Some people will never be able to get past the cost of these Marten speakers, and we can understand why. Standing just 42cm tall, the two-way Parker Duo Diamond Edition look under-equipped to survive in a high-end sector dominated by sonically talented and intimidatingly muscular floorstanders.

Given the significantly larger internal volumes and formidable driver arrays featured on those towering rivals, the Parker Duo Diamond Edition’s chances don’t look good. In the event, it turns out that these modestly-proportioned Swedish boxes can look after themselves.

Any company that names its product ranges after Jazz greats shows, at the very least, a good amount of musical appreciation. Marten invokes the likes of Coltrane, Mingus and Oscar, among others, and uses the Parker name for its step-up series.

It may be shocking for some to discover that the Parker Duo on test here is merely one of the early steps on the Marten ladder. Unusually, it is available in two forms: the standard version of the Duo (£11,995 / $19,000 / AU$18,500) and the Diamond Edition on test here.

Design & build

The standard Parker Duo uses ceramic diaphragms in both its 25mm tweeter and 19cm mid/bass unit. Its crossover point is set at a fairly typical 2200Hz, and the network design is a mixture of first and second-order filters. A rear-firing 23cm aluminium passive radiator is used to tune the bass.

Sensitivity is claimed to be 88dB/W/m and nominal impedance is rated at 6 ohms. Note, the minimum impedance is just 3.1 ohms, which suggests these speakers will perform best with a muscular amplifier.

The Diamond Edition adds more spice to the formula by swapping the standard model’s ceramic tweeter for a diamond dome, and upgrading the crossover’s polypropylene capacitors for more exotic copper-foil types. The internal wiring is upgraded too. Everything else, including the electrical specifications, remains the same.

See the Diamond Edition in real life, and it gets off to a good start. Build quality is as immaculate as the price demands. The gloss black finish of our review samples is wonderfully deep and mirror-like.

Not all our team like the unusual styling of this product, or the fixed metal grilles over the drive units, but we have no complaints about fit and finish.

The Parker Duo’s front panel is 6cm narrower than the rear, which looks a bit odd at first. This unusual shape reduces the build up of internal standing waves, while the use of 35mm-thick M-Board (a proprietary laminated material) for the enclosure’s panels is claimed to produce a more rigid and inert structure than more conventional alternatives.

The performance of any standmounter is massively dependent on the quality of its support. Marten makes dedicated stands for the Duo, and they are impressively weighty and rigid. Their construction is based around three rigid pillars and a thick steel base, fitted with four isolator feet co-developed with IsoAcoustic. These stands cost a chunky £3295 / $5000 / AU$5750 per pair, but are good enough for us to consider them an essential part of the deal.

Any product at this level positively demands a top-class system. Our reference set-up consists of Naim’s ND555 / 555 PS DR music streamer and the Technics SL-1000R/Kiseki Purpleheart record player feeding a Burmester 088/911 MkIII pre/power amplifier combination.

The cables are a mix of premium offerings from Chord Company and Vertere Acoustics. For benchmarking purposes, we have the ATC SCM50 and the PMC MB2 SE speakers.

These Marten speakers perform best when given plenty of space to breathe. In our 3 x 7 x 5m test room, they sound most at home with the front panel around 90cm from the back wall and angled in slightly towards the listening position so that the tweeter axis crosses a little behind our heads.

Given such a placement, these speakers produce a lovely, consistent tonal balance combined with the kind of three-dimensional stereo imaging that almost feels physical.

Sound

That huge price tag may lead many to expect sonic fireworks every time these speakers play music. That’s not how it works.

The Parker Duo Diamond Edition does exactly what every truly great speaker should, and that’s reproduce the source material with the minimum of alteration. So, if you have a poor compressed recording, or less than capable electronics in your system, these standmounts will merely reflect that, imperfections and all.

Unusually for such revealing and analytical performers, these Marten speakers won’t go out of their way to highlight those flaws. You can hear the shortcomings easily, of course, but they remain in proportion, and the good parts of the recording will still shine.

However, feed these speakers a diet of great recordings – classics such as Miles Davis' Kind Of Blue or Take Five by the Dave Brubeck Quartet, for example – and they will turn in a performance full of subtlety, dynamics and cohesion that’s almost eerily convincing.

That the Marten Parker Duo Diamond Edition are capable of a high level of resolution should not be a surprise. Such qualities should be a given at this level. However, what sets them apart from most rivals is the degree to which they step beyond the mechanics of hi-fi – you know, a cone moving backs and forward, crossover components and enclosure resonances – to put the music front and centre.

These speakers sound impressively natural regardless of whether we are talking about rendering instrumental textures in classic jazz recordings or the nuances of Billie Eilish and Khalid’s vocals on the wonderful song, Lovely.

When we play Tchaikovsky’s Marché Slave Op.31, these Marten standmounts stay controlled even when pushed hard to high levels. Just as pleasingly, they refuse to harden up and compress to any significant degree under such circumstances.

There are certain boxes that need to be ticked for a speaker to succeed at this level. Tonality has to be spot on, and it is. These standmounts sound neutral while still displaying natural warmth and richness; this is a rare combination that few rivals manage.

Next, dynamic expression should be top class. That’s another tick here, whether we are talking about the wide-ranging sweeps of Tchaikovsky’s symphony or the finesse needed to get the most from the Billie Eilish/Khalid track, the Duo Diamond Edition manages it.

Then we come to rhythmic drive, a quality many hi-fi products struggle with. A quick spin of Michael Jackson’s Who Is It? reveals that these Marten speakers excel in this area too, communicating the song’s momentum and energy beautifully.

We haven’t even got to the icing on the cake yet. These relatively small speakers do bass, proper deep bass, way beyond that we would expect for this size of standmounter. As we listen to the Jackson track we are floored by the power and authority of the lows. The Parker Duo Diamond Edition hit hard and true, delivering the lows with enviable articulation and precision.

Compared to the cheaper but appreciably larger ATC SCM50 speakers, the Martens deliver richer, punchier bass with broadly comparable extension. The company claims low-frequency extension down to an impressive 36Hz ±2 dB. That sounds believable.

Verdict

The real shame of a product like this is that very few people will actually be able to hear and enjoy it, given its price and restricted exposure.

However, if you are one of the lucky few with the budget and system to do a speaker like this justice, we recommend a serious audition; the Marten Parker Duo Diamond Edition is a true endgame speaker.

Review published: 2nd September 2026

SCORES

• Sound 5
• Build 5
• Compatibility 4

MORE:

Read our review of the YG Acoustics Carmel 3

Also consider the TAD ME1TX

Read our ATC SCM50 review

Best bookshelf speakers: top standmounts for every budget tested

The rise of China’s hi-fi industry has been meteoric over the last decade or so. The likes of WiiM and Eversolo are now firmly part of the hi-fi mainstream thanks to their aggressively priced but technically accomplished products. It wouldn’t be a surprise to find Topping Audio joining them in short order.

Topping Audio is based in Guangzhou and was founded in 2008, so it is hardly a start-up. Take a look at the company’s website, and you will find that it makes a bewildering range of hi-fi electronics. We counted more than 20 models of digital-to-analogue converters alone, alongside an extensive range of amplifiers, be they headphone, integrated, pre or power.

The Topping Audio D900 on test here represents the pinnacle of the brand’s DAC technology. Along with its junior sibling, the D90MKIII, this converter uses a proprietary, discrete 1-bit DAC design called PSRM (Precision Stream Reconstruction Matrix).

This works by converting the original digital audio stream into a sequence of 1-bit pulses. The density of these pulses, whether weighted towards 0 or 1, represents the waveform level. In contrast, other models in the company’s range employ standard off-the-shelf DAC chip solutions, as does much of the competition.

Features

The D900’s digital design is fully balanced, with 32 discrete high-speed switching voltage references for each channel. The cheaper D90MKIII makes do with half that amount. In principle, PSRM reminds us of the high-end Ring DAC technology developed by dCS.

Given that this Topping DAC sells for a fraction of the price of one of dCS’s converters, the use of such a design is impressive.

File compatibility is excellent, with the D900 happy to accommodate hi-res PCM datastreams up to 32-bit/768kHz and DSD512. We can’t imagine this DAC falling short of anyone’s requirements, at least not for the foreseeable future.

The D900 is well-equipped. It has a wide range of connectivity, including two coaxial, two optical and USB in both Type B and C varieties. The D900 also has AES/EBU and I2S digital inputs, which may prove useful for some. Bluetooth 5.1 is included and is compatible with high-quality LDAC and aptX HD codecs.

On the output side, Topping has gone all in with balanced XLR connections for both its variable and fixed outputs. Those whose systems lack balanced connectivity will have to use appropriate adaptors. Such adaptors aren’t particularly hard to source, but it is still a shame that Topping didn’t find a way to include a pair of standard RCA connectors on the back panel.

Build

This DAC is nicely made and reassuringly solid. We have no complaints about the fit or finish of the metal casework. The multi-function rotary dial on the front feels positive and precise, while the 2in display is crisp, but on the small side for reading at any significant distance.

It is good for adding visual excitement to the front of the DAC, though, and can be made to show an analogue VU meter or frequency spectrum bar graph. The display also makes it easier to work through the set-up menus and the built-in equaliser function. There are numerous parametric equaliser settings, but in our system at least, none is quite as satisfying as the default neutral option.

Take a look inside the D900, and it’s clear that the engineers have taken a great deal of care with the circuit layout and appearance.

Our digital sources for the Topping are Naim’s ND555/ 555 PS DR music streamer, a Cyrus CDi CD player and a MacBook Pro running Audirvana music-playing software and loaded with plenty of hi-res files.

The rest of our reference system is Burmester’s 088/911 MKIII pre/power driving a pair of ATC SCM50 speakers. We also use a PMC Cor integrated and Epos ES-14N combination to hear how the Topping performs in a more price-appropriate set-up.

Our DAC comparisons are Chord’s Qutest (£1249 / £1795 / $2400) and Hugo 2 (£1795 / $2595 / AU$3800) along with recent experience of the Rotel DX-3 (£1399 /$1699 / AU$2199).

