Framework, beloved by pro-repairability users, nearly doubled the RAM prices of the Laptop 13 Pro without notice. The CEO justifies the decision by a surge in supplier costs that, according to him, puts the company at "financial risk." Decoding an adjustment that hits both the wallet and the initial promise of the product.
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The idea comes up every year on the anniversary: "Sony should relaunch a real Walkman." The Obsolete Sony blog explains, with figures and parts as evidence, why it would be almost impossible today for the Japanese giant. A lesson on the silent disappearance of industrial know-how.</accroche> <parameter name="contenu">We have been following for a long time the small community that, on Substack, restores Walkman TPS-L2, WM-DD, or WM-EX models. This week, one of them - the blog **Obsolete Sony** - publishes an analysis that reached the front page of Hacker News (58 points, 50 comments) and answers a question that nostalgics regularly ask themselves: why doesn't Sony simply relaunch a "classic" cassette Walkman for the retro market? ## The fantasy of a modern Walkman The context is real: the audio cassette has made a statistically measurable comeback in recent years, driven by the indie scene and a nostalgia effect. Persistance Ltd, We Are Rewind, or even FiiO have launched new cassette players. Sony, owner of the **Walkman** brand since 1979, did release in 2019 the NW-A100TPS celebrating the 40th anniversary of the product - but it was a digital audio player disguised as a retro Walkman with a screen, not a real cassette mechanism. ## What has physically disappeared The Obsolete Sony post methodically outlines the problem. A classic Walkman is not a software that you recompile: it's a miniaturized mechanism assembled from dozens of specific parts. - The **flat DC motors** that drove the capstans, with the speed precision necessary to avoid wow, were manufactured by workshops that, for the most part, have either closed or converted their lines to other uses since the 2000s. - The **hi-fi heads** (permalloy, then sendust) were produced in-house in a dedicated line. The skills still exist with a few individuals, but the industrial tooling has been dismantled. - The **plastics and gaskets** themselves, molded in specific materials to maintain mechanical precision over the years, depended on tier 3 suppliers now absent from the address book. In short, Sony no longer has **the complete supply chain** nor the associated mechanical engineering teams. Rebuilding this chain for a niche product with small volumes makes no economic sense: it would mean recreating an industry to sell, at best, a few tens of thousands of units per year. ## The alternative: third-party manufacturers This is why the new cassette player market has been rebuilt **outside** of Sony. Persistance Ltd (in the UK), We Are Rewind (with its AF1 Cassette Player launched in 2023), or FiiO manufacture new units that capture the spirit of the Walkman, without ever reaching the mechanical precision of the originals - because the original components simply can't be found anymore. ## Why it's a case study What Obsolete Sony tells goes beyond the Walkman. It's the story of a Japanese industrial know-how from the 1980s, that of high-precision mechanical miniaturization, which was not passed on because there was no longer an economic reason to do so. The digital player, then the smartphone, made the chain unnecessary - and an unnecessary industrial supply chain disappears in a decade. This is not a trial of Sony: it's what happens to any mature technology once the market abandons it. Current owners of working TPS-L2 Walkmans possess, without necessarily knowing it, **strictly irreplaceable objects**. The restorers of the scene - including Obsolete Sony - play, on their scale, the role of maintainers of a material heritage. For us who follow the Japanese underground and its relationship with technology, it's a reminder: nostalgia is not enough to revive an industry. On-site, there must be workshops, trained engineers, and supplier lines three or four levels deep. Sony has lost all of this for the cassette - and it's irreversible.</parameter>
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The Modos Flow hits the market for secondary E Ink monitors: 13.3", 3200×2400 pixels (300 PPI), 60 Hz with external power, single USB-C. The color model (Kaleido 3) adds a stylus and front lighting for $100 more.
17 h ago 5 2
