When the Canvas L was announced, and declared itself the "world's first audiophile soundbar", the TechRadar Slack lit up. The likes of KEF and Bang & Olufsen would surely dispute that claim — and is this upstart company really going to beat them at their own game?

Well, I got to listen to the new Canvas L in action at the High End Vienna 2026 hi-fi show, and my skepticism is gone. Other companies have produced absolutely glorious-sounding soundbar-shaped speakers, but the Canvas L is pretty astounding even in that context.

It's not trying to be like soundbars that apply 50 drivers to create a really big sound that works with Dolby Atmos spatial audio in all directions. It's pretty clear when you see the speaker arrangement that this is following a more traditional stereo speaker setup, just transplanted into a shape that's more like soundbar, and that sits below a TV.

Each side of the soundbar has an arrangement with a 29mm SB Acoustics ring radiator tweeter, a four-inch mid-range driver custom-built by Scan-Speak, and an eight-inch Scan-Speak woofer, the latter of which is paired with a matching eight-inch passive radiator.

So that's a pretty classic three-way system (plus a radiator), just in a cunning disguise. It requires a pretty robust amount of bracing, and the cabinet here certainly looks more like what you'd expect from hi-fi than from a soundbar. And the hefty size means it's designed to mount to the back of your TV, rather than sit on a surface.

Of course, even though this is basically a pair of floorstanding speakers in a cunning horizontal disguise, all the amplification is on board, and there's a hefty 1,500W of peak power. Specifially, there's 300W per woofer, 200W per mid-range driver, and 50W per tweeter, all class D.

Canvas Hifi says the frequency response is a huge 25Hz to 40,000kHz — and that brings me the juicy part: how it sounds.

Let's start with the fact that I can easily believe those big frequency range claims, because there's just wildly deep bass that resonates convincingly right through your abdomen, in a great way.

The low end is just gloriously meaty, giving you something to really grip onto and flow with in the music, and that can wake you up with guttural punch if it needs to.

I felt that were was just a slightly boomy edge to it when digging to the deepest depths, which wouldn't necessarily be surprising for something with two huge radiators, but it may have just been an artefact of the cobbled-together listening rooms we have to use at trade shows.

Even if it it's part of the bar's sound, I'd still have no real complaints if I wanted a powerful system without a sub — you just wouldn't need one, and it had no problem dispersing bass thoughout the room, as you'd want.

The sense of power goes beyond just the bass — it has no problem filling the whole room in front of me with a wall of sound that's packed with texture, and brings convincing realism to every delicate element in vocals.

It's so dynamic and impactful, with excellent musical timing, in a way that just gives it engrossing rhythmic energy. I could have happily sat floating in its sound the rest of my day at the show.

I've talked about the power a lot, because it's what stands out most. It can be really light-touch when it needs to be, meaning that it really does feel like an elite hi-fi experience in soundbar form, because it has the versatility that I associate with truly excellent large speakers — and then the ability kick you like a horse when the song demands it.

My overarching takeaway from the experiences was just for firm and 3D the instruments feel in music, even without the full separating you'd normally have for a stereo soundstage.

Here's the thing, though: I only got to hear it with music. Ultimately, this is is still a soundbar, and how well it works with movies is a big deal. I have no doubt it's going to handle the dynamic scale of a great soundtrack easily, but I'd definitely want to hear it with dialogue before arriving at any definitive conclusion.

Oh, and the other thing is the price. The Canvas L will reportedly start from $5,999 for the base model, which includes fixings to attach it to your TV, and it'll work as a stand for your TV as well. That will have a front panel for the speaker as well, of course.

That's about $6,880 / £5,150 / AU$9,760 — and it's for the smallest size. (The size of the speakers won't change at larger sizes, but you'll get a different front panel and fixtures.)

But bass as low as 25Hz is really hard for anything that isn't a dedicated subwoofer to hit. I had a look for stereo speakers that can match it, and you're looking at something like the Monitor Audio Gold 500 6G — which cost the same as this without amplification — or the Bowers & Wilkins 803 D4, which cost about $20k.

So relatively speaking, the Canvas L is a bargain? Sure, why not.

Klipsch The Nines II: Two-minute review

The Klipsch The Nines II are a tough pair of small speakers to beat for a large room. The amount of power and the clean, slightly overly bassy, sound are just some of what make these speakers special. There's also a ton of features on offer, including virtualized spatial audio (which is admittedly limited) Wi-Fi streaming, and even Dirac Live (though I couldn't seem to get it to work during my testing).

