British manufacturer Majority has expanded its home audio range with four new products designed for listeners “who want modern music streaming but also want to use their CD collection”.
The new products include the Fitzwilliam trio – which includes the Fitzwilliam CD, Fitzwilliam Amp and Fitzwilliam CD Amp – and the Quadriga Maxi all-in-one system, which combines streaming with a built-in CD player and speakers.
According to Majority, the Fitzwilliam trio has been designed to “let customers choose the right starting point for the equipment they already own, from adding connected sources to an established system, to powering passive speakers”.
First up is the Fitzwilliam CD. This is a slot-loading CD player, which offers support for CD, CD-R and CD-RW formats.
Far from being limited to physical music, the Fitzwilliam CD also features wireless listening and streaming options via Bluetooth 5.2, Spotify Lossless, Amazon Music and Deezer, as well as USB MP3 playback and internet radio. There's even support for DAB, DAB+ and FM radio.
Another analogue source can be connected via stereo RCA inputs, while stereo RCA, optical and coaxial outputs offer a variety of analogue and digital options.
The Fitzwilliam CD’s front panel features an 8cm colour display, showing the station, track and menu information. Users can control the unit wirelessly by remote, through the OKTIV app, or manually using the front-panel buttons.
Alongside the Fitzwilliam CD, the Fitzwilliam Amp provides 100 watts per channel of Class-D power via its Texas Instruments amplifier. Streaming and radio options are built in, with support for Spotify Connect with Spotify Lossless, Amazon Music, Deezer, internet radio and podcasts.
DAB, DAB+ and FM radio are also included, alongside Bluetooth support and MP3 playback from USB drives up to 128GB.
The amplifier has optical and coaxial digital inputs alongside a standard stereo RCA connection. For further listening versatility, outputs include stereo passive speaker outs, stereo RCA pre-amplifier outputs and a 3.5mm headphone jack.
According to Majority, preset EQ modes and customisable ‘My EQ’ controls allow bass, treble and loudness to be adjusted “to suit the room and speakers”.
(Image credit: Majority)
Last but not least is the Fitzwilliam CD Amp, which pairs a tray-loading CD player with 100 watts per channel of Class D power from a Texas Instruments amplifier.
Like the Fitzwilliam CD, the Fitzwilliam CD Amp supports CD, CD-R and CD-RW, alongside Spotify Lossless, Amazon Music, Deezer, Bluetooth, USB MP3, internet radio, podcasts, DAB/DAB+ and FM.
The Fitzwilliam CD Amp accepts digital and analogue sources thanks to its stereo RCA, optical and coaxial inputs. Outputs include stereo speaker, stereo RCA pre-amplifier, and 3.5mm headphone connections.
The CD Amp has an 8cm colour display screen and can be controlled using built-in physical controls, a remote, or the OKTIV app.
What if you want everything combined in a single box? That's where the Quadriga Maxi comes in. Boasting 200 watts of total power, the 2.1-channel system combines two 7.6cm full-range drivers with a built-in 13cm bass woofer for “room-filling listening without separate equipment”.
The Quadriga Maxi features a slot-loading CD player, with CD, CD-R, CD-RW and MP3 CD support, alongside Spotify Connect, Amazon Music, Deezer, internet radio, podcasts, DAB/DAB+, FM, Bluetooth 5.2 and USB MP3 playback.
The all-in-one system includes optical, stereo RCA and 3.5mm aux inputs. For simple navigation of its extensive feature set, an 11cm colour display is provided, alongside wireless control options via remote and the OKTIV app.
The Fitzwilliam range and Quadriga Maxi are available now. Pricing is as follows:
AI in music is the talk of the town. Whether you’re a music fan, watching from the sidelines as streaming services make continual updates to their AI policies, or a musician fighting for their individuality in a lawsuit against an AI music company, it has become blatantly clear that this particular technology isn’t going away any time soon.
Indeed, with the recent investments of major labels such as UMG, Warner and Sony in AI music companies, it looks as though the role of AI in the music industry is only likely to expand.
As a 50-year-old hi-fi publication, music is at the heart of our work. While testing products, our review team listens tirelessly to a broad range of tracks, carefully assessing how human emotions and real-life recordings are conveyed by the equipment at hand. As such, we wanted to find out more about the role AI is playing in the records we listen to.
