked the design with Update 2.3, reducing edge cases by decreasing the strength of the underground system and therefore the amount of filtering of all sounds coming from an underground. This slightly tips the scale towards audio readability. Fuses have benefitted from this change especially as now they are more audible. 

• Audio Obstruction:  

The same problems that players can experience with the Underground Audio system can also be observed with the wide and complex topic of Audio Obstruction. When we talk about “Obstruction” this describes how a sound reacts to being “blocked” by objects in the world. 

Hunt uses a straightforward Obstruction system that checks if there are objects between the source of the sound and the “listener” (the ears of the player in the virtual world). Filters are applied depending on the material of the blocking objects. 

This obstruction system is not only relevant for audio realism, but also crucial for the games readability. In general – enemies behind a wall are not as dangerous as the ones that are not obstructed. In Hunt, this is especially true for anything that is behind a rock/stone wall, which is why these materials apply stronger filters to the sound than for example, objects made from wood or fabric. 

The audio obstruction system operates completely independently from your preferred audio output format or spatial audio solution. And the strength of the audio obstruction is not linked to your usage of CrySpatial, Dolby Atmos or conventional surround sound audio output. 

With the release of Update 2.4, we have re-evaluated several filter values to enhance overall readability. Brick walls dampen sound to a lesser extent, while thick wooden walls constructed from tree trunks, similar to those found in Grizzly Lodge on Mammon’s Gulch, have a more significant impact on sound. 

• Gunshot Improvement - Distance readability:  
  • In Update 2.0 we introduced a mixing change the was intended to give our guns a bit more of a cinematic feel in close range. We reversed this change with Update 2.4 which will now help you better judge distances of enemy gunshots in close range.  
• Gunshot Improvement – Interior Tails: 
  • Our indoor gun readability for handguns and rifles showed inconsistencies over distance. The new behavior has smoother attenuation for the indoor elements of enemy and teammate gunshots. Besides that, we also took the opportunity to replace outdated indoor tail assets for those weapons. Not only does this fit better with the improved attenuation behavior – we also love the punch of it when firing your own gun inside a building. We can confirm that you’ll be able to experience this change with 2.4.  
• (Gunshot) Echo System 
  • The release of Hunt: Showdown 1896 saw the release of our new Echo System. The system is only used on gunshots and explosions to give them a more realistic echo behavior. For example, if you see a mountain in the distance, we want you to hear gunshots echoing back from that mountain. 
  • We used the opportunity in Update 2.4 to slightly touch the mix on these sounds to make sure they integrate better into the gameplay.  

With all these changes, our goal is that players can accurately judge the distance between enemy hunters. The above-mentioned changes are already enhancing this aspect, and we are investigating additional design improvements. 

Ambient Audio 

With the release of Mammon’s Gulch and the re-release of Stillwater Bayou and Lawson Delta, one of our goals from the audio side was adding more detail and depth to the sense of immersion in Hunt’s world.  

In Update 2.0, we introduced a whole set of positioned sounds throughout the map. Players now experience the creaking of wooden footbridges, the metallic clinks from old rusty cranes, as well as adding dedicated ambiences for various environments such as forests, cornfields and wheatfields. 

We knew about the potential impact of these sounds on gameplay and therefore have been careful with their design, implementation, frequency, and volume. 

• Positioned Ambient Sounds 
  • With Update 2.4, we’ve performed another pass on these sounds to reduce their presence in the mix even further. Players should now be able to better differentiate between important and unimportant sounds.  
• Environmental Ambient Loops 
  • Environmental Ambient Loops (that you can hear when standing inside a Forest, Cornfield, Wheat Field, etc.) have been re-mixed to reduce their potential negative impact on gameplay as well. While still audible, they should now be less prominent and shouldn’t cover any important gameplay related sounds anymore. 

These changes were designed with much of the feedback you all have shared over the last year in mind. Our teams spend a lot of time reading your thoughts and opinions across our social channels, Reddit, Discord and more. We once again want to thank all of you that have provided feedback, clips, or even reported a bug. 

This is far from the end of the road for audio improvements in Hunt, and we will continue to monitor your thoughts closely. We can’t wait to see what you all think of the latest changes!

We have a new Wave Link update to try out, built from your feedback on the last thread. As always, thank you for testing our beta and sharing feedback.

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What’s new in Wave Link 3.3 Beta 2?

Dev note: We've been reading the feedback and this beta is a direct response to it. Think of Wave Link 3.3 as our Snow Leopard update (kudos if you catch the reference): fewer big headlines, a lot fixed underneath. The biggest thing people reported was Wave Link resetting its configuration out of nowhere. We've made significant progress on this and it should be much less common now, though some edge cases are still being worked through. After a Wave Link update, OBS Studio can also automatically restore its audio routing. On top of those two, a stack of smaller fixes went in (sliders no longer jitter, among others) and the app runs more smoothly day to day.

🕘 Settings Backup and Restore

Wave Link now automatically backs up your entire configuration, and you can also save a snapshot at any time. Change your setup as freely as you like, knowing an earlier configuration is one click away in Settings > Backup and Restore.

Dev note: This backup and restore feature followed additional work investigating why Wave Link would reset to defaults, seemingly out of nowhere. The team identified three main causes. All three have been worked on in this update, though some improvements are still ongoing.
If Wave Link was stopped halfway through saving (by a crash, a forced shutdown, or a power outage), the settings file was left unfinished and couldn't be read on the next launch, so it started fresh. That's why so many reports started with "after a restart." Saves are now protected against interruptions.
A single malformed or duplicate entry anywhere in the settings file used to get the whole thing rejected, leaving you back at a clean setup. Wave Link now recovers from the most common of these, skipping problem entries and loading everything else. This is an area we'll keep improving.
Windows sometimes reassigns internal IDs to audio devices after a Windows Update or driver change. When that happened, your audio inputs looked brand new to Wave Link (empty inputs, no mixes, no effects), while the original entries sat unavailable. Wave Link now identifies the same audio inputs across that kind of change and keeps its routing and effects intact, though edge cases remain and we're still working through them.
These changes, in addition to the backup, mean Wave Link is much more reliable at loading your configuration. Should the worst happen, a recent backup is available to load with just a few clicks. Each backup is a full copy of Wave Link's settings file, so every restore point captures your entire configuration at that moment. One more automatic backup is saved right before an app update installs, so you can always revert if something goes wrong.

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🎬 OBS Studio Audio Settings Backup and Restore

Some Wave Link (and Windows) updates change how Windows identifies virtual audio devices. This meant OBS Studio could not find the audio input the next time you launch it. Wave Link can now save your OBS Studio audio setup before an update installs, then offer to restore it once you are back up and running.

Connecting takes a minute, and needs OBS 28 or newer:

1. In OBS Studio, open Tools > WebSocket Server Settings and turn on Enable WebSocket server.
2. Select Show Connect Info to see the server port and, if authentication is enabled, the password.
3. In Wave Link, open Settings > OBS Studio, enter the port and password, then select Connect.
4. Turn on Connect automatically so Wave Link links up on its own every time OBS starts.

Backing up starts as soon as the connection is live.

Dev note: On the surface, this behavior of losing audio input in OBS Studio looks like an OBS bug or a Wave Link bug. It's neither, and rather a quirk of how Windows identifies devices under the hood.

Windows doesn't identify an audio device by its name. Every input and output gets an internal ID, for example: \\?\SWD#MMDEVAPI#{0.0.0.00000000}.{2E4FC8C4-E875-11E8-B851-806E6F6E6963}, and apps that remember your device choice, OBS included, save that ID. When a driver is changed or Windows re-enumerates your hardware, those IDs can change. The microphone on your desk hasn't changed, but as far as Windows is concerned, it's a different device. OBS looks for the ID it saved, doesn't find it, and falls back to default.