In fact, the buggy nature of the Dirac Live is my only real gripe with Klipsch's The Nines II (well, that and their cumbersome name if you're writing a review…), and the Dirac issue could be more due to environmental factors than a fundamental problem. My other issue — the fact that the speakers are heavy — is more just inconvenient than a real flaw.

Whenever I listen, I’m convinced that The Klipsch The Nines II are among the best stereo speakers to come out this year. And the amount of connectivity and features make them a nice alternative to the best soundbars, especially if you still want a bit of that more traditional stereo speaker setup.

Just be aware that these are quite a bit more expensive than the original Klipsch The Nines. That said, The Klipsch The Nines II offer a lot more than the first version as well.

Klipsch The Nines II review: Price and release date

• How much does it cost? $2,399 / £2,249 / AU$4,999
• When is it available? Available now
• Where can you get it? Available in the US, UK, and Australia

The original Klipsch The Nines have been out for a few years now, so the Spring release of the Klipsch The Nines II in 2026 is perfect timing. Speakers may not benefit from the yearly iterations of something like phones or TVs, but it’s about time for the upgrade considering the improvements in Bluetooth technology and W-iFi streaming over those last few years.

Interestingly enough, the Klipsch The Nines II are more than an iterative upgrade. Dolby Atmos (even if it’s a virtualization) and Dirac Live support are on offer in the new version, along with support for more Hi-Res codecs and a wider frequency range, which is why this newer version also comes with a much higher price tag — they're $700 / £700 more than the originals. That’s quite a price hike.

Klipsch The Nines II Powered Stereo Speakers: Specs

Klipsch The Nines II Powered Stereo Speakers: Features

• Virtualized Dolby Atmos, and Dirac room correction
• Wi-Fi streaming for a bunch of different music apps
• App has a lot of functionality, including custom EQ

The Klipsch The Nines II speakers may be limited in terms of features just by their form factor compared to a soundbar system like the Klipsch Flexus Core 300, but they have the right amount of options for a pair of bookshelf speakers.

Dolby Atmos and DTX:S is available on these speakers, though the spatial audio support is virtualized due to the fact that there aren’t any upward-facing speakers, and obviously limited width. Still, the virtualization does give a sense of height to the audio that works decently with a blockbuster movie.

Along with Bluetooth connectivity (5.4 specifically), the Klipsch The Nines II also support Wi-Fi streaming, specifically Google Cast, Apple AirPlay 2, Spotify Connect, Tidal Connect, Qobuz Connect, and more. Since they work with Google Cast, they can be set up with Google Home for smart home users.

There’s a tiny bit of a lag between source and speaker when going wireless. However, there is a Lip Sync setting in the app to better synchronize when using the speakers with a wireless source with visuals, such as watching a video on a laptop with the audio coming through the Klipsches.

There will still be a lag between play, pause, etc. but that’s not something that I found to really affect my experience of the speakers.

Speaking of the app, this is the central place for any deeper fine tuning. If you want to tweak the audio, there’s a five-band EQ in the app along with some presets. If you want to set up or use Dirac Live, you do that through the app — by the way, the speaker comes with a limited license that will adjust the audio between 200 and 500 Hz (the full frequency is paywalled).

Lastly (well, I’m leaving a few less consequential things out), you can turn on a few different modes: Dynamic Bass, Dialog mode, and Night Mode, and they all work decently enough with the latter being the most effective at its purpose (bringing up quiet sounds and bringing down loud ones).

• Features score: 4.5 / 5

Klipsch The Nines II Powered Stereo Speakers: Sound quality

• Weighty, robust sound
• Lots of bass, mid-bass a bit too full
• Lots of dynamic headroom

Klipsch's The Nines II are really good sounding speakers, and they might be the most weighty sounding speakers I’ve heard for the size, too. Despite not having a subwoofer (or maybe because of it and still providing a lot of bass), every element seems to have a thickness or robustness to it that I usually don’t hear with a lot of audio equipment.

Listening to music the low end is there in spades, whether I was listening to pop, hip hop, or even Counting Crows. The massive bass gives a boominess to the mid-range that is not unpleasant, but is far from neutral or accurate. Using the app to bring the 400Hz slider down one or two notches does clean up the sound a lot, but know that this is fundamentally built into its audio profile.

The high end is slightly on the warm side due to that weightiness I spoke about. Boosting the 8kHz slider in the app does brighten the affair though, if you prefer. Regardless, the Klipsch The Nines II did retain all the detail in the high-end in elements such as the strings in Radiohead’s Pyramid Song or Joni Mitchell’s higher register in A Case of You.

