Esoteric has launched the N-01XE, its latest music streamer which promises to blend an "exquisite metal construction" with high-grade components for an "authentic, emotionally engaging sound".
At its heart, the N-01XE incorporates Esoteric's Master Sound Discrete DAC, boasting the brand's second-generation 'G2' architecture for what it teases as a "breathtakingly powerful" and dynamic performance.
The DAC chip itself uses a dual-mono configuration with independent power transformers for left and right channels, contributing to what Esoteric describes as "a smooth, natural, and remarkably analogue-like sound".
The Discrete DAC G2 has been built using high-precision 'MELF' resistors and Esoteric's board-mounting technologies for a more powerful, musical and dynamic audio signature.
Further, Esoteric's own 'Network Engine G4' promises "top-of-the-line" processing power thanks to its powerful CPU and dedicated linear power supply, a configuration that aims to reduce distortion and contribute to the new player's "smooth, richly detailed" character.
(Image credit: Esoteric )
The N-01XE is capable of supporting mega-hi-res files up to 48-bit/768kHz PCM alongside DSD512. In pursuit of digital-to-analogue conversion that matches the characteristics of both DSD and PCM files, dedicated digital processing algorithms have been independently developed for each format.
The new unit boasts a wide-ranging connectivity suite, including coaxial, optical and USB-C digital inputs alongside RCA and XLR analogue outputs. The N-01XE is Roon Ready, while wi-fi connectivity grants access to the likes of Tidal Connect, Qobuz Connect and Spotify.
On the outside, the network player's multi-layer chassis is built to prevent interference between the various circuit components, while a semi-floating top panel has been designed to contribute to the streamer's sonic openness. A set of isolation feet provides a stable foundation for the N-01XE's "focused, open soundstage".
The Esoteric N-01XE is available now, priced at £22,999 / $28,000 / €26,500. We've previously tested Esoteric's N-05XE streaming preamp (£13,000 / $13,000 / AU$17,000) and was mightily impressed with its excellent sound quality and superb engineering, so we imagine the new N-01XE sets an even higher bar.
We've been begging for precipitation for months, and at long last, it has rained in the UK! The ground is still as dry as a bit of reheated chicken, but we've finally seen evidence that this long, torturous summer might soon be giving way to a damp and soggy autumn.
Like the changeable weather, it's also been a strange and tumultuous time for music: the great Dolly Parton sadly passed away at the age of 80, and we got a new hip-hop album from one of the most left-field celebrities we can think of. We'll get to that below, as we share the songs that have been on our review team's playlist over the past few weeks.
There's even talk that The Rock is planning to release a country album, thus proving that nominative determinism doesn't always work in the way that you expect. You're called The Rock, Dwayne, not The Country. The clue is very much in the name.
A minute-long song is usually a novelty, a throwaway interlude, something to keep the label's wolf from the door. But despite being exactly that length, Ballerina, from YHWH Nailgun’s sophomore album Magazine, is far from thoughtless filler. It isn't even an exception within the album; Magazine’s longest song comes in at just 1:36.
Ballerina’s 60 seconds are populated by reverberant, growling synths, playful drums and the distinctive rasping of the band’s singer, Zack Borzone, who sounds something like Birthday Party-era Nick Cave with a chest infection. Periodically, the song descends into an erratic cacophony of record-scratching, before returning abruptly to its hypnotic, twisting groove.
The song'soverall arrangement (scratching breaks aside) is sparse and staccato, but the depth of its groaning, overdriven synths, alongside a skilful deployment of reverb, makes this an interesting listen when assessing a system’s stereo imaging and depth. If your system is working well, you might be surprised by how quickly Ballerina lures you into its uniquely graceful breed of chaos.
Words by Ioan Hazell
Eve of Destruction by Barry McGuire
I’ve been playing rather a lot of Mafia III recently, and while the game itself is somewhat hamstrung by its repetitive mission design, outdated mechanics and reboot-inducing glitches, it proudly boasts one of the best and most bulging licensed soundtracks this side of a Grand Theft Auto title.
Given that it’s set in the southern US in a fictional version of ‘60s New Orleans, Mafia III uses its in-game soundtrack to craft that hazy American mise-en-scène, with contemporary classics such as Aretha Franklin’s Respect and Creedence Clearwater Revival’s Fortunate Son reflecting the simmering political upheaval running beneath the central narrative.
Then there’s Barry McGuire’s Eve Of Destruction, an anti-war polemic that also incorporates themes of racial inequality, political polarisation, global instability and, my old favourite, the impending nuclear apocalypse.
The charm of Eve Of Destruction is in its raw, unfiltered nature. McGuire isn’t the most velvety crooner in town, favouring a hard, throaty delivery that only enhances his urgent fury as he pointedly warns the listener: “Don't you understand what I’m trying to say? If the button is pushed / There’s no running away / There’ll be no one to save with the world in a grave.”
I wish I could say things had changed, Barry old chum. A man after my own nihilistic heart.
Words by Harry McKerrell
Jolene by Dolly Parton
It's one of the most well-known stories in music: Dolly Parton wrote two of her biggest hits – I Will Always Love You and Jolene – in one day (or thereabouts) in 1973. What a woman. Whitney Houston's powerhouse vocals transformed the first song when she covered it in 1992, although I have a soft spot for Parton's more small-scale, fragile and intimate original.
And while Jolene has been covered many, many times in various genres, Parton's original remains a true country classic.
It's an addictive rhythm, with the guitar strums sounding distinctly tactile and propulsive. Parton's indelible voice holds steady and firm, full of confidence and defiance, even as she begs the titular Jolene to not steal her husband away. True story or not, it's a song that has spanned decades and genres, and shows just how far-reaching Parton's cultural influence is. Jolene is a cracking tune, full of fluid dynamics and a catchy chorus, and with a vocal performance that should keep your attention rapt to the story, no matter how you listen to it.
It's hard to put into words just how much of a shining light Dolly Parton was, not just as a musician, but as an actress, a philanthropist, a savvy businesswoman – coming across both sharp-witted and kind, and imbuing everything she did with a genuine joy. She will be hugely missed, but never forgotten. Not with songs like Jolene, 9 To 5, Here You Come Again out in the ether, that's for sure.
Words by Kashfia Kabir
Present Tense by Pearl Jam
During my formative weeks as a What Hi-Fi? journo, I was shipped off to one of my first press events at a London listening room. One of the hitherto unfamiliar assortment of sound engineers and PRs asked me the standard question about the sort of music I was into, and while I was enthusing about the ‘90s Seattle grunge scene, I mentioned my affection for a nice slice of Pearl Jam.
To my surprise, one of the attendees revealed that they used a Pearl Jam track for testing all the time, although it wasn’t one of the big-hitting anthems, such as Black, Jeremy, Alive, with which I was familiar. Instead, he suggested I check out Present Tense from the lesser-known No Code album, and nearly four years down the line, I still dig it out on the regular whenever testing duties call.
He really was on to something. Instead of sludgy riffs and meaty hooks, Present Tense trades on gentle, almost hesitant guitars which tease and twinkle within a decidedly uncluttered soundscape. This is where a fine pair of wired headphones, say, would have a chance to prove their talents in providing that airy, spacious soundscape in which each twang and strum can rise and decay without bleeding or distortion.
That’s before we even get to lead vocalist Eddie Vedder, a man whose raspy vocals are imprinted onto my brain like initials scrawled into wet cement.
Present Tense is distinct from many of Pearl Jam’s established catalogue because, astonishingly, you can actually make out most of Vedder's lyrics. Listen to Yellow Ledbetter, by contrast, and not even the greatest hi-fi system will give you a hope of understanding what on Earth he’s actually singing.
Words by Harry McKerrell
Mad Technology by Czarface Meets Frankie Pulitzer
I’m so confused, I don’t know where I am or what day it is.
Surprise number one: Tom Hardy has officially dropped a hip-hop album. Yes, that Tom Hardy. You know, the burly acting chap who played Bane, Charles Bronson and Eddie Brock in Venom. He’s done a hip-hop album, and it’s on Spotify and Tidal and everything.
Surprise number two: he’s brought backup. Performing under the pseudonym Frankie Pulitzer, Hardy has teamed up with hip-hop supergroup Czarface, which itself counts Inspectah Deck – formerly of Wu-Tang Clan – among its key members.
Surprise number three: it’s genuinely, almost unfathomably, pretty darn good. Forget mumble rap churned out over the same off-sync processed beats – this is full-blooded, heavy-hitting hip-hop straight out of the 1990s, with Mad Technology going hard and heavy with its big beats, staccato piano riff and ruthlessly aggressive flows.
Hardy’s turn comes right at the end, and rather than sticking out like – well, an actor in a rap collective – he fits in pretty well. Considering that’s about as likely as Sir Patrick Stewart slotting perfectly into Arsenal’s current back four, our Tom deserves a rather hearty pat on the back.
Onkyo has announced a trio of new wireless speakers: the GX-AiO 50, the GX-AiO 100, and the GX-AiO 150.
An expansion of Onyko's desktop-friendly 'Creator' range, the three one-box speakers are designed to bring extensive connectivity and versatility to three varying sizes and form factors.
The GX-AiO 50 is the smallest in the range, the GX-AiO 100 sits in the middle, while the GX-AiO 150 is the largest, most premium option.
All three boast a 2.1-channel acoustic architecture which combines dual main drivers with a built-in, independently amplified subwoofer. All three use Class D amplification and Onkyo's own digital signal processing to minimise noise and distortion, resulting in "clear detail" and "deep, dynamic bass".
Physical connections include HDMI ARC alongside a USB-C and optical input, plus a switchable phono input if you want to hook up a turntable. For wireless listening, Bluetooth 5.3 is also available.
Three listening modes are accessible across the range. Eco Mode provides more precise low-volume control for nighttime listening and smaller spaces, whereas Standard Mode is designed for everyday listening. Max Mode, meanwhile, puts each system at its highest output for when you want to get the party started.
Plus, if you want to go even louder, you can connect any GX-AiO system into a stereo pair.
(Image credit: Onkyo)
While they come in different sizes and clock in at different price points, all three systems follow a similar design language whereby a central control dial is flanked by two main drive units.
Integrated LED lighting around the control dial and the subwoofer slits has also been added "to create a warm ambient glow without overwhelming the room".
According to Vinny Bonacorsi, Onkyo's Chief Operating Officer: "The new Creator AiO series delivers what today’s younger music lovers want: compact size, simplicity, connectivity and affordability, paired with timeless industrial design. This series represents another bold step forward in Onkyo’s evolution, bringing our passion for music to a new generation.”
The Onkyo Creator GX-AiO series will be available this autumn in a choice of black or white finishes. Prices are as follows:
While it may have forged much of its reputation on its budget hi-fi separates, including the outstanding A8 integrated amplifier, Rotel's premium Michi product series has produced some real gems. From the Michi X3 amplifier to the Michi Q5 CD player, Rotel knows how to operate in the higher echelons of the hi-fi market.
Now, the Japanese brand is adding to its more premium collection of separates with two new additions to the Michi lineup: the Michi Prestige P430 preamplifier and the Michi Prestige S430 stereo amplifier.
According to Rotel, the S430 stereo amp is aimed at listeners who want to step up to a fully fledged separates system, delivering 230 watts per channel into 8 ohms.
The new amplifier uses an advanced architecture which combines an oversized in-house-manufactured toroidal transformer, large bulk-storage capacitors, isolated signal routing and multi-stage push-pull output transistors, all of which combine for "firm bass control" and outstanding "dynamic impact".
In terms of connections, the Michi Prestige S430 houses balanced XLR and RCA inputs alongside dual 5-way speaker binding posts. Externally, the S430 features an aluminium chassis and a front-panel display with selectable metre displays and a backlit power toggle.
Rotel Michi Prestige P430 (Image credit: Rotel )
Also arriving is the Michi Prestige P430 preamplifier, designed to bridge the gap between traditional and modern sources for listeners who want ample connectivity options alongside the performance of a separates set-up.
Central to the new preamplifier is an ESS SABRE ES9028PRO 8-channel DAC which, says Rotel, renders recordings "with pristine clarity, natural detail, and an open, precisely focused soundstage". The P430 is capable of supporting PCM files up to 32-bit/384kHz, as well as DSD256.
Further, the new preamplifier has been built to preserve signal integrity via its transparent signal paths and refined power-supply architecture, resulting in a sound which balances "exceptional control and musical insight".
The P430 boasts balanced XLR and RCA inputs and outputs, coaxial and optical inputs, and HDMI ARC for connecting to a home cinema set-up and a moving magnet phono stage for partnering with a turntable.
Further connections include dual subwoofer outputs, a 6.35mm headphone port, and wireless Bluetooth connectivity with aptX HD codec support for streaming files up to 24-bit/48kHz.
The Michi Prestige S430 stereo amplifier and Michi Prestige P430 preamplifier are available this September. The S430 will set you back £3599 / $3999 / €3999, while the P430 is priced at £3599 / $3999 / €3999.
JBL has dominated the portable Bluetooth speaker market with its Go, Flip, Charge and Xtreme models, and now it is turning its attention to the wireless multi-room speaker category with the new JBL Cove range.
The Cove range is designed to bring "superior JBL sound to every room", touting a flexible and expandable whole-home audio ecosystem powered by JBL's in-house platform and managed via the JBL One app.
The new series consists of three models available at launch: the compact Cove M1, the battery-powered Cove P1, and the flagship, six-driver-toting Cove X1. Each speaker can be used in its own right, as a stereo pair, or as part of a multi-room setup.
The smaller Cove M1 houses a trio of tweeters alongside a single woofer, while the Cove P1 packs four tweeters and a single woofer. The flagship Cove X1, meanwhile, also houses a quad tweeter array, complemented by a pair of woofers.
Both the Cove X1 and Cove P1 support Dolby Atmos, with the battery-powered Cove P1 boasting 14 hours of playtime on a single charge and an IP56 certification for protection against dust and water.
(Image credit: JBL)
To help you get the most out of your multi-room system, JBL’s own 'Constant Sound Field' automatically tunes the speakers to their given environment, while 'AI Sound Boost' further aims to optimise performance based on where and how you listen.
You're not short on wireless connectivity, either. Alongside standard Bluetooth, wi-fi access grants support for AirPlay 2, Google Cast, Spotify Connect, Tidal Connect, and Qobuz Connect, and all members of the new Cove family are Roon Ready. Spotify Tap provides quick access to Spotify, while built-in Alexa Plus voice control is also available.
The Cove range will connect with JBL's Bar Series MK2 soundbars (which include the Bar 300MK2 and Bar 1000MK2), and you can use a pair of Cove speakers as rear surrounds for a home cinema setup.
According to Carsten Olesen, President of Consumer Audio at Harman: "JBL Cove marks an important step in our ambition to become a leading force in home audio, combining powerful JBL Legendary Sound with the simplicity, flexibility and outstanding value that will help even more people discover how simple it is to have great sound throughout the home.”
Each member of the JBL Cove range will be available in white or black finishes from October 2026. The JBL Cove M1 is priced at £200 / €230 / $230, the Cove P1 at £400 / €450 / $400, and the Cove X1 at £430 / €500 / $450.
I've recently been testing the iFi iDSD GR 2 DAC/headphone amplifier, and while it's a perfectly decent performer, it has left a question buzzing inside my mind like a wasp trapped in an upturned glass: why does a DAC need a Bluetooth input?
A seemingly innocuous question, perhaps, but one that won't leave my brain. Let's be clear that the iDSD GR 2 will set you back £529 / $529 / AU$849 at the time of writing, a product that's likely going to be driving all manner of respectable wired headphones.
If you're buying a DAC to improve the sound of your laptop-stored digital music files, then sound quality is likely to be top priority, so what's the appeal of throwing much of that out of the window on a less efficient means of audio transmission? Why have a Bluetooth option at all?
The curse of the unticked box
(Image credit: What Hi-Fi?)
Part of the answer stems, I imagine, from one very simple motivator: consumer expectation. As we've seen with the rise of wireless headphones and Bluetooth speakers, customers expect a well-stocked spec sheet, and as soon as certain boxes aren't ticked, alarm bells are set ringing.
It feels as though Bluetooth speakers now must have Auracast, while wireless headphones must deploy in-depth noise cancelling and some form of spatial audio. If they don't, a rival brand will, and that's where a potential buyer might instead head.
Omitting a given feature, even on a more premium or audiophile-centred DAC, might smack of an oversight on the part of the manufacturer, even if said omission was actually a strategic one designed to redirect resources elsewhere.
Try explaining that to an increasingly voracious customer base.
Let's not ignore the fact, either, that having a Bluetooth input is exceedingly convenient. As a means of wire-free transmission from your source (such as a Bluetooth-equipped laptop or smartphone), it's incredibly easy to access and generally very stable, and many users enjoy the freedom of having a source that isn't tethered to headphones or, in this case, their DAC. Like William Wallace fighting at the Battle of Stirling in Braveheart, it's all about freedom.
Bluetooth is also a universal language, and that extends beyond the purely technical. If you've got a friend who wants a quick connection to your fancy new DAC to hear your Tidal playlists in better quality, it remains the king of convenience. Everyone knows it, everyone uses it, and everyone understands how it works.
Plus, the quality is good, and getting better. The iDSD GR 2, for example, offers Bluetooth 5.4 with higher-quality codec support in the shape of aptX Lossless, aptX Adaptive and LDAC, which essentially means the chance of streaming files up to 24-bit/96kHz using Adaptive and 32-bit/96kHz via LDAC. Such files can be accepted via Bluetooth, but as we’ll see, this is still a compressed and lossy streaming method which comes with serious drawbacks.
It’s still worth pointing out, though, that the DAC is still the thing doing the audio decoding, not your phone or laptop, so you're still getting some of the benefit of your dedicated device when playing via Bluetooth. Note, of course, the word "some".
Bluetooth(less) audio
(Image credit: What Hi-Fi?)
No matter the strides that the likes of Qualcomm and Sony have made in improving Bluetooth as a means of audio transmission, there's no question that those trusty old wires still rule supreme when it comes to listening to hi-res files, as it guarantees lossless audio transmission.
As we wrote in our review, "the iDSD GR 2’s (Bluetooth) performance is perfectly capable, as evidenced by its sure-footed handling of a 16-bit/44.1kHz rendition of Goose’s Dripfield, but if you want to make the most out of your DAC – and indeed, the headphones you’ll be partnering it with – (it) should be seen as a nice bonus rather than a primary means of listening."
The problem is, when the DAC is wirelessly connected to your source, the Bluetooth part becomes the weak link in the audio transmission chain. No matter how good your wired cans are, how high the file resolution is, and how firmly you've got them jammed into the very real, very physical headphones socket, this lossly wireless connection to the source will become your limiting factor.
Plus, if you've spent all this money on a DAC, you're likely to be using a decent pair of wird headphones to partner with it, from the Røde NTH-100 (£149 / $149 / AU$249) to the open-backed Beyerdynamic DT 990 Pro X (£189 / $199 / AU$399), the Grado SR325x (£330 / $295 / AU$419) or, at a push, the Beyerdynamic T1 (3rd Generation) (£899 / $899).
Bluetooth has drawbacks which can rob the audio of its initial lustre, the main one being the problem of compression. LDAC, for instance, has a data rate of 990kbps, and while impressive compared with the 328kbps rate of standard SBC, it’s a lot lower than the 1411.2kbps provided by CDs.
Plus, if you've bought your not-inexpensive DAC to use primarily with wired headphones, not using a wire between source and said DAC seems somewhat redundant when the headphones provide a physical tether anyway. The supposed freedom provided by wire-free Bluetooth rather goes out the window, as you're still using a physical connection between your DAC and headphones anyway.
The question you have to ask is whether you'd miss Bluetooth if it weren't there. The Award-winning Chord Mojo 2 DAC doesn't have a Bluetooth input, but for sound quality, it's a cut above, and not once have we listened to the Mojo 2 and wished for wireless connectivity. That, in itself, tells you all you need to know.
It's admirable that iFi, or any other brand, would want its products to be as feature-laden as possible, but the idea of Bluetooth on a premium DAC designed to service the ‘sound-first’ market doesn’t make sense to me.
If you’re willing to spend what is still a considerable amount of cash on a DAC such as this, you’re going to want to get the best sound possible for the money. Bluetooth may be convenient, but the sonic sacrifices you’ll make feel unjustifiable given that the purpose of a DAC such as the iDSD GR 2 is, ultimately, to make your music and headphones-based listening sound as good as possible for the money spent.
Yamaha has expanded its streaming-capable hi-fi lineup with the unveiling of two new products: the WXA-70A streaming amplifier and the WXC-70A network music streamer.
Both fresh-faced additions aim to build on the legacy of the 10-year-old WXA- & WXC-50, with Yamaha promising a potent blend of compact streaming convenience and engineering which delivers "a level of musical satisfaction that approaches full-size hi-fi components".
The WXA-70A streaming amp boasts 70 watts of Class D amplification per channel into 8 ohms. At the heart of both new models is an ESS Sabre ES9039Q2M DAC working in tandem with Yamaha’s high-precision internal processing and stable output architecture, designed to offer "expressive bass" alongside a natural, energetic tone.
Both products employ high-precision internal digital signal processing and clock-rebuilding 'ASRC' technology, designed to help maintain "clarity, timing accuracy and spatial precision". Yamaha’s proprietary 'YPAO' room calibration tech, meanwhile, seeks to optimise playback depending on your given listening environment.
(Image credit: Yamaha)
The WXA-70A and WXC-70A are well-equipped with connections, offering optical, line-level and auxiliary inputs, as well as HDMI eARC for integration within a TV or home cinema set-up. For boosting your bass, a dedicated subwoofer output is provided on both, with the WXC-70A streamer also offering optical and coaxial outputs.
On the streaming side, both are powered by Yamaha's 'MusicCast' streaming platform and app, granting support for AirPlay 2, Google Cast, Spotify, Qobuz and Tidal Connect, as well as multi-room audio and Roon Ready certification.
The larger WXA-70A and more compact WXC-70A are housed in a rigid aluminium enclosure that promises to be a vibration-resistant structure, which further helps to give each model a "cleaner and more expressive sound".
The Yamaha WXA-70A streaming amp is priced at £1199 / $1300 / AU$1999, while the WXC-70A streamer will set you back £859 / $1000 / AU$1599 with both models set to be available from November.
FiiO has unveiled the EA13, a full-size vacuum tube amplifier designed to bring the allure of classic valve amplification in a modern, feature-heavy design.
The FiiO EA13 houses six tubes and Class A push-pull circuitry, delivering 28 watts per channel at 8 ohms, with circuitry designed to "preserve both the smallest details and the scale of a performance".
Digging deeper into the amplification, the new model houses two Sylvania NOS PCF80 preamplifier tubes, selected for their "refined, transparent presentation" and an "open, natural soundstage". Accompanying the aforementioned pair are four JJ Electronmic EL34 power tubes to round out that six-tube configuration.
Key to the new amplifier's performance is a low-noise output transformer, built to suppress unwanted vibrations while improving electromagnetic shielding and stability. The result, says FiiO, is a tauter, fuller bass reproduction wedded to a refined treble and improved dynamic handling.
(Image credit: FiiO)
On the connections side, four RCA line-level inputs are available. Like most valve amplifier designs, there are 4 ohm and 8 ohm speaker outputs depending on the nominal impedance of your speaker. For personal listening, a 6.35mm single-ended headphone output is found at the front of the unit.
The EA13 has been designed to house classic valve engineering within a modern chassis. The amplifier has a CNC-machined aluminium front panel which has been sandblasted for a more tactile finish, while a solid metal body has been built to offer electromagnetic shielding.
To complete the vintage hi-fi look, the EA13 houses two mechanical VU meters front and centre, flanked by backlit volume and input selector knobs.
The FiiO EA13 amplifier is out now, priced at £769 / $769 / €665.
Sport-centric audio brand Shokz has announced its latest pair of bone conduction headphones, the OpenRun Air 2.
Built for runners, sports-ready headphones use an open design whereby the drivers sit outside of the ear rather than burrowing into the ear canal, so you're always aware of your surroundings. Over-ear hooks and a wraparound stability band keep the headphones in place. Think of the Shokz OpenRun Pro 2, and you're in the right area.