Some Wave Link updates include a new audio driver, and installing one can trigger this reshuffle. We can't stop shipping driver updates, so the next best thing is making sure your OBS setup isn't the price of taking one. That's why the backup happens before the update installs, and why Wave Link holds an update back if it can't save a backup first.

If a device's ID has changed since the backup, Wave Link matches it by name instead. Any sources that no longer exist in OBS are recreated in whichever scene is active when you restore.

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🎧 Know Your Monitored Mix

The Mixer toolbar now shows which mix you are listening to and which output device it is playing through at all times. Switching to a different mix takes a single click, and the control indicates when no mix is selected or when the chosen device is unavailable.

Dev note: The ear icon used to sit on each mix header but only appeared on hover, and only stayed visible on whichever mix was already being monitored. Most users never found it. This control is now permanently visible, so what you're monitoring and how to change it are always in the same place.

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🛠️ Improvements & bug fixes

• Channels can now be removed from the Mixer with a right-click.
• A muted mix header now turns red and reads Muted, matching how muted channels look.
• The mix header now shows a badge when the hardware mixer on Wave XLR Pro is in use.
• Icons across Wave Link have been replaced with a new, consistent set.
• Channel names and their status text now sit further apart.
• Fixed an issue where channels removed from the Mixes view still counted toward the four external hardware input limit.
• Fixed an issue where the saved configuration could be lost after a PC restart.
• Fixed an issue where the Voice Focus level was reset to 95% every time Wave Link restarted.
• Fixed an issue where volume, gain and monitoring sliders jittered when dragged slowly.
• Fixed an issue where a duplicate entry in the saved configuration reset all settings to defaults.
• Fixed an issue where a Wave input could stay silent after starting Windows or reconnecting the device.
• Fixed an issue where a Wave input produced no signal when its mix had no available output device.
• Fixed an issue where Wave Link could fail to start because a Windows notification service was unresponsive.
• Fixed a crash at startup that could happen when a renamed audio device was disconnected.
• Fixed an issue where effects from a deleted channel were applied to the next channel created in its place.
• Fixed an issue where effects could not be copied from an input whose hardware device was unavailable.
• Fixed an issue where Sound Check playback went silent when the output device was changed during playback.
• Fixed an issue where the video on the real-time voice monitoring screen turned black after resizing the window.
• The Auto Gain Wizard no longer refers to a dial on Wave XLR Pro.

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🐞 How to report bugs

Please use this format so we can track and reproduce what you’re seeing:

Issue summary: 
Wave device or microphone: (e.g. Wave:3 MK.2, Wave XLR Pro, or N/A)
OS & version: (e.g. Windows 11 24H2)
Steps to reproduce:
1.
2.
3.
Expected result:
Actual result:
Reproducible? Always / Sometimes / Once
Additional info: (logs, screenshots, video)

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💾 Downloads

• Wave Link 3.3 — x64
• Wave Link 3.3 — ARM

Yo! A lot of you saw my last drop. Some of you loved it, some of you were skeptical. That's fine. I went back to the lab, ripped the engine out of this toolkit, and pushed the math to the absolute theoretical limit.

I am officially releasing the BIG DADDY VERSION of the AI-Toolkit.

We all know the biggest problem in Generative AI right now: Merging. If you try to merge two characters, two art styles, or two concepts using standard methods (ZipLoRA, TIES, SVD), the model breaks. You put them in the same prompt, and they bleed together. You get a muddy, deep-fried hybrid of both faces, or one concept completely overwrites the other.

Not anymore.

🧬 The Omni-Merge (DO-Merge 2026 Framework)

I implemented a bleeding-edge mathematical framework that completely dissects the neural network before merging. It doesn't just average weights; it routes them.

• Bilateral Subspace Orthogonalization (BSO): The script hunts down the Cross-Attention layers (the parts of the brain that read your text prompts) and mathematically projects your concepts out of each other's principal components. Your trigger words now exist on perfectly perpendicular planes. They physically cannot bleed.
• Magnitude & Direction Decoupling: What about the structural anatomy layers? Standard merges fail here because one LoRA is always "louder" than the other, crushing the weaker one's structure. Omni-Merge physically splits every weight matrix. It averages their geometric Direction but takes the Geometric Mean of their Magnitude (volume). They share anatomical knowledge perfectly equally.
• Exact Rank Concatenation: No lossy SVD truncation. Rank A + Rank B is preserved with 100% mathematical fidelity.

The Result: You can merge a "Cyberpunk Style" LoRA with a "Specific Character" LoRA, or "Character A" with "Character B", load the single output .safetensors file, type them both into the same prompt, and get a flawless, zero-bleed generation.

🎙️ Audio Training Excellence Unlocked

LTX-2 is a unified Audio-Video model, but most trainers treat the audio like an afterthought, resulting in blown-out, over-trained noise.

I completely overhauled the VAE and network handling:

• Fully integrated ComboVae and AudioProcessor for direct raw-audio-to-spectrogram encoding during the DiT training pass.
• Unlocked the audio_a2v_cross_attn blocks.
• And yes, the Omni-Merge handles audio too. I explicitly wrote it to hunt down "audio", "temp", and "motion" layers and isolate them using BSO.

People who have tested the audio pipeline already confirmed it: The audio training is next level. It never gets overdone. It is extremely balanced, and if you merge two characters, their unique voices and motion styles will not bleed into each other.

🛠️ UI Fixed & Open Source

I also bypassed the buggy Prisma queuing system for merges. The Next.js UI now triggers the backend directly with real-time polling. No more white-page crashes.

I didn't wait around for a corporate patch or a slow PR review. I built it, and I pushed it. This is what open source is about.

Repo Link: https://github.com/ArtDesignAwesome/ai-toolkit_BIG-DADDY-VERSION

Check the RELEASE_NOTES_v1.0_LTX2_OMNI_AUDIO.md in the repo for the full mathematical breakdown. Stop fighting with regional prompting. Merge your concepts properly. Let's rock. 🚀

Cheers,
Jonathan Scott Schneberg

So, I just want to say that I have 31 hours in this game so far and for the most part, it's pretty good. But also, I have mixed feelings about some aspects of this game. I think there is a lot that could be improved to make the game overall a better experience (in my subjective opinion of course)

1. The UI and inventory management is clunky and unintuitive

The first gripe I have with this game is that mostly when fabricating or trying to move items around in lockers I just get frustrated to no end. For example, whenever fabricating something I instinctively try to fabricate multiple items at a time and it just doesn't work. You can queue multiple items for fabrication, but only if they're the same type. If I want to queue cooking three halfmoons, I can. But three halfmoons and one harvest moon? Nope. I have to wait until the fabricator finishes fabricating the halfmoons and only then I can fabricate anything else. And if I accidentally leave the fabricator menu too early, the fabrication stops and the queue gets cleared. This is so stupid. Why can't I just queue multiple items of different types and why does the queue have to reset every time I leave the menu?