The soundstage, while dependent on correctly setting up the speakers, is not only nice and wide but has good separation thanks to the amount of headroom on these speakers. After all, I never really had them higher than halfway up in volume and they filled a good sized room full of distortion-free, clean audio.

• Sound quality score: 4.5 / 5

Klipsch The Nines II: Design

• These speakers are big for bookshelves
• Few physical controls, lots of inputs
• There's a subwoofer output

The Klipsch The Nines II are big at over 18 inches tall, over nine and a half inches wide, and almost 15 inches deep, weighing up to 33 lbs per speaker (the one without all the controls is two measly pounds lighter). They’re also attractive, thankfully, coming in three colorways: walnut, red oak, and black (reviewed here).

In terms of controls, the active speaker only has a volume dial and a single power / input cycle button. There’s also an LED indicator above the power button that changes colors depending on the input selected and, while there may only be two physical controls (there’s also a pairing button on the back of each speaker labeled Utility), there are quite a few inputs.

There’s HDMI eARC, optical, phono, USB, Bluetooth, coaxial, and ethernet. It’s easier to select them through the app, because remembering which color corresponds to which port isn't easy to remember.

All the ports are situated on the back of the primary speaker. Besides the physical ports for the channels listed above that need them, there’s also a sub out and a mic in, the latter of which is for the Dirac Live feature.

Also included are speaker covers that attach magnetically, along with a matte black remote, the aforementioned wired mic, an HDMI cable, power cable, and cable to connect the two speakers to each other physically, if you don't want to have them speaking to each other wirelessly (they’re automatically paired with each other out of the box, so going wireless is no hassle).

• Design score: 4.5 / 5

Klipsch The Nines II review: Setup and usability

• Setup is made more difficult by the speakers’ weight
• App is intuitive to use for the most part
• Dirac Live is difficult to set up

The Klipsch The Nines II are both easy and not easy to set up, entirely based on their weight. The primary and secondary speakers are automatically paired out of the box and just need to be plugged in to power. Pairing via Bluetooth requires just being on the Bluetooth input and connecting via your smart phone.

And the physical connections just need their respective cables and possibly a settings change — changing a TV’s audio output to eARC, for instance. In terms of functionality, that’s all you have to do to use them.

That said, each speaker is heavy at over 30 lbs each (or over 14.5kg). That’s cumbersome to move. Even if that weight is not a problem for you, these are big boxes. Add in speaker stands, which I believe are ideal for getting the best sound out of these speakers (an additional $475 for a pair if you want Klipsch's own…) and setup becomes more of a physical challenge than it might be for some speakers.

The stand just takes time to assemble: connect the proper rubber feet based on flooring, the base to the stand, and the stand to the speaker. But if you connected the stand to the speaker upside down like I did, you’ll encounter my least favorite part… flipping the speaker over while connected to the stand, which weighs an additional 24.1 lbs (10.9kg), by the way.

Each complete 57 lbs unit was unwieldy, to say the least, and I felt like I had to be careful so as not to let these fairly pricey speakers accidentally fall and get damaged.

Outside of that, adjusting the speakers for placement is similar to any other pair of bookshelf speakers, if heavier, and it didn't take me long to get them situated for a listening sweet spot on the couch.

Using the speakers is likewise a slightly mixed bag. Using the remote is easy and I appreciate the ability to remap the two bottom buttons to my favorite inputs. The app is generally intuitive as well.

However, as much as I enjoy the difference Dirac Live can make with speakers, I had an incredibly difficult time getting the calibration test to run even though I had the upgrade for the full frequency range (an additional $99).

I know that the microphone is very sensitive so needs as much quiet as possible, but no matter how hard I tried, that degree of quiet threshold I just could not reach.

• Setup and usability score: 3.5 / 5

Klipsch The Nines II Powered Stereo Speakers: Value

• Comes with a premium price tag
• A lot of very good speakers available for much less
• Much more expensive than the original Klipsch The Nines

When the original Klipsch The Nines came out, they were priced similarly to the KEF LSX II LT, one of the most popular active stereo speaker systems out there. The Klipsch The Nines II are not only seven hundred bucks more than the original, but the KEF speakers have come down to $999 / £899 since they came out. That’s a massive price difference.

That said, the KEF LSX II LT are compact so are not able to really fill a room the way The Nines II can. Plus, there’s no analog connectivity or the extensive set of features the Klipsch The Nines II have.

When it comes to being a complete and yet powerful stereo system in two (reasonably) compact boxes, The Nines II are good value — but no one's going to claim they're a bargain.