The new OpenRun Air 2 deploy Shokz's 'PremiumPitch' technology, which is designed to offer greater extension to higher frequencies while delivering clearer mids and a deeper bass signature.
The drivers feature a metallic dual-coil design that again aims to deliver clear vocals and a defined low-frequency signature within a balanced, clear sonic experience.
(Image credit: Shokz)
The OpenRun Air 2 are IP67 rated, so sweat and rain shouldn't be a problem. Battery life clocks in at 10 hours on a single charge, with a five-minute boost delivering around two hours of playback in a pinch.
Further features include Bluetooth Multipoint for fast switching between devices, four preset equaliser modes, customisable physical buttons, and a 'Find My Headphone' feature whereby the Shokz will play a loud tone if you've misplaced them.
The Shokz OpenRun Air 2 are available in the US in Black or Ice Blue colourways, priced at $130, with buyers able to choose between Standard and Mini band sizes. We'll keep you updated on future availability in other territories.
iFi knows its way around a digital-to-analogue converter. From the pocket-sized, pocket-change-costing Go Link through to its mid-range Zen DAC line, all the way up to the flagship iDSD Phantom, the British brand has established itself as a solid option for buyers seeking a capable DAC/headphone amp that performs well for the money.
iFi has billed its latest creation, the premium iDSD GR 2 DAC, as “a legend perfected”. Acting as the de facto successor to the company’s xDSD Gryphon from 2021, the new model promises wholesale changes from its predecessor, including redesigned balanced circuitry, a new Burr-Brown PCM1795 DAC chip, and a touchscreen display.
A lot of promise on paper; time to find out how the iFi iDSD GR 2 performs in practice.
Build & design
(Image credit: What Hi-Fi?)
iFi’s premium DAC/headphone amplifier feels like a quality item. Constructed using a ridged aluminium chassis adorned with an OLED touchscreen and topped with a metal control knob, the iDSD GR 2 does a fine job of making you feel as though you’re getting your money’s worth.
Bluetooth Bluetooth 5.4 (aptX Lossless, aptX Adaptive, aptX, LDAC)
Max file support 32-bit/768kHz PCM, DSD512
Battery-powered? Yes (and mains)
Dimensions (hwd) 141 x 75 x 19mm
Weight 268g
If out-and-out portability is your primary concern, iFi offers smaller, cheaper alternatives in its arsenal of DAC/ headphone amplifiers, including the iFi hip-dac 3 (£199 / $199 / AU$449) and Zen DAC 3 (£229 / $229 / AU$399), with the iDSD GR 2 designed to straddle that tricky hinterland between desktop use and on-the-go listening.
Viewed from above, it’s about the size of an iPhone, but the DAC’s metal chassis and chunky profile mean you might struggle to get it in your pocket comfortably. 268g isn’t exactly heavy, but when you consider that an iPhone 15 weighs about 170g, you’ll realise that it isn’t feather-light, either.
Battery life clocks in at around seven hours, and there are plenty of ways to connect your headphones and music sources to the premium DAC. It features balanced 4.4mm and single-ended 3.5mm inputs and outputs, as well as a USB-C input alongside a combination optical/coaxial input. You can also accept a signal from a Bluetooth (5.4) source, with codec support coming in aptX Lossless, aptX Adaptive and LDAC flavours.
The iDSD GR 2 features a narrow OLED colour touchscreen, from which you can access volume adjustment, input selection, choose your desired digital filter and see your music’s file rate.
A display is nice to have, and the touchscreen itself is responsive and precise in its operation. Some aspects of operation take a bit of practice, such as holding certain icons down and then swiping across in the same motion to switch the desired gain mode, but we imagine those are things we’d grow accustomed to with time.
(Image credit: What Hi-Fi?)
Away from the display, a few little usability quirks are worth flagging. The inputs and outputs at either end of the unit aren’t labelled particularly clearly, meaning that we sometimes had to bust out our phone’s flashlight to find our desired connection. Labelling each port with clearly contrasting white text would make legibility a little easier.
The volume control operation also seems counterintuitive – moving the dial forwards with the DAC lying flat turns the volume down a notch, while moving it backwards raises it up. That feels like the mirror image of what we’d expect, but again, we’d likely get used to it over time.
If you’re planning on taking the DAC out and about and want to keep it safe from knocks and scrapes, iFi offers a faux suede protective case, sold separately for around £50 / $50 / AU$79. The case comes with a cut-out so that you can still operate the touchscreen, though we do find that it can make tapping icons near the edge of the screen a bit trickier due to the cut-out being a little too small.
Internally, the iDSD GR 2 employs Class A amplification, in service of iFi’s pursuit of what it describes as a “natural analogue character”. The brand has also refined its new DAC’s circuitry – which is fully balanced from end to end – to reduce noise within the signal path.
The iDSD GR 2 delivers up to a claimed output of 1513m/W RMS – an increase of 50 per cent over the outgoing xDSD Gryphon – to grant more headroom to handle more demanding loads. That matches up with our testing, as from the premium Beyerdynamic T1 (£899 / $999 / AU$1599) to the high-end Sony MDR-Z1R (£1700 / $2100) headphones, we find that there isn’t much that the iFi can’t handle.
Features
(Image credit: iFi)
The iDSD GR 2 supports DSD512 files and PCM playback up to a sky-high resolution of 32-bit/768kHz, though the chances of any layperson having such ultra-high-resolution recordings are slim. Still, it’s nice to know that, whatever music file you feed the iDSD GR 2, you’ve got a near-cast-iron guarantee it can handle it.
Doing said handling is a new Burr-Brown PCM1795 DAC chip sitting at the heart of the circuitry, which is claimed to produce a "warm, analogue character" with "lower distortion and greater dynamic range". That DAC chip is supported by 'K2HD' technology, a harmonic restoration algorithm built to bring recordings closer to their original character by "reintroducing subtle detail" and restoring musical tone.
iFi’s usual parade of digital filters is on hand for tweaking your sound to your own tastes, with four options consisting of ‘Standard’, ‘Bit-Perfect’, ‘Minimum Phase’ and ‘GTO’. Each will impart a slightly different flavour on your tunes – ‘Standard’ makes music crisper and more sharply defined; ‘GTO’ widens the soundstage a little – but for most of our testing, we stick with the smooth, pleasingly fluid balance of ‘Minimum Phase’.
iFi’s complementary ‘XBass’ and ‘XSpace’ analogue processing features have a more perceptible effect. ‘Xbass’ is useful for adding a good deal more lower-end muscle, even if it sacrifices precision and subtlety in the process, while ‘XSpace’ widens out the soundstage for an airier, less ‘on-head’ experience.
Both are fun to play around with – and potentially useful if you’re seeking to make up for a pair of cans with, say, not much oomph in the bass – but we perform the bulk of our testing with them switched off, as this grants the resultant sound a more natural, balanced character.
Away from filters, iFi’s latest DAC offers a hybrid power mode, meaning that the unit will prioritise mains power when connected to an external supply. If extra power is required, the iDSD GR 2 will utilise its internal battery and then switch to the external supply when the demand drops.
While you’ll likely spend a good deal of your time controlling the DAC using its on-unit touch controls, Android users can connect to iFi’s Nexis app. From here, you can access digital filters, fine-tune your listening profile, select your desired input and reap the rewards of any handy over-the-air updates.
It’s not the most stylish control app you’ll ever find, and most of the functionality can be adjusted via the DAC itself, but the Nexis platform is clear and easily navigable. Just be aware that, to get the most out of the app, you’ll need your source device to be connected physically, rather than via Bluetooth. iPhone users can still use the app via Bluetooth, but it’s a far sparser, more limited affair.
Sound
(Image credit: What Hi-Fi?)
We use a range of premium and high-end wired headphones to test the iDSD GR 2’s capabilities, including not only the Sony MDR-Z1R, but also the budget-friendly Røde NTH-100 (£149 / $149 / AU$249) and premium Austrian Audio The Composer (£2249 / $2699 / AU$3999). We also make sure to test the full range of connections on offer, although we prefer using the punchier, crisper-sounding 4.4mm balanced output over its 3.5mm counterpart when possible.
With the iFi connected via USB-C to our laptop at one end and a pair of the high-end Sony MDR-Z1R connected to the 4.4mm balanced headphone output at the other, we reach for a 24-bit/96kHz rendition of Muse’s Panic Station. The iDSD GR 2 will give any music you play from a laptop a boost, no matter the quality of the files you use, but there’s no question you’ll really notice its full arsenal of capabilities with suitably high-resolution recordings.
Those abilities include impressive sonic clarity wedded to an ear for detail, all painted across a broad, big-picture soundscape. Panic Station is as crisp and funky as John Travolta’s iconic Saturday Night Fever suit, yet the iDSD GR 2 has the poise and restraint to prevent things from sounding sloppy or ill-ordered. Top-end notes are sharp but rarely bright or overdone, whereas low-end bass tones resonate deeply without sacrificing punch or precision.
A 24-bit/48kHz recording of Fleet Foxes’ Wading In Waist High Water further highlights the iFi’s uncluttered, detail-rich presentation. Tremulous vocals shine brightly as the DAC spotlights Robin Pecknold’s featherlight tenor, all while delicate guitar strums and hazy blasts of brass lull us into a relaxed repose.
We can’t stay basking in the glow of blissed-out indie beats forever, and so it’s time to put out the Bat-Signal and recruit the services of Hans Zimmer to see how the iDSD GR 2 can convey the drama and intensity of The Dark Knight Rises soundtrack (24-bit/192kHz).
iFi’s premium DAC has the poise and refinement to keep the many layers of the epic Rise just where they should be, even if we’re left yearning for a touch more dynamic drama as the music builds to its heroic denouement.
(Image credit: What Hi-Fi?)
This is where the Award-winning Chord Mojo 2 reminds us why it’s one of the best DACs we’ve tested at this kind of level. At £395 / $725 / AU$899, it’s a good deal cheaper than its iFi rival, yet the bite and drama it brings to these big orchestral numbers are beyond anything the iDSD GR 2 can muster.
To see how both DACs perform in a hi-fi separates set-up, we plug each into our reference system. From our network server, we play Michael Jackson’s Burn This Disco Out (in 16-bit/44.1kHz and 24-bit/176.4kHz)via 4.4mm balanced to XLR feeding into our reference Burmester 088 preamplifier, and the subsequent rendition sounds sparkier and more rhythmically capable via the Chord Mojo 2 than it does through the premium iFi.
The Mojo 2 is already a certified legend in its field, and as we switch back to a DSD recording of Aimee Mann’s Lost In Space, we find ourselves continuing to appreciate the GR 2’s strengths rather than bemoaning its relative shortcomings. Mann’s voice is packed full of personality, and the iFi’s loose, relaxed presentation plays into the tune’s hands to create a pleasingly easy-going rendition.
What about Bluetooth? The iDSD GR 2’s wire-free performance is perfectly capable, as evidenced by its sure-footed handling of a 16-bit/44.1kHz rendition of Goose’s Dripfield. But if you want to make the most out of your DAC – and indeed, the premium headphones you’ll be partnering it with – Bluetooth should be seen as a nice bonus rather than a primary means of listening.
Verdict
(Image credit: What Hi-Fi?)
The iDSD GR 2 is a fine addition to iFi’s considerable stable of DACs. It’s not as entertaining or dynamically expressive as the benchmark-setting Chord Mojo 2, but its clear, detailed sound and extensive feature set, not to mention sturdy build and strong arsenal of physical connections, make it a fine alternative.
FiiO has unveiled a new cassette player, but it's not the one the brand was originally planning to launch. Confused? Let us explain.
As the company explained in a post on X, plans were initially in place to launch the new CP15 cassette player, but this has now been delayed due to challenges with getting the new ultra-thin loading mechanism to work.
Instead, FiiO has switched things around and teased the CP11, another portable cassette player that will fill the gap left by the CP15. FiiO has a history in this category, cashing in on the retro revival with its CM13 cassette player, which we tried out a few years ago, and its portable DM13 CD player.
(Image credit: FiiO)
According to FiiO, the new CP11 will feature "an all-new ultra-thin mechanism" and a "higher-quality magnetic head," along with a brushless motor, an overhauled circuit design, and Bluetooth functionality for beaming your music wirelessly to compatible headphones or earbuds.
Photos revealed on X show at least three available colours – red, beige cream, and a light turquoise blue – though there could be more beyond the provided images.
As for its official release, FiiO has said "the end of 2026", but no specific price or date has been given just yet. When we get further information, we'll be sure to share it with you.
A new pair of Beats wireless headphones is on the way, according to a fresh leak.
The upcoming Beats 360 have been teased before in various formats. But the latest glimpse of the premium over-ears all but confirms the headphones are on the way.
This isn't the first time that the 360 have prematurely broken cover. Leaked product listings have already been discovered in the past few weeks, whereas multiple Reddit users found the headphones listed on major retailers, including Amazon, before they were subsequently removed.
The mooted cans have also shown up on US Federal Communications Commission documents, and were even given to various global football stars to wear during the World Cup.
Thanks to these continuing accidental (and not-so-accidental) reveals, we do know quite a bit about the upcoming wireless cans. No release date has been officially revealed yet, but now-redacted listings suggest the 360 are a more lifestyle-oriented pair of wireless headphones designed as much for workouts and leisure wear as for work and commuting.
The 360 could cost a little less than the Studio Pro from 2023. (Image credit: What Hi-Fi?)
MacRumours reveals further specifications from previously unearthed product listings, including personalised spatial audio, active noise cancelling, AI-powered voice calls, "all-day battery life" (no official figures have broken cover just yet) and easy integration with both Apple and Android devices.
What about price? This is still a decidedly premium pair of wireless headphones, with prices expected to hover around the $300 mark. That's a lot less than big-hitters such as the Sony WH-1000XM6 ($450) and AirPods Max 2 ($550), and a little more affordable than the Beats Studio Pro we reviewed at $350 way back in 2023.
Colour options include Pink, Black, Sky, and Cloud, with Volt (AKA yellow) and Navy potentially on the menu as well.
With so many recent leaks and so much information about the Beats 360 readily available online – not always released by accident – a proper launch seems imminent.
Sennheiser has revealed the Sennheiser Momentum 5 True Wireless, the sequel to the Sennheiser Momentum 4 True Wireless we awarded five stars in 2024.
Sennheiser describes the Momentum 5 True Wireless as sharing the same "sound-first DNA" that went into their recently reviewed fifth-gen over-ear counterparts, the Momentum 5 Wireless.
The new earbuds house Sennheiser's signature 7mm TrueResponse dynamic drivers, designed to offer both "remarkable detail" and "full-bodied, bass-driven tuning", as well as "exceptional precision, clarity and dynamics".
Bluetooth 6.0 with aptX Adaptive codec support further bolsters the buds' sonic credentials, allowing the transmission of hi-res wireless audio up to 24-bit/96 kHz from compatible sources.
The fifth-gen buds incorporate a revised hybrid noise-cancelling system, working in tandem with redesigned ear tips and a dedicated four-microphone array to maximise ANC performance. For clearer voice capture, the earbuds combine six dedicated microphones, two bone-conduction voice accelerometers and an AI speech-extraction algorithm, all in a bid to isolate human speech in busy environments.
The Momentum 5 True Wireless will offer around 12 hours of playback from the earbuds themselves, extended up to 40 total hours in total with the charging case in play. Be aware that, according to Sennheiser, those figures will drop to around 6 hours from the buds and between 20-25 hours in total when noise cancelling is switched on.
(Image credit: What Hi-Fi?)
On the subject of batteries, the Momentum True Wireless 5 introduce a new user-replaceable battery system for both the earbuds and wireless charging case. This will let owners quickly replace the power cells in their buds using a screwdriver.
Sennheiser has pursued a "barely there" fit for its latest flagship buds, with the Momentum True Wireless 5 sporting a new aerodynamic shape which aims for a more comfortable, less obtrusive experience.
The buds' new shape and revised ear tips have been designed to improve both passive noise-cancellation isolation and sound quality, with Sennheiser pushing for an ergonomic design that aids a more secure fit. On the subject of ear tips, four sizes are available ranging from extra small to large.
Sennheiser's latest are rated IP54, guaranteeing a degree of protection against dust, sweat and splashes of water, while a perforated microphone plate aims to mitigate against wind interference to improve voice calls and noise-cancelling.
According to Lilika Beck, Sennheiser's President of Consumer Hearing: "Balancing compact size, our signature high-fidelity acoustics, and a replaceable battery is a major breakthrough. With the Momentum True Wireless 5, we are proving that cutting-edge performance does not have to sacrifice longevity.”
The Sennheiser Momentum True Wireless 5 will be available from September 3rd in a choice of Graphite, Cream, Copper, Denim or Lavender finishes, priced at £250 / $300 / AU$480.
Our six-year wait for a new HomePod Mini might finally be coming to an end.
According to multiple online sources, including MacRumours and 9to5mac, Apple has been working on a major overhaul of its Home lineup: one that will not only include entirely new product lines, but the return of some of its most popular smart speakers.
That includes, at long last, a sequel to 2020's five-star HomePod Mini.
According to MacRumors, the firm's newly released macOS 26.7 release candidate beta software includes codenames referencing a number of unreleased products. One of those codenames was 'B525', and as the current HomePod Mini has the code 'B520', this would imply a second-gen sequel to the five-star smart speaker.
We also have references to 'HomeAccessory17,2' and 'HomeAccessory17,3', but it isn't currently known what these might be. As they are listed as a pair, it seems unlikely that either one refers to the HomePod 3, so they could be anything from home security cameras to smart doorbells.
Don't despair, HomePod 2 fans. According to 9to5mac, Apple is set to unveil a whopping 10 products during its September launch event, with two of those new products including the HomePod Mini 2 and, thankfully, a sequel to the HomePod 2.
Evidence for the third-gen mainline HomePod does seem a little sketchier, but it would make sense for Apple to update both of its established smart speakers at the same time. Apple has already lifted the lid on its AirPods with a camera via a leaked video, so it does seem that major launches are to arrive next month.
Apple has already leaked its camera-toting new AirPods. (Image credit: Apple / MacRumors / X)
Apple has reportedly been delaying potential unveilings until it has its new Siri and Apple Intelligence features working, so it would make sense that both HomePods are ready to go, pending those improvements to Apple's own AI systems.
We've speculated before that, aside from upgraded Apple Intelligence for improved Siri performance, we might potentially see improved microphones, enhanced audio, better codec support and even some new colourways if one or more HomePods are set to arrive in 2026.
Prices are yet to be leaked, but hope springs eternal that Apple doesn't hike the price of the Mini's original £99 / $99 / AU$149 RRP for the second-gen sequel.
As for a concrete release date, all eyes now turn to Apple's September showcase event, which is expected to happen on the 9th of September.
After a long hiatus, Rotel has announced its return to making passive loudspeakers with the Amora 5 standmounts.
Employing a two-way design, the new speakers have been conceived to integrate naturally with Rotel's established roster of hi-fi separates, deploying what their maker describes as "carefully crafted drive units" held within a compact standmount design.
Alongside their wide frequency response, the Amora 5 have been built to deliver "exceptional resolution and accuracy", low distortion, and an "open, three-dimensional stereo image". To do so, each speaker pairs a 25mm silk-dome tweeter with a 16.5cm woven fibre composite mid/bass driver.
The tweeter is fixed using an aluminium surround ring for a rigid, secure mounting, while a geometrically shaped faceplate aims to minimise unwanted sonic diffraction.
The mid/bass unit, meanwhile, uses a rigid aluminium frame to maintain greater mechanical stability and driver alignment, helping to maintain more consistent driver performance.
Integrating the two drivers is a precision-tuned crossover, designed to deliver a balanced frequency response, clear stereo imaging, and a wide, open soundstage.
(Image credit: Rotel)
The Amora 5 are built using a rigid MDF cabinet, employed to help minimise unwanted sonic resonances. Each speaker also employs a rear-mounted reflex port, tuned to extend low-frequency performance while maintaining a more controlled bass signature.
According to Peter Kao, Rotel's Managing Director: “Rotel’s success has always been built on trusted engineering, long-term relationships, and a shared passion for music. With the Amora 5, we extend the Rotel experience through the final stage of the system, giving our global partners and customers a more complete path from source to speaker."
The Rotel Amora 5 are available now, in a choice of black or white finishes, priced at £999 / $999 per pair.
Whether it’s a great TV series that just refuses to be cancelled – see Futurama, Frasier and Scrubs – or that pop star who desperately clings to relevancy with just one more comeback tour (we’ll let you decide for yourselves whom that could be), it can be hard to step away from the limelight when you know you’ve had a good thing going.
It’s the same with hi-fi. When a brand strikes gold, it’s natural to want to keep on mining that rich vein of ore for ever. And, while there are always new products to make and new areas to explore, sometimes you just can’t help but resurrect, revive and revisit the legends that helped to make your name.
From limited-run anniversary editions to full-scale revivals of beloved classics, these are the hi-fi revivals that proved that lightning can strike at least twice.
The Technics SL-1200 series turntable
(Image credit: What Hi-Fi?)
Technics’ SL-1200 turntable series is one of the most famous ever made.
Launching in 1972 and then refined in 1979 through the SL-1200MK2, the direct-drive design became a perennial favourite for professional DJs and DIY mixers thanks to its ease of use, hardy construction and faithful sonic reproduction. It also happened to look really cool, and didn’t cost an absolute arm and a leg.
So revered was the SL-1200 series that Technics’ parent company Panasonic just had to bring it back for the 21st-century listener. Technics relaunched two ‘Grand Class’ models in 2026 as part of its revived SL-1200 series, just two years after Technics itself returned as a brand, with What Hi-Fi? travelling to Las Vegas’s CES show to witness the much-anticipated rebirth of an icon.
Externally, Technics didn’t deviate much from the classic SL-1200 design for its 2016 SL-1200G reboot, opting for a three-layered construction with a gleaming brass top and heavyweight aluminium platter mounted above the direct-drive motor.
Back was the vertical pitch control, sleek metallic chassis and left-mounted on-off button, all signatures of a company harking back to its impressive hi-fi heritage.
From vinyl collectors to almost every DJ who has ever spun a record, everyone knows about Technics and its iconic SL-1200 decks.
The L100 loudspeakers are as integral to the image and heritage of JBL as the SL-1200 series of turntables is to Technics.
When we visited JBL’s Los Angeles headquarters in early 2026, a pair of the L100A were proudly displayed within their own themed booth as part of the US brand’s 80th anniversary celebration showcase. These are speakers of which JBL is, quite rightly, extremely proud.
When JBL revived them in the shape of the L100 Classic in 2019, the new standmounts were designed specifically to emulate their predecessor’s appearance and size, once again sporting that iconic ‘waffle’ foam grille and boxy aesthetic that had been such a staple of the originals.
Inside, JBL did make significant changes to its revived units, bringing in a 13cm midrange unit coated with a polymer for improved resonance-control, alongside a titanium-dome tweeter for crisper, cleaner highs. Titanium tweeters weren’t so much of a thing back in the 1970s.
The A1 was not Musical Fidelity’s first amplifier, but it was the one that really helped the company establish its reputation.
When the A1 launched in 1985, it cost an enviably modest £189, putting it in direct competition with the Cyrus Two amplifier and, as you’ll see below, the iconic Nait 1. The A1 distinguished itself from its competitors, however, via its Class A-biased circuit, designed by the legendary engineer Tim de Paravicini, alongside its wide, distinctive casework.
At the time, not much else looked like the A1, and not much sounded like it, either. Musical Fidelity truly harnessed the power of Class A amplification with its trailblazing amp, resulting in a sound that suffered from minimal distortion and left most of its competitors struggling to keep up.
When Musical Fidelity brought the A1 back in 2023, Class A amplification was a must. Like its 1980s namesake, the newer A1 also runs very hot, but as we wrote in our review, it does a fine job in echoing the spirit of the original “by sounding wonderfully expressive and fluid in a way that eludes most modern alternatives”.
Musical Fidelity also resurrected that iconic casework for the new iteration, resulting in a modern amplifier that does its utmost to capture the look and sound of an icon. It needs care with partnering, and features are somewhat thin on the ground, but the revived A1 gives you a taste of classic hi-fi combined with the reliability of a new product.
The original Naim NAIT (later called the Nait 1) is a legend in its own right.