To do so, we spoke to British sound engineers about the ways that AI is changing their work.
Exposing Flaws
Charlie Francis' Synergy Mastering studio (Image credit: Synergy Mastering)
In the view of Jake Murray, director and studio manager at Strongroom Studios, generative AI within music is uncovering pre-existing issues within the industry.
“People try to spin it as this new thing on the horizon,” says Murray, “but what I’m seeing – much like during the Covid-19 pandemic when artists lost all touring revenue and it exposed problems with streaming and digital remuneration – is that this new software is exposing flaws with the commercialisation of music and the behaviour of corporations.
“In the case of recent lawsuits, the record labels aren’t happy because data they could monetise is being scraped on a massive scale,” he says. “But for a massive corporation, AI music is incredible, it is product, through and through. There are no creator rights, no unpredictable behaviours on tour, no ‘I’m tired, I want out of my contract.’ I think anyone who believes that major labels are going to continue fighting generative AI once they’ve got a deal in place is wrong.”
Izzy McPhee, a freelance mastering engineer who has worked with acts such as Dream Wife, Walt Disco and Marla Kether, feels that AI’s encroachment presents artists with new challenges. “The pace at which music is created and released now, definitely puts pressure on artists to prioritise singles and virality over the integrity of their music,” she says. “The instantaneous results of AI affect how quickly everyone expects information, and of course, music.”
Such pressures feed back into the use of AI, as musicians reach for tools that allow them to create faster and more cheaply. The attraction of such tools isn’t hard to appreciate given that nearly half of professional musicians were found to earn less than £14,000 a year in a 2023 census by Help Musicians and the Musicians’ Union.
One of Murray’s friends, who is a dance musician, recently approached him in a crisis about having used Suno to create a vocal topline. “He found himself really conflicted about whether to use it,” says Murray. “It sounded so close to what he had imagined, but it wasn’t sung by a singer, recorded by a sound engineer, mixed, balanced, processed and submitted to the production house. It hadn’t generated those three or four stages of revenue. It had only cost him the comparatively meagre subscription fee.
“It’s vital that we remember we are talking about lives and livelihoods here,” he says. “I think it’s going to be left to the individuals to decide what they think is kosher or not.”
"Human creativity is what makes beautiful music"
Strongroom 3 control room (Image credit: Jasper Fry)
AI has seen widespread adoption beyond music. Even at Strongroom, Claude AI has proven handy in aggregating the studio’s vast discography.
“It has been incredibly useful for data management,” says Murray. “And best of all, nobody would have wanted to do that job. Previously, when I’ve sat down with new employees and broken the news that they are going to spend a few weeks sorting through the discography, the look on their faces is like they are about to die.”
Murray adds that, within musical work, there is a “grey area” of audio effects plug-ins that use AI.
“I’m a bit unclear about what people count as AI in the studio,” he says.
Recent software such as Synplant 2, which uses AI-powered features to turn audio samples into editable synthesiser patches, walks a fine line. “Depending on who you talk to, these are either plug-ins or neural networks or AI. But I don’t think anyone really has a problem with any of those [pieces of] software, aside from whether they like the sound or not.”
When it comes to the creative, musical and technical parts of her workflow, McPhee takes a stronger stance on using AI tools: “I have made a conscious decision not to use AI, and not to master songs that have been AI-created. A big part of my ethos is that human connection, collaboration and creativity is what makes beautiful music, and the bottom line is that I don’t think AI can replicate this.”
Charlie Francis, a mastering engineer who has worked with artists such as REM, Del Amitri and Gruff Rhys, says that he hasn’t yet seen a reason to use AI in his work, but acknowledges that some of the software he uses has been developed with machine learning.
“My perception is that my clients value my instincts and experience above anything else, so I would be very wary of allowing AI to make any judgments for me,” says Francis. “Automated systems in rendering and other areas are very useful, but they don't involve any decisions and have no artistic influence.”
"Heaven forbid, we might be able to define an era"
(Image credit: Deezer)
A common trait in almost all conversations around AI is their tendency to focus on the future. As technological advances outpace all but the experts’ comprehension (and sometimes even theirs), many of us are left guessing about the state of things to come.