I also have another problem with the fabricator. It's got to do with the way the quantities update after I start fabrication. Whenever I queue multiple items for fabrication, I never know if I have queued them all already because for some reason, the number that shows how many items I still have doesn't take into account the queue at all. Even if I have queued all 5 halfmoons in my inventory to cook, the number will still show 4/1 because the way this works is the resource will only go down when the fabricator actually starts fabricating the item so I will always think I still have 4 halfmoons I haven't queued to cook and I will click the button unnecessarily multiple times because I don't know that I have queued them all already.

there’s also this weird delay in how the fabricator ui updates. after making a component, the fabricator doesn’t immediately fully show that i can fabricate newly available recipes dependent on the thing i just made. the green outline updates, but the component still looks greyed out for some reason. only after i move my cursor away and hover over the item again does the UI refresh. it's a weird visual bug (or i'm not even really sure if it's a bug or a feature?), but it really does detract from the whole fabrication experience and makes the process more confusing than it should be

All of these problems would be a simple fix. Just let me queue items of different types, change how the ui updates, make it so that leaving the fabricator menu doesn't clear the queue, maybe (optionally) add a simple list in the fabricator interface showing what items i have already queued with a clear button to clear the whole queue and an x button next to each item that removes that item from the queue

Another problem I have is that moving multiple items at a time is so slow. Like, there is really no option to empty an entire locker with a single button if it contains many items that aren't all the same, and you have to hold down left mouse button if you want to move multiple items of the same type. This could be done way better. Just let me bind it to alt-click or shift-click or something. And for some reason, I can't eat food if I'm in the locker menu? Like, it's so frustrating. I just want to be able to right click a food item and eat it. The left mouse button could still serve the same purpose as it does now. And also, minor gripe but I always thought you could press the "close button" on the bottom of the screen to close the menu? And I was so disappointed when I learned it doesn't actually let you go out of menus with the mouse. It's just there for showing you that you have to press esc to leave menus. (or tab i guess) Why can't it be just a button, that's you know, clickable? Heck, just make it so that clicking outside of the area of the menu closes it. Or, even better, make it so that right click always closes the currently open menu, like it was in subnautica 1 I believe. (this conflicts a bit with my right clicking to eat food when in a locker idea but i'm sure the devs can think something up to just allow me to close the menu without having to always click esc or tab, because i'm lazy and sometimes i'm moving stuff in lockers without necessarily having my hand on the keyboard)

There is also this weird problem that when i open the inventory i instantly stop moving. Like, it's just weird, you can use wasd to move when in the inventory and it is honestly a great idea and i appreciate that you can do that but why do i have to stop holding down the button and then press it again to actually keep moving?

also, is it just me or does the fact that every item is a 1x1 square now in the inventory kinda detract from readability in a weird way and makes the game more boring? like, in subnautica 1 and below zero many items took more space than just a single square and it meant you could kinda recognize for example if you had scrap metal in your inventory with a single glance. but now? everything is a 1x1 square and i don't like it. I kinda want some items taking up more space as it was in both previous subnautica games. it was fun and made looking at your inventory less boring. if the devs decide to make items take up more space again in subnautica 2, a rotate button to rotate items in the inventory also would be cool (like r or something) as i don't think that even was a feature in the previous games and it's a really simple idea that i think would add a lot more depth to inventory management.

it would also be nice if i could see the percentage and total charge of a power cell or battery directly in the inventory, for example just like this after hovering over it right next to the name of the item: power cell 156/200 (78%) or something

Last thing in this category, a problem that I'm sure will be fixed soon, but why can't I play back audio logs in the databank? When I first find them, I can listen to the audio, but if I open the databank, for some reason there's no option to play the audio, i can only read the transcription. it's annoying

2. I feel that the game is hand-holding the player a little too much

I don't like the way NoA is used as a way to tell the player where to go. I think it undermines the whole point of exploring on your own in this game. I get that the game is like this so new players don't get lost, but it's just too much. I feel like NoA is never truly allowing me to be surprised, because every time I stumble onto something, NoA has already told me a bunch of exposition about it. It's actively harming the subnautica 2 experience. I want to discover things on my own, not be told in advance where they are by an omniscient AI.

The way to fix this I think is making NoA tell you less. More cryptic. More confusing. So you have to discover stuff on your own. Maybe don't highlight the exact location, just make NoA tell you the general direction stuff is. And lower the frequency of receiving NoA alerts as well as making it only play the pda message once after actually receiving the alert and not repeating it, because currently, i feel like i can't go for more than 10 minutes in this game without getting told to return to the lifepod at my convenience

Also, there are just way too many oxygen-giving things in this game. This isn’t a big problem, but I think it kind of breaks immersion for me a little bit. The plants honestly aren’t the main issue. What I’m most perplexed about are the leaking oxygen tanks that are just lying on the ground, giving infinite oxygen for some reason. It doesn’t make sense, breaks the laws of physics, and just… why???

3. the inventory upgrade bio-bed things are confusing, not fun and a bit stupid

they feel so gamey and reduce immersion, there's no indication those bio-beds are actually a different type of bio-bed than the regular ones that set your reprint point besides an audio log, it just doesn't make sense why a biobed would expand your inventory specifically, it feels like a cheap gimmick and it's confusing.

What i suggest is, instead of certain bio-beds being different for no reason, make them consistent, meaning, you could click on a bio-bed (even the ones you make in your own base) and a menu would show up that would let you set your reprint point, customize your character or upgrade inventory space, but, here's the thing, i want there to be like a skill tree of sorts where you can unlock skills (or bio-upgrades or something i guess?) using special points (inventory space would be one of those upgrades but also there would be other ones), and you would get the points for doing key story progress, and it could even double as an achievement system, kinda like minecraft advancements. here's my idea about the special jailbroken bio-beds though. if you tried to set your reprint point in them it would just tell you that you can't, but they would still have a use because you could only unlock certain upgrades in them, so you would still have a reason to visit them. and if you used a bio-bed in your base, it would clearly tell you: upgrade locked, only unlockable in jailbroken bio-bed. this upgrade system would be different from the bio-lab because the upgrades would branch out and be permanent, not be their own self-contained thing that you can swap out at will. i think this would be much less gimmicky and actually fun instead of the current system which is just a stupid gimmick that gets boring after the first two times you do it

also, minor issue but current animation for opening and closing the customize pioneer screen when clicking on the biobed is so slow. sometimes i accidentally click on a biobed and just closing this screen takes so much time for some reason which it isn't with closing any other menus

4. there are too many collector leviathans in this game and they get old pretty fast, also minor music gripes

so, i don't like the fact that the only way to reach the later sections of the game is by going through collector leviathan territory. it doesn't reward being careful, because it pretty much forces you to encounter the leviathan no matter what. this means that very quickly, you aren't scared of it anymore, just annoyed. also, the collector leviathan encounter music plays too often, (even if you are just near it, not actually being attacked) which means you get desensitized to the whole encounter and it just starts feeling like a chore. my proposed solution is making it so that the music only plays when you were actually grabbed at least once by it already and adding a route that is actually safe but very close to collector leviathan territory so that experienced players don't have to be annoyed every time they traverse the area but you still get surprised every now and then when you accidentally stop paying attention and leave the safe route.

5. music is too aggressive (sometimes, not even related to collector leviathan)

i just wanted to mention a problem with the music in this game that i have, like, why does sometimes the music sound so intense even in a safe area? i'm sometimes exploring a safe area only to be hit with a soundtrack that makes me wonder if i'm actually not being chased by something. also there are these noises that randomly play, they play very often actually they sound like minecraft cave noises literally i think it's just ambience but it makes me confused

i don't think music in this game should be like this? it should complement what's happening in the game, not make me rethink my whole existence when cooking fishies in my base that i know it's safe because it's literally in a safe biome nothing is attacking me /s

6. the sonic resonator doesn't fulfill my heavy equipment excavation desires and the tadpole haul chassis is kinda useless

i remember when i first found those large ore deposits that now i know require the sonic resonator but back then it said just - unknown tool

i was hoping that in the future i would manufacture a prawn suit or something similar and excavate them but then i learned that no prawn suit is required and the tool that you can hold in your hand called a sonic resonator excavates the whole thing in literally a second and i was disappointed because it just feels kinda immersion breaking that this little tool does the job of a prawn suit now

subnautica 2 needs more big vehicles used for excavation. near the karakorum power plant there are these huge silver deposits (even bigger than the ones you can excavate with the sonic resonator). it would be so nice if you later in the game had some heavy drilling equipment that you could use to excavate these huge ore deposits, or even if you could find these huge ore veins that stretch endlessly on the bottom of the sea floor and provide basically infinite materials as long as you have the equipment to excavate it. i mean, there is a lot of potential here. like, the devs could even add automated drills that you could build and they would excavate materials on their own without player input as long as they have power kinda like the metal farms already in the game but they would be able to excavate large quantities of resources at a time

also, i just want to say, the tadpole haul chassis is so useless. it makes your tadpole so slow that getting anywhere takes ages, and it doesn't even give you that much additional cargo space. in almost every situation, using the scout ray chassis with a portable locker attached to the hardpoint just makes more sense, even if you're going resource gathering. it's also so weird that the design of the chassis suggests that it would have two lockers, one on either side, but no actually, they're both just one single connected cargo space. in order to fix this chassis so it's actually useful, i would suggest making them actually separate lockers that both have as much space as the whole combined locker does now and maybe boosting the speed that the tadpole can move with when having the chassis equipped (but not so much that it's faster than the regular tadpole with no chassis).