Launched in 1983, the Nait was seen as something of an oddity when it landed, sporting a relatively modest power rating and marking itself out as Naim’s first-ever integrated stereo amplifier. This, then, was the first time that the British brand had combined power and preamplification into a single unit.
Naim celebrated its 50th anniversary in 2023 and, to mark the occasion, gave the world the revised, limited-edition Nait 50 to pay homage to 1983’s original Nait 1. While some brands seek to reinvent or repackage a product for general release, the Nait 50 was limited to just 1973 units, each priced at a not-inconsiderable sum of £2699.
As a celebratory product designed to honour a legend, the Nait 50 shares many of the quirks of the original, and while it’s not perfect, its hugely entertaining, somewhat flavoured sound captures the deeply musical spirit of the Nait 1.
We had the pleasure of getting one of the Nait 50 amps into our test rooms a little after Naim announced its release, so if you’re interested in really digging into the nitty-gritty of the revised Nait 50, we strongly recommend giving our in-depth hands-on a read.
The Linton were a big deal for Wharfedale. Making their debut in 1965, the three-way standmount speakers continued to run for several iterations throughout the 1970s, helping to establish Wharfedale’s reputation for quality sound wrapped up in an equally dependable package.
The original Lintons were 25-30cm across, depending on the specific model you picked, producing a big, open sound from their large front baffle and the sizeable drivers that could be held within the cabinet.
When you think of standmounts these days, you will probably be thinking of more compact specimens that could perhaps perch on your desktop or nestle into a bookshelf, but the Lintons were full-blooded standmounts with real presence.
The revised Heritage version continue to honour that legacy. Launched in celebration of Wharfedale’s 80th birthday, they followed the overall design language and general template of their progenitors, albeit with larger cabinets, bigger drive units and upgraded components.
The result was worthy of any 80th birthday celebration. As we wrote in our review: “We get a brilliant sense of scale and space from the Lintons. We play John Williams’s The Raiders March – the main theme from the Indiana Jones films – and get a thrilling sense of these speakers’ dynamics.”
They won’t be for everyone, but as we enthused at the time, 2020’s updated Linton are “the best of old hi-fi combined with the best of the new”. A revival done right.
Pro-Ject has given Bluetooth powers to its entry-level E1.2 turntable, alongside a new iteration which features a built-in phono stage.
The Bluetooth-capable E1.2BT and phono-sporting E1.2 Phono ape the general design and configuration of the standard E1.2 model, focusing on budget-friendly performance and convenience bolstered by Bluetooth 5.4 streaming or a phono preamplifier, respectively.
The E1.2 BT turntable features a built-in Bluetooth transmitter with hi-res aptX HD codec support, meaning you can wirelessly stream vinyl playback wirelessly to speakers, headphones, or even compatible amplifiers if you so choose.
The Phono edition, conversely, incorporates what Pro-Ject describes as a “high-quality phono preamp for superior signal processing and noticeably improved sound performance”, boasting advanced circuitry designed to reduce noise and distortion while preserving the detail and natural character of your vinyl.
The E1.2 BT and E1.2 Phono share the same heavy die-cast aluminium main platter as their standard E1.2 counterpart, creating what Pro-Ject describes as an “ideal, anti-resonant platform”. In pursuit of more stable playback, the platter has been precision-balanced to grant a more even rotation and improve acoustic performance.
Each new turntable comes equipped with a Pick It MM E phono cartridge, which uses a conical diamond tip to deliver “warm and smooth audio” with low background noise.
(Image credit: Pro-Ject )
The cartridge is attached to a pre-calibrated 8.6-inch aluminium tonearm with a carbon-reinforced headshell and a heavy-mass gimbal bearing for smooth movement during operation.
Both belt-driven players feature electronic speed-switching for 33⅓ and 45rpm via a single button, with Pro-Ject again aiming for a pair of entry-level decks that prioritise ease of use as much as sonic performance.
The Pro-Ject E1.2 BT is available now, priced at £399 / €399 in the ‘standard’ High Gloss Black or Walnut finishes. The five 'Colour' finishes, which include Satin White and a rather sunny Satin Golden Yellow option, will bump that price up to £449 / €449.
The E1.2 Phono is available now in High Gloss Black, Satin White and Walnut colourways, priced at £319 / €359.
According to Bloomberg, Sonos is working on a new soundbar currently dubbed the 'S56' and codenamed 'Gambit'. A new filing with the US Federal Communications Commission (FCC) shows a product resembling the second-generation Beam from 2021, implying that a new iteration of Sonos' 'middle-child' soundbar could be arriving next month.
Sonos had already confirmed that a new product would be coming in September during a recent earnings call, with CEO Tom Conrad hinting that AI would play a large part in the company's plans going forward. Now, it seems, this new 'product' may in fact be a pair of releases designed to satisfy wearable audio fans and home cinema enthusiasts alike.
The Sonos Beam Gen 3 could arrive alongside a sequel to the Sonos Ace, the Ace Ultra. (Image credit: Future)
Given that the most recent Beam launched in 2021, it certainly feels like it's time for an upgrade. All we have to go on is Sonos' filing to the FCC, so details for the upcoming soundbar remain sketchy at best, but we'd expect the usual Sonos boxes to be ticked as and when a third-gen Beam sequel arrives.
Dolby Atmos support, seamless ecosystem integration, and some form of voice control via baked-in smart assistant are all taken as read, though we wonder how Conrad's hinted 'AI integration' might find its way into the third-generation Beam.
The big question on our minds is whether the new Beam (assuming that's what Gambit turns out to be) will feature up-firing drivers, or stick to delivering Atmos via clever virtualisation, as with the Gen 2 model. And might HDMI passthrough be added? We doubt it, as Sonos tends to favour simplicity over extra cabling, but we can hope.
If nothing else, we hope that prices stay stable. The Beam 2 launched at £449 / $449 / AU$699, so that's the sort of RRP we'd hope the new model would tend to sit at, but given that the Beam 2 was itself a good deal more than the original model, which cost £399 / $399 / AU$599 at launch, there's little guarantee of things staying as they are. Costs are only going one way in tech, and it isn't downwards.
For now, though, all eyes look to September to discover exactly what Sonos has in store. We'll keep you updated as soon as we discover any new information about its future plans.
Samsung could soon be throwing its hat back into the over-ear ring, if recent reports are to be believed. According to a leak from Samsung-dedicated site SamMobile , the Korean company is currently developing a set of over-ear headphones to accompany its in-ear Galaxy Buds models, with a new pair of cans – codenamed 'Galaxy H1' – spotted in the Galaxy Wearable app.
That probably won't end up being the final official name of the upcoming headphones, though it's likely that the word 'Galaxy' will feature somewhere to keep the cans in line with Samsung's established ecosystem of mobile and audio products.
Aside from the headphones being Bluetooth-based, details are thin on the ground. SamMobile predicts that these will be premium headphones designed to do battle with the likes of the Apple AirPods Max 2 (£499 / $549 / AU$999) or Sony WH-1000XM6 (£400 / $450 / AU$699), though as we don't have official pricing figures, we can't be sure exactly where the Galaxy H1 will be positioned within the premium market.
Samsung already has a pair of flagship wireless earbuds, the Galaxy Buds 4 Pro. (Image credit: What Hi-Fi?)
In terms of features, we're once again in the realm of speculation, but active noise cancelling, some form of AI assistant integration, and support for Samsung's hi-res SSC UHQ audio codec from compatible devices would bring the prospective over-ears in line with their in-ear counterparts.
That SSC UHQ codec, for instance, was a key part of the Samsung Galaxy Buds 4 Pro's repertoire, so we'd expect to see it transfer over to the over-ears.
These won't be Samsung's first-ever over-ear headphones. The Korean titan released the 'Level One' back in 2015, but we haven't seen it release much in the way of over- or on-ear cans since then.
That could be set to change. We don't have an official release date for the Galaxy H1, but with most outlets speculating a release date sometime in 2027, it could yet be a while before we see if Samsung can challenge the likes of Sony and Apple for over-ear supremacy.
For the best-value noise-cancelling buds around, it has to be the Sony WF-C710N. The outstanding buds took home the What Hi-Fi? Award for best wireless earbuds in the £70-£150 range, and in truth, nothing has really come close to beating them in this particular price bracket.
£100 or so is a good price, but a £31 discount knocking them down to just £69 at Amazon is an absolute steal, and one you shouldn't miss. £69, by the way, matches the lowest we've seen the WF-C710N drop so far, and that was during Amazon Prime Day.
What Hi-Fi? Award-winning headphones for only £69! The Sony WF-C710N offer a great sense of musicality as well as fulsome, controlled bass. Add in 30 hours of battery life and capable noise cancelling and you've got yourself a grown-up performance for not a huge amount of money. That lovely 'Glass Blue' colourway is £70, so if you want the absolute lowest of the low, you can save a quid and go for the pink option. Lowest price on pink finishView Deal
The Sony WF-C710N are the follow-ups to the Sony-C700N, which were themselves Award winners and even previous Product of the Year title holders thanks to their potent blend of performance, features and overall value.
The WF-C710N made a number of meaningful improvements to their class-leading antecedents, most notably to battery life and noise cancellation. Including the case, the WF-C710N has an impressive 30 hours of battery life and roughly 8.5 hours from the earbuds, both with ANC switched on.
Speaking of ANC, that's another area where the WF-C710N really excel. The buds' 'Dual Noise Sensors' extract further layers of noise, especially in the lower mid and bass frequencies, to keep the bustling outside world at bay.
Soundwise, the WF-C710N really excel, with the mid-range buds standing head and shoulders above the competition for this price level.
As our review reads: "Playing Mombasa from the Inception OST, the track immediately makes big bold, powerful strides. There’s a weight, solidity and fullness in the bass which makes the WF-C700N sound lightweight and a little top-heavy. The Sonys deliver the song with a real sense of intensity, and you can feel the drama unfolding – you don’t need to see the movie to get a feeling that something serious is going down."
Bluetooth 5.3 is on the menu, along with SBC and AAC audio codecs, which are pretty standard at this level. Auto pause and wearer detection are also included, so your music will automatically stop when you remove an earbud.
If you're after a midrange pair of buds, you'll struggle to do better – or get some for cheaper – than the Sony WF-C710N. They're attractive, comfortable wireless earbuds that give your music plenty of gusto, making them an absolute steal for £69 at Amazon.
If you're seeking the blissful convenience of an all-in-one speaker system, all without forking out a fortune, the Triangle AIO Twin should be pretty high on your shortlist.
While the AIO Twin might look like a regular pair of speakers, this is a fully fledged music system that combines speakers, amplification, streaming and connectivity into one handsomely built package. A package that won a 2025 What Hi-Fi? Award, we might add.
We were already bowled over by the system's incredible value when it launched at £699 – but it can now be snagged for £599 at Richer Sounds, a super saving of £100.
The Triangle AIO Twin packs a lot into its compact frame, offering an affordable all-in-one speaker system complete with wi-fi streaming, Bluetooth and built-in amplification. Sound quality is enthusiastic and capable, while myriad connectivity options mean the AIO Twin can play just about anything. It's incredible value – especially with £100 off. View Deal
Thanks to its flexible nature, the Triangle AIO Twin has pretty much every connection you might need, including Ethernet and wi-fi streaming, Bluetooth 5.0, optical and 3.5mm aux inputs, and a pair of RCA connections that you can toggle between line-level and phono inputs. That means the AIO Twin can double as speakers for your TV, or be used alongside a moving-magnet turntable if you're building a neat and simple vinyl system from scratch.
Triangle's AIO app supports all major streaming platforms, including Spotify, Tidal, Deezer, Amazon Music, Qobuz, as well as internet radio and files on your network, while audio support goes up to 24-bit/192kHz PCM files.
Don't think you're going to be sold short on sound, either. As we wrote in our five-star Triangle AIO Twin review: “This system is incredibly fun to listen to. It’s an enthusiastic performer, happy to tackle any music genre and recording quality, and simply wants you to enjoy the music being played.”
The AIO Twin is balanced across the frequencies, with an admirable level of control, precision and subtlety, and bass performance that is surprisingly taut and shapely for such compact speaker cabinets.
The main downside is the phono stage; we recommend that vinyl lovers get an external phono stage to plug into the AIO Twin to make the most of their records.
Overall, though, the Triangle AIO Twin is incredible value for money, offering an entire hi-fi system in one easy-to-use package. There's a reason it has won a What Hi-Fi? Award for the past two years – and now it can be yours with a handy £100 off at Richer Sounds.
You don’t have to have actually been around during that heady period to know just what the decade gave us, from classic action cinema to New Wave tunes and the rise of hip-hop. Maybe you miss the Yuppies, the shoulder pads and the big hair, or maybe the cosy family sitcoms accompanied by a piping hot chicken Kiev.
Or maybe you miss the tech. More specifically, you miss the audio trends of the decade, from stacked hi-fi systems to portable cassette players, boomboxes and foam-capped on-ear headphones. Those were the days.
If you do find yourself hankering for that bygone era, Philips might have just the thing. To mark its centenary last year, the Dutch manufacturer announced it would be reviving its classic Moving Sound range of products from the 1980s, with the new ‘The Roller’ emulating the radio-and-cassette design of the original model, now repurposed as a Bluetooth speaker.
Modern streaming and sleek, feature-laden designs are all well and good, but Philips is looking to put the fun back into audio – and what’s so wrong with that?
Price
(Image credit: What Hi-Fi?)
The Roller (MS60) will set you back £169 in the UK and $229 when it launches in the USA later this year. This, for UK buyers, is the same launch price as the five-star JBL Charge 6 (£170 / $199 / AU$200). The Charge 6 has seen a few price drops in the intervening months, however, and at the time of writing you can pick one up for £129 in the UK and $160 in the US.
If you want something that’s about the same size but costs a good deal more and comes with our firm recommendation, the JBL Xtreme 5 can currently be yours for £300 / $300.
Build
(Image credit: What Hi-Fi?)
The 1980s never really went away, at least not for Philips.
The Roller’s design takes direct influence from Philips’ combined radio and cassette player of the same name (the D8007 and its D8008 sequel to be specific), whereby a central body is flanked by integrated circular speakers built into the casework, topped by a rigid carry handle.
Philips The Roller tech specs
(Image credit: Philips)
Power 60 watts
Bluetooth: Yes (6.0)
Mains-powered or battery-powered Battery-powered
Battery life Up to 24 hours
Features Wired audio (USB-C to USB-A), Auracast, IP67 rating, dynamic lighting, portable power bank
Connections USB-C (charging and wired audio via USB-A)
Dimensions (hwd) 19 x 38 x 12cm
Weight 2.3kg
Finishes x 2 (black, yellow)
Naturally, changes have been made to see The Roller keep up with the demands of the 21st century. The cassette deck and radio display housed at the centre of the original have been replaced by a crisp, clear LCD colour screen, while an array of control buttons is found directly above. Around the back, charging and physical audio playback are handled by a USB-C port, and we’re pretty sure they didn’t have those in 1987.
Despite its relative portability, The Roller is not a particularly small speaker – it’s about the size of an elongated shoebox. While its price puts it in more direct competition with the JBL Charge 6, Philips’ colourful throwback is closer to JBL’s burly Xtreme 5 in terms of its size. In essence, it’s a Bluetooth boombox with a retro design and a modern feature set.
It is, however, a little lighter, weighing in at a more reasonable 2.3kg when compared with the 2.9kg of the current-gen Xtreme, and while it isn’t lightweight, it’s not a chore to lug from place to place if you’ve been to the gym a few times this year.
It’s well-made, too. While some may baulk at its novel aesthetics, The Roller feels far more substantial and robust than a mere toy. The speaker’s IP67 rating will keep it properly protected from dust ingress, water splashes and even some light liquid submersion, and as we run our hands across its exterior, tapping and probing as we go, we’re struck by how substantial and well-made everything feels.
There are no rubberised bumpers or shock absorbers to speak of, so we wouldn’t feel confident dropping our test speaker from any great height, but the overall quality of construction is impressive given The Roller’s fun-focused aesthetic and reasonable price. The plastic body and metal speaker grilles are of an admirably weighty standard, while a quick spray with a garden hose proves that those waterproofing credentials check out.
(Image credit: What Hi-Fi?)
Whether we’re actively using it or just admiring its show-off retro aesthetics, we very much enjoy our time with The Roller. It looks particularly fresh and funky when sporting its bright yellow finish (you can go for black if you’re more conservative), and while there’s a touch of the Fisher-Price here, we don’t mind. The Roller is supposed to be fun, and that’s just what it is.
The various controls are chunky and respond with a satisfying click, and we particularly enjoy the customisation options available for the colour display. It’s not often that a Bluetooth speaker comes with an actual display screen, but with Philips’ retro offering, your display will show the song you’re playing and the speaker’s current battery life. You can even add novel animated widgets – like a spinning virtual cassette deck – in a nod to The Roller’s heritage.
The good times don’t stop there. The Roller comes with customisable lighting effects which can be cycled through or switched on/off either via the app or using the on-unit buttons. Are they strictly necessary? No. Are they a nice touch that adds a dollop of fun to an already exciting recipe, like a few colourful sprinkles dusted over an already-eye-catching sundae? We think so.
Features
(Image credit: What Hi-Fi?)
Despite its retro appearance, Philips’ The Roller has been kitted out with a number of modern-day features.
The Roller boasts Bluetooth 6.0, and while there isn’t any hi-res codec support to speak of – you’ll have to make do with standard SBC – Auracast is available, meaning you can connect it to any number of Auracast-enabled speakers at once. That includes most of JBL’s current-gen offerings and other members of Philips’ Moving Sound range.
Thanks to its rear-mounted USB-C port, The Roller can double as a portable power bank for charging your phone or similar portable device. You can also use the USB-C port for direct listening, but only via USB-A to USB-C rather than USB-C to USB-C, which seems odd considering we can’t imagine many listeners using their laptop, say, as a source for a portable speaker. No matter how you listen, audio processing is capped at 16-bit/48kHz.
Battery life is decent for a speaker of this size and type. The Roller will grant you around 24 hours of playtime from a single charge, which is the same as the standard runtime offered by the rival JBL Charge 6 and the larger Xtreme 5.
(Image credit: Philips)
Glance at the array of rectangular controls at the top of Philips’ 1980s-inspired speaker and you’ll notice a bright pink button etched with the letters ‘M/S’. Give it a press and you’ll activate The Roller’s ‘Moving Sound’ mode, which adjusts the digital signal processing by shifting the bass to a higher frequency and reducing its deepest low-end output, increasing the resultant dynamic headroom and allowing sound to travel more convincingly in outdoor environments.
In our experience, activating the mode has its trade-offs. It’s undoubtedly better for outdoor listening by granting a more forward, muscular and entertaining presentation, but you do lose a little clarity and refinement as part of the deal. A matter of taste and context, then.
Beyond the physical buttons, controlling your speaker is performed via the Philips app. It’s a useful platform for making certain tweaks to your experience, such as selecting the widget you want displayed on the display screen or adjusting the pattern of the speaker’s light modes, but we’re disappointed to see that no customisable equaliser, or indeed any sound profile presets, are included.
Sound
(Image credit: What Hi-Fi?)
With our mature adult hat on, we’ll get our po-faced caveat out of the way and reveal that, perhaps unsurprisingly, you can buy more sonically sophisticated Bluetooth speakers at this level.
The five-star Charge 6 doesn’t go as loud as The Roller, but the JBL class-leader puts music together in a more convincing manner. It’s clearer, more detailed and far more musically nuanced, with a layered, cohesive performance that can make The Philips speaker seem somewhat unrefined by comparison. For outright sound quality, the Charge 6 remains the one to pick.
When we remove our businessman’s bowler and don the backwards baseball cap of youth, however, we’re far more inclined to take The Roller for what it is: a brash, bold–looking speaker that makes a similarly brash, bold sound. Thanks to its 60 watts of RMS power feeding a pair of 25mm tweeters alongside twin 9cm woofers, Philips’ substantial Roller really is capable of putting the “boom” into boombox.
With the volume dialled up towards the higher reaches of social acceptability (sorry, neighbours), the opening bars of System Of A Down’s Highway Song nearly take our ears off. Power and punch are not in short supply, and while that extends across the entire frequency range, there’s a particularly large helping of muscular bass to really give the tune some kick.
(Image credit: What Hi-Fi?)
Hard rock and hip-hop appear to be where The Roller is the most comfortable, and again, that isn’t much of a surprise given its fun-focused, boombox-esque nature. Turnstile’s SLOWDIVE sounds big, bold and suitably crunchy – enough to get heads banging – while Black Veil Brides’ epic Saviour II and Eminem’s hard-edged The Way I Am are given similarly powerful treatment.
Those qualities remain no matter how or where we use our bright yellow test speaker. Thanks to its assertive presentation – and that handy ‘Moving Sound’ mode – The Roller’s rich, full-bodied reproduction carries confidently when we take the speaker outside for some fun in the sun.
Big dynamic swings are generally communicated with the appropriate heft, as evidenced by the crashing thumps peppered across Rosalía’s ever-dramatic Berghain, even if The Roller can struggle fully to tease out the subtler shifts bubbling away in the background.
On the subject of The Roller’s blind spots, detail levels are adequate but not outstanding, with subtler nuances generally lost at the expense of that irrepressibly ‘have at ’em’ approach. Listen to subtler fare, such as alt-J’s Every Other Freckle or Agnes Obel’s The Curse, and the JBL Charge 6 will handle such delicate tunes with a lighter, more skilful touch.
Such relative weaknesses aren’t quite enough to temper our affections for Philips’ fun-focused ‘80s-inspired Bluetooth boombox. Subtlety and nuance may tend to fall somewhat by the wayside, but in terms of pure fun factor, The Roller really knocks it out of the park.
Verdict
(Image credit: What Hi-Fi?)
If you’re serious about getting the best-sounding Bluetooth speaker at this price, buy the JBL Charge 6. It’s smaller and not as enjoyable to look at, but musically, it’s in a league of its own.
If you want something that’s a bit off the beaten track, though, The Roller is a cheerful charmer. Its funky design will likely appeal to younger listeners who want something quirky and unique, as well as audio veterans who still hanker to have their '80s boombox held proudly upon their shoulders.
All told, Philips has done a marvellous job in putting the fun back into portable audio.
Goldmund has introduced what it describes as its "most advanced amplifier ever", the Telos 9800.
The new stereo amp delivers 1560 watts of power into 8 ohms and is built around an entirely new amplification platform. For the first time in a Goldmund amplifier, the power supply and amplification stages are physically separated into interconnected units. This, says Goldmund, allows each to operate under optimal conditions while preserving the amp's "mechanical and electrical integrity".
Further, the Telos 9800 also uses a proprietary power management system and the largest capacitor bank ever developed by the company.
Together with its custom-designed capacitors and transformers, as well as a completely redesigned amplification stage built around next-generation power boards, the amp's new platform promises "greater stability" and "exceptional loudspeaker control".
In terms of physical connections, XLR and RCA inputs are joined by S/PDIF inputs and outputs, as well as a quartet of binding posts.
(Image credit: Goldmund )
The new amplifier incorporates Goldmund's 'Leonardo' technology, a signal processing algorithm which digitally realigns frequencies to reduce phase distortions for better time alignment and improved sonic realism.
Goldmund's latest luxury offering has been designed in collaboration with Cécile Barani, the same designer who worked with Goldmund on its high-end Gaia speakers. With the Telos, precision-machined aluminium surfaces combine with discreet gold signatures in pursuit of, says Goldmund, a restrained yet premium aesthetic.
The Telos 9800 is priced at £370,000 / €430,000 / $500,000. We called the Goldmund Telos 690 amplifier we reviewed last year "heinously capable" but "hideously expensive", and that only cost a meagre £32,500 / $36,250 / AU$60,000.
Price-wise, the Telos 9800 is in a different league – and Goldmund will be hoping it's in a different league sound-wise, too.
If you're hankering for the days when you'd take your trusty old MP3 player everywhere you went, your prayers may just have been answered.
FiiO's sub-brand Snowsky has revealed the new Echo Nano, a dinky portable music player that harks back to the iconic MP3 players of the 2000s.
Designed for music lovers seeking a dedicated listening experience without the interruption of pesky apps, the dinky new player uses a Cirrus Logic CS43131 DAC, offering support for various file formats such as WAV, FLAC, MP3 and MQA.