Speculating on AI’s musical future, Murray says: “The people who want to produce homogeneous rubbish aren’t going to need anyone to do it for them anymore. As a result, I think we could see a new era of Muzak (background music played in public spaces such as elevators, shops and waiting rooms).
“On the flip side, I think the people who care are going to make more human-sounding music. I think music made by people whose priorities are expression, connectivity and interaction is going to become more characterful and less perfect. We might see a broader spread in terms of how music can sound, perhaps a release of the tension around things sounding ‘perfect’. Heaven forbid, we might actually be able to define an era again.”
McPhee echoes Murray’s sentiment: “I think there will be a corner of the music industry where people are consuming AI music, and are happy to follow algorithms and playlists that are AI-generated. However, I also think a lot of people will tire of the rapid turnaround, viral side of music and seek out human-made music and connection – whether through listening or attending gigs and concerts.
“In a world of constant overstimulation, I already find myself trying to find moments where I can sit down and immerse myself in longer form albums that take me on an emotional musical journey,” she says.
Francis adds: “A musician friend of mine thinks songwriters regurgitate iterations of everything they have heard before, which would make them indistinguishable from AI, but I think the human genius for making unseen connections and making distinctive work can't be written off so easily. We discount our own emotional and experiential life at our peril.”
The consensus among the engineers seems to be that, while AI threatens revenue streams and professional opportunities for musicians, its mass-produced genericism could drive creative innovation among those who view music as an essential, communal art form. The question is: will musicians find the time to create on an income yet further reduced?
Tom Petty once sang that “the waiting is the hardest part”, and we happen to agree, having waited a long time for Yamaha to release a new active wireless speaker system. As such, when we heard about the release of the NX-70A, we were keen to get them into our test rooms for a listen.
But we’ve had plenty of talented wireless systems to keep us occupied in the meantime. Among those producing wireless all-in-one systems, KEF has become something of a trailblazer, earning five-star reviews from the What Hi-Fi? review team for its premium LS Luxe (£3500 / $4000 / AU$6375) and LS50 Wireless II systems (£2199 / $3000 / AU$4000), the latter of which is a multiple What Hi-Fi? Award winner.
Falling between these two five-star options, at a price of£2590 / $3000 / AU$4799, the Yamaha NX-70A system is entering a highly competitive price bracket. The speakers’ dedicated SPS-70A stands cost an extra £517 / $500 / AU$799. While this isn’t an inconsiderable sum, it falls in line with the price of stands for their closest rivals.
The question on all of our minds: will this speaker system prove itself worth the wait?
Build & design
(Image credit: What Hi-Fi?)
We are immediately struck by how smart and well-built the Yamaha NX-70A speakers are. The sleek, rounded rear of the cabinets kills two birds with one stone by looking suave while suppressing internal standing waves. A 5mm-thick, copper-accented aluminium top plate provides a robust feel with the added bonus of extra cabinet rigidity.
Yamaha NX-70A tech specs
(Image credit: Yamaha)
Driver 13cm mid/bass woofer, 30mm dome tweeter
Max power 160W per channel
Streaming AirPlay 2, Google Cast, internet radio, UPnP, Bluetooth 5.3, Roon Ready, wi-fi, Ethernet
Weight 5.7 kg (primary speaker) / 5.4 kg (secondary)
Finishes x2 (Black, White)
Our test pair arrives in a black finish, but a white option is also available.
The NX-70A measure a fairly conventional 33.3 x 18.9 x 23.4cm (hwd). The primary speaker (which houses all the physical inputs) weighs 5.7kg, while the secondary speaker weighs 5.4kg. So, these Yamaha speakers are not particularly heavy, even for their reasonable size.
We are pleased to find that the NX-70A screw into their SPS-70A stands, which are 66cm tall, for an even more integrated appearance. The speakers fit precisely, with no overflow from the stands, which we think is a satisfying touch. It is worth noting that you will have to assemble the stands yourself, but with the help of included instructions, the construction is straightforward.
(Image credit: What Hi-Fi?)
A small display screen runs along the bottom of the speakers, showing the currently selected source, volume or connection status. The crisp, clean display is a welcome addition that most rivals don’t feature, but we would have liked it to be bigger, as the small text is hard to read from a comfortable listening distance.