Sound

Does the D900’s clever DAC circuitry give it any advantage over those that use more conventional off-the-shelf chip solutions? In truth, we can’t be sure. It is impossible to separate the contribution of the conversion technology from everything else inside. Analogue output stages, power supplies, component quality and signal paths all have a huge impact on the final result.

What we can say is that the D900 sounds unusually talented in some regards.

Regardless of input, with the exception of Bluetooth, of course, the Topping D900 resolves an impressive amount of detail. Give it a complex recording such as Mahler’s 4th Symphony, and it delivers a sound full of texture and subtlety.

We love the sense of space this DAC imparts, even when the music becomes dense, and the delicate way it renders low-level dynamic shifts.

The music comes through with an appealing fluidity that puts us in mind of a good analogue source rather than the usual digital stereotypes. The D900 sounds neutral and unforced; qualities that may not impress on a short demo at a dealer, but we think hold plenty of appeal in the long run.

This Topping DAC is flexible in its approach to music replay. Its insight allows us to dig deep into the fabric of the recordings if we want to; alternatively, we can just sit back and relax, letting the music’s emotional impact wash over us. The D900’s ability to resolve plenty of detail without sounding overly analytical is unusual and welcome.

Stereo imaging is expansive and airy, the Topping layering the soundstage convincingly while delivering a fine sense of scale. There is a good degree of stability too, so that the D900’s focus doesn’t waver as the music becomes more demanding.

Tonally, it is as neutral as they come, with no part of the frequency range dominating. Highs are smooth yet don’t lack in bite while the midrange is as clear and articulate as you like. Bass could be better, though. It digs deep but doesn’t have the tautness or muscularity of rivals.

As we try more upbeat music such as Raye’s Click Clack Symphony, Chicago by Michael Jackson and Zion by Soul II Soul, we can’t help but want a bit more energy and drive in the presentation, too.

This Topping sounds restrained and slightly lacking in authority compared to either of the two Chord DACs. We miss their sense of musical cohesion and ability to deliver dynamic contrasts with conviction.

That said, we are still able to enjoy the D900’s clarity and finesse, particularly through the midrange and upwards.

Verdict

There is no denying that the Topping D900 is a talented DAC. Its detail resolution and fluid delivery are right up there with the best at the price, as is its file compatibility and build quality.

While we think this Topping falls short of being a complete all-rounder, it remains a viable and appealing alternative to the established benchmarks.

Review published: 14th August 2026

SCORES

• Sound 4
• Build 5
• Features 5

MORE:

Read our review of the Chord Hugo 2

Also consider the Rotel DX-3

Read our Chord Qutest review

Best DACs: USB, desktop and portable digital-to-analogue converters

Quiz! How fast can you solve our turntable challenge? Test your wordsearch skills now

TAD was originally founded in 1975 as a premium sub-brand to help Pioneer sell high-end speakers to the professional market. The brand’s name is an acronym for Technical Audio Devices – not a particularly poetic name, but that hasn’t stopped the company from developing into a standalone high-end manufacturer of considerable repute. Currently, its product range includes pretty much every part of the audio chain from digital electronics to stereo speakers.

The original Micro Evolution One speaker first hit the market in late 2016. The new TX version on test here was introduced last year, and features many detail improvements without changing the basic formula. The TAD ME1TX remains a beautifully made, immaculately engineered standmount that puts detail resolution, sonic precision and transparency at the top of its priorities.

It may come as a surprise to many that a speaker costing this much is only the entry model in TAD’s speaker range, though that fact does provide a good indication of the brand’s positioning in the hi-fi hierarchy.

Build & design

Standing just over 41cm high, the ME1TX speakers are relatively compact, but unusually for such small speakers, they are a proper three-way design.

The midrange and higher frequencies are handled by TAD’s CST (Coherent Source Transducer) driver array that positions a 25mm beryllium dome tweeter in the throat of the 9cm magnesium cone midrange. It is a similar arrangement to KEF’s Uni-Q technology and offers plenty of advantages on paper.

Aligning the acoustic centres of the two drivers improves overall dispersion characteristics and benefits integration.

In practical terms, this means the ME1TX should deliver a wide listening sweetspot and maintain its sonic characteristics more consistently as the listener moves around the room.

A 9cm driver is too small to deliver much in the way of bass, so TAD’s engineers have chosen to partner its CST array with a 16cm woofer.

This woofer uses a multi-layer aramid composite cone with a corrugated surround made of foamed polycarbonate, and vents through the enclosure’s sides behind the 5mm-thick steel plates mounted on either side. Having the vents on either side is said to cancel out any vibrations generated by them.

The ME1TX’s cabinet is a substantial affair and weighs in at a hefty 21kg each. Be careful when you lift them out of their packaging, as that weight can catch you by surprise. The impressively rigid construction consists of MDF panels braced internally by birch plywood.

The addition of those steel plates on the sides adds mass and rigidity, while also giving the engineers a fixed boundary for the air coming out of the vents to interact with.

This TAD speaker’s build quality is exquisite, just as the price demands. The monitor’s fit and finish is flawless, as is the attention to detail, right down to the quality of the biwire speaker terminals and shorting wires used between them to allow single-wiring.

There are two finish options for the ME1TX: the deep gloss black of our review sample and a silver-white combination that looks just as smart.

Compatibility

At this level, careful system matching is a must. The ME1TX has a lowish claimed sensitivity at 85dB/W/m coupled to a demanding 4-ohm nominal impedance, so in electrical terms, it makes sense to go for an amplifier with plenty of drive.

The bulk of our testing is done with Burmester’s 088/911 MkIII pre/power (180 watts per channel), though even PMC’s 95 watts per channel Cor integrated also drives these speakers well. Our main sources are Naim’s ND555/555 PS DR music streamer and a Technics SL-1000R/Kiseki Purpleheart MC record player.

The performance of any standmount speaker is highly dependent on the quality of the partnering support. TAD makes dedicated metal column stands for the ME1TX, and they work well in visual and sonic terms.

Given the price of the speakers, it will come as no surprise that these chunky stands are pretty premium too, selling for £2995 (around $2900 / AU$3599) for the pair.

While it is tempting to position relatively small speakers right up against a wall, we would avoid doing that in this case. In our 3 x 7 x 5m (hwd) test room, these speakers sound best around 50cm into the room and angled in towards the listening position. Such a placement retains a convincing tonal balance but also gives us a focused soundstage.

Sound

If you are expecting sonic fireworks, then these TAD speakers will leave you disappointed. These monitors are as understated as they come, preferring to allow the music and recording to take the limelight.

Their presentation sounds pure and unvarnished to our ears, almost a blank canvas that leaves any energy and drama to come from the music itself.

If the source material doesn’t bring the fun, the ME1TX won’t help out. Equally, that applies to the partnering system. If there are any shortcomings anywhere in the system chain, then these speakers won’t hide that fact. That just isn’t their purpose. We would avoid bright or lean electronics in general, as such a balance just doesn’t work with these speakers.

However, given that these are impressively transparent and highly revealing monitors, they will also allow the listener to dig deep into the production of a piece of music and analyse every aspect for good or bad.

It wasn’t long before we started to think of these TAD speakers as an audio microscope, something that allows us to hear low-level details with a class-leading clarity most alternatives just don’t have.

Time after time, we hear a small piece of detail, a subtle reverb or an extra sense of space between notes that other speakers simply ignore. It is the TAD’s superpower, and goes some way to justifying this speaker's high price.

We also appreciate the ME1TX’s tonal neutrality. They sound wonderfully even-handed throughout their operating range, giving them the ability to render voices and instruments in a convincingly balanced way.

As we work our way through Beethoven’s 9th Symphony, the live recording of Keith Jarrett’s Köln concert, and Billie Eilish’s Hit Me Hard And Soft set, we marvel at the effortless way these speakers bring instruments and voices to life.

Their exceptional composure leaves the listener confident that the speaker won’t fudge any aspect of the sound, even when the music becomes demanding. When it comes to control and sonic stability, we have heard little that betters these standmounts.

We are big fans of coincident driver arrays, and our time with these TAD monitors just reinforces that view. Once optimised, these speakers deliver excellent stereo imaging and a wide listening sweetspot.

Their soundstage even stays stable when we move around the room, and the tonal character doesn’t shift notably. Image focus is terrific, as is the way the ME1TX layer their expansive presentation to create a proper three-dimensional soundfield.

These are relatively small speakers, but unlike many rivals, they don’t exceed the expectations set by their size by producing a generous dose of bass. The laws of physics aren’t bent, and you certainly won’t be looking around for an additional bass driver or subwoofer hidden in the room’s corner.

However, the bass they do produce is proportionate, articulate and beautifully integrated. If you have a larger room, we would suggest adding a subwoofer or, preferably, going for one of TAD’s bigger models.

The modest amount of bass also limits the sonic authority on offer, and to a certain extent, contributes to the speaker’s slight restraint with large-scale dynamics.

The JBL Summit Ama and the Fyne Audio F1-8 are similarly sized to the ME1TX, but both convey the dynamic contrasts of the Beethoven symphony with greater conviction and muscle. Billie Eilish’s thumping basslines come through with greater heft, too, through these alternatives.

Rhythmic drive is surefooted rather than enthusiastic, though these TAD speakers still do a good job of conveying the musical momentum and bristling energy of a song like Michael Jackson’s Jam. We can’t recall an alternative that does better when it comes to outright clarity and the ability to unravel this song’s dense production. Every crash and bang on this track hits the mark, without a hint of exaggeration.

Even so, it is hard to escape the feeling that these speakers prefer to deliver the music in a slightly aloof, dispassionate way rather than to get on the dance floor, metaphorically speaking. The ME1TX are about control, precision and organisation more than they are about verve or drama.

Verdict

There is no denying that these TAD ME1TX standmount speakers are beautifully engineered and offer more insight into the production of a recording than pretty much any standmount we have heard. Given a carefully chosen partnering system and recording, they can certainly deliver moments of musical magic.