The player's internal storage can be bolstered by a microSD card up to 256GB, all while delivering up to seven hours of battery life on a single charge.
Weighing in at around 34 grams, the Echo Nano is constructed using a machined aluminium-magnesium alloy. A metal scroll wheel aims for seamless user navigation, complemented by a 1-inch OLED screen.
(Image credit: Snowsky)
Snowsky's pocket-sized portable player can also function as a USB DAC, and can be used to give your smartphones or laptop a sonic boost when listening via wired headphones.
On the subject of headphones, Snowsky has also unveiled a new pair of wireless cans alongside the Echo Nano. The new Snowsky Nature house a set of 50mm dynamic drivers within a nature-inspired design, with Snowsky promising a pair of over-ears "intended to reconnect listeners with the emotional experience of their music".
If you're all about the retro revival, the Snowsky Echo Nano is available now in seven distinct colourways, priced at £55 / $50. The Nature headphones are also on the market, priced at £39 / $ 39.
If you’re brand new to the grand old art of vinyl collecting but don’t know where to start when it comes to turntables, then this is very much the deal for you.
We've only reviewed the five-star Sony PS-LX3BT earlier this year, but you can already get it for £233 at Sevenoaks and Amazon, a saving of £66 on its original £299 asking price. And let's face it, the only thing better than a great-value Bluetooth turntable is a great-value Bluetooth turntable on a discount.
The Sony PS-LX3BT is ideal for vinyl novices. It's easy to set up, simple to operate, can be used in multiple different ways and, perhaps most importantly of all, it's supremely affordable, especially with that aforementioned discount knocking the price down by over £60. Lovely.
The Sony PS-LX3BT is a super plug-and-play turntable and the perfect first step on the vinyl ladder. It’s ridiculously easy to use, produces an accomplished, enjoyable sound, and has built-in Bluetooth flexibility. Now available with a very tasty £66 discount. Deal also available at AmazonView Deal
Being a budget Bluetooth turntable, the Sony LS-PX3BT can be connected up to a classic hi-fi system, but you can also hook it up to a Bluetooth speaker or a pair of Bluetooth headphones if that’s how you want to enjoy your record collection.
You’ll get better audio quality if you go the traditional route, and there's even a built-in phono stage if your stereo amplifier doesn’t have one, but there’s something to be said for the simplicity and accessibility afforded by having Bluetooth on board.
Adding to that simplicity is the fact that the PS-LX3BT is a fully automatic deck, meaning you only have to press a button and the machine will spring into life, moving the arm into place and lowering itself down onto your record. When it reaches the end of the record, the arm lifts automatically and returns to its starting position.
If you do want to pair with a Bluetooth speaker or pair of headphones, all you have to do is press the large pairing button on the top of the deck, and your turntable should connect automatically to the speaker or headphones in question.
Admittedly, this is a turntable that doesn’t exactly ooze glamour, but it does exactly what it says on the tin, and at this level, that's what matters most.
In our Sony PS-LX3BT review, we proclaimed: “We’re taken with just how composed, controlled and well-organised the Sony sounds, marvelling at the effortless cohesion and solidity it brings to the entirety of Michael Jackson’s Bad album.”
It’s a musical-sounding deck, and one that can entertain with any genre of vinyl placed on its platter, from the pop perfection of Michael Jackson to the classic rock of Fleetwood Mac.
Over Bluetooth, the Sony still sounds impressive, delivering music full of life and character, making it a great all-round recommendation for anyone looking to scratch that vinyl itch for the very first time.
The fact that you can now pick one up for £233 at Sevenoaks and Amazon should be music to your ears.
KEF has enjoyed considerable success making active wireless stereo systems.
KEF’s LS50 Wireless II speaker system has become an exemplar of this success, becoming something of a modern-day legend in the process. The five-star system has scooped so many What Hi-Fi? Awards, and been on our list of the best hi-fi systems for such a long while, that it has truly earned its place among KEF’s pantheon of greats.
Now, KEF is kicking things up a notch with the arrival of the LS Luxe, once again integrating amplification and streaming into a compact, easy-to-use stereo speaker package. The LS Luxe is a step above the LS50 Wireless II in terms of price, but is it vastly superior regarding its all-around performance?
Let’s find out.
KEF LS Luxe vs KEF LSS50 Wireless II: price
The KEF LS50 Wireless (left) is cheaper than the LS Luxe (right). (Image credit: What Hi-Fi?)
The LS50 Wireless II came into the world at £2250 / $2499 / AU$4295, but as we know, prices are always liable to fluctuate over time.
Currently, you can find the LS50 Wireless II for £2199, a modest but not insubstantial drop from its original RRP. For US buyers, it’s not such good news: you will tend to see KEF’s established Award-winner sitting between $2500-$2999 at the time of writing.
Wherever you are and whatever prices are doing, the LS Luxe is going to cost a good deal more than its more established sibling. KEF’s new kid on the block arrived at £3500 / $4000 / AU$6375, and given it’s so fresh to the market, we don’t expect to see any major discounts any time soon.
For its more affordable asking price, this is one on the board for the LS50 Wireless II.
**Winner: KEF LS50 Wireless II**
KEF LS Luxe vs KEF LSS50 Wireless II: build and design
(Image credit: What Hi-Fi?)
Let’s just be super clear about what we’re dealing with here.
Both the KEF LS50 Wireless II and LS Luxe are standmounted active wireless stereo speaker systems, meaning you are getting two separate speaker cabinets with built-in amplification, wireless streaming, and a DAC.
At the heart of each pair of speakers is the 12th-generation of KEF’s signature Uni-Q driver array, in which the tweeter sits in the centre of the mid/bass unit for more even sonic dispersion, improved integration, and better time alignment. With the LS Luxe, the Uni-Q driver assembly is mechanically decoupled from the cabinet to reduce panel vibrations.
KEF’s ‘Metamaterial Absorption Technology’ (MAT), which absorbs rearward sound from the back of the tweeter dome in pursuit of greater treble clarity, is also featured in both.
For the LS50 Wireless II, 100 watts of Class A/B amplification is powering the 25mm aluminium tweeter, while 280 watts of Class D power handles the 13cm aluminium mid/bass driver.
The power split in the LS Luxe is the same in terms of wattage and power class, but the driver sizes are a little different, as we are still dealing with a 25mm aluminium tweeter complemented by a larger 16.5cm mid/bass unit. That, as we shall see, helps the LS Luxe generate more lower-end depth and power.
Externally, our contenders’ cabinets look reasonably distinct from each other. That Uni-Q array aside, the LS50 Wireless II speakers are squatter and squarer, albeit with rounded-off edges and a convex front panel helping to give them a modern, stylish appeal.
The LS Luxe, by contrast, really doubles down on its curvy aesthetic, with a smooth, almost egg-like form that aims to improve performance by reducing the build-up of internal standing waves within the cabinet. They are taller and slimmer cabinets than the LS50 Wireless II, and though the look of the speakers won’t be for everyone, the standard of construction is, inarguably, very high.
That rounded design is thanks to a collaboration with Ross Lovegrove, the Welsh designer with whom KEF previously joined forces when creating the mighty Muon floorstanders, the Muo Bluetooth speaker, and the Mu headphones range.
Around the back, the LS50 Wireless II speakers feature a ridged aluminium heatsink and a flared reflex port. The LS Luxe also features a flared reflex port, with a distinctively curved, more deeply ridged aluminium heatsink designed to offer a greater surface area to more efficiently dissipate the heat generated by the active electronics within.
Both systems use ‘Bulk Moulded Compound’ (BMC) composite material in their cabinet construction; the LS50 Wireless II in just the front baffle, while the LS Luxe’s entire enclosure is made out of the material. BMC is an inert, high-mass material that is highly conducive for use in a speaker enclosure.
In terms of control, the LS50 Wireless II offers a touch-capacitive strip panel for adjusting volume, muting the speakers, selecting volume or turning the whole system on or off.
The LS Luxe doesn’t feature any on-unit buttons or controls, but you do get a nicely made aluminium remote, as well as access to the KEF Connect control app, for managing your listening experience. Do note that the LS50 Wireless II also comes with a remote control and app support.
The LS50 Wireless II houses threaded inserts in the corner of each speaker, allowing them to lock onto the top of KEF's S2 Floor Stands (£400 / $449 / AU$800 per pair).
The LS Luxe can also be fitted to their own dedicated ‘S-Luxe’ stands (£800 / $800 / AU$1230), which you will need to put together and screw into the base of each speaker yourself. Expensive they may be, but if you want to hear the LS Luxe at its best, we think a pair of S-Luxe stands is worth the cash.
One more thing: finishes. You get three options from which to choose with the LS Luxe: Eclipse Black, Dusk Titanium or Mineral White. There are four choices with the LS50 Wireless: Carbon Black, Titanium Grey, Moss Green or Sand Shell.
Not much to grumble about on either side, here. The LS50 Wireless II earns points for its on-unit controls and more compact design, whereas the LS Luxe feels a tad more premium and can draw on more-refined design aspects, such as that more-advanced heat sink design and larger mid/bass drive unit.
**Winner: KEF LS Luxe**
KEF LS Luxe vs KEF LSS50 Wireless II: features
(Image credit: What Hi-Fi?)
Both of KEF’s five-star wireless speaker systems go big on features, offering a variety of ways to enjoy each.
Around the back of both systems’ primary speaker unit, you will find HDMI eARC, 3.5mm analogue, optical and coaxial inputs, as well as an ethernet port for hooking up physically to the internet. With both the LS Luxe and the LS50 Wireless II, each of the two speakers has a dedicated output for adding a single subwoofer or a pair if you really want to go big on bass.
On the streaming side, both use KEF’s W2 Wireless Platform, granting access to popular streaming services such as Tidal Connect, Spotify Connect, Amazon Music, Qobuz Connect and Deezer, along with internet radio.
If you’re not keen on spending much time on the dedicated KEF app, there is also the further convenience of AirPlay 2, Google Chromecast and Bluetooth for both, with the LS50 Wireless supporting Bluetooth 5.0 and the LS Luxe bumping that up to the more efficient Bluetooth 5.3.
UPnP compatibility on both means you can stream hi-res music from a connected external NAS drive, and while Roon Ready support is already available for the LS50 Wireless II, it is slated to arrive in 2027 for the LS Luxe.
Hi-res file support depends on how you choose to listen. Either KEF system is able to accept PCM files up to 24-bit/384kHz, with the LS50 Wireless II supporting DSD256 and the LS Luxe maxing out at DSD128.
The LS Luxe also lacks MQA support, something you do still get with the LS50 Wireless II; but, as Tidal dropped MQA a few years ago and the format appears to be in decline, this won’t be a major loss for most would-be listeners.
If you are using a wireless connection between your LS50 Wireless II or LS Luxe speakers, higher resolution files will be internally downsampled to 24-bit/96kHz. Connecting the master and slave speakers using the included interconnect cable will bump playback up to 24-bit/192kHz.
As far as apps go, we’re rather keen on KEF’s ‘Connect’ platform, from which you can control and set up your wireless system. You can tweak the sound yourself using the on-board equaliser and use KEF’s ‘Room EQ’ digital signal processing to fine-tune your sound to your listening room – something we recommend to get the best sound possible for your given space.
While the LS50 Wireless II does enjoy the benefit of KEF’s Uni-Q array and innovative ‘MAT’ technology, the LS Luxe is packed with more recent technological advancements that see it outpace its established counterpart.
The LS Luxe, for instance, is the first KEF speaker product to feature the company’s ‘Velocity Control Technology’ (VECO), as seen in this year’s five-star XIO soundbar. VECO essentially measures the speed of the drivers’ cone movement, and any differences between that and the expected value are compensated for in real time, resulting in lower distortion levels.
Additionally, the newer, more premium LS Luxe gains the benefit of KEF’s ‘Music Integrity Engine’ tech, which uses digital signal processing algorithms to maintain accuracy and tonality no matter the volume at which the system is played.
Impressive feature sets and plenty of ways to enjoy KEF’s five-star contenders, but the LS Luxe’s more up-to-date technology suite sees it earn victory here.
**Winner: KEF LS Luxe**
KEF LS Luxe vs KEF LS50 Wireless II: sound quality
(Image credit: What Hi-Fi?)
Even with the LS Luxe coming along and rather knocking it off its pretty perch, the LS50 Wireless II remains a devilishly talented wireless speaker system.
This is a product that has scooped a raft of What Hi-Fi? Awards since it arrived around six years ago, one we dubbed as being among the “most thrilling speaker systems we had heard” for around £2000 / $2500.
In fact, the LS50 Wireless II is still outstanding at its price. As a major step up at the time from the groundbreaking LS50 Wireless, the LS50 Wireless II remains an exemplary choice if you are seeking a system that offers you a clean, admirably precise sonic presentation.
The balanced, uncluttered signature of the LS50 Wireless II’s sound was, and remains, one of its strongest attributes. KEF’s Award-winning system was a serious step up from its predecessor, offering up a more intricate, open and precise soundstage than we had seen with the original LS50 Wireless.
As we wrote at the time: “mids are cleaner-cut and bass more defined, their extra refinement making the originals sound a touch crude. The whole presentation has been opened out, that extra room not only filled with subtler, more precise detail, but also allowing for greater instrument separation that makes its delivery sound much less congested in comparison.”
Clear, balanced and precise the LS50 Wireless II may be, but what has kept it atop the pantheon of great wireless speaker systems has been marrying those qualities with real verve and drama. Authority and poise are wedded to punch and grip, especially regarding the LS50 Wireless II’s meaty, agile bass reproduction and crisp – yet not overetched – treble response.
The LS Luxe may be a good deal more expensive than the established LS50 Wireless II, but, from what we have heard, it fully justifies that considerable price jump.
The LS Luxe does have a similarly balanced, authoritative character as many of its esteemed KEF stablemates, but have it playing at its best and you’ll soon realise it is a considerable improvement on pretty much any product of this type that KEF has yet made.
When really firing, the LS Luxe is a delight, piling on extra helpings of detail and precision to the confident, articulate presentation found with the LS50 Wireless II. When listened to side by side, the LS Luxe takes the LS50 Wireless II’s presentation and elevates it, sounding more precise, muscular and cinematic in a straight shootout.
Reasonably compact the speaker cabinets may be, but the authority, breadth and depth of the sound go far beyond what we would expect from a relatively compact standmounted speaker system.
The LS Luxe can really put on a show when it comes to delivering cinematic fare with authority and scale, with a taut, authoratative bass reproduction acting as its real party piece. That is partly down to the larger 16.5cm mid/bass unit found as part of the LS Luxe’s updated Uni-Q array.
In all honesty, KEF has struck a marvellous balance with its latest model. This is a system that makes rhythms sound expressive and nimble but rarely skittish or overdone, while dynamics are confidently expressed without seeming forced or artificial.
Few, if any, blind spots are to be found. As we wrote in our review, the LS Luxe knits music together “so expertly that even truly demanding tracks can’t catch it napping. Whether it’s the gale-force hurricane of Slipknot’s Before I Forget orthe magisterial grandeur of Tchaikovsky’s 1812 Overture, the LS Luxe barely breaks a sweat.”
Sonically, the LS50 Wireless II remains a superb wireless choice, but the LS Luxe really does take everything we liked about that sound and kick it up a notch. In terms of pure audio quality, it’s an obvious – and deeply impressive – cut above.
**Winner: KEF LS Luxe**
KEF LS Luxe vs KEF LS50 Wireless II: verdict
(Image credit: What Hi-Fi?)
The LS Luxe has not made the LS50 Wireless II redundant.
The more established system continues to excel thanks to its impressive host of streaming features and a sonic performance that, at its more affordable price, remains one of the best we have heard.
KEF has also made no indication that it will be phasing out the LS50 Wireless II, meaning it looks set to enjoy a bright future at its £2250 / $2499 / AU$4295 price point.
What the LS Luxe does is raise the sonic bar to another level. You’re getting most of the same streaming features and ways to listen as with the LS50 Wireless II, but a larger driver and new technologies – Veco and KEF’s ‘Music Integrity Engine’, for instance – see the LS Luxe pull well clear in terms of pure sonic ability.
If you are happy to spend the extra cash, and then fork out a bit more for some dedicated stands, the LS Luxe is the system to pick.
Nothing's budget sub-brand CMF has announced its first pair of open-earbuds, the Clip Pro, which are designed to deliver a listening experience "that feels as natural as it sounds".
Billed as ideal for wearers with busy or active lifestyles, the Clip Pro incorporate an open, clip-on design built around CMF's three-point configuration, wherein a slim 'C-bridge' hooks around the exterior ear and is anchored on each side. The result, says CMF, is a secure fit that remains comfortable through work, commuting and exercise.
Each earbud harnesses physical on-unit controls, while an IP54 rating means that sweat, water splashes and dust shouldn't be a problem if you're taking your new buds outside for a tough workout.
At the heart of the new Clip Pro is a 10.8 mm dual-magnet dynamic driver, tuned to produce what its maker describes as "full-bodied audio with powerful bass, detailed vocals and crisp high frequencies".
To compensate for the bass loss associated with open-ear designs, CMF has incorporated 'Ultra Bass Technology', designed to intelligently enhance low-end reproduction while reducing treble distortion for a more balanced frequency response
(Image credit: CMF)
In addition, the Clip Pro are support Sony's LDAC Bluetooth codec for hi-res wireless streaming up to 32-bit/96kHz, alongside standard AAC and SBC codecs.
The CMF Clip Pro grant up to 10 hours of listening time on a single charge, rising to around 32.5 hours of total playback with the charging case in play. If you're short on time, a quick 10-minute fast charge provides up to 4 hours of listening.
Further features include Bluetooth Multipoint for more seamless switching between connected devices, as well as a 'Low Latency Mode' designed for gamers. Google Fast Pair is also on the menu with compatible devices, and Clip Pro wearers will be able to customise their experience via the supported Nothing X app.
The CMF Clip Pro will be available in a choice of Dark Grey, Light Grey or Coral finishes, priced at £79 / $99.
It’s so hot at the moment, it feels like we’re all living inside a gigantic air fryer. Do human beings really need all of this skin? It does tend to trap in a lot of heat.
The one ray of sunshine (not more sunshine) amidst what has felt like apocalyptic levels of heat and drought has been the fact that it’s too hot to go outside and pretend to be productive. Staying indoors is a far safer bet, and what better way to cool off than to slump down onto your couch, fire up your hi-fi and let those breezy tunes wash over you?
So many cooling artists to stick on as you lie back and imagine that you’re anywhere other than the blisteringly hot sweat box that has become your home. Ice Cube. Ice-T. Snow Patrol. Coldplay. Arctic Monkeys. Oasis.
None of whom feature below.
Gom Jabbar by Hans Zimmer
Movie soundtracks are my go-to for testing, and one of the standout scores comes from the Dune franchise. Not the bizarre release from 1984, but rather Denis Villeneuve’s version starring Timothée Chalamet.
There are almost too many tracks to choose from in both films, as maestro Hans Zimmer delivers an otherworldly score filled with choral chants and brooding strings.
When the cloaked Bene Geserit order Chalamet’s Paul Atreides to do the deadly gom jabbar test in the first movie, the soundtrack begins with an ethereal high-pitched note akin to sand falling. This builds gradually as poor Paul is subject to a painful challenge, letting you test a product’s handling of dynamics.
That grows to a jaw-dropping crescendo as a soaring vocal solo pierces the score, and a guitar adds an energetic zing. Whether you are watching it as part of the film or listening to the track on its own, this is a great test of your audio system.
Words by Robyn Quick
Catapult by Counting Crows
As it starts, with mellotron flutes, you get little sense of the song’s direction in the first 20 seconds. Once the intro gives way to gritty, driven guitars, however, you get a clearer sense of things to come.
Catapult is the debut track on Counting Crows’ second album, Recovering The Satellites, which saw the band reach number one on the Billboard 200 album chart for the first time.
Cheesy? Perhaps just a touch, but it’s hard to find fault with a track that draws from the very best of classic rock and country guitar arrangements while balancing them with lyrics that are at once sincere, cathartic, and frankly, fairly bleak. The vocal melody, which jumps up abruptly, allows singer Adam Duritz to really let rip, making the lyrics’ emotion almost entirely unavoidable.
Catapult’s foremost strength, though,lies in the subtleties of the song’s arrangement, which builds almost imperceptibly toward a final verse in which every band member is going hell for leather. Between Duritz’s impressive vocals, guitars smashed through wah-pedals, and drums with a percussive force to rival Dave Grohl in Nirvana’s heyday, this song reaches an impressive emotive height.
It is a great test of any system’s ability to convey dynamics during dense, bright arrangements.
Words by Ioan Hazell
Higher Ground by Stevie Wonder
Stevie Wonder seems like a lovely fella. He’s always smiling, has a keen social conscience, and his music tends to be so upbeat and optimistic that it often feels as though it could lift you up into the clouds themselves.
Isn’t She Lovely, You Are the Sunshine of My Life, Signed, Sealed, Delivered (I’m Yours); the man’s basically a walking, singing anti-depressant. God bless ya, Stevie.
Lovely chap he might be, but a slice of Mr Wonder can be sadistic torture for your hi-fi system. Stevie’s songs are never overly complex or experimental in the way that, say, a Brahms orchestral suite might be, but they contain so much verve and panache that lesser setups can simply fail to capture the magic of the man’s irrepressible talent.
Higher Ground is case in point. With its bouncy, almost squelchy bassline boinging away underneath, it’s one of Wonder’s most effusive tunes, ripping forward with a relentless momentum that – if reproduced correctly – should never let up for a second.
Higher Ground is all about progress, of working tirelessly to reach a better place – if your hi-fi isn’t communicating that feeling of striving to reach that titular ‘Higher Ground’, then something’s gone amiss.
Words by Harry McKerrell
Silvera by Gojira
Bands like Gojira don’t really work through poor systems. For the uninitiated, the French heavy metallers have slowly but surely been creeping their into the collective cultural consciousness since their formation in the late 1990s, with more recent releases, including 2016’s Magma and 2021’s Fortitude, seeing the group really begin to captain mainstream attention.
There’s a wealth of enjoyable riffage to choose from across Gojira’s healthy back catalogue, especially if you’re into relentlessly thudding riffs and the sort of wall-of-sound heaviness that often sounds as though the band are trying to dislodge most of your internal organs.
Lots of treats from which to choose, then, but Silvera is a pretty safe bet for newbies dipping their toe in these stormy yet enticing waters. Again, the band’s signature machine-gun style of guitar riffage is front and centre, supported by equally thunderous drums beneath and lead singer Joe Duplantier’s raucous, call-to-arms roaring.
What an alarm clock the man would make. “Stop moaning about fate and change / stand up on your feet and rise,” he sings, followed by “A rain of shame that fills the mines / no other blood in me but mine”.
Whether interpreted as a charge to call on your inner strength or, as some have suggested, a polemic espousing Duplantier’s passionate veganism (that blood line would make sense), the effect is breathtaking if you have a system capable of handling it.
Words by Harry McKerrell
Love Bombs by Bloc Party
This track is described by Bloc Party’s frontman Kele Okereke as “the sound of a new love flowering, in beautiful romantic gestures”. It’s also more than a little creepy, as the lyrics switch from romantic cliches to deranged acts of obsession.
But there’s no doubting that it’s a banger, as you would expect from legendary producer Trevor Horn, whose work with The Pet Shop Boys and Grace Jones led him to be known as “the man who invented the eighties”.
The reverb that echoes most of the way through the track will test your system’s spatial abilities, while the grinding bassline that kicks in at the chorus will prove a suitable workout for your set-up’s low end.
Listen to the lyrics after the first chorus, and you’ll notice something: not only has the reverb that opened the track fallen away, but the vocals have gained a strange echo that sounds not unlike something slightly monstrous.
As we say, creepy. But then the path to true love etc.
For now, immersing myself in Göransson’s score will have to do. Jonathan Ross perceptively put it to Christopher Nolan in a recent interview that Göransson’s work is “kinetic and emotionally immediate”. And that’s what you feel when listening to his accompanying Odyssey score – so much so that you can feel as though you have experienced so much of the movie’s emotional heft without stepping foot inside your local cinema.
Nowhere is that more apparent than the track Troy. Again, I haven’t yet watched the movie itself, but if you know the story of the fall of Troy (or indeed, anything at all), you’ll probably be aware that the Greeks weren’t there to bring the Trojans a new houseplant and their recipe for a nice Victoria sponge.