As for the drivers, both use Yamaha’s ‘Harmonious Diaphragm’ material, which is a blend of Zylon (a strong, lightweight synthetic polymer) and the same spruce wood as used in the soundboards of the company’s grand pianos.
The 30mm dome tweeter and 13cm ported mid/bass unit are both driven by dedicated amplifiers providing 60W and 100W of Class D amplification, respectively. Despite their output rating, the active speakers run surprisingly cool and don’t heat up significantly during testing.
Features
(Image credit: What Hi-Fi?)
The NX-70A's internal DAC supports music files up to 32-bit/384kHz PCM and DSD256, which should please anyone with a huge and varied digital music library.
However, the link between the speakers does limit the final resolution you hear. The two speakers can be connected to each other wirelessly, or with an included 3m cable. While the wireless connection offers more flexibility in terms of placement, its resolution limit is reportedly 24-bit/48kHz, while using the physical connection ups the limit to 24-bit/96kHz.
A host of wireless streaming options are accessible from Yamaha’s dedicated MusicCast platform, including Spotify Connect, Tidal Connect and Qobuz Connect, alongside access to internet radio and UPnP servers.
In terms of physical connections, Yamaha has included a 3.5mm stereo mini jack, optical, HDMI (eARC), USB-A (for firmware updates as well as music playback) and a microphone input for the brand’s built-in YPAO room equalisation system.
Outputs on the primary speaker include a subwoofer out, alongside the connection to the secondary speaker.
When setting up the speakers, we find the MusicCast control app works well, allowing source selection, playback controls, playlist creation and access to speaker settings, such as tonal and balance controls. The YPAO set-up is also done via the app (more on this later).
Searching through songs stored on our Naim Core server is simple and intuitive, and sound modification features, such as tonal controls, are sensitive enough to be useful, allowing for fine adjustments.
(Image credit: What Hi-Fi?)
Notably, MusicCast doesn’t include the native search options that are available in native control apps, but offers to open the Tidal, Spotify or Qobuz apps when they are selected. Nonetheless, we encounter no difficulties streaming when we switch to Tidal Connect. If you are using other streaming services, worry not, because music can be sent via AirPlay 2 or Google Cast. The NX-70A system is also Roon Ready.
The NX-70A also has Bluetooth 5.3, but only supports the standard SBC and AAC codecs. Given the price of this system, it’s a shame that Yamaha hasn’t included higher-quality aptX support, but we note that the KEF rival doesn’t include it either. At this level, some manufacturers view Bluetooth as a fallback, and, indeed, with the breadth of listening options available, we don’t find ourselves using the feature often.
YPAO is Yamaha’s Parametric Room Acoustic Optimizer, which uses an included microphone to measure the room’s sonic characteristics and counteract any unwanted effects. The process is simple, guided by step-by-step instructions in the app, and involves plugging in an included microphone and running test tones. The entire process only takes a few minutes.
In our acoustically treated test room, engaging the YPAO setting makes for a more controlled and precise bass, effectively countering low-frequency dominance when placing the speakers close to a rear wall. These gains come at the cost of midrange detail and an overall sense of high-frequency refinement, however, so we ultimately opt to leave the setting off.
Sound
(Image credit: What Hi-Fi?)
While these speakers are small enough to be used on a desk, they don’t shine brightest when used there, losing a degree of balance and dynamic expression. For the best results, we recommend sticking to their dedicated SPS-70A stands.
Experimenting with positioning, we find that the speaker system can sound perfectly comfortable close to a rear wall, with plenty of tonal adjustment available via the app to balance things out should bass dominate. We also angle the speakers in a little towards the listening position, where we find they provide the best stereo image.
We listen to the NX-70A system wired and wirelessly, and find it has a greater sense of air and clarity with a wired connection. As such, we used the physical connection throughout testing, kicking off with some hi-res wireless streaming via Tidal Connect.
Our immediate impression of this Yamaha speaker system is one of composure and poise. Music feels pleasantly balanced, with a healthy portion of low-end that provides punch when it is needed, without becoming overwhelming.