• Value score: 3.5 / 5

Should I buy the Klipsch The Nines II speakers?

Buy them if…

Don’t buy them if…

Klipsch The Nines II review: Also consider

How I tested the Klipsch The Nines II

• Used regularly for a few weeks
• Listened to all sorts of audio
• Used the various controls and ports

I used the Klipsch The Nines II for a few weeks, listening to all sorts of genres of music, such as hip hop, EDM, pop, rock, jazz, and folk to get a better feel for these speakers. They were also tested with some TV viewing and computer games.

I’ve tested a lot of tech gear over the years from laptops to keyboards and speakers, and so have been able to use my expertise towards giving an honest and fair opinion, not to mention a critical eye, to any product I test.

• First reviewed: June 2026
• Read TechRadar's reviews guarantee

One of music’s greatest abilities is to move its listeners. Usually that’s an emotional experience, but listening to the JBL Summit Everest speakers, I quickly remembered it can be physical too.

The first time I felt bass vibrate my very soul was sat in the back of my friend’s Vauxhall Nova, with its back full of subwoofers. Then there was my 20s, when I spent a considerable amount of time standing too close to speakers in what we’ll call my “dubstep era”.

Thankfully, being sat in front of the JBL Summit Everest was quite the upgrade to both of those experiences — but just as palpable.

For many people, JBL might be a brand they would more associate with the best Bluetooth speakers more than hi-fi, but the company’s history is firmly rooted in high-end home audio, and celebrates its 80th anniversary this year. The launch of these speakers, and the slightly smaller Summit K2, is part of those celebrations.

They are actually the fifth generation of Project Everest speakers that span more than 40 years, with this iteration slotting into the company’s now five-strong Summit Series.

JBL says this range represents the most “technically accomplished” speakers it has ever made for homes, and the new Everest sit at the top of all of them, having taken six years to make. I'm told the engineers were given no budget to hit, and no specific selling point to nail, except to make the very best speakers they could.

The homes these speakers are made for, though, must have space I can only dream of. As their name might suggest, the Summit Everest are enormous. Standing at 144cm, they’re a little shy of 5 feet tall, and take up the floor space of at least two ‘regular-sized’ floorstanders, maybe more.

You’ll want to think where you’re putting them too, because moving them around isn’t exactly an easy option at 237kg per speaker.

For anyone familiar with the Everest range, they’ll look familiar — they’ve very much kept the family DNA, and are certainly not for people worried about whether a speaker blends in or not, even with their curved cabinet design and choice of gloss finishes.

These are proud statement speakers, with proprietary dual 10-inch mid-bass drivers and dual 15-inch woofers that sit below a custom, large-format Sonoglass horn.

Within this horn is the newly engineered mid/high frequency system — comprising three two-inch dual-diaphragm, dual-motor compression drivers — which promises next-level clarity, detail and dynamic precision.

Considering what these speakers are capable of, there’s a range of options for powering them, with the option for single wire, alongside more likely bi-amp/bi-wire and tri-amp/tri-wire configurations.

With a minimum impedance of 2.7 Ohms, your amp(s) of choice are going to need to be suitably powered too — the demo used Mark Levinson 600 Series electronics, made up of the preamp and dual monoblock amplifiers totalling around $110,000 /£100,000.

I sat through a demo of six songs, the first being a new hi-fi show favorite when there is bass to show off: the Geoff Castellucci cover of The Sound of Silence. But despite having heard it numerous times over the two days of the High End Vienna show, I’ve never quite heard it sound like it did on the Summit Everest.

The pure power, depth and definition with which Castellucci’s voice was reproduced were near visceral, extending all the way down into the sub bass at a volume that effortlessly filled JBL’s considerably sized listening room, without any distortion. I think I can still feel the sub-harmonics rumbling in my chest today.

JBL turned to another show favorite, Pink Panther by markusphilippe, to show off the incredible spatial separation that these speakers are capable of. It also highlighted a seriously natural handling of both the saxophone and double bass melodies, two instruments that are notoriously tricky for speakers to reproduce with conviction.

Intimate female vocals were served up by a play through of With Birds by Dominique Fils-Aimé and Diana Krall’s The Girl in the Other Room, also helping the Summit Everest demonstrate the depth and accuracy of their soundstage.

The “fun” came in the form of The Future is Unknown by Adriatique — a melodic, energetic techno track that shows off the Everest’s grippy handle on dynamics, a hypnotic, pulsing bassline delivered with so much power it feels like it might rumble me right out of my seat, and powerful synths so full of texture they sound almost three dimensional.