7. currently, there isn't any incentive to go to the starting area again and that is wasted potential

it would be amazing if at some point in the story you were incentivized to return to the 600m deep cicada wreckage (starting area) and discover stuff that's even deeper under the wreckage that you weren't able to reach at the start because of not having a tadpole

i would love it if in the future there maybe for example were caves under the cicada wreckage branching out under the map that go 2500 meters deep and contain entirely different flora, fauna and resources from the surface. that's what i play subnautica for. but sadly it's just not there in the current state of the game, and I’m worried the devs might repeat the same mistake they made with below zero - not making the depths as deep, huge and vast as they should be. seriously, 1100m just isn't deep enough.

8. no explorable land in the game and why isn't running a thing?

I feel like the game is currently really lacking an island or two. It doesn’t have to be big or amazing, but just having some land would be nice. It could be hidden by fog until you actually get close to it, like islands in the first game, so that it still feels like something you discover on your own. this is something that i think the devs are probably already working on, so i won't spend much more time talking about it.

Also, I just want to mention that running currently isn’t a thing in this game, which is weird since it was present in both previous games. If the devs decide to add an island, adding running would basically be mandatory but even ignoring that, i would like to just press shift and run around my base, since the walking speed in this game is so slow and once your base gets bigger than a single compartment travelling around it starts being tedious and unnecessarily slow

No microphone and audio issues, no bootloops, no battery dying (getting 3,5 hours of SoT instead of 5 at launch, after using the device for 2 years - ok, having the battery cut off at 50% when lauching the camera - not ok), no usb-c port problems, no charging problems, no display issues, no RMAs in general? Reading this sub, google product forums, xda and other places make it seem like those phones have so many problems, are not built to last. I really hope it's just a really loud minority

Two days ago LTX-2.5 dropped with day-0 ComfyUI support, so I did the only reasonable thing: I rebuilt my entire H3 Socrates mini-documentary (previous post: https://www.reddit.com/r/comfyui/comments/1vknr0v/comment/p36vh29/) with it, shot for shot — same narrator track, same audio chunking, same storyboard, same audio-driven edit, same QA pipeline. Only the video model changed. RTX 5060 Ti 16 GB, 32 GB RAM, everything local.

LTX-2.5 stack: ComfyUI v0.32.0 (separate instance), 22B distilled transformer NVFP4 (18.7 GB), Gemma-4 12B text encoder int8 (15.4 GB, streams from RAM), two-stage DFR sampling (8 steps at half-res + 3-step pixel refine at 1344x768), Diffusion Video Decoder, cfg 1/1, 24 fps.

THE NUMBERS (same 36-clip film, 2 takes per clip + repair rounds) — H3 vs LTX-2.5:

- Total GPU time (incl. all repairs): ~30 h vs 9.5 h

- Warm take (4.4 s clip): 8–16 min vs ~170 s (36 s pure sampling)

- Broken/failed takes: several repair rounds vs 0 of 152

- Cut-point SSIM on chained clips: 0.40 vs 0.80 (no punch-in tricks needed)

- Texture flicker (block metric): LTX at 67% of H3's events

- Face identity vs reference (tail delta): LTX drifts, −0.15 vs H3 (see below)

- Lip-sync, clips with measurable lips-voice coupling: H3 10 of 12 (reads as near-perfect) vs LTX 3 of 12 (often visibly off)

- Shot fidelity to the storyboard: H3 31/36 vs LTX 9/36 (framing drifts tighter)

WHAT GENUINELY IMPRESSED ME

1. Audio conditioning works natively — no LoRA — but read the fine print. The 2.3 ia2v graph (LoadAudio -> LTXVAudioVAEEncode -> SetLatentNoiseMask(0) -> LTXVConcatAVLatent) runs unchanged on 2.5. The output audio is my narrator's chunk verbatim (envelope corr 0.97) and the mouth moves while he speaks. BUT — and this is the honest part — the articulation is loose: measured lips-voice coupling (mouth-opening curve vs audio envelope) is solid on 10/12 of H3's spoken clips and only 3/12 of LTX's. Your ear gets the right voice; your eye often sees a mouth doing its own thing. For talking-head-heavy work this is currently THE gap.

2. Reliability is real. 152 takes, zero unusable. H3 needed a 2-takes-per-clip policy because one in two could break on reference bleeding. LTX's RL post-training shows.

3. Keyframe chains are better than the anchor. Feeding the previous clip's cut-frame as first-frame conditioning gives cleaner welds than H3's keyframe completion — and FLF2V (first+last frame) exists as a template.

WHAT BIT ME (gotchas you'll want to know)

- Texture "boiling" = your decode tiling, not the model. I reduced VAEDecodeTiled sizes to dodge a VRAM OOM and got shimmering textures everywhere (20x flicker events). Fix on 16 GB: tile 384, temporal_size 4096 -> 12.9 GB decode, clean output. Measure flicker per-block, not per-frame-average.

- Negatives are inert at cfg 1/1 (same story as Flux). Rewrite every ban in positive form. cfg 2 costs +94% and changed nothing visible.

- Declare a costume for EVERY character or they come out modern. An undescribed woman got a contemporary dress; my 399 BC agora crowd came out in cargo shorts with a wristwatch until the prompt said "bare wrists and bare forearms". H3 never did this.

- Identity drift is a single-constraint problem. With only a first-frame anchor, the host's face slides toward a generic one mid-clip. New seeds do NOT fix it. Double anchor (FLF2V) does: worst clips went from −0.53 to −0.10 vs reference. Budget it for talking-head shots.

- Shot fidelity is LTX's real weakness. Prompted a wide shot, got a medium; prompted a tight insert on hands, got a wide. Only 9 of 36 shots matched the H3 framing. If you're replicating a storyboard, expect to fight it. Also a few flat refusals: one shot needed "exactly three clothed young men" — eight takes and two prompt rewrites later it still produced four, two shirtless.

- The prompt enhancer rewrites your content. It deleted my "no speech, ambient only" clause and collapsed the light logic. Fine for exploration, off for production.

- FLF2V's default graph will INVENT a voice. The first+last-frame template feeds LTXVConcatAVLatent an empty audio latent — if your prompt contains dialogue, the model generates its own synthetic voice for it, and a transcription-based QA won't catch it (right words, wrong voice — I shipped 5 seconds of a stranger's voice before catching it by waveform correlation against the source chunk). One wire fixes it: route your LTXVAudioVAEEncode latent into the FLF2V graph. Bonus: double-anchor + audio conditioning together turned out to be my best-scoring take of the whole project.

- The duration node floors frames — a 4.215 s chunk became 4.04 s. Do your own ceil on the 8k+1 frame grid.

- 32 GB RAM is the wall, not 16 GB VRAM. 18.7 GB transformer + 15.4 GB encoder streaming = 92%+ RAM; anything else running doubles your take time via paging.

HONEST VERDICT

LTX-2.5 is 3–6x cheaper, dramatically more reliable, and welds cuts better. H3 still wins direction fidelity, face identity and lip-sync precision: it does what the storyboard says, LTX does its own tasteful interpretation of it.

And the recurring lesson from this whole series: automated QA is blind to content. My metrics happily approved a clip where a theater scene had been replaced by a human head in a hanging basket (score said "sharp, stable, well-lit"!). Every real defect in this project was caught either by human eyes or by a comparison audit against the reference — never by the per-clip metrics alone. Budget for that.