Listening to The First Disciple by Tamino, guitar parts are delivered with warmth and clarity. The leading edge of plucked strings is pleasingly rendered and gives way to the full-bodied, hearty resonance of each note. Later in the song, when bass and percussion come in, the NX-70A has no trouble providing the low-frequency depth and textural clarity necessary to bring the woozy, swirling arrangement to life.
This speaker system reaches somewhat deeper and is more authoritative in the bass than rivals such as the KEF LS50 Wireless II. Low frequencies are substantial and punchy, while remaining nicely defined and seamlessly blended into the overall sonic balance.
Switching up the tempo, we stream YHWH Nailgun’s Ballerina from our Naim server. Again, the NX-70A provides all the clarity and power we were hoping for. Compared with the steady rhythmic grip of the LS50 Wireless II, however, we find the Yamaha leaves us feeling a little lost in the song’s chaotic momentum, with a weaker sense of drive.
(Image credit: What Hi-Fi?)
To hear how the Yamaha fares with classical music, we listen to Tchaikovsky’s Symphony No.5 in E Minor, Op. 64, TH. 29: II. Andante cantabile con alcuna licenza - Moderato con anima. Here, the NX-70A offers striking impact and weight to the strings, alongside pillowy, yet well-contoured brass. Dynamically, the system keeps pace with the undulating banks of strings, conveying the piece’s most ferocious and delicate moments with equal maturity and grace.
We are particularly pleased with the way the NX-70A communicates spatial qualities, and truly get a sense of the acoustic environment the piece was recorded in. Closing our eyes, the listening experience feels quite transportative. We also notice just how fluidly the Yamaha system transitions between quiet and loud sections.
Across genres, the NX-70A puts in a commanding, full-bodied performance. While it isn’t quite up to the standards of the Award-winning LS50 Wireless II in terms of subtlety and fine-grained nuance, the Yamaha speaker system is, nonetheless, a highly engaging and enjoyable listen.
We work through the range of physical inputs on the NX-70A, using our reference Cyrus CDi player as a source. Using the optical input, we were pleased with the way the system retains its positive sonic characteristics, but we find there is a slight loss in clarity and dynamic distinction while using the 3.5mm stereo aux connection.
Generally speaking, Bluetooth wouldn’t be our chosen connection when sound quality is paramount. This rings true here, as we found that using the Bluetooth connection results in decreased rhythmic drive and textual detail, but we do appreciate the added convenience that the feature offers.
Verdict
(Image credit: What Hi-Fi?)
The Yamaha NX-70A is a sonically talented and highly adaptable wireless all-in-one speaker system. While it might not be an outright class leader, this system is nonetheless worthy of serious attention for its expansive feature set, heaps of aesthetic panache and mature, expressive sound.
Beyerdynamic has announced a new affordable pair of wireless over-ear headphones with active noise cancellation at IFA 2026, called the Aventho Y.
According to Beyerdynamic, these closed-back, foldable headphones use 45mm dynamic drivers to deliver “Beyerdynamic’s renowned sound" and have been “designed for long-term ownership”.
The headphones are designed to be comfortable and durable, with components that can be replaced individually. These include a user-replaceable battery, magnetic earpads, aluminium sliders and stainless steel hinges.
The Aventho Y’s ANC system uses two built-in microphones to detect and filter out environmental sounds, reducing “background noise to a minimum”. A ‘Transparency Mode’ is also available, which lets sounds in so you can stay aware of your surroundings.
The headphones support Bluetooth 6.0 with multipoint connectivity, meaning that you can easily switch between two connected devices. Notably, the headphones only support standard AAC and SBC codecs.
(Image credit: Beyerdynamic)
In terms of battery life, Beyerdynamic quotes an impressive 60 hours with ANC switched on, which extends to 90 hours with ANC disabled. A full charge takes one hour, but just five minutes of fast charging will provide up to six hours of playback.
Through the Beyerdynamic app, users can customise the sound thanks to a 5-band EQ and genre-based sound presets, as well as receive firmware updates and manage automatic power settings.
According to Andreas Rapp, CEO of Beyerdynamic: "The Aventho Y was developed around a simple idea: audio isn't just something people hear – it's something they use every day to focus, recharge, connect and express themselves. We wanted to create a headphone that delivers the performance people expect from Beyerdynamic while giving them the freedom to make it their own – in both the sound they hear and the style they choose.”