However, their measured approach won’t appeal to all, so take a good, long listen before you consider buying.

Review published: 6th August

SCORES

• Sound 4
• Build 5
• Compatibility 4

MORE:

Read our review of the JBL Summit Ama

Also consider the Wilson Benesch Discovery 3Zero

Read our Fyne Audio F1-8 review

Best bookshelf speakers: top standmounts for every budget tested

Roksan’s new Caspian 4G range has some big shoes to fill. The previous generation was a firm favourite of ours, winning multiple Awards and gaining plenty of five-star reviews over the best part of a decade and a half.

It is fair to say that Roksan isn’t the same company it was when the previous generation of Caspian products was launched. The brand was bought by Monitor Audio back in 2016, and now no longer makes any of the turntables it was so famous for, most notably the Xerxes.

While we wouldn’t be surprised to see new record players at some point in the future, for now the company’s priority is to re-establish Caspian in the premium sector, and (belatedly) build on the foundations laid by the more affordable Attessa range introduced back in 2021.

Currently, the Caspian 4G series consists of four products: the streaming preamplifier (£3500 / $4500 / AU$7199) and power amplifier (£3000 / $3750 / AU$5999) pairing on test here, alongside an integrated amplifier that’s available with or without a streaming module, retailing for £4000 / $5000 / AU$7499 and £3000 / $3750 / AU$5999 respectively.

Given the excellence of the previous generation Caspian CD player, we have hope that the company will eventually release one to match the amplifiers. Until then, there is no stand-alone disc or streaming source in the range.

Design & features

So, to the products at hand. The Caspian 4G Streaming Pre-Amplifier is in most ways a very well-equipped unit. As the name indicates, a streaming module is included, but this unit also has a phono stage and a good range of digital and line-level analogue inputs.

The streaming module is from BluOS, and will play music stored on any device connected to it or your home network, up to 24-bit/192kHz PCM files. If you have DSD music, then you are out of luck, as the Caspian 4G streamer can’t play it. Other products that use the BluOS module have DSD ability – the Bluesound Node Icon and Cyrus 40 ST come to mind – so we can only hope that Roksan follows suit at some point.

But let us keep things in proportion. While most premium streamers have better file compatibility than this Roksan, it is fair to say that hi-res music files above 192kHz are something of a niche interest; much the same can be said of DSD. We suggest letting your music library dictate whether the Caspian 4G will work for you. In the vast majority of cases, we suspect it will.

The BluOS platform gives access to a range of streaming services, most notably Spotify, Tidal and Qobuz (in Connect form), as well as Internet radio. Apple AirPlay 2, MQA and Roon compatibility are also on the menu. As is usual, the Roksan will connect to your home network via an Ethernet lead or wirelessly. We tend to stick with wired for the extra stability it offers.

We have few complaints about connectivity. On the digital side, there are two optical inputs, a pair of coax, and an HDMI eARC input to make integrating this Roksan into an AV set-up easier. You can play music files from storage thanks to a USB-A socket.

Bluetooth is included too, though given it is limited to the aptX codec, it should be considered a convenience option rather than something intended for serious listening. Connection to our iPhone 14 Pro Max is swift, and the performance is more than good enough for the job.

On the analogue side, there is a trio of line-level inputs that includes a balanced XLR, and dedicated sockets for both moving magnet and moving coil cartridges. The gain levels chosen for both phono inputs (MM is 53dB and MC 73dB) are sensible and will work well with most cartridges. It is possible to adjust those settings by + or - 6dB, just to fine-tune the results.

The phono stage’s electrical loading isn’t adjustable, but the values chosen strike a good middle ground at 47kOhms/100pF for MM and 100 Ohms/470pF for MC. In addition, there is an option of a rumble filter to reduce any unwanted low-frequency noise generated by the record player.

As for the preamp’s outputs, the user can choose between three options: balanced XLR or a pair of single-ended stereo RCA outputs. One of these single-ended outputs can even be configured with a low-pass filter and used for driving a subwoofer.

Take a look inside these Caspian 4G products, and it is hard not to be impressed by the care Roksan has taken with the layout and production engineering; they really are nicely turned-out components. The preamp’s analogue section is fully balanced to keep noise levels low, and the power supply arrangement is generous to ensure a clean, low-noise power feed to the circuitry.

On the digital side, Roksan has used its bespoke ‘Rapture’ DAC circuit; a discrete, dual-mono design that the company claims is capable of high levels of resolution and precise stereo imaging.

The Caspian 4G Power Amplifier is a simpler unit than the streaming preamp. It features a rather generous trio of inputs, mirroring the preamp’s single-ended and balanced XLR connectivity, and, in a nod to tradition, has the same distinctive design of speaker terminal as used on the previous generation of Caspian amplifiers.

It uses a Class A/B circuit and is something of a powerhouse, delivering a claimed 105 watts per channel into an 8-ohm load and almost doubling that to 200 watts as the impedance halves. In bridged mono form, that increases to 420 watts into 8 ohms and 630 watts into 4 ohms. We don’t see this power amplifier having difficulty driving any price-compatible speaker.

Build & set-up

The build quality of both the streaming preamp and power is excellent. Their casework is beautifully machined and elegantly engineered. There are two finish options: black and silver. It is easy to think that Roksan hasn’t been particularly bold with its choice of colours, but that’s what most people buy, even when more adventurous options are offered.

To our eyes, the styling of these products looks understated yet modern. We like the clean detailing and the design language that honours the previous range but moves things on too. That clarity of thought extends to the remote handset, which is a small, solid-feeling unit that is nicely laid out and easy to use.

Nowhere is the evolution of the Caspian range as obvious as it is during installation. Gone are the days when all it took was a couple of pairs of interconnects, some speaker cable and plugging the units into a wall socket. Now, you also need to use an app (available for iOS and Android). Purists may roll their eyes, but it is hard to argue with the degree of flexibility and control this approach offers.

The company’s MaestroUnite set-up app is nicely laid out and intuitive to use. Both the pre and power connect to your device through Bluetooth – the antennas are neatly hidden in the respective caseworks – and then the products can be configured.

The app makes setting up a product as complicated as the streaming preamp pretty straightforward. Inputs can be hidden (if not used), and parameters such as the sensitivity of the MM and MC modules can be fine-tuned to taste. MaestroUnite even includes useful diagrams to help with connections.

There are various DSP modes, including a ‘Tilt’ tone adjustment that pivots the frequency extremes around the midrange, a room boundary adjustment that cuts bass output if your speakers need to be used closer to a back wall than ideal, and the aforementioned rumble filters for the phono stage.

What does the app offer for the Caspian 4G Power Amplifier? It allows you to switch the power from stereo to mono mode, as well as deciding which of its three inputs is selected. It also handles any software updates for the Caspian 4G range as a whole.

In principle, we have no complaints about using an app to set up equipment. Using MaestroUnite on a phone or tablet to set all those parameters is so much easier than trying to do it on the product itself using a (usually small and low resolution) front panel display.

However, early on we did have issues with the app proving slightly buggy in use. Roksan proved quick to react, issuing a software update to fix the problems we had identified, and supplying a replacement Streaming Pre-Amplifier in short order just to make sure.

Once that was done, things worked as well as we had hoped for. There are times when MaestroUnite doesn’t connect to the products as quickly as we would like, but on the whole, using it proves a painless experience.

The well-established BluOS app controls the streaming module, and it works well. In our experience, this is one of the more stable streaming platforms and is relatively easy to use. The layout is fairly intuitive, and the feature set covers the essentials.

Products at this level demand a talented partnering system. Our sources are the Technics SL-1000R record player fitted with either the Kiseki Purpleheart MC cartridge or the Nagaoka MP-200 moving magnet, and the Naim ND555/ 555 PS DR music streamer. The Naim performs as our analogue line-level and digital source along with a Cyrus 40 CD CD player.

As for speakers, our usual ATC SCM50 are pressed into service for much of the testing, but we also use the Epos ES14N and Fyne F1-8 standmounters to see how the Roksan pairing copes.

Sound

In the event, it copes rather well. The Caspian 4G’s streaming section seems a logical place to start, and our impressions are positive. There is a good balance to the sound. It is tonally neutral but avoids the sterility that many similarly tuned products suffer from. The natural warmth of Curtis Mayfield shines through on the hauntingly sad Here But I’m Gone; his voice sounds thoughtful and fragile, yet is as clear and palpable as we have heard at this level.

The backing instrumentation is laid out with care. It is easy to follow individual instrumental strands or just sit back and enjoy the whole. We like the Roksan’s surefooted approach to timing. The song’s steady rhythm track is secure and is delivered with a good measure of drive, letting the music’s easy-going feeling of forward momentum shine through.

We switch to the bass heavy charms of Billie Eilish’s bad guy and enjoy the Roksan pairing’s powerful and articulate bass. Lows hit hard and true as the power amplifier takes a firm grip of our ATC speakers.

The Caspian combo sounds big and powerful, showing plenty of composure even when pushed to high volume levels. However, we notice a touch of reticence with dynamic expression, which robs the music of a bit of drama and involvement.

The sound through the digital inputs retains much the same characteristics. The built-in DAC is a good one, broadly on a par with the better outboard offerings around the £500 / $700 mark. It is an even-handed and textured performer that delivers a good sense of clarity and articulation. Could it be more expressive and exciting? We think it can.

Good as the Caspian 4G combo has been, things get notably better when we switch to analogue. The line level inputs sound great when fed with either our reference Naim streamer or the Cyrus CD player. The level of clarity improves over the built-in streaming module and dynamics gain in verve.

As we work through De La Soul’s Cabin In the Sky, Lux by Rosalía and Rachmaninov’s Symphonic Dances, we are surprised at just how good this Roksan combo sounds. It bristles with energy, balancing excitement with control superbly. The level of organisation is impressive, as is the way the Caspian 4G duo still sounds stable and composed when the music becomes difficult.

Despite the high level of insight, these are not fussy performers. Their transparency means that any shortcomings in the source or source material are easy to hear, but such is the level of refinement that the Roksan duo never makes a meal of things. They prefer to highlight the quality of the music rather than focus on how well the recording engineer did their job.