What has struck me so fiercely about Troy is how Göransson plays with space and dimensionality. Haunting voices seem to shout from the far recesses of the composition, perhaps imitating the coded signals of the Greek warriors as they attempt ingress into that shining city, echoing eerily like the cursed calls of the dead.
Metallic clanks flit and scatter. Ominous gongs are struck with menace. Drums sound in the darkness as those eerie voices echo and wail above, building from an atonal, arrhythmic melange to a pounding, anxiety-ridden cacophony.
For now, Troy sounds like an absolute nightmare in all the best ways. Whatever’s happening on screen, I doubt it’s much of a picnic… for the Trojans, at least.
We've been waiting for a sequel to the outstanding Sony WH-CH720N noise-cancelling wireless headphones for some time, and it looks as though our prayers may finally be answered in the coming months.
According to an often-reliable inside source, thewalkman.blog, recent import filings have revealed that a new pair of headphones is set to replace the Sony WH-CH720N, and will be called the "Sony WH-CH730N".
The filing also reveals the new colours for the upcoming sequel, with 'Black', 'White', 'Pink', 'Blue' and 'Beige' all listed. That's broadly the same as the finishes found on the established WH-CH720N, with 'Beige' representing the only new addition.
We don't have many details regarding the headphones' hardware or specifications. It remains to be seen what drivers they will implement, which chipset they will use, or what their prospective battery life figures will be.
We've had no word on price either, but as the WH-CH720N launched at £99 / $129 / AU$259 back in 2023, we'd hope to see an RRP that didn't rise too much beyond that.
So when could we see these new wireless cans finally arrive? According to thewalkman.blog, the FCC confidentiality end date is on October 20th, so there's a good chance we could see the WH-CH730N arrive at around that time.
The WH-CH720N landed in March 2023, but as we're well beyond that point in 2026, it appears that Sony may be shooting for a release that's somewhere towards the final quarter of the year.
(Image credit: Sony )
For us, the sooner the better. The more we've had time to listen to and often live with the WH-CH720N, the more we've come to appreciate them as being some of the best sound-per-pound wireless headphones you can get. For sheer value, we're struggling to think of many that do so much for such a modest price.
The WH-CH720N are lauded Award-winners, but a few new features, such as on-head wear detection or support for Sony's higher-quality LDAC codec, would be lovely additions for when a sequel materialises.
Whatever the case, the WH-CH730N have big shoes to fill. We dubbed the WH-CH720N as "dependably made, enthusiastic-sounding headphones that...deliver good ANC and a strong feature set to the very affordable end of the wireless headphone market", so any prospective sequel will have its work cut out to improve on such a potent combination of performance and sheer value.
Can Sony manage it? We'll be keeping our ears to the ground for any further rumblings regarding the WH-CH730N, and will keep you updated as and when any new information comes to light.
MORE:
Don't need ANC? Read our review of the cheaper Sony WH-CH520
KEF touted its LS Luxe wireless active speaker system as its “most ambitious creation to date”, and it has certainly been a success in our test rooms.
Costing £3500 / $4000 / AU$6375, the LS Luxe is a more premium proposition than the established £2199 / $2999 / AU$4295 price of the LS50 Wireless II, but the clear step up in performance means that, to our ears, the LS Luxe justifies that considerable extra outlay.
Boasting a distinctively curved aesthetic designed in collaboration with artist Ross Lovegrove, the LS Luxe has ticked all of the right boxes, and gained five stars from us across the board for its excellent standard of construction, vast feature suite and refined, authoritative sound.
To explore the process that brought KEF’s latest creation into the world, delve deep into the technologies behind it, and discover what marks the Luxe out as distinct from its stablemates, we spoke to KEF’s Senior Vice President and Chief Technology Officer, Dr Jack Oclee-Brown, to shine a light on the five-star LS Luxe.
KEF’s journey to active speaker systems
(Image credit: What Hi-Fi?)
To understand how we arrived at this point, a brief history lesson is in order. After its founding in 1961, KEF’s first speaker was the K1, a three-way monitor with a polyester ‘Melinex’ dome, followed soon after by the original Celeste bookshelf unit and, in the 1970s, the legendary BBC LS3/5A studio monitors.
In the late 1980s, KEF released the C35 standmounter, the first of its speakers to use the now-iconic Uni-Q array, the same array (subsequently refined and amended over the years) that you will find at the heart of the LS Luxe.
More immediate heritage naturally stems from KEF’s recent success in producing full-blooded wireless stereo systems, starting in 2018 with the LS50 Wireless and refined a few years later with the Award-winning LS50 Wireless II.
Housing amplification, streaming and an extensive connectivity suite into a pair of speakers clearly came rather naturally to KEF since the launch of the LS50 Wireless, with later models, such as the LSX II and LSX II LT, garnering further plaudits.
KEF’s success at blending performance with streaming features and built-in amplification is established, and it’s the lessons taken from the successes of the brand’s active streaming speakers which have been instrumental in the development of the LS Luxe.
According to Dr Jack Oclee-Brown, “We’ve always had a strong belief in the technical advantages of active speakers. A key tenet of this is that active and passive loudspeakers shouldn’t necessarily have the same configurations of drivers or technologies.
As he explains, the development of KEF’s active and streaming-capable speakers requires bespoke technologies and design concepts: “We have an aggressive research plan that’s targeting technologies for active speakers. The algorithms are continually improved and are several generations more advanced than in our early active speakers. Our aim is to widen the performance difference between active and passive.”
So, why active wireless systems? It might seem like an odd question, but it’s a big part of KEF’s present and, most likely, its future.
Oclee-Brown explains that part of the reason is ease of use for the consumer. “Active systems are simpler; they don’t require the customer to have any prior experience of hi-fi and no other partnering equipment. The customer makes one purchase, and that’s all they need.
“I believe KEF appeals to hi-fi fans who are looking for cutting-edge performance and the very latest acoustic technology. There are many people who enjoy music and, at KEF, we are also trying to make products that will allow this audience to enjoy their music more deeply. This has been one of the driving factors behind KEF’s active streaming loudspeaker push over the past decade.”
There are advantages on the side of the manufacturer, too.
“From a technical perspective, active speakers have huge advantages, which allow us to make active speaker systems that can outperform a traditional hi-fi system of the same total price.
“It’s even more true today because we have spent the past ten years developing new acoustic technology specifically for active loudspeakers, such as ‘Uni-Core’ and ‘Velocity Control Technology’.” We’ll get to those in a moment.
A smooth operator
(Image credit: What Hi-Fi?)
It’s hard to talk about the LS Luxe and not mention the design. Before you have listened to a single note from KEF’s new system, you’re probably going to have strong feelings about its curved, almost egg-like speaker cabinets.
We keep our egg-based comparisons to ourselves when asking KEF about its choice to once again collaborate with Ross Lovegrove, the Welsh designer with whom KEF previously joined forces when developing its big-money Muon floorstanders.
According to KEF, the LS Luxe’s design is a blend of the functional, the luxurious and the natural. Says Oclee-Brown: “Ross’s style is very organic, and he uses a lot of shapes inspired by nature. For the LS Luxe, his was an excellent match and resulted in a form that works extremely well from a performance perspective.”
That last part is crucial, as the speakers’ design goes beyond mere looks. Those curved edges seek to improve performance by reducing build-up of standing waves within the cabinet, while durable ‘Bulk Moulded Compound’ (BMC) composite material reduces the need for excessive internal bracing, allowing for greater internal volume within the speakers to aid their low-frequency response.
Oclee-Brown gives us a more detailed explanation as to just how much difference the speakers’ rounded form makes. The smooth shape “reduces diffraction, where sound tends to scatter from sharp edges, and this gives much smoother on- and off-axis performance, leading to the impressive and three-dimensional soundstage.”
For KEF, those rounded exteriors are key to both the LS Luxe’s look and sound.
A Luxe for life
(Image credit: What Hi-Fi?)
While the LS Luxe has been a success in our test rooms, we are keen to hear how the team behind it perceive their latest creation.
In terms of prospective buyers, KEF believes “there is demand for a higher-performance stand-mount active wireless speaker that is a step up from LS50 Wireless II,” allowing for the introduction of technologies such as VECO and the implementation of that more distinctive design.
The LS Luxe is clearly billed as a step up from the LS50 Wireless II, but what’s interesting to hear is how KEF’s perception of the LS Luxe during its development marries closely to the resultant sound we experience in our listening rooms. We press Oclee-Brown to see if there is such a thing as ‘KEF’ sound, something which he describes as “wide-bandwidth, low colouration and evenly balanced”.
Admittedly, that matches up with what we have heard during our test time. We describe the LS Luxe as being “gratifyingly unfussy about placement” thanks to its “supremely well-integrated sound”. It’s a quality that tallies with KEF’s aim during development “to produce loudspeakers that work well in a wide range of rooms and with a wide range of music”.
Oclee-Brown expands upon that tuning philosophy further, explaining that a KEF speaker “can be listened to for long sessions without being fatiguing. All KEF products follow the same tuning philosophy, and as we develop new technologies or improve our facilities, the KEF sound evolves, but we still have the same overall target.”
We wonder if the tuning of this latest project in any way diverged from that established KEF philosophy, sensing a desire for evolution rather than revolution.
As KEF’s CTO further explains: “The specifics of each product, such as the size, shape, drivers, and technology package, do have an impact on the final tuning. However, we do try to remain faithful to our KEF tuning philosophy, and the outcome is that the sound signature is broadly consistent across the whole KEF speaker range.”
Again, that comes as little surprise. The LS Luxe may outshine the likes of the LSX II and the LS50 Wireless II, but the sound still exhibits the even, balanced, and refined signature of its more affordable antecedents.
The technical innovations behind the sound
(Image credit: What Hi-Fi?)
A lot has gone in to creating the LS Luxe, and we get a sense that after six years of research and development, there was a desire to push beyond the boundaries of what came before.
KEF has either integrated new technologies or refined its established designs to do so. The integration of its 12th-generation Uni-Q driver array is at the heart of each speaker; it is backed by KEF’s heralded Metamaterial Absorption Technology (MAT), which absorbs rearward sound from the back of the tweeter dome.
If you’ve already read our review, you might have noticed that each speaker draws on two distinct types of amplification. With our nerdy engineer’s hat on, we probe for an answer as to why:
“One of the huge advantages of an active speaker is that there is one dedicated amplifier for each driver. We use a Class D amplifier for the low-frequency driver, which means we can have high power and high efficiency.
“For the high-frequency driver, we are using a class-A/B amplifier, which avoids switching artefacts and gives a very wide bandwidth. In both cases, the amplifiers are highly customised to the driver they are connected to.”
Notably, this is also the first speaker or speaker system to feature KEF’s ‘Velocity Control Technology’, as seen in the brand’s five-star XIO soundbar. ‘VECO’ measures the speed of the cone movement, compensating for any differences between that and the expected value in real time to reduce distortion levels.
The implementation makes sense. With KEF touting its new system as a simple, easy-to-use solution that can handle the demands of a separates hi-fi system while filling up a listening room, the Luxe needs to be able to handle the sonic demands placed upon its rounded shoulders.
As Dr Oclee-Brown explains, Veco technology has “the dual target of increasing bass output from small speakers, or reducing distortion in conventionally sized speakers such as the LS Luxe.
“In addition, it allows us to use current-output amplifiers, which also give a significant midrange distortion reduction and eliminate power compression.”
We get a feel for that ability in our test rooms. As we say in our review, “the scale and authority showcased belie the Luxe’s compact form, serving up a rendition of Hans Zimmer's Why Do We Fall? that soars… with power, scope and grandeur.”
Integrated systems, be they active, wireless stereo systems or all-in-one units, are becoming ever more popular at a time when modern music fans are increasingly seeking a blend of performance, convenience and ease of use.
The LS Luxe feels like the culmination of KEF’s desire to “appeal to hi-fi fans who are looking for cutting-edge performance and the very latest acoustic technology” in a more user-friendly design.
And we think it might have a hit on its hands. The LS Luxe is undoubtedly pricey, but from what we have heard, it’s an impressively strong alternative to an equivalent separates hi-fi system that could quite easily cost a good deal more.
The LS Luxe is the latest active wireless speaker system to emerge from KEF’s hi-fi oven. And, from what we have heard from our testing, it’s undoubtedly one of the finest.
KEF had previously laid down a benchmark with the outstanding LS50 Wireless II in the early 2020s. The Luxe builds upon that Award-winning legacy in some style. For us, it’s five stars all around.
That is provided you get the best out of the LS Luxe, of course. This is an outstanding system with serious ability, and while KEF’s latest is capable of putting up with less-than ideal sources, stands and situations, you’ll want to pamper it as much as possible if you want to see just how stellar your five-star system can be.
With that in mind, this is how you coax the maximum performance from the mighty KEF LS Luxe.
Get a pair of S-Luxe speaker stands
(Image credit: What Hi-Fi?)
The £3500 / $4000 / AU$6375 asking price for the LS Luxe is not mere pocket change, so we understand that would-be buyers might be put off at the prospect of having to part with a further £800 / $800 for a pair of dedicated S-Luxe stands. The LS Luxe is an unfussy, fairly forgiving wireless speaker system, so surely your own stands will do?
To some extent, they will. We spent a good chunk of time listening to the Luxe sitting atop our own Custom Design FS104 Signature stands, and there is no question that the resultant performance remained an enjoyable one. This is a talented system, after all.
Clarity, punch, dynamism and control remained in ample supply, and we don’t doubt that we could quite happily have lived with the Luxe perched upon our in-house plinths.
The thing is, KEF’s latest system is so good, you’ll want to get the best out of it. To do that, you’ll want the S-Luxe stands. £800 / $800 is not a small sum, but the dedicated plinths allow the Luxe to soar to new heights across practically every area of sonic performance, all while matching the speakers’ aesthetics and providing stability by screwing into each cabinet’s base.
Yes, you could put standard petrol in a Ferrari, but it’s a Ferrari. It needs premium, dude. Premium!
Use the app to fine-tune your listening
(Image credit: What Hi-Fi?)
For getting the most out of your shiny new KEF system, you will need to download the accompanying KEF Connect app.
Naturally, this is the place from which you’ll find the streaming services you want, do a bit of EQ tinkering and check your general settings. But the depth of tweakery on offer allows you to really get into the nitty-gritty of optimising your system’s performance.
For a start, we’d strongly urge you to check out the app’s calibration settings.
KEF’s ‘Room EQ’ digital signal processing helps you fine-tune your sound to your listening space. It’s worth spending a bit of time with the app’s calibration parameters, wherein you can adjust your Luxe’s sonic output depending on factors such as room size, the distance you have placed your speakers from your wall, and how damped your listening space is.
You can also choose the level of depth you want to go into when tinkering with your settings, with a ‘Basic’ mode for more casual changes sitting alongside an ‘Expert’ mode for listeners who want to dig into the minutiae of their experience.
Either way, you should notice a big difference.
Use the interconnect cable
(Image credit: What Hi-Fi?)
We know it’s not particularly attractive to look at, but if you want to get the best sound from the LS Luxe, the provided interconnect cable is a must.
The Luxe is capable of accepting PCM files up to 24-bit/384kHz, but if you are using a wireless connection between your speakers, this is downsampled to 24-bit/96kHz. Connecting the master and slave speakers using the included cable, however, pushes playback up to 24-bit/192kHz.
It’s totally worth it in our book. Wires have always been a more efficient means of transmission than wireless methods, and the sonic dividends you’ll reap from having that interconnect are significant. Everything sounds crisper, cleaner and more defined, with more punch and authority than a wireless connection can provide.
And the cable is literally included in the box. Aesthetics aside, you’ve got nothing to lose. And, if you also end up picking up a pair of S-Luxe plinths, they are designed so that you can hide your cables away at the rear of each stand.
Get the right look for your space
(Image credit: What Hi-Fi?)
This isn’t a design that will suit everyone.
The speakers themselves, designed by Ross Lovegrove, continue the distinctive aesthetic language of Lovegrove’s previous collaborations, with smooth, edgeless cabinets that have elicited mixed responses in our offices. Some of us like their looks; others are less keen; some have found that the aesthetic has grown on them over time.
The point is, the LS Luxe is designed to be an artistic statement, as well as a musical one. With that in mind, you’ll want to make sure that the speakers will fit in with your listening space. You could find that they stick out like a sore thumb if you try to place them in your panelled reading room or Victorian boudoir. Whatever a boudoir is.
Our advice? Find a physical retailer and go to see the LS Luxe for yourself. Partly to figure out if the design will fit with your space, partly because you may be able to hear them for yourself, and partly because you’ll be able to appreciate the different finishes on offer.
From what we have seen, the shiny, luxurious texture of our silvery ‘Dusk Titanium’ test sample is very different from the matte finish of the ‘Mineral White’ option or the rather foreboding visage of the ‘Eclipse Black’ colourway.
These things make a big difference, especially as this is going to be a purchase that you may well be planning to keep for years or even decades.
Experiment with positioning
(Image credit: What Hi-Fi)
Thanks in part to its signature Uni-Q driver array, the LS Luxe is impressively unfussy about placement. The Uni-Q array has always been a winner when it comes to producing a supremely well-integrated, consistent sound that times brilliantly – and with the LS Luxe, it's the same old story.
Naturally, we experimented with positioning when testing KEF’s latest; and you should too.
Not all listening spaces are born equal, however, and while we found that our test sample performed around its best with the speakers firing straight ahead on their dedicated stands sitting roughly 30cm from the back wall of our smaller 3m x 4m x 7m listening room, that won’t be the case for everyone.
It’s always worth seeing what works for you in your listening room to optimise the performance you receive, even with a system as unfussy as this one. Moving a little closer or further to or from your back wall will affect the resultant bass output, while you might find that you prefer the way the speakers sound when they are angled slightly towards you.
We advise you not to use the Luxe on a desktop unless you really have to. The speakers will perform admirably when plonked on a desk or table, but you’re simply not going to get close to revealing the limits of their considerable abilities.
KEF is to active speaker systems what Spain is to international football at the moment.
From the Award-winning LSX II active wireless stereo system to the Bluetooth-ready Coda W active standmounts, the brand’s blending of features and performance is where KEF has really shone over the past few years.
Acting as a step-up from the fiercely talented (and multiple Award-winning) LS50 Wireless II, the new KEF LS Luxe once again integrates amplification and streaming into a compact stereo system, incorporating all of KEF’s know-how into what is a decidedly more premium standmount package than the company has made before.
At £3500 / $4000 / AU$6375, we’re moving into more high-end territory compared with the £2199 / $2999 / AU$4295 LS50 Wireless II, with KEF claiming that the LS Luxe is the result of six years of research and development. Given how well the product performs, that time has been extremely well spent.
Build & design
(Image credit: What Hi-Fi?)
“A presence designed to hold the room before a single note is played.”
That’s how KEF has described the LS Luxe’s looks, and while subjective tastes are likely to dictate exactly how you feel about the cabinets’ distinctive styling, there’s no question that the speakers themselves are capable of drawing the eye before they even have a chance to grab you by the ears.
The cabinet exteriors have been designed in collaboration with Ross Lovegrove, the Welsh designer with whom KEF previously joined forces when crafting the mighty Muon floorstanders, the portable Muo Bluetooth speaker, and the distinctive Mu headphones/earbuds range.
The LS Luxe very much continues the distinctive design language of Lovegrove’s previous collaborations, typified by their rounded, edgeless cabinets which, when sporting their ‘Dusk Titanium’ finish, positively gleam thanks to their luxuriously polished exteriors. That pebble-like speaker design will not be for everyone, and it may depend on which of the three finishes – Eclipse Black, Dusk Titanium or Mineral White – you choose.
Finishes x 3 (Eclipse Black, Dusk Titanium, Mineral White)
What’s less up for debate is the tangible high quality of the speakers’ construction.
Pick up each speaker and you’ll feel how weighty and substantial they are, with everything about the LS Luxe – from the finish of their curved shells to the seamless integration of the driver array and front baffle – speaking of a product constructed with genuine care.
That design isn’t just for show, either. That curved form aims to improve performance by reducing the build-up of internal standing waves within the cabinet, whereas the use of durable ‘Bulk Moulding Compound’ (BMC) composite material reduces the need for excessive internal bracing, allowing for greater internal volume within the speakers to aid their low-frequency performance.
Turn the speakers around and you’ll see an equally distinctively designed aluminium heatsink, which is crafted to provide a greater surface area to more efficiently dissipate heat generated by the active electronics within. A flared reflex port also sits at the rear of each unit, designed using KEF’s ‘Flexible Port Technology’ where the port’s walls use a flexible material to reduce internal resonances.
At the heart of each speaker is KEF’s 12th-generation Uni-Q driver array, where the tweeter sits in the middle of the mid/bass unit in pursuit of more even sonic dispersion, better integration and improved time alignment. KEF’s now-familiar Metamaterial Absorption Technology (MAT), which absorbs rearward sound from the back of the tweeter dome, is also incorporated in pursuit of a cleaner, purer sound.
In terms of power, 280 watts of Class D amplification are directed to powering the mid/bass unit, while 100 watts of Class A/B amplification drives the tweeter.
(Image credit: What Hi-Fi?)
That Uni-Q driver assembly is mechanically decoupled from the cabinet to reduce panel vibrations. Incorporated within the driver assembly is a decoupling chassis that damps the vibrations of the motor system, preventing them from feeding into the cabinet panels. The aim is to improve clarity and reduce distortion.
KEF has included a suitably premium-feeling remote control with the LS Luxe, as well as a speaker interconnect cable to optimise performance and an HDMI cable for use with your TV or home cinema set-up. Two power cables are also included, with both speakers requiring mains power – something to bear in mind when setting up your system.
What you don’t get included in the LS Luxe’s standard sale price are dedicated stands. If you want to get hold of a pair, KEF sells a set of S-Luxe stands for £800 / $800 / AU$1230 which you’ll have to put together yourself and screw into the base of each speaker.
That’s a considerable outlay on top of an already premium purchase, but our testing found that these stands help to optimise performance, secure the speakers in place and, thanks to their complementary aesthetic, and help them look their best. In other words, we feel that these stands would be money well spent.
Features
(Image credit: What Hi-Fi?)
The KEF LS Luxe offers a suitably well-stocked connectivity suite to go with the system’s premium outlay.
KEF has been generous with the array of physical connectivity options on offer. Around the back of the primary speaker unit, you’ll find HDMI eARC, 3.5mm analogue, optical and coaxial inputs, while each of the two speakers has a dedicated output for adding a single subwoofer or a pair if necessary.
On the streaming side, the system uses KEF’s W2 Wireless Platform, which we’ve already experienced in the brand’s established LS wireless range. This grants access to popular streaming services such as Tidal Connect, Spotify Connect, Qobuz Connect and Deezer, along with internet radio.
There’s also the further convenience of AirPlay 2, Google Chromecast and Bluetooth 5.3, while UPnP compatibility means you can stream hi-res music from a connected external NAS drive. Roon Ready support is slated to arrive in 2027.
Hi-res file support depends on how you choose to set up and listen, with KEF’s new system capable of handling PCM files up to 24-bit/384kHz alongside DSD128. If you’re using a wireless connection between your speakers, those higher resolution files are internally downsampled to 24-bit/96kHz, whereas connecting the master and slave speakers using the included interconnect cable pushes playback up to 24-bit/192kHz.
Further technologies seek to enhance the LS Luxe’s performance beyond mere hardware. This is the first speaker product to feature KEF’s ‘Velocity Control Technology’, as seen in the brand’s five-star XIO soundbar, where the speed of cone movement is measured, and any differences between that and the expected value are compensated for in real time. The result is lower distortion levels.
(Image credit: What Hi-Fi?)
Additionally, a proprietary ‘Music Integrity Engine’ tech uses digital signal processing algorithms to maintain accuracy and tonality no matter the volume at which the LS Luxe is played.
For getting the most out of your shiny new set-up, you’ll want to download the comprehensive and easy-to-use KEF Connect app, from which you’ll be able to control and set up your speakers. You can tweak the sound yourself using a customisable equaliser, while KEF’s ‘Room EQ’ digital signal processing helps you fine-tune your sound to your listening space.