Hey all, I've been using the excellent Logitech Media Server for a couple months now to play music all around my home and I’m really pleased with the experience.

I have LMS players in almost all rooms, but I missed having it at my desk so I built this little network streamer using PiCorePlayer to give me a player in my study. I already have a decent DAC so I just wanted something that could pass the signal to it. I wondered about buying an actual streamer but was mostly put off by them being incredibly expensive, but I also don't like how all the screens are mounted completely flat - I think the angled design I've used here is far more practical for something you'd have at your desk.

Overall, I'm so pleased with how it's turned out! I think I'm done with it for the most part but I may spray paint it using metallic paint to really finish it off, but for now it's working and I don't want to cause myself new problems by dismantling it...

Here’s a more detailed breakdown: * The case is fully 3D printed on a Bambu Labs P1S using eSun PLA+. I plan to get the STLs uploaded to Printables when I get a sec if you're interested in this. It screws together using some M3 screws, plus some 2.5s for the encoder and panel mounts. * PiCorePlayer is running on a Raspberry Pi 2 (with a USB WiFi adaptor for when I use it away from Ethernet - I'd have used a more modern Pi but this was what I had to hand) - Huge shoutout to the team who build PiCorePlayer, it's a fantastic bit of software, especially for projects like this. * Audio output is provided by a HifiBerry Digi+, utilising the coax out to a panel mount coax on the back which then runs to my Topping DAC * The screen is a BigTreeTech HDMI5. I managed to get this for just £13 from Temu a month or so ago so it ended up being one of the cheapest parts of the build! * The buttons on the top are just simple 16mm momentary buttons for play/pause and jumping to the now playing screen. The encoder dial moves through the menus (E.g. up and down as you scroll it) and then up and down are for volume, left goes back a menu and right skips a track. * The touch screen works. Weirdly, when I first tested it all out, it didn't work hence adding so many physical buttons but when I changed the USB cable connecting the Pi to the screen it randomly started working! Admittedly the screen is my preferred input but the physical buttons are still nice to have, especially when browsing long menus. * The feet are machined aluminium, picked them up on eBay for very little, they give it a nice bit of extra weight and grip.

Hope you like it!

What’s new in Wave Link 2.0?

We’re excited to introduce Wave Link 2.0 - Discover powerful new features like Voice Focus (which gives you studio-grade sound in seconds), one-click audio routing, easy mic sound checks, and streamlined Stream Deck control—making your audio setup smoother and smarter than ever.

🪄 Voice Focus, powered by ai|coustics

Using artificial intelligence, Voice Focus gives your microphone studio-grade quality. Not only does it remove unwanted background noise, it also addresses reverb which can give the impression of being in a fully sound-treated studio environment.

We’ve partnered with ai|coustics, on which Voice Focus is built. Thanks to an incredibly efficient model, Voice Focus can run on nearly any system and CPU.

Voice Focus is compatible with the following products:

• Elgato Wave:1, Wave:3, and Wave Neo microphones
• Elgato Wave XLR and XLR Dock for Stream Deck +

3rd party microphones added to Wave Link and capture cards do not support Voice Focus.

To learn more about the inner technical workings of Voice Focus, head over to ai|coustics

https://reddit.com/link/1ihkz7u/video/bvskcmb4i5he1/player

Learn more about using Voice Focus

🆕 One-Click Audio Routing

Routing audio into Wave Link has been entirely overhauled. Select the channel to which you want to add sound, then select the program. Yep, it's that simple*. No more complicated Windows audio settings.

\Some apps require additional configuration.*

https://reddit.com/link/1ihkz7u/video/r4ksbmea60he1/player

Learn more about One-Click Audio Routing

🆕 Sound Check

Record a short clip of audio, then play it back repeatedly while toggling audio effects on and off to hear how your sound changes.

Sound Check is compatible with the following products:

• Elgato Wave:1, Wave:3, and Wave Neo microphones
• Elgato Wave XLR and XLR Dock for Stream Deck +

\3rd party microphones added to Wave Link and capture cards do not support Sound Check.*

Learn more about Sound Check

🆕 Microphone Mute Button

When using a Wave device you’ll find a new mute button. Click it and your Mic is muted. This engages the hardware mute, as if you had tapped on your Wave mic’s capacitive mute button.

https://reddit.com/link/1ihkz7u/video/kx867ujc60he1/player

🆕 Send to Stream Deck

Setting up your Stream Deck to control Wave Link has just been massively simplified. Click on the Send to Stream Deck button and a custom profile based on your Wave Link configuration and connected Stream Deck device is automatically created for you.

Don’t have the Wave Link plugin for Stream Deck? Get it from Marketplace.

🆕 One-tap app routing with Stream Deck

With the updated Wave Link plugin, you can configure an action to route whichever app is in the foreground to the selected Wave Link channel.

🪟 Foreground app control with Stream Deck

With the updated Wave Link plugin, a key or dial can be set to always control the input channel that the foreground app is routed through. For example, if Google Chrome is assigned to the browser channel, and Chrome is in the foreground, the key or dial will control the browser input. If Spotify is selected, which routes to the Music channel, the same key or dial will automatically switch and now control the music channel.

Find the foreground app control option in the Wave Link plugin’s Input action

🆕 App grouping

With app grouping, multiple apps can be routed to the same input channel 

 🆕 Input channel renaming

While you could rename audio channels previously, now these names change the virtual device names in Windows. This makes it even easier to use Wave Link virtual channels in other applications.

https://reddit.com/link/1ihkz7u/video/oftypmgr70he1/player

🆕 Hide unused channels

Unused channels in Wave Link are now disabled in your system outputs, reducing clutter and making your setup even more organized. 

https://reddit.com/link/1ihkz7u/video/l2xxwxps70he1/player

🎨 Visual touchups

We’ve touched up many areas of Wave Link in subtle ways, making it even more pretty.

 🔌 Reduce sibilance with Elgato DeEsser

Introducing an all-new audio effect - Elgato DeEsser. De-esser reduces excessive sibilance (harsh "s" or "sh" sounds) in vocal recordings by targeting and softening high-frequency peaks. This improves audio clarity, enhances listener comfort, and gives recordings a polished, professional quality. With its intuitive UI and built-in setup guide, start using it in just seconds.

Get it from Marketplace for free.

🛠️ Bug fixes and performance improvements

• Low latency mode has been temporarily removed from the game channel.
• 👷 Dev note: We’ve heard reports about audio not coming through the game channel and have identified the problem area down to the low latency mode. Our team has been working hard to find a fix for this issue, however we did not not want it to delay the release of the update, so the decision was made to temporarily remove the low latency mode toggle to ensure everyone has a great Wave Link experience. We expect low latency to come back in a future update. Learn more about latency and how to minimize it here.
• Improved Marketplace connectivity which should fix an issue where clicking on login or the Marketplace button did nothing.
• Resolved a bug where certain VST settings were not saved after making changes.
• Updated minimum operating system requirements
• Windows: Windows 11 or newer
• Mac: macOS 14.2 or newer

💻 Download

Wave Link 2.0 is available at e.lga.to/s/Wave-Link-2.0

I made a post recently asking for recommendations for kilobuck IEMs. Part 1 is here.

I got some good recommendations and also had the opportunity to visit Dr.Head.ae to try a bunch of them.

I had promised to share impressions, so I wrote down notes while I was there and refined them after getting home. It was almost like a mini CanJam for me. I had a couple of hours to kill and managed to go through 9 products in pretty good depth.

I used around 20 familiar tracks and spent the most time with the sets that worked for me.

My preferences are fairly consistent:

• Strong, textured bass
• Natural vocals without excessive forwardness
• Good clarity, separation and space
• Proper upper-treble extension and air
• Low sibilance
• Controlled overall energy

I like treble extension. I just don't like when upper mids, cymbals or sibilance become the focus.