Stereo imaging is impressive. These units render an expansive soundstage that is populated by nicely focused instrumentation and voices. Sounds are nicely layered, and on suitable recordings, we hear a convincing sense of depth.

The good news doesn’t stop there. The built-in phono stage is excellent, retaining all the positives of the line stages. The level of clarity is impressive while noise and hum levels are pleasingly low. It works equally well for moving coils as it does with moving magnets, which isn’t always the case.

A word of warning, though: while the rumble filter does a job, we found it degrades the sound quality a little too much for our tastes, robbing it of dynamics and transparency. We switched it off pretty quickly.

Verdict

The Roksan Caspian 4G Streaming Pre-Amplifier/Power Amplifier pairing is well made and packed with useful features. It can be a thrilling listen with the right recordings and has a nature that is forgiving enough to keep poorer recordings enjoyable.

The preamp’s analogue stages are excellent, as is the phono module. The latter is good enough that we doubt many owners would be tempted to opt for a dedicated outboard phono stage when the time for upgrading arrives. The streaming and DAC capabilities aren’t quite as impressive, but they are still competitive for the class.

This well-thought-out package suggests that the future is bright for the Roksan brand. We can’t wait to see what it comes up with next.

Review published: 4th August 2026

SCORES

• Sound 5
• Build 5
• Features 5

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Technics’ latest turntable, Bose’s new Dolby Atmos soundbar, and Cambridge's most powerful streaming amp are all in for review this month

The sub-£1000 integrated stereo amplifier market is a tough nut to crack. Such amplifiers need to be forgiving enough to work well with budget sources and speakers, while having the sonic stretch to shine with higher-quality partners. Arcam’s A5 has been the dominant force in this sector since its introduction in late 2023, and the revised, current Award-winning A5+ version has simply reinforced that superiority.

The arrival of the Marantz Model 70 could be a problem for Arcam, though. Marantz is a recognised master of affordable amplifiers, as the multiple awards won by various generations of the company’s 6000 series integrateds prove.

The Model 70 is a reimagining of the excellent, long-running five-star PM6007, featuring a more stylish appearance and improved connectivity. The result is a stereo amplifier that is more useful and flexible than its predecessors ever were.

Make no mistake, Marantz has been aggressive here, pitching the Model 70 directly at the class champion. Is that the right move? We've tested both amplifiers against each other to find out.

Arcam A5+ vs Marantz Model 70: price

The Arcam A5+ costs £749 / $1199 / AU$1595, while the Model 70 retails for £749 in the UK and in Australia, AU$1600 (excluding VAT). Marantz has decided not to sell the Model 70 in the USA, feeling other products in the range cover similar ground in that market.

Given the parity of pricing in other territories, it is fair to say that Marantz firmly had Arcam in its sights when setting the price for its new amplifier. The two can’t really be split in either the UK or Australian markets.

**Winner: draw**

Arcam A5+ vs Marantz Model 70: build & design

The Arcam A5+ has been on the market around three years now but remains a fresh-looking design. We like the simplicity of its clean front-panel layout, even though the display could be a little crisper. Indeed, integrated amplifiers further up the Arcam ladder have a much better display.

The two rotary control dials on the front are decently responsive and precise in use, and the A5+ works intuitively. It is easy to set up, even if that display is a little small.

We have no complaints about general build, as the A5+'s casework feels suitably substantial. The quality of the fit and finish is as good as we would expect at this price. There is only one finish option, black. The supplied remote is a small, basic plastic affair, but it is simple enough to use.

This amplifier should have no problem driving any price-compatible speaker. It is rated at 50 watts per channel, just like the Marantz, and while that number isn’t unusually generous, it is more than enough to do the job.

Over the years we have used the Arcam amp with just about every type of speaker, and it hasn’t let us down yet.

The Model 70 is another well-made product. We like the fresh look. To our eyes, the Marantz amp is distinctive and stylish regardless of whether it is finished in black or silver.

Our positive impression is reinforced by the sturdy yet precise feel of the various front-panel controls. They have a heftier feel than those on the Arcam, and we like that, particularly as they turn with a pleasant smoothness.

The remote is good, too. It is more comprehensive than the one supplied with the Arcam, but remains intuitive in use and feels solid.

We are less happy with the Marantz’s casework. The lid feels thin and rattles when we tap it, while the back panel flexes notably when we plug and unplug the speaker leads. Nothing falls off, of course, and we suspect that the Model 70 will have as long a service life as any of its rivals. However, it does feel more like the budget PM6007 than we would like given its higher price point.

**Winner: Arcam A5+**

Arcam A5+ vs Marantz Model 70: features

These two amplifiers are hard to split when it comes to features and connectivity, and should be able to slot into even the most complex of systems with ease. Both have moving-magnet phono stages, three line-level inputs, a headphone output and digital inputs. They both offer a preamp out for those that want to add an outboard power amplifier.

There are small but significant differences, though.

The Marantz adds an HDMI ARC to its coax and optical digital inputs, and has a dedicated subwoofer out. The Arcam’s second coax input and inclusion of higher-quality aptX Lossless Bluetooth codec and Auracast may balance things out for some people. The Marantz is limited to aptX HD Bluetooth.

The Arcam's digital section is built around the well proven ESS Sabre ES9018 DAC chip, and can handle datastreams of up to 24-bit/192kHz PCM, just like the Marantz (which uses the ESS Sabre’s ES9020Q). Neither amplifier offers DSD compatibility.

Each offers a choice of digital filter options, and as is usual, the best one comes down to system matching and taste.

There used to be a time when amplifiers such as these offered the option of connecting two sets of speakers. That time has gone, with only a single set of speaker outputs available on each amplifier.

**Winner: Draw**

Arcam A5+ vs Marantz Model 70: sound

The Marantz Model 70 is a capable performer. There is no doubt in our minds that it is a clear step ahead of its PM6007 predecessor. The new model sounds clearer, more detailed and stable. The Model 70 has more grip and punch at low frequencies too, making the older Marantz amplifier sound soft and blurred in comparison, though we can still relate to its easy-going nature and fluid delivery.

Up against the Arcam A5+, we can appreciate the Model 70’s more even tonal balance and marginally tauter bass. It produces a controlled and well balanced sound that is sure to work well in a wide range of systems.

We are pleased to report that the Model 70 doesn’t drop its standards across any of its inputs. The phono stage is pleasingly capable, being a relatively low-noise design that retains the positive characteristics of the line stages.

It isn’t unusual for there to be a notable drop-off in clarity between the phono stage and the line-level inputs in amplifiers of this price, but that doesn’t happen to any great extent here.

The sound with records is clear, articulate and balanced. Much the same can be said of the digital inputs. Given the amplifier’s price, the digital module is a good one, broadly on a par with some of the better outboard units around the £150 mark.

Moving to the Arcam reveals its richer tonal balance. This isn’t overdone by any means, but it results in lows that are slightly less taut. But, it is also fair to say that the Arcam is the clearer and more expressive performer. It doesn’t matter whether you listen to Debussy’s Clair de Lune or Eminem’s Recovery set, the A5+ consistently sounds more insightful and dynamically expressive.

While the Marantz seems to prioritise balance and control, the A5+ proves better at bringing out the energy and drama present in the recording. Play Eminem’s No Love and the Arcam delivers doses of emotion and drive that the Model 70 can’t match.

The result is that, while we can admire the Marantz’s many sonic qualities, we find ourselves enjoying the music more through the Arcam, and for us, that is the most important thing.

**Winner: Arcam A5+**

Arcam A5+ vs Marantz Model 70: verdict

One of these amplifiers is good. The other is great. There is plenty to like in the Model 70. It is a well-conceived and nicely balanced product that should work well in a wide range of systems. The feature set covers all the essentials and then some. Slightly thin casework aside, it is pleasant to use and, we suspect, to own.

However, the move up in price has put it up against sterner competition than its PM6007 predecessor ever faced. Good as the Model 70 is, it doesn’t quite manage to offer the Arcam A5+’s breadth of sonic talent, and so doesn’t pull us into the music as effectively.

The A5+ is our current Award-winner at this price point and deservedly so. It is a great all-rounder that manages to tick every box we would expect from an amplifier at this level. If it were our money, this is where it would go.

**Overall winner: Arcam A5+**

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Read our full Arcam A5+ review

And our Marantz Model 70 review

Check out the best stereo amplifiers we've tested across all budgets

Marantz has long been a dominant force in the affordable stereo amplifier market, so when it replaces the long-running, five-star PM6007, we can’t wait to have a listen.

After generations of budget 6000-series amplifiers differentiated only by small tweaks, the Marantz Model 70 marks a notable shift in styling and price, if not content.

Where PM6007 originally launched at £499 / $599 and has been available for around £349-£399 in the past couple of years, the new Model 70 has launched at £749 / AU$1600 (exc VAT) – moving it out of the 'budget' bracket. It's also worth noting that this new amplifier won't be available to buy in the US initially, with Marantz stating it is focusing on the "markets where consumer demand can be more effectively met."

Build & design

While the new Model 70 integrated is clearly based on the former Award-winning PM6007, just compare their back panel layout; it is obvious that the company’s engineers haven’t just been twiddling their collective thumbs for the last half a decade.

The big change is the appearance, of course. This now mirrors the aesthetics of the company’s more premium stereo products (such as the Model 40n), and we like it. To our eyes, it looks classier and more elegant than the more function-first approach of the previous budget model.

The symmetry of the front panel is appealing, as is the trademark Marantz ‘porthole’ display. We are pleased to report that the front panel dials for the volume, balance, tone controls and inputs all feel solid and precise in use, while that small display is crisp, though admittedly not particularly easy to read from a distance.

This stereo amplifier, and partnering CD 70 CD player (£499/ $750), are both available in black and silver finishes. The Model 70’s build feels broadly on a par with the outgoing PM6007, which cost £499 / $599 when launched in 2020, but is now available for notably less.