The headphones come with a USB-C charging cable and a soft carry bag. Optional accessories, such as ultra-soft black or grey earpads, a low-latency USB-C dongle and a detachable boom microphone, can be purchased separately for those that want to further customise the Aventho Y's use case with music, gaming, videos and more.
The Beyerdynamic Aventho Y will be available in four colours – Liquid Black, Blue Fusion, Soft Jade and Peach Blush – and are set to cost £129 / €149 / $150.
Anker has announced four additions to its Soundcore range, including the Space 2 Pro over-ear wireless headphones, Liberty Buds 2 wireless earbuds and Aeroclip 2 Pro and Aeroclip 2 open earbuds.
We only have limited details, but here’s what we know about the upcoming releases so far.
All of the new products use Anker’s latest 'Thus' chip. The new silicon is a compute-in-memory audio chip, which is designed to run AI calculations within its own memory, rather than splitting processing across several components, for improved efficiency and processing speed.
The new Space 2 Pro over-ear wireless headphones are the follow-up to the Soundcore Space 2, which our reviewers gave a two-star rating earlier this year, citing poor dynamics and detail compared with more talented competition at the price. The Space 2 Pro are £70 / $70 more expensive than the previous model and will cost £200 / $200, so we are hoping Anker has taken note of our reviewers' points.
Outside of this, Anker confirmed the Space 2 Pro have an optimised headband and “soft, skin-friendly ear cushions” for “pressure-free wear”. The headphones have a battery life of 60 hours (30 hours with ANC switched on), which is less than the Space 2, but a significant figure nonetheless.
AeroClip 2 Pro (Image credit: Anker)
Personalised audio will also be available in the form of HearID 5.0, which tests users’ hearing in order to provide a tailored sound curve.
Further features confirmed by Anker include adaptive ANC and enhanced call clarity, which are both delivered by eight sensors working in tandem with the AI chip.
Similarly, Anker claims the Liberty Buds 2 deliver “crystal clear calls in noisy environments”, thanks to an eight-sensor array working alongside the Thus chip. The company also says the new earbuds “block out chaos instantly”, using a six-sensor, full-band ANC system.
The Liberty Buds 2 weigh just 4.7g and also feature HearID 5.0 for personalised listening. For the drivers, we are told, the wireless earbuds use a 9.2mm wool paper diaphragm for “high dynamic detail”.
Anker hasn’t yet confirmed the Liberty Buds 2’s battery life.
According to the company, the AeroClip 2 Pro open buds are an “AI note-taker for every need”, thanks to the Thus chip, which captures online meetings and calls and “transcribes, summarises, answers and syncs your workflow.”
“Crystal clear calls” are yet again promised, this time courtesy of four high signal-to-noise ratio MEMS microphones and two bone conduction sensors, paired with built-in AI noise extraction.
The AeroClip 2 Pro use an 11.3mm dual diaphragm driver with ‘AdaptiveTune’ (Anker’s adaptive ANC option), which the company says provides “immersive sound in any environment”.
The open design features no silicon eartips, but promise “comfortable, secure all-day wear thanks to their C-shaped bridge.
A standard AeroClip 2 model will also be available. All we know about the product so far is that it will also use the Thus chip for clear calls and will have an eight-hour battery life.
The Space 2 Pro, Liberty Buds 2 and AeroClip 2 are set to launch on 22nd September, with retail availability in the UK, US and EU. The launch date of the AeroClip 2 Pro is yet to be announced, and Anker says that the product will only be available in the US. Full pricing is as follows:
Huawei has announced a new generation of wireless earbuds, the FreeBuds Neo.
Positioned as a more accessible sibling to the FreeBuds Pro, the new earbuds share a lot of common features with the flagship range.
The FreeBuds Neo feature a lightweight, mini stem design. Each earbud weighs approximately 4.8g.
Huawei has also updated the eartips, optimising the design across “eight key ear-related surfaces”. While we're not 100 per cent clear what it means by "ear-related surfaces", the work will reportedly make them more comfortable to wear for prolonged periods and ensure they fit a wider range of ears.