It’s worth spending a bit of time with the app’s calibration settings, as, while the LS Luxe isn’t a prima donna in terms of positioning, you’ll certainly notice a difference when you tinker with the app’s various parameters, such as room size, the distance you’ve placed your speakers from your wall, and how damped your listening space is.
Sound
(Image credit: What Hi-Fi?)
We decide to give our review sample the best chance possible to showcase its talents by screwing each speaker tightly to their dedicated S-Luxe stands, using the provided inter-speaker cable for the highest transmission rate possible (24-bit/192kHz), and kicking off with some hi-res wireless streaming via Tidal.
Naturally, we experiment with positioning, and find that they perform best with the speakers firing straight ahead and sitting roughly 30cm from the back wall of our 3m x 4m x 7m listening room.
Thanks in part to that updated Uni-Q driver array, the LS Luxe is gratifyingly unfussy about placement, producing a supremely well-integrated sound that remains consistent no matter our listening position.
What we discover is a wireless system with poise, control and, dare we say it, genuine grace. Like a fine wine or one of those acclaimed French arthouse movies, the KEF LS Luxe needs a little time for its true spectrum of talents to be appreciated.
The LS Luxe does not reach out and grab us by our lapels; instead, it reproduces our music with an even-handed, mature yet authoritative nature that slowly but inevitably places us under its bewitching spell.
This is a sonic signature we’ve heard before, from the more affordable LSX II and LSX II LT stereo systems and the established LS50 Wireless II. But the Luxe piles on extra helpings of detail and precision to that confident, articulate presentation we’ve experienced from KEF in recent years.
Listen to Massive Attack’s Atlas Air, and you’ll get a clear indication that for clarity, textural detail and overall scale, the LS Luxe is considerably ahead of the LS50 Wireless II, anchored by a taut, authoritative bass reproduction that sinks low without sagging like a bulldog’s floppy jowls.
(Image credit: What Hi-Fi?)
While what we’re dealing with is a standmount speaker system, the scale and authority showcased belie the Luxe’s compact form. We load up Hans Zimmer’s Why Do We Fall? from the Dark Knight Rises soundtrack,and our reward is a rendition that soars with so much power, scope and grandeur that it’s hard to resist the urge to don our cape and cowl and go out looking for bad guys to bring to justice.
Punch and panache live side by side, with the LS Luxe knitting music together so expertly that even truly demanding tracks can’t catch it napping. Whether it's the gale-force hurricane of Slipknot’s Before I Forget, the magisterial grandeur of Tchaikovsky’s 1812 Overture or the carefully curated strangeness of Yosi Horiko’s Bubbles, the Luxe barely breaks a sweat.
Interlocking rhythms are expressive and nimble, while dynamic ebbs and flows are communicated confidently without sounding artificial or overdone.
We use our Cyrus CDi player connected to the optical input to test the internal DAC, and again, that core character is firmly intact as we spin Jeff Buckley’s Grace, and the LS Luxe excels at revealing the intimacy, delicacy and emotion of the seminal record. We also connect the Luxe to the Cyrus using a 3.5mm to RCA adapter cable, and we continue to receive a high standard of performance.
While most of our listening is done using the S-Luxe stands, we also place the speakers on our tried-and-tested FS104 Signature plinths, and while the performance remains impressive, it isn’t as crisp and dynamic. The speakers themselves are just about compact enough to be placed on a desk, but at this premium price, they’re best suited to being listened to on stands.
Switching to Bluetooth will also result in an inevitable drop-off in clarity and precision, but the LS Luxe still retains its even, mature nature when playing through this less-than-ideal streaming medium. They do their best to shine, but it’s clear that we’re placing a limit on the system’s considerable abilities.
Verdict
(Image credit: What Hi-Fi?)
The LS Luxe feels like another milestone in KEF’s recent history of providing outstanding wireless stereo speaker systems.
Yes, it’s a good deal more expensive than the LS50 Wireless II, and no, that distinctive curved design won’t be for everyone – but in terms of performance, this is a mightily impressive addition to KEF’s catalogue.
If you’re willing to pay that premium price – and fork out a bit extra for some dedicated stands to get the best out of them – then slick performance and outstanding sound will be your reward.
From the start of 2028, all games are set to be digital-only, available either as part of the library of content included across PlayStation’s various membership tiers, or to download and keep digitally via redeemable codes or the online PlayStation Store.
The announcement has not been well received. My dear colleague Lewis Empson reacted to the news at the time, bemoaning the fact that this move away from the good old-fashioned disc represented another nail in the coffin for physical media as a whole.
Not for the first time, it looks as though Lewis is absolutely right.
More nail than coffin at this point
(Image credit: Future)
The implications, as Lewis has already touched upon, are profound. The abandonment of physical discs probably means that forthcoming consoles will no longer house a disc slot. So anyone who currently uses their PlayStation to play Blu-rays, for example, would no longer be able to do so on newer consoles.
Lewis also touched on the death of the joy that the humble disc brings. As he wrote at the time: “You can forget lending a game to your friend, or selling it on when you have finished playing it. Likewise, those who prefer to buy games on the second-hand market to save money will be out of luck from 2028 onwards.”
And that, my fellow sufferers, is the crux of why I too am bemoaning the sad, unceremonious death of games in their physical form. It’s only PlayStation for now, but who knows what Microsoft has planned for Xbox? The signs aren’t positive, that’s all I will say.
As someone who has been gaming since the late ’90s, the death of the disc represents the end of an era. From slotting a copy of Age of Empires II into my parents’ creaking Dell desktop to having endless iterations of FIFA put my temperamental Xbox 360 into near-meltdown, those shiny circles have stored more than mere data. For me, they house tangible, precious memories.
This is the real tragedy which the demise of Sony’s physical production is helping to precipitate. I wrote a while back about the joys of tangible media in an audio and hi-fi context, getting all doey-eyed about the joyous ritual inherent in unpacking your favourite vinyl records or even giving a shiny CD a cheeky spin.
As I wrote at the time, so much of the appeal of owning a turntable or CD player “comes from their physical aspects, be that interacting with the product themselves or the ownership of a collection of CDs or records to play on them.
“As CDs hold strong and vinyl sales continue to soar in an age of digital streaming, those aspects of use have clearly become more important than ever with users for whom poking a smartphone to load up Spotify isn’t scratching a very particular itch.”
Replace ‘CDs’ with ‘physical games’ and ‘Spotify’ with ‘the PlayStation Store’ and the point is just the same.
What sort of collections will any of us have now? Even if you will still be able to download games individually and enjoy full ownership – in contrast to the subscription, Netflix-inspired model the games industry keeps so desperately trying to implement – it’s simply not the same as owning an actual, real-world collection.
You can’t line your office’s shelves with digital copies of all your favourite titles. You can’t enjoy the infinite pleasure of taking the thin layer of cellophane off of a copy of, say, Assassin’s Creed: Black Flag. You won’t be able to get deluxe physical copies anymore, which often come with real-world goodies such as maps, collectables and exclusive artwork. Maybe they’ll just flog those to us separately – for an inflated fee, of course.
You can’t even sit back and wallow in the soulless raft of digital copies saved to your console in the same way that you might admire the perfectly ordered racks adorning the wall of your musty man cave.
The thing is, I have spent time building up my games collection, in the same way that I’ve spent time building my small arsenal of CDs, DVDs and vinyl. Okay, I have only two vinyl records, one of which was a gift, but that’s part of the collector’s journey. It took time to accumulate all of my precious games, from formative PC classics such as Rome: Total War through to my roster of Xbox 360 releases and my PS4 and PS5 titles. All for nought.
Housed on its own carefully ordered shelving unit, that entire collection isn’t just a bunch of games shoved unceremoniously into a metaphorical pile. It’s a part – in a small, silly way – of my history. It’s my own personal gaming journey, and now it seems as though that journey is coming to an end.
The game’s afoot
(Image credit: What Hi-Fi?)
The injustice doesn’t stop there. As if this all weren’t bad enough, the pleasure of tangible ownership isn’t the only real-world delight we gamers are now set to lose out on.
Can I be honest with you? I like second-hand stores.
No, they’re not the grooviest spots on God’s green Earth – most have a customer base with an average age somewhere in the 80s and many smell like damp cardboard mixed with Werther’s Originals – but they’re still great places.
If it’s a full-blown charity shop, you get the obvious benefit of helping out worthy causes. Even if they’re not charity-focused, you still have the lovely environmental bonus of reducing the need for further first-hand manufacturing, whether you’re selling or buying. Most importantly, they are often extremely cheap.
In a time when it seems that all the games industry wants to do is take your money, be it through skyrocketing base game prices, ludicrously exploitative microtransactions and even more ludicrously exploitative ‘loot packs’ – essentially a form of legalised gambling often aimed at children and teenagers – it’s nice to level the playing field with a bit of bargain-bin hunting.
Why, for example, would you pay at least £60 for a day-of release when you could wait a while and get the same game for less than half price?
Admittedly, there are certain games that you want to get hold of straight out of the gate – I can’t imagine many are going to wait more than an extra second for GTA VI – but the easiest way to save a monumental chunk of cash is simply to wait a few months and get a second-hand copy.
If you really want to find the best bargains, then pre-owned physical editions are always the way to go. PlayStation (and Xbox, as far as I know) will often offer big digital deals on titles that aren’t doing so well; but those tend to be seasonal and, more importantly, there’s generally a cap on by how much they will be reduced.
There’s no actual stock that needs shifting, so there is less incentive to drop to ridiculous depths, unless the game in question is unspeakably dreadful. (If you see Babylon’s Fall or Forespoken on a 65 per cent discount, just walk away.)
With proper material games, though, you can get some truly mammoth savings. Thanks to charity stores, second-hand retailers such as CEX, and online marketplaces such as Vinted or eBay, you can pick up some awesome bargains for mere pennies. I managed to find an old copy of Far Cry 4 for about £2 the other day, and a PS5 version of Marvel’s Spider-Man: Miles Morales for less than a tenner.
That’s the joy of the used market. Much like going to old vinyl stores, car boot sales or charity shops for unearthed vinyl gems, snooping around for a gaming bargain holds similar scope for unearthing a diamond deal. You have to put the work in and do some digging, but that’s a huge part of the fun. Who knows? You might dig out a Classic Edition of The Orange Box for 50p. Ah, heaven.
Or, of course, you could just borrow games from one of your mates, and lend them something of yours in return. I think one of my pals still has my copy of Assassin’s Creed: Odyssey somewhere. He’s welcome to keep it, to be honest – I’m much more of a Black Flag and AC: II kind of a guy.
Lending doesn’t make as much money for the games industry as everyone buying their own distinct, non-transferable digital copy, though, does it? Makes you think…
Sony’s decision to cull all forms of physical release seems utterly at odds with the wants and needs of its current consumer base.
At a time when both established consumers and younger audiences are discovering, or indeed rediscovering, the joys of physical media and tangible content ownership, Sony/PlayStation has decided to turn its back on this clear desire in favour, one suspects, of tying people further into the models of consumption which suit its needs, rather than those of the end consumer.
In an age when the experience of streaming and purely digital consumption can feel impersonal and even soulless, buyers want something they can discover, interact with, enjoy, collect and own with pride.
Just like listening to music or watching movies, gaming is a pastime that goes far beyond the playing of the actual game. Maybe Sony needs to be reminded of that fact.
In case you missed them, the over-ear Beyerdynamic DT 990 Pro X were some of the best mid-range wired headphones we tested last year. We liked them so much, in fact, that we bestowed upon them a coveted What Hi-Fi? Award for their troubles.
Now, Beyerdynamic is bringing its considerable wired expertise to a more affordable end of the market with its new on-ears, the DT 275 Pro.
Conceived as a compact monitoring pair aimed at engineers, mixers, creators and DJs, the new cans house a set of 40mm dynamic drivers, combining "neutral sound tuning and long-wearing comfort" with a "lightweight, travel-friendly design".
Weighing in at 200g, the new on-ear cans feature faux leather ear pads and a flexible headband for improved comfort, even during extended wear. All of the cushion components can be replaced, too, meaning you won't have to part ways with your headphones as soon as they start to show signs of wear and tear.
(Image credit: Beyerdynamic)
While they don't feature active noise cancelling, the DT 275 Pro have been designed to offer "outstanding passive noise isolation" for professionals working in noisy studio environments.
According to Martin Stahl, director of Beyerdynamic's 'Pro' division: “The most common and costly mistakes happen when critical audio decisions have to be made in loud environments. The DT 275 Pro were designed to give creators and audio professionals the confidence to make critical monitoring decisions wherever their work takes them.”
Each pair of DT 275 Pro on-ears comes with a 1.5m locking cable with a 3.5mm jack, a 6.35mm adapter, and a drawstring carrying bag.
The DT 275 Pro are available for £99 / $150 / € 119.
We are more than half-way through the year, so it seems like a good time to take a step back, survey the sonic landscape at our backs and take stock of what we’ve heard during 2026.
More specifically, which headphones we have had the privilege and often pleasure of hearing throughout the year. As somebody who works on the audio side of the great hi-fi/AV divide, I spend a lot of my time listening to headphones and earbuds, thanks in part to the fact that so many brands are desperately trying to make this massive market their own.
Whether it has been for reviews, comparisons or my own personal interest, these have been the headphones that have impressed – and occasionally frustrated – me over the past seven months.
A hero’s return: the Sennheiser Momentum 5 Wireless
Where they excel
Wonderfully rich, smooth and undemanding sound
Chic, attractive design
Very healthy feature set
Where they struggle
Alternatives are more fun-focused
Don’t fold away
(Image credit: What Hi-Fi?)
At last, the Momentum Wireless have returned. The fifth iteration of Sennheiser’s heralded Momentum over-ear line has been a long time coming, so when they arrived earlier this year, expectations were high.
Happily, Sennheiser has managed to deliver the goods. The Momentum 5 Wireless are excellent premium over-ears, acting as a timely reminder to the likes of Sony, Bose and Apple that Sennheiser is still here, and, crucially, still up for the fight.
They are a little different to their competitors, especially in the sound department, prioritising a rich, smooth and refined presentation that can take a little while to warm up to. Once you click with them, though, you’ll find this to be a deeply rewarding pair of over-ears, especially if you like the sort of expressive, detailed midrange the premium Sennheisers so effortlessly exhibit. Oh, that midrange…
The earcups could feel a little more luxurious, the noise-cancelling isn’t Bose-beating, and having them fold away completely would be nice, but this is a five-star return for a brand that was just slightly in danger of being forgotten by the mainstream market.
Rivals, take heed: Sennheiser is back, and it means business.
The sonic standounts: Sennheiser HDB 630
Where they excel
Unbelievably refined, detailed sound
That aptX dongle is a gamechanger
Comfortable, plush design
Where they struggle
Pretty boring to look at
Some might find them a bit bulky
Not cheap
(Image credit: What Hi-Fi?)
Technically, technically, we reviewed the Sennheiser HDB 630 last year; but the supremely gifted premium headphones only landed on my desk in 2026, so I think I’m still on relatively firm ground when I say that they are, unequivocally, the best wireless headphones I’ve heard this year.
Scratch that: they might be some of the best wireless cans I have ever heard, full stop. They might not look particularly special, but the sound they produce certainly is.
£400 / $500 / AU$1000 isn’t pocket change, I grant you, but our entire test team is rarely so effusive when it comes to heaping praise upon a product. From top to bottom, we are huge admirers of the HDB 630 – and if you hear them for yourselves, you’ll understand exactly why.
They are fun, dynamically adept and musically expressive – all ingredients that make listening to any set of over-ears a joy – but it’s the amount of textural detail and sonic precision the HDB 630 exhibit that really leaves us feeling bowled over. These are headphones that make the masterful Sony WH-1000XM6 sound almost vague and a bit slipshod by comparison, and that’s really saying something.
Part of that signature comes from Sennheiser’s clever BTD 700 USB-C dongle that you plug into your device’s USB-C port to give it aptX Adaptive powers. This means that any source device, including your iPhone, gains hi-res streaming up to 24bit/96kHz, even if it wouldn’t natively support it. Really clever stuff.
Add in 60 hours of battery life, very solid noise cancelling and a luxurious fit, and the HDB 630 are 2026’s headphones to beat.
The tricky second album: Apple AirPods Max 2
Where they excel
These are the best AirPods Max yet
A lovely blend of style and performance
Integration with iOS is a huge bonus for Apple fans
Where they struggle
Haven’t quite kept up with the competition
If you’re not an iOS user, forget it
(Image credit: What Hi-Fi?)
I didn’t end up testing the Apple AirPods Max 2, but I did spend a good deal of time listening to them when making comparisons with the likes of the Sony 1000X The Collexion (below) and similar premium contenders.
And you know what? They’re pretty good. The AirPods Max 2 give you that familiar Apple signature which blends smoothness and refinement with a crisp, sparkling treble that lovers of the original Max will recognise, all boosted by better punch, dynamics and precision than their predecessors.
They are also incredibly easy to use if you have an iPhone, thanks to their native integration within the iOS ecosystem, and they still have that look and feel of a premium product that you would be proud to own. We can see why the Max continue to enjoy such a stellar cultural cachet – they just look the business.
They’re not perfect, admittedly. The Max 2 are better than the originals, but they have fallen behind more recent rivals for dynamic punch, rhythmic precision and overall insight. Plus, we just cannot abide that ridiculous carry case, and rather wish that the battery life had been boosted a bit beyond 20 hours. The Sony WH-1000XM6 give you 30 hours, after all.
The thing is, the AirPods Max 2 feel like six of one and half a dozen of the other. They are certainly some of the best headphones, in objective terms, ever made by Apple, a brand that has only relatively recently started to trouble the class leaders when it comes to pure sonic performance.
On the other hand, the Max 2 had a chance to close the gap on their rivals. Instead, it feels as though that chasm has widened a little. For their failure to properly keep up with the pack, some might see this as a missed opportunity for Apple.
The in-ear kings: Sony WF-1000XM6
Where they excel
Sound is class leading
These are the most detailed and refined WF-1000 earbuds yet
So many high-performance features
Where they struggle
That fit is not for everyone
Nor is the new rectangular aesthetic
(Image credit: What Hi-Fi? )
I have such a complicated relationship with the Sony WF-1000XM5 and, now that there’s a sequel, it is carried over to the Sony WF-1000XM6.
On the one hand, I really like them. I love how detailed, refined and musical Sony’s flagship buds are. I admire that Sony continues to push the sonic boundaries for its flag-bearing buds, and that it seems to improve their capabilities with every passing generation, both in terms of sonic performance and accompanying features.
The WF-1000XM6 are, in so many ways, the apex of what Sony can do from a form such as this, with a sound so textured and rich it practically glitters inside your ears.
My problem remains that fit. I couldn’t get the WF-1000XM5 to stay inside my ear holes, and I can’t get the WF-1000XM6 to do so either. Sony revamped the design of its sixth-gen buds, offering up a new charging case and dropping the teardrop design of the older model in favour of a more rectangular, boxy configuration; but it kept on with its memory-foam eartips.
It might be a personal thing, but I just cannot get them to stay put, especially if I’m walking, gymming or, heaven forbid, going for a run.
If you can get them to fit, breathtaking sound will be your reward.
The missed opportunity: Sony 1000X The Collexion
Where they excel
Class-leading clarity, precision and detail
That lovely spacious soundstage
Excellent ANC and voice calls
Where they struggle
Punch and dynamics are beatable
Can’t justify their price rise over the Sony WH-1000XM6
Exterior is prone to marks
(Image credit: What Hi-Fi?)
Ah, what could have been.
Sony billed its super-premium wireless over-ears as being “the best-sounding headphones it had ever made” when it lifted the lid on the 1000X The Collexion (£550 / $650 / AU$900) earlier this year. While there's an extent to which we agree with that statement, there’s also a lot we find hard to endorse fully.
These are some of Sony’s clearest and most spacious-sounding cans – we’ll give The Collexion that. I spent weeks with the premium headphones clamped over my ears, and their clarity, textural refinement and cinematic soundscape impressed me every single time I booted them up for a listen.
For that clean, open ‘hi-fi’ sound, these really are among Sony’s finest, and that’s before even mentioning their admirable noise cancelling and excellent voice calls.
Across all parameters, though, are these Sony’s best-ever wireless headphones? I’m not so sure.
When you can get the Award-winning Sony WH-1000XM6 for less money (£400 / $450 / AU$699), and get a good deal more punch, dynamism and rhythmic spark thrown into the bargain, not to mention a similar battery life and better noise cancelling, it becomes hard to see exactly how to justify buying the more costly Collexion cans.
For the What Hi-Fi? team, The Collexion are a great concept, but we can’t quite square the execution with the elevated price tag. Like England at every major international tournament, we are left wondering what could have been.
There are so many video streaming services available at the moment that it’s becoming increasingly hard to keep track.
You’ve got your established big-hitters such as Netflix, Disney Plus and Amazon Prime Video dominating the crowded streaming-sphere, while recent years have seen plucky upstarts in the shape of Apple TV and Paramount Plus trying to muscle in on the action.
Then there are the more obscure or niche players, such as animation-focused Crunchyroll, free service Tubi and reality-heavy Peacock all picking up viewers where they can. Even ITV has its own platform, ITVX, which costs a not-insubstantial £6 a month if you want the Premium version. That's the price you pay to watch Love Island ad-free, I suppose.
Thank goodness music streaming doesn’t work in the same way. Imagine having to subscribe to Tidal to get all of your favourite hits from the 1960s, only to discover that The Beatles have signed an exclusive deal with Apple Music. Now that’s a dystopian future.
Content and choice abound like never before, so surely there’s no more space for another player in a market more crowded than a tin of salty sardines? Surely we’ve got enough streaming services to last a lifetime?
Why HBO Max?
Incorrect.
There’s still space in the tin for at least one more oily fish (metaphorically speaking), and it comes in the form of HBO Max, the dedicated platform of the feted network that, in many ways, carved the way for the prestige television boom of the late 1990s and early 2000s.
HBO Max arrived in the US back in 2020, but only landed on UK shores earlier this year, and the new service's accompanying sales pitch was hard to resist.
Despite my many failings, I’m not, in my own mind at least, an insatiable streaming fiend. I subscribe to the cheapest tier of Disney Plus (sorry, picture quality fans) and have Amazon Prime Video on hand as part of my overall Prime subscription.
I’ve dabbled with Netflix and a free trial of Paramount Plus, but in truth, I spend more time gaming or, say it quietly, in the great outdoors than I do bingeing quality content. I only really got Disney Plus for The Simpsons, and it was worth every penny.
Yet even with my relative streaming ambivalence and the clear saturation of a bursting market, the arrival of HBO Max couldn’t help but pique my interest. This is the network that gave the world The Sopranos, The Wire and Deadwood, alongside countless other prestige shows that have essentially helped to define the Western cultural landscape over the past 30 or so years.
The arrival in the UK of a dedicated platform for said shows, plus quite a lot more, is a big deal. I had to see what was what.
First impressions
(Image credit: What Hi-Fi?)
Before you dive into the world of the Home Box Office, you’ll need to decide on which version of the service you’ll want to subscribe to.
As is the case with most major players these days, you’ve got a slightly bewildering array of tiers from which to choose, from a bare-bones, ads-included plan costing around £6 a month to a TNT Sports package offering football, rugby, tennis and more in Full HD quality for around £30 per month.
If you want the best quality, you’ll need to go Premium to get access to 4K UHD and Dolby Atmos sound. I’m only dipping my toe at the moment, so it’s the cheapo standard-with-ads tier for me. Don’t judge me; we’re in a de facto global recession.
The number of permutations is considerable, something you can take as a positive or a negative: more consumer choice, or too many options designed to confuse and befuddle you right out of the gate?
Once you’re in, it’s time to navigate your profile and see what’s what. And what’s what is quite a lot, if you follow my meaning. HBO Max is laid out like pretty much any other major rival, with an array of alluring picture tiles subdivided into rows grouped together by category.
There’s a desktop version and a companion app, both of which work in broadly the same fashion, with a spotlight on the best series at the top, and then lots of those categorical rows interspersed with genre-themed collections – the ‘World of Westeros’, for example, or all things Harry Potter.
A Maxed out catalogue
(Image credit: What Hi-Fi?)
What’s gratifying about HBO Max is that it appears, like a perfectly risen soufflé, to have emerged fully formed from the metaphorical oven.