It is nicely finished, though, and reasonably solid, bar the flex we notice in the back panel when plugging in the speaker cables. Arcam’s similarly-priced A5+ (£749 / $1199) feels more substantial in terms of casework panel thickness and overall solidity.

The Model 70 is supplied with a system remote that also controls the partnering CD player. It looks like a tweaked version of the older amp’s handset, and works well on the whole, being nicely laid-out and easy to use.

There is a bit of give and take when it comes to features compared to the PM6007. The Model 70 gains an HDMI ARC input, Bluetooth (aptX HD) capability and a preamp output over its predecessor. However, it loses one of the two optical inputs, the second set of speaker outputs and the fixed line output.

In general, we have no complaints about the new amplifier’s connectivity. It has three line-level inputs, a moving magnet phono stage, as well as coaxial and optical digital ins.

The addition of HDMI and Bluetooth is a definite step in the right direction, making the amplifier more versatile than before. As with the older amp, there is a 6.3mm headphone output on the front panel.

Inside, you will find that the changes over the PM6007 continue with a different DAC chip (ESS Sabre’s ES9020Q rather than the ES9010K2M), electric rather than potentiometer-based volume control and higher-capacity power supply capacitors (15,000uF vs 12,000uF). Those smoothing capacitors have been moved closer to the power amplifier to reduce resistance. Together, all these changes aim to improve transparency, bass performance and sonic stability.

The use of Marantz’s discrete HDAM amplifier modules, in this case the SA3 version, continues, and power has risen slightly to 50 watts per channel, up from the PM6007’s 45 watts.

A stereo amplifier at this price has to be flexible enough to work in a wide range of systems. It should be forgiving and balanced enough to make the most of budget sources and speakers, while having the sonic stretch to shine with more capable components. The Model 70 certainly meets that challenge well.

We use a range of sources from the Marantz CD 70 and Cyrus CDi CD players right through to our Naim ND555/555 PS DR music streamer. Record playing duties are carried out with a Technics SL-1000R turntable fitted with a Nagaoka MP-200 moving magnet cartridge. As for speakers, we use our reference ATC SCM50 along with the KEF LS50 Meta and Acoustic Energy AE300 Mk2.

Sound

Our first port of call is a comparison of the Model 70 with its predecessor. The PM6007 remains a fine performer for the money, delivering a smooth and fluid presentation that still holds our attention well. However, the new model is clearly better despite sharing a similarly refined tonal balance.

As we listen to Hans Zimmer's The Battle from the Gladiator OST unfurl, it is the Model 70 that sounds clearer and more composed. As the piece builds, the amplifier remains impressively stable, tracking low-level instrumental strands with ease while allowing the listener to sit back and enjoy the whole, if they desire.

In comparison, the PM6007 sounds a little soft and muddled. It manages to reveal the energy and feel but isn’t as tidy in the way the music is presented. Low notes lack impact and definition, while dynamic shifts are more muted.

The Model 70 rams home its advantage when we play the Back On The Block album by Quincy Jones. Here it comes across as the more insightful and revealing performer, beautifully highlighting the wonderful vocal talents of Chaka Khan and Siedah Garrett on The Places You Find Love. We hear more in the way of vocal and instrumental textures, and greater finesse across the board.

The Model 70 retains its predecessor’s forgiving nature thanks to its innate refinement and smoothness, but adds more authority when delivering hard-hitting basslines and challenging dynamic contrasts.

You can add the moving magnet phono stage and digital inputs as additional plus points. With records, the Model 70 retains a good degree of clarity. It delivers Mary J Blige’s No More Drama set with verve and detail, while tonality is nicely judged. It helps that the phono stage’s noise levels are relatively low, too.

The digital inputs are equally capable. The Model 70 is compatible with PCM files up to 24-bit/192kHz and shifts between file resolutions seamlessly. There are two filter options – Slow Roll-off and Fast Roll-off – and while the sonic difference between the two is subtle, we consistently prefer the Slow option as we work our way through a variety of tracks. It just sounds more fluid and natural to our ears. As always, try it for yourself, as much depends on taste and system matching.

The positives continue with the new amplifier’s Bluetooth performance. While this input doesn’t rival any of the physical connections for outright quality, it still produces musically enjoyable results when we feed in music from Tidal and Qobuz using our iPhone 14 Pro Max.

So, it should be clear by now that the Model 70 is a talented performer. Its superiority over the PM6007 is obvious; however, it also costs a lot more than its predecessor. That move up in price puts it into a different performance ballpark and up against some remarkably capable opposition, most notably the Award-winning Arcam A5+.

Comparison to the Arcam proves a stiffer test, one that shows that the Marantz doesn’t hold all the cards. Up against the A5+, we find that the Model 70 falls just a step behind in most areas, regardless of input. With the Quincy Jones album, it isn’t quite as rhythmic with the title track, diluting the music’s sense of momentum a little.

Dynamic nuances aren’t communicated so convincingly, leaving the emotional impact of great vocalists like Stevie Wonder and Ray Charles slightly diluted. Outright clarity and insight, particularly the interplay between instruments, isn’t as easily followed either.

However, the Marantz is the more neutral of the two, sounding less rich through the midrange and bass, while its lows are just a touch firmer. Absolute detail levels are broadly on a par, and we can still enjoy the Marantz’s lovely top-to-bottom consistency.

Verdict

The Marantz Model 70 amplifier has plenty of appeal. It is well-specified, decently made and works with a wide range of music. Had it been priced closer to the PM6007, we would undoubtedly be proclaiming it a class leader.

However, the move up in price level puts it up against tougher competition and, in that context, it earns a more cautious recommendation.

Review published: 27th July 2026

SCORES

• Sound 4
• Build 4
• Features 5

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I love the idea of a soundbar. Who wouldn’t want the quality of a proper home cinema sound system in a form that fits unobtrusively below the television? Just one box and none of the wiring spaghetti. That was the highly appealing promise offered by the first soundbar What Hi-Fi? reviewed, the Yamaha YSP-1.

That was back in 2005, and I distinctly remember the What Hi-Fi? team’s excitement about this new concept; and, with certain provisos, how much we liked that product.

The YSP-1’s design was hugely ambitious for the time. It featured 42 drive units and clever processing technology that could focus beams of sound to produce a proper multi-channel effect, all from a single, one-box product.

Over the years, I have grown increasingly disappointed with the direction of soundbar design. The cleverness of the YSP concept hasn’t been used as a foundation to progress the category.

Single-unit soundbars largely seem to have given up trying to deliver proper surround sound – the kind that wraps around you – choosing instead to focus on Dolby Atmos to deliver a sense of height. The days of a single soundbar enveloping the listener in a (mostly) convincing soundfield are long gone.

If you do want more of a surround soundfield, manufacturers now offer soundbar systems with separate speakers that sit behind you, and usually a subwoofer, too. Such systems, good as they can be, seem well removed from the original, minimalist soundbar idea.

So, if you are looking for a simple way to improve your TV’s sound, I would like to suggest an alternative. Given that single soundbars often no longer even try to emulate true surround sound, maybe forgo the idea altogether and try stereo.

Stay with me on this.

The stereo system could be a pair of powered speakers or even a traditional two-channel amplifier driving a pair of passives. As long as you can get a signal in, whether through HDMI, optical, coaxial or analogue, and can position the speakers on either side of the screen, it will work.

Not convinced? Think of it this way. Soundbars tend to be pretty thin and long in proportion. It is impossible to use anything other than tiny drive units in such an enclosure.

It isn’t unusual to have a driver count in double figures, so internal volume is at a premium, leading to restriction in the kind of amplification and power supplies that can be fitted

While clever use of DSP and a lot of engineering know-how get a surprisingly capable sound out of such limited ingredients, the two-channel route I have suggested allows much more scope for the designer.

The drive units are larger, and there is more space for amplification, power supplies and drive units to breathe. The result, in my experience, is better sound almost across the board.

Sure, the result is limited to stereo, and you’ll have to live with that. There isn’t necessarily a separate subwoofer to augment the lows, either – but even relatively humble solutions such as Fyne’s Cubitt 5 can produce a sound of such insight, resolution and subtlety that similarly priced soundbars are invariably left floundering.

Height information, too, is off the menu. But, for me, the extra expression in voices and greater dynamic finesse more than compensate. Soundtracks sound more thrilling, and dynamics have more delicacy and punch.

Bass may not be as prominent, unless you add a subwoofer to your stereo pair of speakers, but it is invariably more tuneful and better integrated.

Then there is the added bonus of stereo music sounding better, too. Even the best soundbars on the market tend to struggle to convince with music, but a good, dedicated stereo system won’t.

So, if you want to improve the sound from your TV, I suggest leaving the herd and going full retro with a dedicated two-channel set-up rather than a dedicated soundbar. Take the jump; I suspect you’ll be happy you did.

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Bowers & Wilkins’ original 801 speaker was launched back in 1979. At the time, these odd-looking three-way designs were the very best speakers the brand could make. They were aimed primarily at the quality studio market, alongside those who wanted no-compromise speakers at home.

Over time, further 800 series models were added, allowing the lineup to appeal to a wider range of users rather than just the studio world that the originals prioritised.

The new flagship B&W 800 Series Diamond D5 range, introduced at the High End Vienna 2026 show in early June, holds to the same principles as the original, pushing the company’s technology and performance standards as far as currently possible.

We are lucky enough to be invited to the company’s impressive R&D facility in Southwater, West Sussex. It is a large facility, around 2750 square metres of floor space, where the brand’s engineers develop new technologies and products.

We are here to listen to the new 800 Series Diamond D5 series of speakers in its entirety, from the two-way 805 D5 (£10,000 / $15,000) to the mighty, range-topping 801 D5 floorstander (£43,000 / $65,000). The plan is to compare them with the previous-generation models and hear the changes.

It proves an eye-opening experience.

D5: Delving into the differences

At first glance, there doesn’t seem to be too much to separate the two generations. The new D5 models look a little smarter in their updated finishes (stealth black, dark walnut, light walnut or warm white) and have neater detailing.