Of course, there’s the small matter of the price, and — fairly predictably — none of this comes cheap. The Summit Everest cost an eye-watering $160,000 / £140,000 per pair, meaning this level of hi-fi is not something that most of us will experience outside of demo rooms.

But that’s ok. There is plenty of great gear out there for a much more realistic budget, but it’s still nice to be reminded of what’s possible when that budget is left at the bottom of the mountain. A real treat indeed.

• Google is officially retiring its range of Nest Audio speakers
• That includes the Google Nest Audio and the Google Nest Mini
• They’ll be replaced by the Google Home Speaker when it launches shortly

It’s fair to say that there’s a lot of expectation around the Google Home Speaker — after all, it’s the company’s first smart speaker in six years and we’ve been waiting since its August 2025 announcement for it to arrive. But its launch next week spells bad news for the Google Nest Audio range, as we’ve just heard that it’s finally being sent off to retirement.

Speaking to Tech Advisor, a Google spokesperson said: “As we continue to build the future of the smart home, we are refining our portfolio of Google Home and Nest devices. As part of this evolution, we have ended production of the Google Nest Mini and Google Nest Audio.”

Yes, that means both the Nest Mini and the Nest Audio are out of stock on the Google online store and instead redirect to the page for the Home Speaker. Not only that, but Google is apparently phasing out the Nest branding for its speakers and displays, with Home taking its place.

Interestingly, Google Gemini for Home — the tech giant’s artificial intelligence (AI) model tailored for smart home usage — is compatible with all existing Google speakers and displays, meaning it will continue to work just fine on Google Nest audio devices.

What this news means for you

It’s not all bad news for Google Nest speaker owners. Google said it remains “deeply committed to our smart home ecosystem and to the millions of people who use our products every day.” To that end, “Existing Nest Mini and Nest Audio devices will continue to be fully supported with regular software updates, security patches, and customer care,” the company added.

With Gemini for Home still working on Nest products, you’re not missing out if you already own one of these speakers, at least from an AI standpoint. And while Google’s online stores no longer stock the Nest Mini and Nest Audio, you can still find them at third-party retailers.

But considering the age of the Nest Mini and Nest Audio — they first launched in 2017 and 2020, respectively, with neither device being updated since the latter date — it’s perhaps unsurprising that Google has finally called time on these speakers. With the Google Home Speaker set to land any day now, we’ll soon see if their replacement is up to scratch.

For the launch of Denon's new X3900H and X2900H AV receivers, I visited the company's headquarters in Japan to give the new models a try in the custom listening room developed for the company's Sound Masters to tune products to perfection — but I also visited Denon and Marantz's combined factory, where the two companies produce their hi-fi and AVR components.

This is in the city of Shirakawa, about an hour's ride on the Shinkansen bullet train from Tokyo, where the cherry blossoms still lingered even though Tokyo's parks had largely lost their annual spring decoration.

Seeing the production lines and testing for the various hi-fi models was interesting, but I've visited lots of AV manufacturing facilities in my time, and once you've seen four, you've largely seen them all.

But our tour included an extended session in the factory's home theater listening room, which is one of the most impressive setups I've experienced. The room was first established in 1983, so that the first Marantz AV receiver could be developed and tested in it before its launch in 1985.

There are subtle signs of the room's age — the vault-like door has a distinctly '70s infrastructure look and feel to it — but the Denon receiver at the center of our demo today is unquestionably modern.

The AVC A1H is the company's first model that can handle 9.4.6 speaker channels, with support for basically any spatial audio system you'd care to throw at it.

And 9.4.6 channels is exactly what the room's speaker system offers, in the imposing form of eight Bowers & Wilkins 801 D4 speakers with an HTM81 D4 center, plus four ASW Series subwoofers tucked away at the edges — and six speakers mounted in the ceiling. That's about $250k of speakers.

These were paired with a Sony VPL-VW535 4K projector for the visuals, powered by an Oppo UDP-205 4K Blu-ray player. Alas, it's a reminder that this model has arguably never been bettered despite being discontinued the better part of a decade ago.

I slid into the sweet spot seats in the middle, which Denon and Marantz engineers said is 12 feet from the center channel, and 10 feet from the two rears — not quite following the equilateral distance guidelines laid out by Dolby for Atmos, but I'm not going to quibble with the people who design the actual setup.

The first demo scene was A Star is Born (2018), when Ally comes out to play on stage at Jackson's concert for the first time. The first thing that struck me was the complete disconnection of the sound from the equipment, in the best way.

The sound is so expansive and expressive that it feels like there's no channel system at all — the platonic ideal of Dolby Atmos' spatial audio.