We’ve criticised newer services that were keen to catch up with the established pack for being a bit lean at the outset – Apple TV took a while before it felt like a fully fledged service with a stacked catalogue of content – but nothing about HBO’s effort feels sparse or half-baked.
Perhaps that’s no surprise given HBO’s longstanding history and the fact that the US platform has been around for a good while already.
Having Warner Brothers as your parent company doesn’t hurt, either. HBO Max is, as you’d expect, extremely well serviced in the TV department, housing perennial classics ranging from The Wire to The Last of Us, but Warner Bros.’ extensive movie catalogue means you won’t be solely bingeing on series without ever sitting down for a cosy film night.
Dune, John Wick, One Battle After Another, The Lord of the Rings trilogy; it's a really decent collection that spans a variety of genres and time periods. Let’s not forget that Warner Bros. also owns the rights to DC Comics, so an extensive catalogue of superhero fare – from The Dark Knight to Wonder Woman – scratches that particular itch.
It would take too long to list every one of the hundreds of movies ready to be plucked from HBO Max's digital shelves, but when you've got The Big Lebowski, the Indiana Jones series, most of Christopher Nolan's repertoire, Whiplash, Leon, The Shining, The Shawshank Redemption and countless other big hitters to brag about, you're in a pretty good place.
Mind the gaps
(Image credit: WarnerMedia)
No one streaming platform can do it all, of course.
HBO’s fresh-faced competitor also grants access to a collection of shows from Adult Swim, the adult-oriented content ‘block’ of Cartoon Network which gave the world the likes of Rick and Morty, Robot Chicken and The Boondocks.
This sort of thing is very much up my street, but I’ve been slightly disappointed to discover that there are serious gaps in the Adult Swim catalogue that have left some of the channel’s more obscure gems to be omitted from the roster.
The inclusion of The Eric Andre Show, Metalocalypse, and Samurai Jack represents a huge boon, but where are the cult classics for proper nerds like me? Where are Sealab 2021, Frisky Dingo, Harvey Birdman: Attorney At Law, The Venture Bros., and Space Ghost Coast to Coast? Where oh where is Aqua Teen Hunger Force? Where are the classics?
A dearth of niche cartoons for regressive geeks isn’t HBO Max’s only blind spot. There’s a distinct lack of trailblazing documentaries to be found, and while there are plenty of behind-the-scenes tie-ins tethered to flagship shows, such as The House That Dragons Built accompanying House of the Dragon and Finding Harry accompanying HBO’s headline-grabbing take on Harry Potter, great standalones feel harder to come by.
Grim true crime slogs and celebrity exposés abound, but if you want groundbreaking nature documentaries, it’s best to head over to the BBC iPlayer or seek out Disney Plus and its National Geographic license instead.
Usability bugs can also temper one’s affections for what remains an unquestionably deep and impressive service. It’s not happened to me too often, but there have been multiple user reports of bugs and glitches, or the service just freezing entirely, when using the dedicated mobile app or the desktop version.
Also note that if you're rocking a more basic subscription, you might not get immediate access to some of the newer movies that have come to HBO Max.
According to the official website, "customers who get the HBO Max Basic with Ads plan through their provider can purchase the HBO Max Standard with Ads Upgrade for £1 per month" to get earlier movie access. Yet another layer of confusion, then.
A whole new world
(Image credit: HBO Max, WarnerMedia’)
HBO Max isn't perfect – no video streaming service is – but it's pretty darned good.
The streaming catalogue is rich and extensive, the variety of content is impressive, the usability, for me at least, has been relatively seamless, and the price isn't prohibitive if you're willing to do without the luxuries of high-definition and Dolby Atmos sound. Dealbreakers for some, but for me, not huge issues.
The real treat of HBO Max has been discovering the shows and movies that were hitherto completely out of my reach. I grew up in a time when access to many of HBO's back catalogue required a subscription to Sky and the installation of an accompanying satellite dish, the latter of which wouldn't pick up a signal in my rural corner of leafy Hertfordshire.
Yet in this world of purely online streaming, having the door unlocked to the likes of Game of Thrones, The Wire, The Sopranos, Succession and Oz represents a major coup, while shows that were hitherto stranded on obscure sites, such as DC's Doom Patrol, can finally be enjoyed by a far more mainstream audience.
Fledgling services can often promise so much yet deliver so little, granting a fun but impermanent distraction before you scurry back to the comfort of more complete alternatives.
Yet with HBO Max, no such urge arises. This is a fully formed, remarkably comprehensive rival to the major players on the market, one that, if it can smooth out some usability issues and continue adding to its already impressive collection of content, could seriously trouble the biggest dogs on the block.
HBO Max is here to stay, and from what I've seen, Netflix, Disney and Amazon should be seriously worried.
KEF is edging ever closer to revealing its latest set of speakers.
The British brand has already teased that a new model is in the works via an Instagram video, which teases the return of the company's much-heralded Uni-Q driver alongside a curved cabinet exterior.
Now, KEF has announced an exclusive launch event at its London headquarters on July 30th, where it will unveil its latest creation.
The accompanying picture gives a little more insight into the form that product could take. KEF has deliberately kept most of the teaser image veiled in shadows, but squint and you'll be able to make out more of that curved cabinet surrounding the unmistakable impression of a Uni-Q driver array.
According to the teaser: "True luxury does not begin with a declaration, but with an absence. A space. A silence. And then, a single note that changes everything." Not a huge amount given away there, then.
KEF found great success earlier this year with the Bluetooth-ready Coda W. (Image credit: What Hi-Fi?)
What we can say with relative confidence is that the new speaker will be designed in collaboration with Ross Lovegrove, the man who lent his talents to crafting the smooth, curved looks of KEF's Muo Bluetooth speaker and Mu wireless earbuds/headphones.
As we previously reported, KEF is promising "stunning sound clarity, sharper details and an expanded soundstage that fully immerses you in the artist's creative vision".
How much it will take to get that stunning sound hasn't yet been revealed, but with KEF teasing "luxury" from its latest creation, we'd imagine it won't come cheap.
We'll soon know for certain. The new KEF speaker will be revealed on Thursday, 30th July, so you'll only have to wait a week to find out. Stay tuned to What Hi-Fi? for all of the details as and when they arrive.
If you've been eyeing a pair of Monitor Audio's statement Hyphn floorstanding speakers, your choice of potential finishes just got a lot more extensive.
That's because Monitor has announced that the Hyphn are now available in over 200 custom colourways. Customers can select from a variety of Matte, Gloss and Metallic finishes across a range of over 200 colours, with each custom-finished Hyphn cabinet painted and assembled by hand in the UK.
For those unfamiliar with the Hyphn, the heavyweight floorstanders were built to commemorate Monitor's 50th birthday. Each speaker boasts a total of 11 drive units in total, including a micro pleated diaphragm tweeter surrounded by six midrange units and four bass drivers.
(Image credit: Monitor Audio)
The cabinets, which you can daub in practically any colour you like, are formed using mineral and acrylic stone and then precision milled, resulting in what Monitor Audio describes as a totally rigid structure "that provides the perfect platform from which the drive units can operate".
The three original Hyphn finishes – Matte Heritage Green, Matte Black, and Pure Satin White – remain available. The Hyphn will set you back £70,000 / €82,500 / $92,500 per pair for the standard paint editions, while adding a custom finish will bump that up to £80,250 / €92,500 / €102,500 per pair.
A new pair of Bose over-ear headphones could be arriving very shortly.
That's according to French outlet Dealabs, which reports that Bose has leaked a second-generation iteration of its QuietComfort Headphones, slated for release in just a few weeks.
Bose's QuietComfort Headphones line isn't to be confused with the more premium QuietComfort Ultra Headphones. The QC Headphones are to the QC Ultra Headphones what the more affordable QuietComfort Earbuds (2024) are to the range-topping QuietComfort Earbuds Ultra (2nd Gen) – a lower price tag in return for slightly fewer features and not quite top-of-the-line performance.
That said, the new over-ears promise a full-blooded refresh over their three-year-old predecessors, with Dealabs' leak suggesting a new design, revamped controls and better sound quality could all be coming to the second-generation model in a bid to see Bose make a play for the competitive mid-range market.
Quite a few premium features could be about to trickle down from the premium QC Ultra Headphones (2nd Gen), including Bose 'TrueSpatial' spatial audio, lossless playback via USB-C, and a host of new listening flavours, including 'Cinema Mode' for making video content more, well, cinematic.
Many existing features and functionalities are set for significant improvements. Bose's 'ActiveSense' technology works to take the edge off unwanted noise peaks when listening in 'Aware' mode, while improved call quality comes courtesy of more effective ambient noise reduction.
The headphones' on-cup controls have been revamped, with Dealabs teasing more intuitive button placement on the earcups themselves.
(Image credit: Bose)
Wholesale improvements haven't been made to every aspect of the incoming QuietComfort Headphones, however. Battery life will likely remain the same as the soon-to-be outgoing model, with the second-gen over-ears again set to max out at a reported 24 hours of listening with ANC switched on.
That revamped design is set to feature more on-ear padding alongside a more oval earpad shape and a wider headband, all designed to improve wearer comfort over time.
A veritable Delux colour wheel of new finishes could also be set to arrive, including Black, White Smoke, Rosewood Mauve, Eucalyptus Green, Dewdrop Mint, and Hazelnut Taupe.
What about prospective price? Figures are slated as £300 / $359 / €350, which represents a £50 / €50 drop for UK and European buyers respectively.
We never tested the original QuietComfort Headphones when they launched around three years ago, but we have reviewed both the QC Ultra Headphones (2nd Gen) and QC Ultra Earbuds (2nd Gen) in recent times.
Bose isn't quite dominating the premium wireless headphones space when facing competition from Sony, Apple and Sennheiser, but the upcoming QC Headphones' slightly more affordable asking price and bolstered feature set might help Bose claw back ground lost to its estimable competitors.
Dealabs claims that Bose's latest cans will arrive on August 13th. We've contacted Bose for comment, and will keep you updated with developments as they arise.
The Roberts Revival Petite 2 is arguably the best budget radio on the market at the moment, mainly thanks to its lively, engaging sound and, perhaps more importantly, adorable looks.
Right now, the Revival Petite 2 is just £88 at Peter Tyson, a generous 10 per cent discount that sees the Roberts take a rare dip below the £90 mark. Considering it started its life at around £100, you're getting a very tasty £12 discount on a What Hi-Fi? Award winner.
DAB+/FM radios don't get any cuter than this, but it's not just great looks that resulted in our five-star rating. The Roberts Revival Petite 2 is a joy to use, delivers a richly detailed, dynamic and clear sound, and has 20 hours of battery life. A flexible, very likeable radio that's worth every penny of its now-knocked-down price. Lowest price on Cream finishView Deal
(Image credit: What Hi-Fi?)
The great thing about the Roberts Revival Petite 2 is that you can plonk it everywhere. On the windowsill, at the corner of your desk, on a bedside table, on a bookshelf, in the garden – no matter how small your space, the Petite 2 radio will fit right in, and sound pretty great while doing so.
Battery life is a considerable 20 hours, and you can charge your radio up via USB-C. The Roberts also comes with a 3.5mm headphone socket so you can listen at night in peace. You can save 20 presets in total (10 x DAB/DAB+, 10 x FM), while Bluetooth pairs swiftly and with no fuss to our smartphone and laptop.
Sonically, the Petite 2 belies its compact dimensions. In our review, we said: "It’s a lively, rhythmically engaging sound that has a surprising amount of weight and punch to it, given the unit's size. The way it handles voices is a highlight, sounding clean, solid and detailed."
We're not expecting big scale or lashings of deep bass from such a petite unit, but there is ample solidity and richness to the detail, along with confident dynamics and toe-tapping rhythm to keep our attention hooked.
The Roberts radio is a well-designed, great-sounding radio that's lovely to use and listen to. For £89 at Peter Tyson, it comes highly recommended.
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Thinking of buying a soundbar? Here’s a better alternative
The World Cup is over, and that's left a lot of us with a gaping hole in our summer schedule. What are you supposed to do without wall-to-wall football to keep you entertained into the wee hours of the morning?
Well, you could go out and touch some grass, as the kids say, and there's never been a better time to do so. The footie's over, the weather's great, and JBL's five-star Xtreme 5 Bluetooth speaker has dropped to its lowest-ever price, making it the ideal companion for those out-of-the-house adventures.
We've previously seen the Xtreme 5 fall to £300, but now that it's currently £279 at Amazon – a saving of £51 – that figure has been well and truly beaten. Result!
Best JBL Xtreme 5 deal
The JBL Xtreme 5 may be bulky, but it offers an impressive sense of scale, excellent clarity, and punchy, expressive delivery. Paired with a solid build quality and loads of features, this is all you'll need to get your summer parties started, especially now that it's down to the lowest price we've yet seen. Deal also at Sevenoaks and CurrysView Deal
It hasn't been around for long, but Xtreme 5 has gained a reputation as a robust, rugged speaker with a clear, detailed and musical sound, all housed in a super-durable build and backed by more features than you can shake a stick at.
An increase in power from its predecessor – the Xtreme 5 offers a claimed 130W when mains-powered, 90W when running off the built-in battery – is immediately obvious, bringing a greater sense of scale and size compared with the Xtreme 4.
In short, the high volume levels will easily go loud enough to power a summer party. Or annoy the neighbours, depending on your mood.
Bass weight is impressive without overpowering the rest of the track, and JBL's speaker is so clear it makes the Xtreme 4 sound slightly hazy and cluttered in comparison.
As we wrote in our review: "Play Run by Stephen Fretwell, and there’s more separation around the individual elements, so you can hear what each one brings to the music.
"You can inspect around the edges of that crisply defined percussion and piano, but the whole presentation remains cohesive, and the track remains confidently knitted together with the lead vocal at the centre. It’s still a hugely musical listen and captures the slow, gentle rhythmic flow and rise and fall of the track."
The Xtreme 5 is a tad chunkier than its predecessor, but it comes with a carry strap that easily attaches to the floating loops. There are also light strips on the front that are perfect for parties, as is the built-in bottle opener.
When it comes to features, there's Bluetooth 6 and Auracast, the latter of which allows you to connect multiple compatible JBL speakers together. There's also lossless audio up to 24-bit/48kHz through a wired connection and Playtime Boost, which extends the battery life from 24 hours to 28 hours, though with a rather drastic impact on sound quality.
If you want one of the most powerful and best-sounding Bluetooth speakers around, then the JBL Xtreme 5 is the speaker for you. It'll handle any outdoor gathering you throw at it, and a £51 saving at Amazon will almost certainly help you beat those post-World Cup blues.
I don’t know about you, but I’m rather excited to see The Odyssey, Christopher Nolan’s cinematic take on Homer’s peerless epic poem.
Ignoring all of the tedious internet chatter and naysaying from self-appointed experts who really should take the time, in the very spirit of their beloved wandering Greek hero, to go outside and touch some grass, early signs point to the blockbuster to end all blockbusters. Reviews seem positive, to say the least.
Nolan at the helm? Check. A star-studded cast working at the top of their respective games? Check. One of western literature’s greatest stories providing the riveting source material? You betcha’.
“But they’re not using the original overlapping bronze armour, and those helmets should be made of boar hide. And why does Odysseus have an American accent?”
Go dump yourself in the River Styx.
I’ll be booking my tickets to The Odyssey as soon as I can, and while my optimism might end up crashing down like the walls of once-glittering Troy itself, I’m relatively confident that you should be doing the same.
Forget Avengers: Doomsday, the cinematic event of the year is here!
The second-best composer named Ludwig
(Image credit: Universal Pictures, Syncopy)
I’m excited for all of those aforementioned reasons of director, production and cast, but I’m also keen to see The Odyssey on the big screen because it once again brings together two of cinema’s most potent trump cards: Christopher Nolan and his composer du jour, Ludwig Göransson.
Nolan has recruited the services of the ever-enthralling Hans Zimmer for many of his greatest barnstormers, including the Dark Knight saga and Interstellar, with Göransson latterly becoming a sort of Zimmer 2.0 as he begins to forge his own reputation as one of the world’s premier composers.
This is the man who did the music for Disney Plus’s The Mandalorian and, under Nolan’s charge, Oppenheimer. Projects don’t get much bigger than that.
The Oppenheimer score is, while we’re on the subject, truly worthy of the movie which it accompanies – we use Can You Hear The Music regularly as a track for testing home cinema and hi-fi – but it is Göransson’s work on the lesser-know (certainly less-understood) blockbuster Tenet that has me setting sail on my Trireme and making for the multiplex to discover what the Swedish composer can do for The Odyssey.
If you’ve seen Tenet, you’ll know exactly the sort of challenges which must have faced Mr. Göransson as he prepared to give it his best. About as confusing as trying to solve a Rubik’s cube inside a hall of mirrors, it stands alone as one of the most mind-bending and elliptical of all of Nolan’s creations.
When you consider this is the man who gave the world Memento and Inception, that’s some feat.
A soundtrack built to last
(Image credit: Warner Bros. Pictures )
Thankfully, the accompanying score is a triumph, and one I use often whenever I’m digging deep into the capabilities of a new pair of headphones or a box-fresh (but properly run-in, of course) amplifier. In fact, it’s become something of an obsession even when I’m outside the test rooms – a sort of musical comfort blanket that I don’t seem to be able to take off.
POSTERITY is the track that has lodged the deepest roots in my psyche – so much so that I’ll often simply whack it on without thinking whenever I have a spare moment of silence which needs filling, lest the voices are given room to make themselves heard.
At nearly 13 minutes long, it is by far the longest track across the Tenet score, yet what’s remarkable about POSTERITY is that not a second feels wasted across what is a sprawling, Herculean runtime.
That obviously means you’ll need to set aside quite a bit of time if you’re using it for testing; but the reward is worth the considerable effort. POSTERITY, in the same vein as Hans Zimmer’s Supermarine (written for another Nolan movie, Dunkirk), is all about the progression, about the slow but inexorable build-up as it rises and swells from glowing embers to a roaring, engulfing blaze.
Not once is that repetitiveness ever dull. POSTERITY has such a potent sense of momentum that it enraptures from its first note, hooking you in by virtue of its unrelenting intensity and strange, hypnotic instrumentation. I have previously described some of the sound produced as being like a zither being whacked with a bit of old drainpipe, and in truth, I’m yet to come up with a better description.
Drainpipe and zither it is.
There’s a lot, then, for your system to capture. Not only that inexorable build as the composition becomes denser and more intense, but the very particular tone and feel of the piece conjured by its oddball instrumentation and unique soundscape. It’s also a treat if you want to see how your system conveys both small-scale and big-picture dynamics, from the chuntering analogue synthesisers to the intermittent stabs of drums and pianos.
Or it might just be one piano, singular.
You don’t have to stop at POSTERITY, either. FREEPORT recruits those strange zither-like synths to great effect, again trading on continuous instrumental loops punctuated by intermittent percussive whacks and electronic pulses to keep your system’s dynamic reproduction honest.
Or, if you want something quieter and more delicate, the sparseness of THE PROTAGONIST is well worth seeking out, offering up woozy synth rumbles accompanied by a rich, mysterious guitar.
RAINY NIGHT IN TALLINN makes for a similarly keen showcase of how well a system or set-up can really put a piece of music together. It bounds constantly between a mesh of styles and tones in a manner that is as bamboozling as Tenet’s very subject matter.
RAINY NIGHT accompanies the movie’s intense ‘opera siege’ opening scene, so if you want the full audio visual experience, seek it out to see how sound and screen work together in harmony.
As an aside, it’s well worth watching Tenet for its peculiar use of music and non-diegetic sound. For instance, the accompanying soundtrack will often be too loud or overbearing as a way of expressing – or perhaps masking – the mood and intentions of the characters on-screen. Check out this scene in particular and you’ll get the idea.
Music maketh movie(s)
(Image credit: What Hi-Fi?)
Music is just as important to a great movie as anything on the screen itself – Charlie Chaplin and Buster Keaton aside, sound and sight go hand in hand when delivering the true masterpieces of modern cinema.
Where would Star Wars have been without John Williams? How diminished would the Lord of the Rings trilogy become without Howard Shore? Where is Sergio Leone without Ennio Morricone?
While the prospect of Christopher Nolan directing an adaptation of Homer's Odyssey is sufficient to have most right-headed people champing at the bit to get to book a screening, the addition of Ludwig Göransson providing the music should be more than enough to have you hammering on the doors of your local Cineworld as if they were the gates of Ilium itself.
Around this time last year, my local cinema closed – seemingly for good. Defying all odds, its doors are once again open, meaning I’ll be able to experience for myself the sights and sounds of Nolan’s epic adaptation in all of the 12-channel, Dolby Atmos-powered glory. It’s not quite the Waterloo IMAX, but it’s the next best thing.
The Odyssey has all the makings of a milestone cinematic event. Now that it’s finally in cinemas, I can’t wait to see – and hear it – for myself.
Sennheiser’s Momentum 5 Wireless blend a lovely design with a solid feature set and a rich, detailed audio signature. If you can’t step up to the HDB 630, this is the next logical choice.
Pros
Rich, smooth and refined presentation
Beautifully expressive and detailed midrange
Impressive battery life
Appealing, comfortable design
Cons
Could feel a little more luxurious
The HDB 630 offer a considerable step up sound-wise
Sennheiser HDB 630
Bluetooth version: 5.2 (SBC, AAC, aptX Adaptive) Battery life: 60 hours (ANC on) Weight: 311g Finishes: x 1 (Black)
The Sennheiser HDB 630 feel like genuinely boundary-pushing headphones. Thanks in part to the clever Bluetooth dongle, very few headphones at this level can match them for detailed and insight.
Pros
Natural, dynamic, detailed sound
USB-C dongle improves Bluetooth audio for iPhone and other devices
Up to 60-hour battery life
Comfortable, well-built design
Cons
Only one finish
Look bland against the Momentum 5 Wireless
More expensive, too
Sennheiser has been enjoying a good few months.
The HDB 630 made its debut in late 2025 to acclaim from our reviews team, who dubbed them some of the best wireless headphones they had heard at this premium level. A few months later, the Momentum 5 Wireless landed and, at their slightly lower price, matched their bigger brothers in earning the full five-star haul.
Great news for Sennheiser, then. But, with both premium wireless headphones accumulating significant plaudits, which do you go for? To make the decision easier, we have broken down each pair’s strengths and limitations across a range of parameters so that you can be sure you’re getting the Sennheisers that suit your needs.
Sennheiser Momentum 5 Wireless vs Sennheiser HDB 630: price
The Sennheiser HDB 630 (left) are costlier than the Momentum 5 Wireless (right). (Image credit: What Hi-Fi?)
These are both premium wireless headphones, so you’re not going to be able to pick up a pair for the same price as your morning coffee order. Well, unless you happen to frequent a very boujee coffee shop.
At £330 / $400 / AU4749, the Sennheiser Momentum 5 Wireless are the cheaper of the two, with a price that undercuts that of many of the established cans at this level.
At £400 / $500 / AU$1000, the HDB 630 are slap bang in the middle of what we’d call classic premium territory – not overpriced, but certainly par for the course in the world of flagship wireless over-ears.
Still, they are undeniably more expensive than their younger siblings, so it’s the Momentum 5 Wireless winning this one.
**Winner: Sennheiser Momentum 5 Wireless**
Sennheiser Momentum 5 Wireless vs Sennheiser HDB 630: design and comfort
(Image credit: What Hi-Fi?)
Sennheiser tends to have a pretty distinct design language, one that’s very much on display with both of these premium pairs.
The large oval earcups of the Momentum 5 Wireless and HDB 630 will be familiar to anyone who has seen a pair of recent wireless Sennheiser over-ears. Little touches, though, such as the attractive fabric exterior, do make the Momentum 5 actually seem a little more premium than the rather plain HDB 630.
The Momentum 5 Wireless are also a little smaller and lighter than their bigger brothers, weighing in at 290g compared with the 311g of the HDB 630. Much of that weight is housed in the HDB 630s’ earcups, which are chunkier and sport a deeper profile than those of the fifth-gen Momentums.
Comfort isn’t a problem on either pair, though. The Momentum 5 Wireless do cause some mild on-ear heating past the hour mark (many premium headphones of this type do), but we rarely experience that dull aching that you might suffer from with rivals sporting heavier weight or higher clamping pressure.