The floorstanding models in the range have more elegantly shaped plinths, too. But the overall look is much the same – and that is deliberate. This is entirely a case of ‘if it isn’t broken, don’t fix it’.

Those distinctive curved cabinets with midrange pods (on the larger models) and tweeter-on-top have long been part of the recipe for solid engineering reasons. Bowers & Wilkins isn’t a company that changes things without a good reason.

Delve into the details, however, and it becomes clear that the engineers have hardly been twiddling their thumbs over the past few years. Just about every part of the new range, it seems, has been revised.

The D5 cabinets are more rigid thanks to improved bracing and the use of more aluminium in their construction. Even the plinths on the floorstanders have been reworked to improve resonance control, rigidity and their appearance.

There are revised motor systems for the mid/bass and bass drivers, and tweaks to the tweeter unit for improved transparency. Add updated crossovers that use better-quality parts and improved internal wiring, and it is safe to say that the engineers haven’t just posted this one in.

Listening to 10 pairs of speakers: new-gen D5 compared with older D4 series

The benefits of their work are obvious once we start listening to the speakers. The idea is to listen to every product in the new range up against its D4 predecessor. That is ten different pairs of speakers to listen to in around a couple of hours.

Given the short time of our demo, and our unfamiliarity with the listening room and reference system, take the following as our first impressions of the new speakers, rather than anything more concrete.

The Bowers & Wilkins reference system is an intriguing mix of old and new. The source is a high-end Denon DP-S1 CD transport from the early nineties, feeding a two-box MSB Platinum Diamond DAC IV/Diamond Power Base. Amplification duties are carried out by a two-box Gryphon Commander preamplifier feeding a pair of 225-watt Class A Apex monoblocs.

Given the number of speakers we need to hear in the short time we have, we swap between three songs: Harry Belafonte’s A Fool For You, Garden Song from Phoebe Bridgers and Agnes Obel’s The Curse. Of course, it would have been nice to include small- and large-scale classical, some jazz, rock and hip-hop tracks, but we don’t have that luxury in our demo time.

805 D5 vs 805 D4

We start with the baby of the range, a pair of previous-generation 805 D4 standmounters. We reviewed these back in 2022, and listening to them again reminds us just how capable they are.

They still sound detailed and articulate with a lovely top-to-bottom cohesion. We are impressed by the 805’s expansive soundstaging and ability to focus voices and instruments so precisely.

There didn’t seem to be much leeway for the new D5 version to improve on matters; yet it took no more than a few seconds to realise that things were clearly better. Note, there is no notable change in character or tonal balance, with the new generation model clearly cut from the same cloth.

The new one moves ahead in terms of transparency and detail resolution; it just sounds cleaner, clearer and more precise. Any shortcomings in the source material are more apparent, so be aware of this if your music collection isn’t packed with high-quality audiophile recordings.

The 805 D5’s presentation is more up-front and seems louder even though there are no significant changes in speaker sensitivity between the generations. Dynamics are significantly more expressive, and the new model conveys contrasts with more authority.

The presentation is obviously more spacious, and the sense of image height is improved. Downsides? We can’t think of any at the moment.

804 D5 vs 804 D4

We move to the 804 D4 next. These are compact floorstanders that barely take up any more space than their smaller siblings on stands. The addition of a dedicated bass driver and larger cabinet volume makes itself felt with greater authority in the sound.

However, we are missing the 805 D5’s resolution and clarity. The smaller model sounds so much more insightful and expressive – as does the new D5 version of the 804.

Bowers & Wilkins engineers have worked hard on the 804 D5 to bring its performance more in line with the bigger floorstanding models in the range, with their separate midrange assembly. There is now a dedicated aluminium midrange enclosure hidden in the 804’s cabinet, and that gives these speakers a major uplift in sound quality.

The 804 D5 builds on the performance of its junior sibling, exhibiting even more scale to the presentation. However, we find there is now greater heft to the sound and an improvement to outright resolution over the 805 thanks to the dedicated midrange unit.

We think they sound even better than the previous generation 803 model we hear next. The 804 D5 just sound clearer and more insightful to our ears, even though the older speaker scores points for its authority and scale.

The advantages of the 803’s separate midrange enclosure are there to be heard in terms of dispersion. Still, overall, in most medium-sized rooms, we would go for the 804 D5.

803 D5 vs 803 D4

The status quo is restored when we move to the latest version of the 803. The D5 version gives us all the precision and transparency of the smaller model, but we also enjoy the benefits of its more elaborate enclosure arrangement.

This is the first model in the range that enjoys all of the company’s extensive suite of technologies, and the merits are obvious.

The combination of new mesh over the established diamond dome tweeter plus the separate midrange ‘head’ gives us a wonderfully expansive presentation. It is truly room-filling and is delivered with an excellent scale.

We love the precision of the stereo imaging and enjoy the lovely sense of height, with the sound seemingly coming from well above the speakers on appropriate recordings.

801 D5 and 802 D5 vs D4

Moving to the larger models in the range mirrors the improvements between generations that we have heard up to now. As we move to the 802 and 801 D5 floorstanders, we are impressed with the consistency of character between the various models, and the gains of muscularity and low-end reach.

Listening to the top-of-the-range 801 D5 gives us a full dose of what the new range has to offer. Transparency and resolution levels are exceptional, allowing us to hear deep into the mix of each recording.

These speakers dig deep into the bass to the extent that we feel the low-frequency notes as much as we hear them. The speaker’s composure at high volume levels is impressive, with no hint of hardening or dynamic compression. If you like your music loud, you will love these.

Rhythmically, the range as a whole sounds surefooted. We aren’t sure that they will necessarily be the kind of performers that force you out of your seat when listening to dance tunes, but we need more listening time in the more familiar surroundings of our dedicated test rooms to confirm.

Early verdict

We admit, we are surprised. Given the similarity of the two generations, we were under the impression that there would be small, incremental performance changes between the D4 and D5 ranges, at best.

While there remains a consistency of character between the two generations, it is fair to say that the latest 800 Series Diamond D5 speakers are an appreciable step ahead of their direct predecessors. Provided you feed them a good enough signal, there seems little to complain about here.

We're looking forward to giving the B&W 800 D5 series the full, thorough What Hi-Fi? review treatment once we get final samples into our test rooms in due course. Stay tuned.

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Read the previous-generation Bowers & Wilkins 805 D4 review

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Is the humble compact disc about to experience a revival in the way vinyl records have enjoyed over the past few years? While there are some positive signs, we wouldn’t go that far just yet – but it is possible.

Perhaps more importantly, given that more than 200 billion CDs have been made since the format was launched in Japan in 1982, there remain plenty in circulation. There are many people, including us, who still have large CD collections and aren’t about to give them up any time soon.

In such circumstances, and if funds allow, you owe it to yourself to have a listen to the Gryphon Audio Ethos CD player. It is hugely expensive, of course, but shooting for the stars is never going to be a low-cost option.

Build & design

In the metal, this is a mighty impressive beast. We love that Gryphon Audio has been brave with the styling of the Ethos. The company could have easily made this into yet another rectangular box, but instead, it has chosen a striking triangular design that looks like little else on the market.

We like the sci-fi appearance and have something of a soft spot for top-loading CD player designs. There are practical issues with this kind of layout, though. The player can only be placed on the top shelf of your equipment rack, for example, but it also adds ritual to loading a CD that puts us in mind of using a turntable. That’s a good thing in our book.

The loading process is as follows. First, you raise the lid using the small gold lift bar on the attached arm, place the CD over the motor spindle, and then put a small magnetic puck over the centre to hold the disc in place. The lid is then lowered manually. Take care here, because its motion isn’t damped, so it can slam shut rather inelegantly. Gryphon provides a small coaster to place the puck on during the process, which is a thoughtful touch.

Once the lid closes, the Ethos’s transport whirs up to speed. While not overly noisy, it is still possible to hear the mechanism working even when we are a few metres away, something a conventional drawer-loading design would suppress better.

Overall build quality is excellent, just as we have come to expect from Gryphon. At this price, anything less would be unacceptable. The Ethos feels immensely solid and engineered to last decades. Fit and finish are straight out of the top drawer, too.

We even like the partnering metal remote. It is a small unit, but it sits well in the hand and is intuitively laid out.

Features & connections

As is fashionable, Gryphon’s engineers have allowed plenty of leeway for their customers to tweak this player’s sound. There are seven filter options for PCM and three for DSD music files. As is usual, these filters make subtle differences, and the best choice is down to taste and system matching as much as anything else. In our system, the Slow Roll-Off, Minimum Phase option works best for PCM. We left the Ethos on the default Filter 1 setting for DSD.

Then there are upsampling options, and the choice of whether the CD player processes the digital data stream in PCM or DSD. Once again, the differences are small, but we prefer the DSD option at the highest sampling rate. It sounds a touch more natural and fluid to us.

Lastly, there is a Phase-Invert switch. On the surface, this might sound like a fringe concern, but having come across recordings that have mistakenly been recorded out of phase, the ability to correct this allows the listener to enjoy a more focused presentation. It is a subtle effect, but in a transparent enough system, the benefits are clear.

This Gryphon doesn’t play SACD discs, so DSD recordings and high-resolution PCM can only be fed through the Ethos’s DAC via one of its digital inputs. It is equipped with BNC coaxial, AES/EBU and USB Type B connections, and is compatible with PCM files up to 32-bit/384kHz and DSD512.

A pair of ESS Sabre ES9038Pro 8-channel DAC chips (one per side) work in full dual-differential, dual-mono mode, and sit at the heart of the Ethos’s digital module.

On the analogue output side, there are balanced XLR and single-ended RCA options. You will find the left and right channel outputs on opposite sides of the chassis, which is a result of Gryphon’s preferred dual-mono circuitry layout. This kind of arrangement tends to help stereo imaging and prevent unwanted interactions between the left and right signal paths, so improving overall performance.

Add fully balanced operation in both the digital and analogue circuits, something Gryphon has always done, and noise levels are even lower, leading to gains in dynamics and transparency.