The sound is so amazingly cohesive from top to bottom, and always has a new gear to find when it needs to step up the resonant bass of an acoustic instrument, or when Gaga’s voice is given extra elevation out of the mix by the soundtrack, or to highlight each guitar string suddenly twanging — and whenever it needs to the extra step, it always feels like a seamless flow.

The system feels like it just has endless power, and yet it feels like it's not exerting itself hard at all — there's no sense of the forceful and forward sound that you're likely to get from soundbars or compact options. It's just naturally explosive.

Next up was the opening scene of Unbroken, which puts you in the middle of an aerial battle in World War II — in particular, locking you in and around the experience of one bomber.

There's excellent specificity in the position and scale of effects, such as propellers vibrating the air, or whirring gunner seats and small rattling brackets and fixtures. But these don't sound like they’re being especially highlighted and punched up; they’re just naturally specific in the mix.

Anti-aircraft fire and explosions are grippingly dynamic, popping out of nowhere and rattling the soundscape forward to back as the cockpit is peppered with shrapnel — it's not one crackly effect, but a clear wave of super-fast movement in 3D.

Machine guns fire audibly just above the screen, and cartridges rattle in a clear downward motion as they fall into our 'seating' area — you're able to understand more about the structure of the vehicle from the sound design, when everything is this precise.

Next on the list is Gravity, which the Denon and Marantz team described as their choice of movie for an “AVR stress test” — the scene where Ryan Stone re-enters the atmosphere really slams all channels at once, including bass, continuously for several minutes — they said it's basically the hardest-to-drive movie scene.

With that in mind, what jumped out to me is how, despite the cacophonous rumbling and rattling filling the space around me, I could also hear that the system was really delicately handling the singing in the score. It's soft and refined, and also brutal and bruising, all in the same moment.

The positional effects in this scene absolutely whip around you, alarms pierce with their own individual level of urgency, and exploding debris is somehow chaotically noisy and yet also moves precisely in the sound field.

It’s audio havoc, but it never clips or crushes the disparate elements, so you’re completely trapped in the tensest part of the movie while it happens — this is unimpeachable immersion.

To give us a gentle recovery, we finish up with A Complete Unknown. When Dylan and Joan Baez play their privately contentious set together at the folk festival, there's such a lovely recreation of the ambient sound, ironically perfectly recreating the audio signature of an imprecise speaker system.

The song showcases lovely, sharp guitar string plucks and total rhythmic control in the gentle track. The system can explode the crowd noise in the back, while maintaining the same gentle and faintly distorted vocals at the front, all in careful balance, without the denser sound overpowering anything more delicate.

My demo run in this listening room was the kind of experience that spoils you for lesser home theater setups, though I'll be saved from myself by not having the disposable income to spend a quarter of a million on speakers, before I even get to the supporting equipment — let alone building a suitably impressive room to house it all in.

But if you should find yourself coming into a large inheritance and you love movies, I can think of far worse ways to spend it.

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I recently visited the High End Show in Vienna, where the world's top audio companies show off their latest and greatest creations. The show mostly focuses on ready-to-sell products — of the kind that we chose in our Best in Show at High End Vienna 2026 Awards — but it's also where interesting new audio components makers show off what they're making to other companies, to use in their creations.

One of these companies at the 2026 show was GSS, showing off a new bass driver called the Model S1. It's a very slim transducer, just 62.5mm tall and 299mm wide, and is capable of operating in a box with a volume of just 1.75 liters.

This means that you can put two of them, in a force-cancelling configuration, in a sealed box that's around 65mm tall, 310mm wide and 200mm deep — and that's exactly what I got to hear at the show.

I'll go into the experience in a moment, but the short version is that this small box sounds like a subwoofer that's much larger — GSS Audio says that specifically its system is capable of delivering the bass of something six times the size.

There's no exact way to say what this should be the equivalent of, because of variations in driver design, but the easy way to think of it is this: it's an 8-inch or 10-inch subwoofer squeezed into a box the size of a chunky hardback book.

The magic trick here is the level of excursion (i.e, how how far forwards and backwards the diaphragm can move). In this transducer, it's capable of moving 17mm in each direction, for a total movement of 34mm — that's how it can displace so much air to match larger drivers.

The diaphragm is very elaborate in order to make this possible — it's full of ridges and spirals. We've seen this on a lot of smarter woofer drivers; it's basically a way of managing the amount of surface area of the transducer, so that it can extend as far as it does, but delivers consistent performance across the full movement range.