They are secure and stable, too. Even when we’re walking pretty briskly with the Momentum 5 Wireless clamped over our head, there’s little on-ear rocking or instability thanks to the headphones’ well-judged clamping force.
In fairness to the larger HDB 630, they are hardly a chore to wear either. Yes, they’re heavier overall, but the more costly cans do have slightly plusher ear padding, as well as a nicely cushioned headband, making for a comfortable, amply sealed listen.
Both pairs use touch controls rather than a predominantly button-based system, and we struggle to find any complaints with how they are implemented. We like that every touch action is acknowledged with a sound, that controls can be switched off via the app, and that our commands are responded to promptly whenever we tap or swipe on the right earcup.
It’s a tricky one. The Momentum 5 Wireless are lighter and more appealing to look at, but the HDB 630 do win back marks thanks to their slightly more luxurious earpads and headband. A tie seems like a fair result.
**Winner: Draw**
Sennheiser Momentum 5 Wireless vs Sennheiser HDB 630: features
(Image credit: What Hi-Fi?)
Let’s start with the basics.
Sennheiser has gone big on battery life both both its premium players, with the Momentum 5 Wireless squeezing out 57 hours when active noise cancelling (ANC) is switched on and the HDB 630 just pipping them to the post with 60 hours under the same conditions.
On both, Multipoint Bluetooth is available for connecting to two devices simultaneously.
If you want spatial audio with the Momentum 5 Wireless, Dolby Atmos is on the menu when listening to supported Atmos content, with head tracking to be added via an upcoming firmware update. Be aware, conversely, that the HDB 630 don’t support spatial audio.
Dolby Atmos can be toggled on and off via the Sennheiser SmartPlus app, a platform which we find ourselves really admiring the more we use it. It’s clean and orderly, and we like the levels of customisation on offer, such as the eight-band custom equaliser and a slider for dialling up and down the strength of the ANC.
For the Momentum 5 Wireless, Bluetooth codec support is impressive, with support for the routine SBC and AAC codecs alongside higher-quality aptX HD, aptX Lossless and aptX Adaptive flavours. The cans currently use Bluetooth 5.4, but an incoming firmware update later in 2026 will push this to 6.0 and include LE Audio.
With the HDB 630, codec support comes down to the inclusion of the headphones’ included Bluetooth dongle. The HDB 630 bundle in a BTD 700 USB-C dongle that you simply plug into your smartphone device’s USB-C port to give it up to aptX Adaptive superpowers, even if the source device natively doesn't support a higher-resolution codec.
That means you can stream in aptX Adaptive quality from the usually-AAC-only iPhone, for example. You can check the quality of the signal path in the Sennheiser Smart Control Plus app’s settings, and you’ll want to ensure the ‘Audio mode priority’ is set to ‘Hi-Res 24bit/96kHz’.
You don't get Dolby Atmos with the HDB 630, but there is a ‘Crossfeed’ feature to blend left and right channels for what Sennheiser calls a “more natural sound” with certain recordings. A bass-boost button, which does exactly what you think it does, is available for both.
A close one again, with solid showings across the board. But we feel that the dongle, plus a slightly better battery life, tip things over into the HDB 630s’ favour.
**Winner: Sennheiser HDB 630**
Sennheiser Momentum 5 Wireless vs Sennheiser HDB 630: ANC and call quality
In fact, there isn’t a huge amount to choose between the two Sennheisers. Each pair is capable of dealing with the basic humming of an air-conditioning unit during a hot day in May, all but blocking out that droning sound so that it doesn’t intrude upon our listening in any meaningful way.
Traffic noises prove a little trickier, but again, there isn’t a huge difference between the two. We feel that the HDB 630 offer a little more passive isolation due to their larger, plusher earpads, but standing next to a busy road sees both pairs dampening, not eliminating, the swooshing of cars as they pass by.
Low-frequency rumbles are perceptibly reduced, but again, they don’t disappear entirely, while high-end sound such as tweeting birds will often pass through.
Call quality is excellent no matter your choice. We take the Momentum 5 Wireless out for a chat on a blustery day, and our headphones effectively reduce intrusive wind and traffic noise while making human speech sound clear and natural.
The HDB 630 do a similarly fine job, and once again, voices come across as articulate and human rather than mechanical or robotic. Isolation is decent, too, so no need to worry about having to shout to be heard over surrounding noises.
**Winner: Draw**
Sennheiser Momentum 5 Wireless vs Sennheiser HDB 630: sound quality
(Image credit: What Hi-Fi?)
If you like rich, smooth-sounding headphones that dig out plenty of detail and strike a fine balance precision and authority, the Momentum 5 Wireless could well be for you.
As we wrote in our review, the fifth-gen Sennheiser over-ears are “rich, smooth yet strikingly precise and detailed headphones, with an audio signature that makes listening a refreshingly undemanding experience. Sugar’s If I Can’t Change Your Mind can sound overly urgent or shrill... but the Momentum 5 Wireless have the poise and maturity to bring order to... chaos.”
If you’re after headphones that shine a sweet spotlight on your music’s midrange, the Momentum 5 Wireless demand an audition. The bass is full and a little on the rich side, but that poised midrange is a real highlight, offering a naturalness and insight that gives even more premium alternatives a run for their money.
Their qualities are further amplified when we use a wired connection, especially if you’re listening via USB-C for handling files up to 24-bit/96kHz. A wired connection lends further fullness and depth to instruments, while that outstanding midrange sounds sweeter and even more starkly defined.
In truth, the Momentum 5 Wireless never fatigue nor frustrate, instead letting music unfold naturally and precisely no matter the genre.
As you would perhaps hope, the step-up HDB 630 do take things up a notch. They’re a chunk more costly, but you’ll be rewarded handsomely by the sonic dividends that extra outlay grants.
In fact, these might well be the best-sounding premium headphones currently available – and that’s even before that clever Bluetooth dongle is in play.
Here, precision and analysis go hand in hand with drive and vigour, making for the most informative and entertaining sound we’ve heard from wireless headphones at this price, with or without the use of the dongle for higher-quality streams.
The HDB 630 are hugely natural and dare we say sophisticated-sounding wireless headphones, with a poise and precision that demands to be heard. As we wrote at the time, these Sennheiser premium cans are “wonderfully smooth and natural sounding headphones, full of shape and dynamism across the frequency range”.
Instrumental textures are replete with both depth and shape, and the HDB 630 are remarkably insightful at teasing out the emotional heart of our testing catalogue. Songs are conveyed with conviction and gusto, and the Sennheisers seamlessly switch emotional gears as they tackle our tunes with gusto and grace.
Yes, the Momentum 5 Wireless are detailed and well organised, but the HDB 630 really take things up a notch in practically all sonic departments. That becomes only truer when the dongle is called into action. And you’ll notice tangible gains in clarity and solidity when upgrading from, say, a standard AAC stream to full-fat aptX Adaptive.
However you listen, the HDB 630 are genuine benchmark-setters. The Momentum 5 Wireless are great, but the HDB 630 are ‘Great’ with a capital ‘G’.
** Winner: Sennheiser HDB 630 **
Sennheiser Momentum 5 Wireless vs Sennheiser HDB 630: verdict
(Image credit: What Hi-Fi?)
If you can’t stretch to the HDB 630, the Momentum 5 Wireless are the logical step-down choice. They still provide excellent sound quality and bring plenty of high-performance features to enjoy, all while saving you £80 / $100 in the process.
That’s not an inconsiderable amount of money, so we completely understand why money-savvy buyers would – indeed should – pick the Momentum 5 Wireless over their bigger brothers if costs are a factor.
If you’re happy to spend more, however, go for the Sennheiser HDB 630. They are essentially in a sonic class of one at the moment, outshining not only the Momentum 5 but practically anything else we can think of at their level.
If sound is your top priority, there’s no real excuse for not checking them out.
Skullcandy has released new premium wireless headphones, the Crusher 1080 ANC.
But rather than go it alone, the firm has enlisted the help of a powerful ally in a bid to get its latest cans competing with the best in the business.
That ally, in case you hadn't guessed already, is Bose.
The Crusher 1080 ANCs' extensive feature set is powered by 'Sound by Bose' technology, meaning the new headphones boast 'QuietControl' noise cancelling and 'TrueSpatial' sound design.
These let them deliver Bose's Immersive Audio, and 'SpeechClarity' features for, as you might have guessed, clearer voice calls.
You even get Bose-tuned EQ modes to more accurately tailor the sound to your specific preferences.
That's a lot of Bose-made tech, but what about how the Crusher 1080 ANC actually sound?
As you might have gathered from the name, the new over-ears promise "bass you can feel", complemented by "a rich, balanced sound" with plenty of "immersive detail", all aided by Bose's 'WaveForm' audio engine for improved signal processing.
(Image credit: Skullcandy)
The Crusher 1080 ANC boast a very impressive 60 hours of battery life with noise cancelling switched off, dropping to around 50 hours when ANC is in play, while a 'Rapid Charge' facility will grant four hours of battery life from a 10-minute boost.
Elsewhere, a decidedly premium feature set includes Google Fast Pairing, Multipoint Connectivity and Auracast audio sharing technology, as well as a low-latency audio mode for gaming and movies.
Outside of the Bose tech, the headphones also feature Skullcandy's patented 'Crusher Bass' technology, which allows you to use the Skullcandy app or a dedicated 'Crusher wheel' to dial up your lower-end reproduction and "create a physical bass sensation that adds impact and immersion to music, movies, and games".
The Skullcandy Crusher 1080 ANC are available now, priced at £220 / $280 / AU$400, in a choice of Brown, Pink, Grey or Black finishes.
Rejoice, Sonos fans! After months, even years, of turmoil and trouble, Sonos is making serious steps towards fixing the app that, after a disastrous redesign in 2024, threatened the company's future and forced its then-CEO to step down.
Now, Sonos is doing everything it can to repair the damage. We reported in June that CEO Tom Conrad had written on Reddit detailing some of the changes set to come to the platform, promising that the Sonos team had spent "hundreds of hours" watching people use the app to find its weak spots.
Now, Sonos is ready to put it all into practice, making the new version available in public beta form for Android and iOS users. Any customer with app version 87 can switch on 'Enable Improved Navigation' in their Settings to access the Beta as Sonos collects feedback over the next few months.
(Image credit: Sonos)
That new beta iteration touts some promising upgrades, including improved navigation, more intuitive system tab controls and an overhauled volume tuning system, as well as what Sonos terms 'Quality-of-life fixes' across Now Playing, playlists and iPad views.
The new changes are currently rolling out in their beta form as part of an opt-in public test phase, with changes set broadly to become the default once feedback has been gathered. This could be in the autumn, but no definitive date has been given.
Has Sonos learned from the mistakes of its past? You can switch to the updated version of the app in your settings and judge for yourself.
This is a lovely name for a pair of wired earbuds.
Sivga has introduced its new Lyrebird wired in-ear headphones, designed to produce "a high-end listening experience at an accessible price point".
The in-ears feature a quad-driver, hybrid driver array, consisting of a 10mm polymer dynamic driver handling the bass frequencies alongside a dedicated balanced armature unit designed to produce vocals with "exceptional clarity and detail".
A micro planar driver seeks to add a "smooth treble extension", while a 9.2mm multilayer ceramic driver rounds things off, dealing with "the finest high-frequency nuances".
Each earpiece is constructed using a handcrafted wooden faceplate, treated with resin to improve durability and, says Sivga, help reduce unwanted resonances for a cleaner, more refined audio signature.
(Image credit: Sivga)
The wooden faceplates combine with precision-machined aluminium alloy housings in further pursuit of an elegant yet durable aesthetic.
Included with the Lyrebird is a 4.4.mm balanced-ended cable combining silver-plated copper and gold-plated conductors, designed to help preserve the earbuds' "smooth, detailed presentation". The new in-ears also come with a leather carry case and a selection of silicone ear tips.
The Sivga Lyrebird are available now, priced at £149 / $149 / €167.
We reviewed another bird-themed pair of Sivga headphones – the over-ear SV021 Robin – back in 2024, and while their sound didn't quite take flight, there was enough evidence to suggest that Sivga's fledgling talents could one day see the brand soar.
Bose has been conspicuously absent from the premium wireless multi-room speaker space of late.
Denon has recently unveiled its revamped Home 2 series of versatile smart speakers, Apple has plenty of iOS fans enjoying the talents of its HomePod 2 and HomePod Mini, and Sonos continues to cling to its multi-room supremacy courtesy of the established Era 100 and Era 300. Bose, conversely, has tended to focus on the portable end of the market in the past couple of years – until now.
Most of the above contenders are locked into their brand’s own dedicated ecosystem, and most have been designed to co-operate with their extended family of connected siblings. Brands these days aren’t just offering you products – they’re pledging a way of life.
That’s certainly the impression we get from Bose and its new Lifestyle range. The US brand launched the Ultra Speaker wireless speaker alongside a Dolby Atmos soundbar and a new subwoofer, teasing a “reimagined approach to home audio" from a new range of products clearly designed to work alongside one another and tie you into a particular ecosystem.
That begs a very important question: what is Bose’s Lifestyle Ultra Speaker offering that the likes of Sonos and Apple don’t already have covered?
Price
(Image credit: What Hi-Fi?)
The Bose Lifestyle Ultra Speaker’s price differs depending on the finish. The speaker currently sits at £300 / $299 / AU$550 if you go for the standard Black or White Smoke colourways, but if you want to push the boat out and go for Driftwood Sand, that’ll be a hefty increase to £349 / $349.
You can pick up the Award-winning Sonos Era 300 for £359 / $359 / AU$649, offering stern competition for Bose straight out of the gate. You can also get yourself a still-excellent HomePod 2 for £299 / $299 / AU$479 if you’re into the Apple way of life.
Build & design
(Image credit: What Hi-Fi?)
Bose’s new wireless speaker might be closer to the Sonos Era 300 price-wise, but in terms of its size and shape, it’s more akin to the form of the cheaper and smaller Era 100.
If that shorthand comparison doesn’t help you out much, then imagine a speaker that stands about as tall as an average notebook, with a curved, fabric-covered front panel. It’s a compact and neat design, and while the hourglass configuration of the larger Era 300 may catch more admiring (or quizzical) glances, the Lifestyle Ultra Speaker fulfils its brief as a subtle sentinel capable of blending into your audio or cinema set-up.
Bose tends to make its products to a high standard, and the Ultra Speaker is no exception – this is a product that feels built to last.
Bose Lifestyle Ultra Speaker tech specs
(Image credit: Bose)
Bluetooth Yes (5.3)
Mains-powered or battery-powered Mains-powered
Battery life N/A
Features Apple AirPlay 2, Spotify Connect, Google Cast, stereo pairing, multi-room, Alexa voice control
Connections: 3.5mm
Dimensions (hwd) 18.5 x 12 x 16.75cm
Weight 1.3kg
Finishes x 3 (Black, White Smoke, Driftwood Sand)
At the top of the unit are a series of touch-capacitive controls, including volume, a play/pause toggle and a Bluetooth pairing button. We understand that some users feel that touch controls grant a sleeker, more premium appeal, but we find the buttons’ lack of feedback here – be it physical or auditory – undermines the experience somewhat.
Knowing that the speaker has actually registered an action with an accompanying small sound or click would be much more useful than simply having to guess, especially with tricky tasks such as trying to perform a connection reset. You get a chime when toggling the microphone on and off, but that’s about it.
Taking care of sonic duties are a trio of drivers – a 25mm tweeter and a 7.6cm mid/bass driver alongside a 3.8cm up-firing driver – designed to disperse sound evenly around your listening space. Bose doesn't disclose the specific power rating, but we do know that the drivers are powered by Class D amplification.
Like its soundbar and subwoofer siblings, the Lifestyle Ultra Speaker uses Bose’s ‘CleanBass’ technology, which combines a rear-firing bass port with digital signal processing to deliver “deep, tight bass”. We’ll get to that later on.
Features
(Image credit: What Hi-Fi?)
The Ultra Speaker is built, at least in part, to play ball with the rest of the members of its new Lifestyle product family. The speaker can be used on its own or in a pair for stereo playback, or you can add them as surround channels when used with the Lifestyle Ultra Soundbar. Do be aware that the speakers aren’t backwards compatible with any of Bose’s older soundbars.
Stereo pairing is a nice asset to have, if you can get it to work. While getting our two test samples to play ball with each other works reasonably well most of the time, the resultant sound is often so out of sync that it becomes unlistenable. We’re not the only ones to have experienced this issue, so let’s hope that Bose will come to the rescue via a firmware update soon.
Stereo pairing bugs aside, the Lifestyle Ultra Speaker has ample streaming connectivity. Connecting to your wi-fi network gives you access to streaming features such as Google Cast, Apple AirPlay 2 and Spotify Connect, as well as the Alexa Plus voice assistant which you can connect via the app. Tidal Connect and Qobuz Connect aren’t available at launch, but we're told both will be arriving via a firmware update down the line. It’s worth noting that there’s no ethernet port for a wired connection to your home network.
If you want a multi-room set-up, the Bose Lifestyle Ultra Speaker is accommodating in this regard. You can use the Bose app to create a stereo system or integrate other Lifestyle products, such as the Lifestyle Ultra Soundbar, into a neat home cinema system, or use the likes of AirPlay or Google Cast to integrate other compatible devices into your set-up.
(Image credit: Bose)
You can stream using Bluetooth 5.3, too, with the standard AAC and SBC codecs supported. There’s no sign of higher-quality aptX or LDAC codecs here, which might be disappointing for some. An auxiliary 3.5mm input is available around the back of the unit if you want a physical connection to your audio source.
If you’re wondering how you control your new Bose speaker, then yes, there’s an app for that. You could go all Medieval and use the on-unit controls, but if you want to really get the most out of the Lifestyle Ultra Speaker, you’ll need the official Bose app.
We might have had issues when it comes to the stereo pairing process, but the Bose app is a good one. It’s a logical, uncluttered and orderly platform that we find very easy to navigate thanks to its big, bold menus and helpful set-up guides.
Sound
(Image credit: What Hi-Fi?)
We’ll get a quick caveat of our assessment of the Bose Lifestyle Ultra Speakers’ sonic capabilities out of the way by confessing that we have to do a bit of tinkering before we get it sounding how we want. The balance you pick will often depend on the characteristics of your listening space and your personal preferences, but we feel the need to increase the bass levels in the EQ settings in order to compensate for what would otherwise be a rather thin reproduction.
Bolstering the lower end does grant, to our ears, a more balanced feel to the speaker’s sound, allowing our test sample to more capably reveal its particular talents.
The Lifestyle Ultra Speaker’s reproduction is clear and composed, with a sound that rarely grates the ear. Notes are well-defined upon arrival, even if the Bose can sound like it overemphasises those all-important leading edges just a tad.
Instruments are crisp and sharp as they land, but the Ultra Speaker could conceivably add more body to that initial bite. The rival Sonos Era 300 is far better in this regard, reproducing instrumental textures – swooning strings, twinkling pianos – with a more natural weightiness that simply outshines the comparative thinness of its Bose rival.
The Lifestyle Ultra Speaker is capable of granting tracks a sense of dimensionality thanks to its upward-firing driver. The Bose speaker doesn’t officially support Dolby Atmos, with its ‘TrueSpatial’ technology taking care of spatial processing. This analyses the dimensions of the room in which the speaker is positioned and then optimises your audio to suit your listening space for a more immersive soundstage.
You can adjust the height channel in the app, and you’ll certainly notice the change as you move the in-app slider from 0-10, depending on how much height effect you want from the speaker.
(Image credit: What Hi-Fi?)
When working to full effect, the resultant soundstage is admirably wide-reaching for a speaker of this size and type, but again, it’s simply outshone by the stunningly cinematic reproduction of the Dolby Atmos-powered Era 300, which renders spatial audio in a more convincing, wide-reaching and immersive manner.
The Era 300 is more convincing in other areas, too. Via Bluetooth or AirPlay, Sonos’ speaker excels across small and large scale dynamic shifts, putting the Bose rival’s somewhat flattened presentation in the shade.
Listen to the first minute of Lana Del Rey’s First Light and you’ll hear what we mean. The introduction of punchy drums and powerful brass land with more authority and power via the Era 300, contrasting starkly with the track’s quiet, enigmatic opening. The track propels itself forward with more vigour via the Sonos, with a purposeful momentum that we don’t find when switching back to the Lifestyle Ultra Speaker.
All isn’t entirely lost for Bose. The Lifestyle Ultra Speaker keeps its taut lower-end reproduction nicely in check, even if we have to boost it a bit to hear it properly, with ‘CleanBass’ tech working nicely with that rear port to deliver upon Bose’s promise of decent low-frequency control.
Bass is reasonably well-integrated with the rest of the frequencies, and rarely do we feel as though those lower registers sound disjointed or overly separated from the rest of our music.
Verdict
(Image credit: What Hi-Fi?)
The Bose Lifestyle Ultra Speaker does not come cheap. Bose has positioned it as a committedly premium wireless smart speaker, and that’s put it up against some serious competition.
Sadly, Bose’s otherwise game contender doesn’t do enough to justify its considerable outlay, especially when there are more convincing alternatives available at this level. If you’re after a speaker that gives you great spatial audio, an impressive spread of features and better sound overall, we recommend that you pick the five-star Sonos Era 300 instead.
Sony has unveiled its latest pair of wired in-ear headphones, the IER-M500.
Developed in collaboration with monitoring engineers, Sony bills its latest in-ear headphones as being the perfect partner for musicians and performers who require "reliable and accurate in-ear monitoring" for both performance and practice.
The IEMs' fully sealed structure, combined with a large acoustic chamber, offers outstanding sound isolation, even in noisy live environments.
A set of 5mm dynamic drivers are complemented by a large acoustic chamber in pursuit of "deep, controlled bass", while the headphones' optimised internal structure has been designed to give a more refined high-frequency reproduction.
(Image credit: Sony )
Designed to blend comfort and stability, the IER-M500 feature what Sony calls "fitting supporters".
This is a loop at the top of each earpiece which nestles under the inner ear ridge to anchor the IEMs in place. To further facilitate a better fit, four sizes of noise-isolating ear tips are included, as is a 1.6m detachable cable with a 3.5mm jack.
While they don't carry an official IP certification, Sony pledges that the IER-M500 are capable of handling moisture, such as splashes of water or human sweat, without too much trouble.
The IER-M500 will be available from August in a choice of Clear, Black and Red & Blue finishes, priced at £99 / $120 / €115.
Ruark has announced its R410 Anniversary Edition, a limited-production celebratory spin on the brand's established all-in-one music system.
Built to commemorate 40 years of Ruark as a brand, the special edition system follows the same design language as the established R410, exhibiting the same slatted metallic grille and rectangular cabinet design which wowed us when we reviewed the standard model in 2023.
What marks the R410 Anniversary Edition out as unique is its hand-crafted White Oak cabinet complemented by an ebonised grille and inlay.
A new high-resolution colour screen displays vitals such as playback information and album artwork, while Ruark's established 'RotoDial' control returns to take care of volume, play/pause and presets.
Each system is finished with a commemorative anniversary badge to mark out its exclusivity, so everyone will know you've got your hands on something special.
(Image credit: Ruark )
Under the hood, the new system features optimised reflex enclosures within the cabinet to provide "ideal conditions" for the system's twin 10cm long-throw 'NS Plus' bass-mid units. Ruark promises "seamless, powerful and controlled bass through to a natural midrange".
The R410 also boasts custom 20mm tweeters, taken from the brand's five-star MR1 Mk3 powered speakers, for handling the higher frequencies.
As before, the R410 Anniversary Edition boasts an extensive streaming suite, offering support for Spotify Connect, Tidal Connect, Apple AirPlay 2 and Chromecast, among others.
The 40th anniversary edition system boasts a fully active 120W RMS Class D amplifier, while hi-res audio support for PCM files up to 24-bit/192kHz is on the menu.
According to Alan O'Rourke, Ruark's founder and managing director: "The R410 Anniversary Edition brings together everything we care about. Extraordinary sound, considered design and exquisite materials chosen not just for how they look but how they sound. This system is the culmination of 40 years of hard work and it’s something we’re proud to make and hopefully you can be proud to own.”
Limited to just 500 units worldwide, the R410 Anniversary Edition will be available in an Ebony and White Oak finish, priced at £1399 / €1599.
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