Compatibility

The Ethos positively demands a top-class partnering system. We use our reference Burmester 088/911 MkIII pre/power combination driving a pair of ATC SCM50 speakers. We also try a pair of Fyne Audio F1-8 standmounters for a bit of variety. All cables are premium offerings from Chord Company and Vertere Acoustics.

The Ethos needs care in placement. A CD transport is a mechanical mechanism that is easily affected by external vibrations, so a level, rigid, well-damped support is essential.

Make sure it is absolutely level, too. This aspect is important, and Gryphon even provides a rather neat spirit level with the Ethos to help. The player has adjustable spikes that lock into place once everything is set. Such details matter.

Sound

We have long lived in a world where the standard 16-bit/44.1kHz CD specification has been seen as the minimum level of quality digital hi-fi, with hi-res PCM and DSD recordings being cast at the pinnacle of sound. The Ethos proves that there remains plenty of value in the original digital standard.

This player sounds natural in a way that still eludes most high-end music streamers we’ve come across, even if they are playing high-res music files. By natural, we don’t mean the kind of smooth and rich presentation some manufacturers engineer into their products to make them sound less ‘digital’.

Rather, Gryphon has gone for a subtle, unforced approach that rewards over the long term. It is a sound all about texture, physicality and body, rather than focusing on leading edges or the mechanics of the recording.

Play a large-scale classical piece such as Tchaikovsky’s Marché Slave Op.31, and the Ethos sounds wonderfully fluid, uncovering a massive amount of information, without sounding the least bit etched or clinical.

It conveys the scale of the orchestra superbly, delivering the music’s brutal crescendos with enthusiasm, while never losing its composure. We love this player’s sense of authority and its ability to organise the mass of information it uncovers into a cohesive and musical whole.

We can track low-level instrumental strands with ease, yet the Ethos’s sound also allows us to take a step back and just enjoy the spectacle. It is rare to hear a digital source component that combines insight with such a music-first attitude.

The player’s tonal balance is spot on. It is neutral without lacking in warmth and substance. No part of the frequency range stands out unnecessarily, and it all blends seamlessly to the extent that we have to work hard to split the presentation into distinct frequency ranges during analysis.

Stereo imaging is as crisp and precise as you like. We love the solidity of the presentation and the convincing way the Gryphon renders the depth of recordings (provided the recording has depth, of course). The soundstaging remains stable and locked in, no matter how complex the music gets. We find the control and grip of this player hugely appealing.

While the Ethos’s presentation is undeniably refined, there is no lack of bite when the music demands. Listen to Kendrick Lamar’s Humble, and we’re pleased to find that the Gryphon responds with plenty of attack and energy. The song’s bassline kicks with real power, and the player delivers rhythmic drive with conviction.

The story remains equally positive when we try out the player’s digital inputs. We use the digital outputs from our reference Naim ND555/555 PS DR music streamer, a Cyrus CDi and our MacBook Pro (loaded with Audirvana music software and plenty of high-res music), and regardless of source, the Ethos performs excellently.

While the sonic character of the digital inputs remains consistent with the player’s CD playback, the extra information of high-res files is easily heard. Yet, we don’t find going back to the humble compact disc any issue, so good does it sound. The Ethos sounds musically engaging and entertaining, regardless of the source.

Verdict

The Gryphon Ethos is an exceptional CD player. It is beautifully made and is a pleasure to use. While its price puts it out of reach for most people, we’re still glad it exists.

This player shows just what is possible with the original silver disc, and we suspect that it is way more than most people would imagine.

Review published: 6th July 2026

SCORES

• Sound 5
• Build 5
• Features 5

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They say that you should never judge a book by its cover, and we think much the same applies to hi-fi components. Over the years, we have come across no end of impressively specified products that fail to thrill musically while seemingly prosaic alternatives shine.

What of the new generation Vertere Phono-1 LX? On the surface, little appears to be different on this premium phono stage, bar some cosmetic tidying of the casework. Perhaps, more surprisingly, there are no great claims for the inside either, with the basic circuit design remaining unchanged. So, it is natural to wonder whether the change to LX status offers anything meaningful.

Build & design

Delve into the details, however, and the development work put into this new generation phono stage becomes more obvious. The circuit may be the same, but the main PCB is of higher quality than before, ensuring better contacts at soldered joints and superior long-term reliability.

The performance of any hi-fi component is reliant on the quality of its power supply. Here, Vertere has upgraded components to deliver a more stable, lower noise feed to the audio circuitry. Even the mains power input has been improved by using inductors to reduce the amount of RF energy entering the unit.

Elsewhere, there is a new two-way earthing switch that is claimed to offer a longer service life than the three-way option fitted to the previous generation of Phono-1 MkII L, as well as simplifying the choice for listeners.

Given the hum issues that record players can suffer with, we’re glad Vertere continues to take grounding seriously and understands that a one-size-fits-all solution doesn’t really work in every situation.

As before, the Phono-1 LX is nicely made and pretty compact at 5.5 x 21 x 24cm. It should slot into any equipment rack with ease. This new generation model looks a little smarter than before, thanks to the new textured paint finish on the lid and the removal of the previous generation’s top panel securing bolts.

Put old and new side by side, and it is surprising just how much difference such small details make.

There are now four finish options for the front panel: black, silver, orange, and another black acrylic option styled to match the company’s DG-X record player.

Compatibility

The Phono-1 LX is compatible with both moving magnet and moving coil cartridges, having a gain range of 40-63dB selectable in 12 steps via a series of dipswitches on the base.

While this is enough for most cartridges on the market, if you do have a very low-output moving coil, Vertere has you covered. It is possible to order a high-gain version of this phono stage with an extra 6.4dB of gain at no extra cost.

As far as cartridge loading goes, this Vertere phono stage offers a generous range of resistance (78 ohms - 47kOhms) and capacitance (100pF - 1.02uF) options, so that it is possible to optimise the results from just about any price-comparable cartridge on the market.

Aside from the slight awkwardness of the small dipswitches – the company provides a tool in the box to make using them easier – the Phono-1 LX is about as straightforward as phono stages get in terms of usability.

On the back, there is a single set of connections, both input and output are single-ended, and a couple of earthing posts. The Vertere’s front has just a simple on/off toggle and a small power LED.

Given the price point, this Vertere deserves a top-class record player. For testing, ours is the Technics SL-1000R turntable with a choice of moving coil (Kiseki Purpleheart, Ortofon MC X30) and moving magnet (Vertere Dark Sabre, Nagaoka MP-200) cartridges.

The rest of our system is Burmester’s 088/911 MkIII amplifier and ATC SCM50 speakers. We also try a second, more price-appropriate set-up of PMC Cor integrated amplifier driving a pair of Epos ES-14N speakers.

Sound

We start by comparing the Phono-1 LX with its predecessor, the Award-winning Phono-1 MkII L, and it doesn't take long to realise that, despite sharing so much DNA, the new model is a clear step forward. Considering just how highly we rated the old one, this comes as quite a shock.

Regardless of the cartridge we use, the newcomer sounds more transparent and detailed. As we listen to Beethoven’s Fifth Symphony, it is hard to miss the improvement in clarity.

Instrumental textures are rendered more convincingly, and it is easier to grasp the scale of the orchestra and recording venue. There is little to criticise when it comes to control and composure, even when the music becomes demanding.

Stereo imaging is precise and nicely layered. We are pleased with the stability of the presentation and the Vertere’s ability to convey image depth in an authentic manner. Of course, the partnering record player has to resolve all this information in the first place.

The Phono-1 LX’s dynamics are stronger too, with the orchestra coming through with greater verve and impact, making for a more entertaining listening experience. We are surprised by how much more authority is on offer, with the new generation sounding considerably more solid and powerful through the midrange and lows.

These gains pay dividends when switching to Catch A Fire by Bob Marley & the Wailers. We enjoy the Vertere’s rhythmic drive and cohesion with this album, and the way it delivers Marley’s voice with such finesse and passion. The album’s basslines hit hard but display a pleasing amount of articulation and grip. In comparison, the last-gen version sounds thinner and more tentative.

The Phono-1 LX’s tonality remains convincing and refuses to skew too far off kilter at either frequency extreme when provoked. There is enough top-end refinement here to avoid things sounding aggressive, even with less-than-perfectly produced records, but feed the Vertere something well-recorded, such as Quincy Jones’ Back On The Block set, and it shines.

Verdict

The Phono-1 LX may look much the same as its Award-winning predecessor, but it has taken a notable step forward in performance. It is more expressive and pulls us into the music with even greater ease.

Provided you have a talented record player and a system capable of great transparency, this Vertere phono stage is an easy recommendation.

Review published: 1st July 2026

SCORES

• Sound 5
• Build 5
• Features 5

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Most hi-fi enthusiasts have heard of the BBC-designed LS3/5A speakers. This tiny monitor was introduced in 1975 and has built a cult following thanks to its natural way with vocals and terrific stereo imaging. Given its small size and age, it will come as no surprise that it has limitations too, with restricted large-scale dynamics, an inability to play loud and limited bass reach, the most obvious.

The BBC also designed a bigger, more ambitious option, the LS5/9. It was released eight years after the LS3/5A and was intended to serve as a critical-listening monitor in modestly sized studios where the company’s bigger models just wouldn’t work. Its job was to allow the sound engineers to optimise all aspects of the broadcast/recording from microphone placement to overall sonic balance.

The BBC is a broadcaster rather than a speaker manufacturer, so as with its other designs, the LS5/9 is made under license by third-party companies such as Graham Audio. The Devon-based speaker manufacturer proudly proclaims its official licence on the packaging of these speakers.

Given that there are unofficial versions of this LS5/9 on the market, that seal of approval, at the very least, is a statement that the company has stayed faithful to the original design.

Design & build

The LS5/9 is a medium-sized, two-way monitor. It stands 46cm tall and has an internal volume of 28 litres, compared to the mere 5 litres of its smaller sibling. The front-ported cabinet follows the BBC’s favoured thin-wall construction method.

In this monitor, the enclosure’s panels are made of 9mm birch plywood and then heavily damped to move any resonances away from the all-important midrange region. Most current designs take the opposite approach, using thick panels that are more rigid but have resonances higher up the frequency range into areas where our hearing is more sensitive.