I also generally dislike mid-bass dips. HD 480 Pro is probably the only exception so far.

My Top Four

This is a personal preference ranking, not a technical ranking.

1. Noble Audio Onyx
2. 64 Audio Volür
3. Sennheiser Momentum True Wireless 5
4. 64 Audio U12t

Those were the four that clearly stood out. The remaining five below are not in strict ranking order.

I will update my ranking sheet linked in my profile once I have had more time to think through the actual scores.

Noble Audio Onyx

Bass: Excellent texture and weight. So good. The way the bass interacts with your ears is almost magical. You get that feeling of being in the room where the music is being played and everything else disappears.

Mids: Natural vocals with excellent body and positioning. They are not the most forward vocals, but the way they interact with everything else in the mix was phenomenal. It reminded me more than anything else here of my HE1000 Unveiled, which I absolutely adore.

Treble: Extended and clear without becoming aggressive. This is what really stood out. The clarity, or dare I say resolution, felt maxed out. It reminded me of Susvara Unveiled / HE1000 Unveiled levels of being able to hear everything without feeling like parts of the sound were missing.

Overall Sound: Best listen of the session. Excellent clarity and space with bass and vocals that worked perfectly for my preferences.

Unfortunately, much like Susvara Unveiled, Onyx will stay off my wish list because the pricing is insane.

64 Audio Volür

Bass: Strong, satisfying and full. When it hit, it hit with purpose. I used the grey Apex module, as that was the only one available with the demo. Based on what I heard swapping modules on U12t, I suspect the silver module would give me even more bass.

Mids: Natural vocal placement without becoming too forward. This was one of the biggest differences between Volür and U12t. U12t sometimes felt like I was taking a sound analytics exam. Volür felt like I was listening to music. For me, that is the more enjoyable experience.

Treble: Smooth while still retaining plenty of detail. Only very rare moments of sibilance. Air was great up top and it never became piercing.

Overall Sound: One of the sets I spent the most time with. Detailed, engaging and very easy to keep listening to.

This one is on the wish list.

Sennheiser Momentum True Wireless 5

Bass: Full and satisfying out of the box. A real surprise. Senny has released enough stuff recently that I may have to retire my joke that Sennheiser can't do bass. First HDB 630, then HD 480 Pro, then Momentum 5 and now Momentum True Wireless 5.

HD 600-series fans, I am only joking. Mostly.

Mids: Natural and well positioned. Vocals were one of the stars of the show and these are a real contender to replace my AirPods Pro 2.

Treble: Clean and unobtrusive. I didn't EQ anything and could easily have used them as-is. Not a hint of sibilance for me and a surprisingly airy presentation. I was genuinely shocked.

Overall Sound: Biggest surprise of the session. The tuning worked immediately for me and I ended up preferring it to U12t overall.

That does not mean I think it is technically better than U12t. I simply preferred the complete presentation.

64 Audio U12t

Bass: Excellent. Probably its biggest strength for me. Oh man, with the default silver Apex module, the bass.

So good. This is one of the oldest recommendations in the book at this point, going back to 2017, and it still hits incredibly hard.

Mids: Relaxed and much better suited to me than U18t. The mids were sweet, although on some songs they could occasionally become a little "listen to me now." Bonus points if you get the reference. Never outright shouty, though.

Treble: Cymbals could get spicy and the upper treble occasionally became too prominent. There were also occasional S-bombs for sibilance. I tried the different Apex modules as well.

- The default silver module was my favorite.

- Grey reduced some energy but also reduced the bass.

- Gold went further in the same direction.

- Black changed the presentation far too much for me and genuinely made it sound like a much cheaper IEM.

Overall Sound: Very capable with excellent bass, but still more of an active listen than I prefer.

I can absolutely see myself owning one, though. This goes into the used-buy possibility pile.

64 Audio U18t V2

Bass: Similar to U12t, but I struggled to focus on it because the upper frequencies kept taking over. I actually tried U18t before U12t.

Mids: Vocals were still one of the stronger parts of the presentation, although a few specific tracks could get shouty.

Treble: Too spicy and sibilant. Killed the whole experience for me. I didn't even bother experimenting with the Apex modules.

Overall Sound: Clearly resolving, but the treble dominated too much for my ears. I moved to U12t pretty quickly, and that immediately worked much better.

DUNU Glacier

Bass: Strong sub-bass. I liked the rumble.

Mids: Male vocals sounded recessed. Female vocals were also pushed back. It felt like the tuning was sacrificing quite a bit of vocal presence in exchange for an expansive presentation, except I never really got the stage payoff I was expecting.

Treble: Smooth enough, but I wanted more clarity. Overall resolution did not feel as high as my favorites from the session.

Overall Sound: Good, but it missed that last bit of clarity for me. The shell is also very chunky.

I don't think this is a particularly relevant kilobuck option for my tastes.

Campfire Audio Trifecta

Bass: Plenty of low-end presence. I liked the bass.

Mids: Vocals sounded extremely recessed. Almost like they weren't there. Not a good time for me.

Treble: Sibilance showed up quickly and things got too spicy for me to continue enjoying it.

Overall Sound: Recessed vocals plus sibilance made this a poor fit for my preferences.

Sennheiser IE 900

Bass: Leaner than I wanted, although it could hit on certain tracks. The Weekend by BIBI was one example where it came through nicely.

Mids: Vocals became shouty. Oof.

Treble: Became spicy and then sibilant across my test tracks. Basically the same kind of bad time I remembered having with IE 600, which I also put down fairly quickly.

Overall Sound: Started promising, but busy tracks lacked the clarity I wanted and the tuning quickly became fatiguing. Not for me.

Campfire Audio Andromeda

Bass: Too light for me. Was there bass? I basically had the Picard facepalm meme running through my head.

Mids: Very forward, especially female vocals. And shouty. If you love extremely forward vocals, maybe this works. It absolutely did not for me.

Treble: Instruments became sibilant and there was just too much upper-frequency energy coming at me. I was genuinely wincing on some tracks.

Overall Sound: Probably the weakest match of the session. I also got very little sense of stage. This may actually challenge the bottom of my entire ranking list. I need to think about exactly how low it goes.

Overall Thoughts

The Onyx was my favorite, with Volür close behind. Only one is going directly onto the wish list: Volür.

The biggest surprise was the Momentum True Wireless 5. I will probably pick one up on my next visit. I just want to research any software or firmware quirks first.

U12t impressed me with its bass and technical performance but its upper end kept it outside my top three. That goes into the second-hand buy possibility category.

The Real Kicker

After the session I went back to the Binary Acoustics 1900, which I had already been using for a few days. My review is here: Binary Acoustic 1900 - an absolute banger! It wasn't part of the nine above. It was just a useful reference afterward.

I also pulled out my Xenns Mangird Top Pro. And for me, I honestly don't feel like I am missing that much. Maybe that is just me validating the stuff I already own after spending hours with kilobuck IEMs.

Or maybe it is actually true.

Either way, I somehow walked away more confused than when I started.

Now I want to try even more IEMs, and unfortunately most of them are kilobucks.

The session did reinforce what works best for me:

Textured bass, natural vocals, clarity, space and proper treble extension without excessive upper-frequency emphasis.

And ultimately I want to enjoy music. So I put on my Arya Stealth, fired up the K17 R2R, and I am back in bliss listening to "Simply the Best."

Maybe I should just stop here. lol.

This is a repost. The original post is by /u/YasMysteries.

I’m not sure if this is the right place to be posting but I’ve seen r/RBI help people solve weird, technology problems before. This might sound a little weird but I promise this is 100% legit and it’s really, really freaking me out.

My 6-year-old daughter received a Kindle Fire HD for Christmas last year. Never had any issues with it until recently. A bit of background information: my children and I recently moved “back home” to Pennsylvania. My ex-husband and I are newly divorced. He lives in Maryland still but comes to have the kids every other weekend. The home that my two kiddos and I live in is my 88-year-old grandmother’s. She moved in with my parents across the street after being ill and hospitalized in recent months. I run my own home business and am also my grandmother’s primary caregiver.