GSS Audio also says it's put some special sauce into the configuration of the magnets, as well as the spider (the suspension system that holds the magnet in place, even as it moves).

Enough preamble — let's talk about the experience of listening to it. GSS had two of its little boxes (each with dual drivers) set up, each of which was connected to a two-way Neumann studio monitor speaker, so a stereo configuration with a double dose of bass.

The boxes deliver absolutely thumping bass that's capable of punching you in the torso as great low-end should (if you want it to), but it's also super-controlled — powerful but tight as a drum (or a drum machine, as the case may be if you making the most of this for music).

What really jumped out to me (as much as something you feel inside your bones can jump out at you) was the deep sub-bass. It's not pushing down to deeper frequency artificially and setting your teeth on edge as a result; I threw on Sugar Kingdom by Nikki Nair, which is a song that bad woofer can really screw up, but I could've just lived in the sub-bass here, bobbing and bouncing along.

Something to note is that this was borderline a near-field listening environment — I wasn't quite at desktop distance from the Neumann speakers, but I was closer than a standard listening or home theater room, and the bass boxed performed great for this kind of setup, which is now how I'd think of using a larger sub.

Of course, while GSS demo'd it with music and stereo speakers, the company really seems to expect its biggest use to come in speakers where bass is wanted by space is at a premium.

At its booth, it had prototypes of a soundbar with two of the Model 1 drivers in, and a wall-mounted speaker with four(!) of them in — the latter is a fascinating idea for a home theater setup, where your surround speakers would also act as a diffused subwoofer system, saving you a load of space and wiring.

I didn't get to hear these in action, and I don't know when we can expect actual products to appear, but GSS did say it had some partners planning to use its products (but obviously it wouldn't may about who that might be).

I can't wait to see a real product with this tech built-in though — I think it could be a total gamechanger for big bass in a small space.

The GSS Model is the latest in a line of impressive compact subwoofer tech we've seen over the last few years — it's an impressive area of innovation. A little while back, we were blown away by the bass of the Brane X wireless speaker, and its compact true subwoofer that uses a smart magnet system to overcome the air compression problem most small sub designs have.

And there's the Sonos Sound Motion tech, which is used in the Sonos Arc Ultra. Sound Motion mean Sonos could replace an array of dedicated woofers with a single driver that operates in two directions at once, so it actually functions as its own force-opposed system. You can read my interview with Sonos about the development of Sound Motion here.

I attended the 2026 edition of High End Vienna and to say I saw (and heard) some incredible audio tech would be an understatement. I tried out a number of new high-end headphones, and even saw a soundbar with mechanized wooden gills… but perhaps the stand-out was hearing Bowers & Wilkins’ brand new floor-standing loudspeaker, the 801 D5.

This is the flagship model in B&W’s new D5 series, and its release coincides with the audio specialist’s 60th anniversary. It has all of the features you’d expect from a model in this range: B&W’s instantly recognizable diamond dome tweeter, a luxurious futuristic design, plus exceptional sound quality.

Luckily, I was able to attend a demo for the new 801 D5, and listened to Andy Kerr, Director of Product Marketing and Communications at Bowers & Wilkins, speak about what exactly makes this new model so special. Here’s everything you need to know about the speakers — and a fair bit more on how I rated the listening experience.

The latest gem in the Diamond Series

Before I get into the demo, allow me to provide an introduction to the Bowers & Wilkins 801 D5.

This floor-standing loudspeaker, which B&W says is “60 years in the making,” is pitched towards both music industry professionals and the most enthusiastic audiophiles.

The 801 D5 has been upgraded with “acoustic, mechanical, and electrical improvements,” such as space frame bracing for a more expansive soundstage, new tuned mass dampers to limit unwanted output from the speaker, as well as upgraded wiring harnesses and crossovers for greater resolution listening.

The loudspeaker features an almost sci-fi inspired design, with new finishes available, including Dark Walnut and Warm White, and I have to say — it genuinely is a joy to behold, as are the other models in the new D5 range.

The Bowers & Wilkins 801 D5 will be available for purchase from 9 September 2026, and will cost $65,000 / £43,000 (about AU$90,000). But just how good does the model sound? Well, I found out for myself.

A listening experience like no other

At the High End Show, myself and a handful of other journalists scurried into a demo room, and prepared to experience the 801 D5 alongside Kerr, who ran through various tracks with us. Although the testing space wasn’t ideal — we could still hear people walking around the show — I still got a great taste of what this model has to offer.

I sat in the ideal front row spot at the demo, with a pair of Dark Walnut 801 D5s connected up to Mark Levinson's 626 preamp each, as well as a Mark Levinson 632 power amp, and a premium Innuos music streamer. And the results were exceptional.