The LS5/9 is available in two standard hand-matched real wood veneers – cherry and oak – and three more premium options: ebony, rosewood and walnut. In a nod to modernity, Graham Audio has included magnetically mounted grilles for neatness.

Overall build quality is excellent. The oak veneer on our review sample looks lovely, while fit and finish are as good as the price point demands.

It isn’t possible to buy the original LS5/9 mid/bass unit, so Graham Audio, in partnership with Volt Loudspeakers, developed a new driver that complies with the BBC’s specifications. This 20cm polypropylene unit uses a rigid die-cast aluminium frame and has what is claimed to be a ‘massive’ motor assembly. Each driver is hand-assembled and tested by Volt.

OEM driver supplier, Audax, still manufactures the LS5/9’s official tweeter, and that’s what Graham Audio uses. This is an unusually large 34mm soft dome that is protected by a fearsome-looking metal grille.

Its output level is factory-set, but it can be tweaked to match your listening environment using exposed connections on the front panel. This involves moving a soldered wire between the three options (-1dB, 0dB (level) and +1dB), so it isn’t a particularly convenient thing to do. In most cases, we suspect that people will leave well alone.

The LS5/9’s crossover is relatively complex in design. It uses high-grade polypropylene capacitors and, unusually, a tapped autotransformer to equalise the tweeter level. The result is a sensitivity of 87dB/W/m and a nominal impedance of 8 ohms – pretty standard numbers for a speaker of this type.

Compatibility

Indeed, these speakers don’t prove particularly hard to drive. We try a range of amplifiers from Arcam’s A15+ and the Cyrus 40 AMP to our reference Burmester 088/911 MkIII pre/power without issue.

Our main sources are Naim’s ND555/555 PS DR music streamer and the Technics SL-1000R/Kiseki Purpleheart MC feeding a Cyrus Phono Signature/ PSX-R2 phono stage.

It pays to take care over speaker positioning. In our 3 x 7 x 5m listening room, the LS5/9 sound best around 70cm out into the room, angled in towards the listening position, though their controlled lows make a closer-to-wall position acceptable.

Once optimised, they provide a relatively broad listening sweetspot and their presentation remains impressively consistent as we move around the room. This trait points to great integration between the drive units and a well-calibrated crossover design.

These monitors are voiced to perform best with the grilles on, and they will sound a little bright and forward if you don’t use them this way. Aim to have the tweeter around ear height for the most balanced results.

Sound

Note, despite the age of the basic design, the LS5/9 speakers are highly revealing. If there are any shortcomings in your amplifier, source or the recording you play, they won’t be shy about telling you.

If you are at all familiar with the much more forgiving LS3/5A, that might come as a bit of a shock. Remember, the LS5/9 were designed as proper critical-monitoring speakers, and the LS3/5A were not; the ability to dissect recordings and highlight flaws further up the chain is the bigger speaker’s raison d'être.

Given their intended purpose in life, it comes as no surprise that the LS5/9 are even-handed and essentially neutral. They’re not massive boxes, so we wouldn’t expect seismic bass from them, and we don’t get it. But the lows they do produce are taut, articulate and dovetail seamlessly with the midrange.

As we play Kendrick Lamar’s Humble, it is hard not to admire the LS5/9’s insight into low-end subtleties and their ability to play loud without stress. Bear in mind the design’s age, it is even more impressive. The BBC’s original specifications stipulate 100dB monitoring levels, so the ability to play at high levels was baked in from the beginning.

Their midrange is another highlight. It is beautifully natural, conveying the likes of Aretha Franklin and Gladys Knight with the passion and body they deserve. We love the unforced character of these speakers and the way they deliver so much detail without sounding artificially etched or aggressive.

Sure, that tweeter isn’t shy about revealing hard edges or brightness in recordings, but given a good enough signal, it remains decently refined and insightful.

Stereo imaging is another strength. As we listen to Tchaikovsky’s 1812 Overture, it is hard not to be impressed by the sense of dimensionality and scale. Instruments are placed with precision and refuse to blur as things get busier. We don’t find the soundstage especially spacious, though we do like the convincing way image depth is layered.

Good as these monitors are, there are areas where the age of the design shows. While they excel at conveying low-level dynamics, the kind that communicate the feelings in lyrics or the subtle change of intensity of instruments, they don’t deal with larger dynamic contrasts with as much conviction. The very best alternatives at this price have a broader dynamic reach and convey sonic authority better.

We would also like the LS5/9 to deliver rhythmic drive with a bit more verve and precision. Their analytical approach to music replay has plenty of appeal, but it would be nice if a song like Michael Jackson’s Black Or White was rendered with a greater sense of propulsion.

Verdict

The LS5/9 are a piece of hi-fi history, and should be judged as such. We wouldn’t expect a classic car from the ’80s to be better than current designs in every aspect, and nor would we expect that from any piece of hi-fi.

The shock is just how excellent these speakers sound by current standards. Feed them a good enough signal and their superb midrange, insight and finesse shine through. They sound authentic in a way that still eludes most price rivals, and while there are aspects of their performance that fall slightly behind the very best at this price, these aren’t enough to dull our enthusiasm.

The LS5/9 design is a testament to the quality of the BBC’s engineers of the time, as well as an indication that speaker design hasn’t progressed over the decades as much as we would like to think. Graham Audio has done a great job bringing it to life.

Review published: 29th June 2026

SCORES

• Sound 5
• Build 5
• Compatibility 4

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The year is 1998, and Mission is on a roll. Its entry-level 700 speaker range is already a success. Rather than basking in the glory, the company rams home its advantage with a new step-up option, in the form of the elegant 77 series.

It is a four-strong range, and the smart 771 standmounter is the starter model. They cost £170 (around $255), which puts them up against tough competition such as Mordaunt Short’s MS20i and Tannoy’s mighty Mercury M2, but are good enough to hold their own.

The 771 stands just 31cm high and is barely wide enough to enclose its 13 cm mid/bass unit. This makes them the kind of speakers that could slip into even the smallest of rooms without intruding.

Mission’s driver engineering is cutting-edge for the time, particularly the use of an Aerogel cone for the mid/bass driver. Aerogel combines Kevlar and carbon fibres in an acrylic polymer to create a light, rigid and well-damped diaphragm. The promise is of greater detail, stronger dynamics and improved transparency than more traditional materials.

Rather than use a conventional dustcap at the centre, the 771’s mid/bass has a solid metal phase plug. This conical component improves the mid/bass driver’s off-axis performance and smooths the top end of its frequency response.

The 771’s tweeter is the same soft-dome unit as used in the rest of the 77 range. Rather than being mounted rigidly, as is conventional, it is isolated from any front baffle vibrations (generated by the mid/bass unit) through a clever leaf-spring arrangement.

It also helps that the drive units are positioned so close to each other. The bigger driver cuts into the tweeter’s faceplate, improving the alignment of their acoustic centres, so aiding the 771’s integration and dispersion characteristics.

Even Mission's slim proportions hide a chunky 38mm thick MDF front baffle, with rounded-off edges to reduce diffraction effects. The rest of the cabinet is made of 15mm particleboard.

In 2026, the use of real-wood veneers isn’t particularly common below the £1000 mark, so it comes as a surprise to find that they were standard on a budget offering made decades ago.

There are three finish options: graphite black, rosewood or the cherry of our sample. We even like the textured leather look of the front baffle. It all adds up to a classier-looking speaker than is normally found at this level.

Our samples are the 771e, a mild update introduced a couple of years after the original and sold for £200 (around $300). The differences between the two generations are mild and amount to a few component swaps in the crossover and an extra set of speaker terminals to allow bi-wiring.

The 771e speakers' claimed sensitivity of 87dB/W/m and nominal 8-ohm impedance are both par for the course, and won’t worry any decent price-comparable amplifier.

These Missions were budget speakers, so it makes sense to partner them with appropriately priced electronics. Something such as the Marantz PM 6007 integrated amplifier, fed by its matching CD6007 CD player or the Cambridge Audio MXN10 music streamer, would work a treat. Chuck in a Rega Planar 1 turntable and you have the makings of a very fine (and affordable) system.

A used pair of Mission 771e currently costs £60 – £110 (around $90-$165) depending on condition. For that kind of price, they are a no-brainer.

As we play Lenny Kravitz’s Are You Gonna Go My Way, it is hard not to get caught up in the energy of the music. These speakers deliver rhythms with unusual verve, capturing the music’s hard-charging nature superbly.

They are small, though, so don’t expect lots of bass. The lows they do produce are decently taut and agile. In comparison with Dali’s Oberon 1, a close modern equivalent in terms of size and price (adjusted for inflation), it is surprising just how much more solid and authoritative the little Oberons sound with basslines.

They also trump the Missions in terms of clarity, detail resolution and the rendering of dynamic contrasts. The Dali’s superiority in these respects is obvious and a clear indication of how far affordable speakers have come in the past quarter of a century.

Yet, as we go back to the Missions, it is still easy to fall under their spell. The 771e may be limited in certain aspects of performance, but there are fundamentals they get spot on. Alongside their excellent timing, we have seamless integration between the drivers, and an open and articulate midrange.

Voices are well projected and expressive, so that we really understand Michael Jackson’s anger in They Don’t Care About Us.

While the level of detail is no longer anything special, they have an appealingly cohesive way of organising the information they do resolve. Each sound and instrument fits naturally into place, and the piece of music as a whole makes sense. This applies as much to the dense electronica of Radiohead’s 15 Step as it does to Prokofiev’s Romeo and Juliet.

The 771e was the product of a company at the height of its powers. Mission’s attention to cosmetics was second to none, while the inclusion of clever technologies and engineering showed real ambition.

Modern alternatives have certainly pulled ahead in terms of clarity, authority and dynamic punch, but the Mission 771e’s blend of musical cohesion and rhythmic prowess still holds plenty of appeal, particularly at the prices these speakers now command. They are well worth a punt if you find a pair in good condition.

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