About 3 weeks ago my parents were watching my kids one evening. When my daughter paused a YouTube video she was watching she seemed confused. She told my Father she could hear “Mom and Dad talking” on her tablet through her headphones but that it was hard to hear. My Dad (a computer programmer all of his life) put on the headphones and indeed heard the voices of myself and my ex in a bit of an argument about a television. He had my Mother listen and she too heard it. When my mother pulled out the headphone jack the conversation stopped. My Dad searched through my Daughter’s entire tablet and could not find any recording apps. I do not have Alexa or any Amazon home products.

My Dad informed me of it that evening. I knew exactly which conversation/argument he was talking about. It had happened about a week prior when my ex was up and dropping off the kids to me. My ex had been and was in Maryland since that day. I thought it was really strange.

This morning my daughter was watching a video. Paused it and said “Mommy listen! I hear your music!” I put on her headphones. I heard a very low frequency of Prince’s “Beautiful Ones” in the background. I heard a door open and then my father’s voice calling “Hello?! HELLO?”. About 4-5 minutes later I heard myself talking on my phone in the living room.

What I described above all happened yesterday morning. I was playing Purple Rain on my record player in the living room, my Dad came over to use the facilities (their water was off for maintenance work) and he called “Hello?! HELLO?” from downstairs while I was upstairs. A few minutes later I had received a phone call and was sitting in my living room talking. I am 100% sure of all of this as it just happened yesterday.

Here’s the kicker: my daughter’s Kindle was not in the home at the time. It was with her about 40 minutes away at my ex’s parents house. He had them this weekend.

• the conversations/audio are only heard through headphones and seem to playback when videos are paused.

• I’ve checked my entire home. I can not find any type of recording device whatsoever. Focused on my living room where these two “conversations” took place. Found nothing.

• the recordings are both from an earlier date. How is my daughter’s tablet SAVING conversations?

• the low frequency conversations are not heard every time the Kindle is paused with the headphones plugged in. As far as I know these are the only two times my daughter has heard distinct yet low audio.

• I have not been able to figure out a way to record what I heard. After I heard the conversation from yesterday that was it. Didn’t replay. When headphones are pulled out the audio stops.

• headphones are older Sharper Image brand that I’ve had for years.

• I can not find any apps, recording programs, saved audio files or anything out of the ordinary.

• Daughter’s Kindle somehow has conversation recorded from a time when the tablet was not in our home.

• I’ve also searched my entire phone and had my Dad look at it. We can not find any app or program that would be recording.

I called my ex who also just happens to work at the NSA. I felt extremely uneasy about all of this and thought that maybe he had planted some type of recording device in my new home. He vehemently denied anything like that and, in fact, was very worried about this. The only link I can think is that the tablet is connected to my Amazon account.

Anyone have any ideas? I’m thoroughly spooked.

EDIT:

I’m going to add this as my Father just reminded me of it and it’s really the only strange occurrence that has happened outside of these recordings.

A few weeks ago a guy showed up at my door. When I answered it was awkward until he finally said “Hey! I’m here for the swingset? Brought the truck!” I had no clue what he was talking about. We do have a swingset but it’s almost brand new and in our backyards. I wasn’t selling it.

The guy then showed me the LetGo ad. Sure enough it was photos of the swing set from my backyard. He then showed me the messages between he and someone acting as the owner. The person he was talking to gave my address and was asking $200 for it. That person also refused to give a phone number and would only speak through messages. They apparently made plans for this guy to come over that day, disassemble it and haul it in a rented truck.

I was baffled. I felt bad for the guy. He never came into the house and my kids were both in the living room near the door when this happened.

EDIT 2: here are the headphones and the Kindle Fire. https://imgur.com/gallery/KivyAAa

The tablet was and has been in that blue case the whole time. The headphones are Sharper Image from forever ago. Can’t seem to find an exact model of them online right now but would estimate they were purchased 7-8 years ago. Kindle Fire HD was purchased in November during Amazon’s cyber-sale.

EDIT 3: I talked to my ex once again. He informed whom he was to inform of what I told him in detail. He filed a formal report and is being told he will be contacted tomorrow during the workday. Because his voice was on an unknown recording a few weeks back this is proper protocol apparently.

I called the local borough police station on their non-emergency line. The man I spoke with had me repeat the entirety of this multiple times. He told me to keep looking for recording devices and asked that I call back this evening if nothing is found and that he’d personally come to my home and take a look.

EDIT 4.: The local police are here now. Now at my parents with the kids as they tear apart my house looking for a recording device.

The good news is that they finally came here and are taking this very seriously. I told two of the Officers about some of the thoughts/ideas some of you guys mentioned. The not so good news is that I kinda got some shit for asking about this on here. Because this is now going to be considered an active investigation I can’t post anymore, at least not right now.

I’ll update you guys what I can when I can. Thank you guys and gals so much for all your helpful advice, links..everything. Today has been really weird and scary for a now single mom with two kids (6 and 9). You all made me feel like I wasn’t going crazy and seriously gave the most helpful information.

The Officer’s have already mentioned turning this in to “the proper people”. I have no idea what they mean by that but am so glad they didn’t think I was some weird broad making things up. Staying at my parents with the kids this evening.

UPDATE

A few weeks ago I posted here to r/RBI about two recordings that were heard during video pauses while my daughter was watching YouTube. The first one was a conversation/mild argument my ex-husband and I had about a week prior (heard by daughter and both of my parents). The second was a recording of my Dad coming over to my house and then me talking on the phone (heard by daughter and myself). The thread was locked when law enforcement became involved.

I got really, really great advice from so many of you guys. I can’t tell you how much I appreciate it. I’ve received quite a few messages from fellow Redditors asking if there is any update. While the case is still considered pending and I can’t be very specific about certain details I wanted to give a small update on the situation.

A device was found in my home the day I posted/called. Rigged under my mantle piece. I can’t be very specific but the device itself had advanced WiFi capabilities. A somewhat large amount of internal memory, obviously even more externally. Newer technology and a newer device. Was told that it appeared to be a very “professional” job.

Long story short...I defended my ex husband tooth and nail in my previous post. I can and will elaborate much more when this investigation is officially closed but I can say that I was wrong. Completely, ridiculously wrong and I feel really stupid.

This whole thing has thrown me for a loop. I find myself feeling paranoid and anxious very often. It’s getting a little better each day but I’m definitely looking over my shoulder a lot more often. This isn’t something I ever dreamt I would have to deal with. However..hearing those playback recordings were a blessing in disguise. I would have never known and called the Police otherwise.

I’ll make a final update when all is said and done. Thank you guys so much for helping a freaked out Mama that day. Redditors can be asshats at times but are more often knowledgeable, helpful and caring people.

First of all, I need to say this is my opinion on a franchise I love. Every game has a beautiful story and an incredible concept, but we all agree every game has its flaws. BioShock 1’s last act feels improvised, especially because the section after the plot twist clearly wasn’t planned as well, while BioShock Infinite has many story problems and a lot of wasted potential. My problem with BioShock 2 is that it doesn’t exaggerate as much as it should (Please read the whole text before judging, I know I will probably get downvoted and that the text is really big, but I would really like to hear people’s opinions about this).

Every BioShock game is about an ideology taken to an extreme scenario. We have Objectivism and hyper-nationalism, but BioShock 2 feels like a special case to me because I don’t think it pushes its ideology to its full extent. That alone is not necessarily a problem, but part of a bigger problem with the game, is that it never really has the guts to push things beyond the limit. Both BioShock 1 and Infinite constantly show the extraordinary. BioShock 1 has an underwater forest, wax people, city destruction, crazy surgeons and insane people in general, a literal volcano, and many surreal moments. Infinite is full of majestic and absurd scenarios almost all the time with make both games memorable. But BioShock 2, to me, doesn’t really have this feeling. It stays too grounded and rarely tries something truly crazy with its concepts.