An 11mm polymer composite dynamic driver is at the heart of their “turbo drive unit”, which uses a multi-port vent system to balance pressure behind the diaphragm for “smoother, more controlled diaphragm movement”. Huawei says that the driver’s lightweight, high-rigidity diaphragm delivers “clear highs and a realistic sense of presence”.
Standard Bluetooth codecs are supported, as well as higher-quality Bluetooth codecs including LDAC, which allows data transmission up to 990kbps when connected to a compatible source. The buds also support Huawei’s own L2HC codec that allows for higher 2.3Mbps high-resolution lossless transmission, but only with select Huawei smartphones/tablets.
The earbuds have an 'unlimited spatial audio' feature, which uses real-time head tracking to keep audio stable relative to head movements. There is also a fixed spatial audio option, as well as 'pinpoint game audio' – a setting optimised for first-person shooter games, which provides accurate tracking of footsteps and gunshots.
The FreeBuds Neo feature a “dual-channel noise cancellation architecture”, which sees a C-shaped tube and air vent working in tandem to minimise the entry of outside mid/high frequencies into the ear. A third-gen audio chip is used to process and cancel environmental sound, resulting in an average noise cancellation of -30dB across the hearable frequency range.
(Image credit: Huawei)
In an effort to boost call clarity, the FreeBuds Neo use three microphones and a bone conduction sensor, alongside AI processing. The earbuds' "anti-wind" design further reduces airflow interference, allowing users to take calls in noisy situations.
Like the FreeBuds Pro 5, the new earbuds feature tap controls on the stem, and see their antennae upgraded to offer an improved Bluetooth range of up to 170m, alongside enhanced resistance to interference.
The Huawei Audio Connect app can be used to control the earbuds, letting users switch between noise cancellation modes and EQ settings, locate the earbuds and check battery levels. The FreeBuds Neo are compatible with Android, iOS, and Windows and support cross-system dual device connection.
In terms of battery life, the FreeBuds Neo provide 40 hours of charge with their case, and up to 10 hours from the earbuds alone, which falls to 6.5 hours with ANC enabled. Notably, a 10-minute quick charge will give you four hours of playback.
The Huawei FreeBuds Neo will be available in four colours: Stellar Silver, Nebula Pink, Ice White and Starry Black. They are due for release in the UK on 23rd September, costing £120.
Customers purchasing the FreeBuds Neo before the 26th of October will be given a £20 discount.
Dali has announced the release of a new subwoofer, the Basik Sub, which the company says is “a natural partner” to its Kupid and Sonik 1 standmounters.
The Basik Sub uses a 20cm downward-firing woofer made from paper pulp, which Dali claims combines “low mass with rigidity to provide detailed low-frequency performance”.
According to the company, the Basik Sub’s downward-firing configuration allows more even bass distribution and improves flexibility when it comes to positioning.
It's powered by Class D amplification, delivering 170W RMS and a peak of 220W. And the subwoofer's reasonable dimensions of 31.9 x 29.5 x 31 cm (hwd) should also make it easy to integrate into smaller listening spaces.
The subwoofer includes a stereo line-in and a mono LFE input to cater for hi-fi and home cinema applications. The speaker also features built-in controls, such as a gain, crossover adjustment (40–120Hz) and phase controls (0–180°), which Dali says “make it straightforward to integrate Basik Sub into a wide range of systems”. A dual-stage limiter has been included to protect the drivers from overloading.
A vented voice-coil helps to maintain cooling and minimises air compression at high listening levels, while a switch-mode power supply regulates power consumption and heat generation.
(Image credit: Dali)
According to Krestian Pedersen, head of product management at Dali: "We've seen a rise in popularity of bookshelf speakers with our own award-winning KUPID and SONIK 1 speakers over the last year. This has been fuelled by small, affordable streaming amplifiers and turntables which allow consumers to create a custom hi-fi system for the price of a smartphone.
"BASIK SUB is designed as a natural enhancement for these systems as almost all affordable streaming amplifiers and speakers feature a dedicated subwoofer output and bass management features, making it possible to get the full scale and bandwidth from a compact and interior-friendly package"
The Dali Basik Sub is set to go on sale in October for £429 / $800 / €500 and will be available in six finishes: Solid Black, Solid White, Caramel White, Golden Yellow and Chilly Blue.
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