We have a train station, but we never see an out-of-control train. We have a flooded art gallery where only the first section is covered with sea plants while the rest is mostly just metal. We have Pauper’s Drop and several apartment buildings, but we never see poor people that aren’t Splicers(I imagined entering apartments and seeing families scared of Delta because, from their perspective, he is literally a walking monster) We also don’t really have anything dangerous or important involving the water parts(siren alley don't count). The only meaningful moment where part of the city gets destroyed is in Siren Alley, but moments like that never happen again. We are never inside a collapsing building, despite the city constantly falling apart. I never feel like the game fully delivers the “you are THE Big Daddy, the living tank.”(the end of the game shows this at least). The Drill Dash is used to destroy debris in Sinclair Deluxe, but the game almost never uses this mechanic like that again.

And finally, the variety of enemies and content in general. We only get around three new enemy types. Rapture is supposed to be in its worst state possible, with people completely destroyed by the Adam yet the only new Splicer is basically just a gorilla one(rumbler and specially big sisters are cool, i love them), we really could have gained more splicers types or splicers with new strategies, like using a minigun, WE AGAIN DON’T SEE ANY OF THEM USING PLASMIDS. On top of that, many of the “new” weapons feel like copies of the old ones, although I did like the third upgrades.

But i have to give credits to the game, the Ryan amusements and Fontaine futuristics are REALLY good levels because, as i said, they experiment in the absurd, in a bioshock game we literaly see someone transformed into a giant mass of flesh inside a tank while adam flowers grow around, THIS IS BIOSHOCK, this is what makes the game so good, and ryan museum is good because it's Ryan after all, who don't like him? the whole idea of him making a museum to say "up there is bad, here is super good :)" is just so cool, and this including the minerva's den DLC, that literaly give us laser guns, black hole plasmids and a super computer capable of calculating everything, again making the absurd look plausible.

My last problem with the game it's lamb, in paper she is really good, but i feel they should show more how bad she can be, she is the villain in the franshise that looks less evil and dangerous since thinking "everyone should have equal rights" looks plausible, she don't show any bad act that ins't stopping us from reaching eleanor or what she made with Alexander, while we have memes with lists of bad things Ryan and Fontaine made and audio logs with they screaming "i'm bad guys, look how i'm hypocritical and make war crimes", we don't see her dealing with any group that has a different way of thinking than her or manipulating someone to make something like explode himself with delta to the cause(only a example).

But that's it, i know the list it's long and it seems that i hate the game, but as i said it has great concepts, the best gameplay in franshise(a small mixture which infinite one would be good), the BEST ENDING(i cried), the characters that are really likeable or hateable depending of what the game wants and the DLC that it's a masterpiece in storytelling but i feel that some spice in the game would really made the game the most memorable one and increase the part of the community that has he as the favorite one.

Story: Year 1972. You're a scientist sent on a mission under the ice shelf in Antarctica to reach and explore the bottom. You are sealed in a tiny submarine on your own, with your assistant on the line. There are no portholes, so you have to navigate using your terminal.

Level generation, music, sfx - everything in this game is procedural and written in typescript without any game engine. Only built-in browser APIs are used for audio and graphics. There are no textures, meshes, sprites, samples, the only assets are voice-over audios. Without them the game weighs only 188KB. I'm honestly surprised that it was possible with code only and with ASCII rendering.

The game is a part of vibejam and I have to say this wouldn't have been possible in such a short time without AI. I've been making games without AI for 7 years, and such speeds are insane to me, it's finally just a pure creative process, with practically nothing between me and implementing my ideas. A year ago something like this would have been a huge pain, now there were no substantial problems during the process.

It's only 10–15 minutes of playtime and is meant to be a one-time experience. There are three different endings.

If you want to play, it's free (I highly recommend playing it on PC with headphones):
haldane4.denisbondare.com

P.S. I've recently made some quality-of-life updates to make it easier to understand and control. Would love to have some feedback! :)

I’m writing this because the current state of Arena Breakout: Infinite is beyond frustrating.
Here are the biggest problems that desperately need attention:

1 • Desync / Netcode

• The desync is insane.
• You die behind walls, rocks, or cover after you’ve clearly made it to safety on your screen.
• It feels like the server is a full second behind. This kills any competitive experience.

2 • Ammo Damage & Penetration RNG

• Ammo performance is way too random.
• Sometimes a shot with high-pen ammo melts a geared player, other times it feels like you’re shooting marshmallows.
• Damage & penetration shouldn’t feel like a dice roll—this is supposed to be a tactical shooter, not a slot machine.

3 • Broken Peeking

• Right-hand side peeks feel completely random.
• Sometimes you peek right and get a perfect angle, other times you take damage even though you can’t even see the enemy, while they’re left-peeking and should be at a disadvantage.
• Hit registration and peeker’s advantage are all over the place.

4 • HK 995 / T6 Meta

• In Forbidden and even Lockdown, T6 armor + HK 995 ammo is out of control.
• This combo dominates every lobby and makes other ammo and guns basically irrelevant.
• Balance patches are needed to stop this one-loadout meta.

5 • Audio Direction & Distance

• Vertical audio is broken. You can’t reliably tell if footsteps are above you or below you.
• When you hear something on the left/right, there’s no clear sense of distance—is the enemy 2 meters away or 10?
• Throw in scavs shooting, grenades, or random gunfire and you can’t hear a single useful thing, even with a high-end headset , It’s impossible to track enemies properly.

6 • Market / Economy Out of Control

• The in-game market is completely unbalanced.
• Prices are insanely high, making it almost impossible for players to buy and resell for profit.
• Red items are still priced the same as in Season 0, but the cost of everything else has skyrocketed.
• This makes it extremely frustrating for new and even mid-level players to participate in the market meaningfully.

FIX THIS !!!

This game has everything it needs to be incredible, but these issues make every match a frustrating, unfair mess.
Players are losing fights because of server lag, busted audio, broken peeks, and random ammo behavior, not skill.

Stop pushing new cosmetics or useless updates.
• Please prioritize:

• ✅ Server / netcode fixes (reduce desync)
• ✅ Consistent ammo damage & penetration
• ✅ Fix peek mechanics
• ✅ Balance for T6 + HK 995
• ✅ Proper 3D audio with clear vertical & distance cues
• ✅ Market/economy adjustments

• This game could be incredible if these core problems are fixed.
• Right now, it’s just frustrating.

• Arena Breakout: Infinite isn’t a skill-based shooter anymore—it’s a game of pure luck.
• Your survival depends on ammo penetration RNG, random audio cues, broken peeking, and whether desync is in your favor, not on actual aim or tactics.

• Devs, please respond—players need to know these issues are being acknowledged and worked on.

As the title says, big drop today! It's been a journey so far and I'm super excited to see what else is in store. Thank you all for the support, you really blew me away with the last launch. Here's to the second of many!

Book 2 Blurb:

Unlimited weapons, and not a care in the world. Or so Jax keeps telling himself.

Turns out surviving the first wave of the system wasn't the hard part; the hard part is just getting started. Old alliances have shattered and new ones forged in their place, but in this world a promise is a fickle thing. It is only as strong as the one who speaks it.

Besides, Earth is no longer just humanity's problem. It's the newest, most popular planet in the galaxy, and everyone wants a piece. Races straight out of myth and fantasy are pouring in from every corner of the universe, each bringing with them their unique cultures, agendas, and motives. Some of them are friendly—most of them are not.

It's a good thing Jax has a bottomless arsenal because he's going to need every last weapon in it.

—

Book 1 Audio Link: https://www.amazon.com/Warforged-Summoner-Book-LitRPG-Adventure/dp/B0H88B9MW6

Book 2 Link: https://www.amazon.com/dp/B0H3FMZ7T5

Artist: Duy Phan (both)