We started by listening to Hit or Miss by Odetta, and I was wowed by the warm tonality of the bass, as well as beautifully balanced, natural-sounding acoustic guitars and expertly separated vocals. I was particularly struck by the life-like sound of percussion — it genuinely sounded as if there was a drummer playing in the room, which is exactly what you’d want from a set of ultra-pricey reference speakers.

Then, we moved onto a 2021 rendition of After Midnight by Eric Clapton, and this really showed the speakers in their best light. The D5 put up an amazingly revealing performance with top-tier musicality and detailing, but also maintained a real fun factor. Vocals were incredibly direct and true-to-life, but bass extended down brilliantly, and overall stereo imaging was spectacular.

Next up was Thom Yorke’s Black Swan, and here, Kerr was keen to highlight the scale and integrity of the bass, and asked us to listen for “how it hangs between the speakers and doesn’t pull or lie in the corners of the room where the speakers are”.

And this certainly felt like the case when listening along. Punchy, imposing bass powered through the center of the room with great intent, and I could almost feel the low-end in my soul. But as hard-hitting as the bass was, it remained agile and rhythmic.

Last, but not least, we tuned into Antigravity by Sohn, and this was perhaps the most mind-blowing track of them all. The 801 D5 delivered an intensely immersive presentation, and it felt as if bass was running through the floor (with tremendous impact). This was paired with authentic, almost raw-sounding percussion, beautifully balanced and tonally accurate vocals, plus energetic synths.

All in all, then, the 801 D5 delivered a mesmerizing sonic performance that felt every bit as premium as its price tag suggests. And with seismic yet regimented bass, deeply layered vocals, and life-like treble, Bowers & Wilkins may have set the bar for high-end reference speakers.

The 2026 High End audio show is in full swing in Vienna. The show is a key fixture of the hi-fi enthusiast's calendar, and was previously held in Munich — this year, it made the big move over to the Austria Center on the banks of the Danube, and TechRadar followed it.

We've had our audio team on the ground, rapidly learning how not to get lost in the new layout and exploring the mix of returning companies and new players who've jumped on board as part of the change.

We explored as many listening rooms and headphones booths as we could, to identify our favorite products in the audio areas we cover here on TechRadar, so naturally we've got a mix of speakers, streamers, a soundbar-that's-not-a-soundbar, and headphones, rather than hi-fi cables and pre-amps.

So here, in alphabetical order, are the products our team picked as the products that really stood out to us at the end of the show days, all chosen based on listening to their performance.

Astell & Kern SP4000T and Clarus

Let's start with a double winner — we got to test these together, and while each seems phenomenal, the combination was the most impressive part. The SP4000T DAP is an upgraded version of the already fantastic A&K SP4000 player, now packing four vacuum tubes for a taste of the analog.

The Clarus are wired earbuds with nine drivers per bud, using a bunch of different technologies, each targeting different frequencies.

The combination of the two really leans into the 'clarity' suggestion in the Clarus' name — we were instantly taken by the pin-sharp attack in their dynamic range, and the fine detail that they were able to bring out of the music, all while giving every listener a huge sense of scale that feels well beyond something handheld or that fits right in your ear conch.

Bowers & Wilkins 801 D5

Bowers & Wilkins is celebrating its 60th anniversary, so what better time to release its new flagship 801 D5 loudspeaker? This model features B&W's famous Diamond Dome tweeter and an upgrade to its internal Matrix bracing, including a new Space Frame Bracing extension.

The aim is to deliver even more incredibly natural, generous, and immersive sound. During our demo with the 801 D5, we were blown away by life-like vocals, brilliantly regimented deep bass, and super-defined treble, as well as its sophisticated soundstage and spacious presentation.

Cabasse Pearl Pelegrina Édition Atelier

The High End show is always full of bonkers speaker designs, and Cabasse's spherical Pearl design is old news to hi-fi fans — but we can't help but be taken by the Pelegrina version's 'alien eyeball squid has come to Earth to negotiate a new intergalactic peace' design — and what's new this year is the Atelier system, meaning that you can have any finish you want on them, to make them fit your spaceship listening room perfectly.

But what's most important is the astoundingly powerful sound from a speaker cabinet that's actually amazingly compact. The front driver is a tri-coaxial system, meaning it's actually three drivers nested inside each other, and there's a hefty custom-design woofer on the rear capable of especially high excursion.

The end result is a set of speakers that look like an art installation, but can party like a warehouse rave. They can thump the low-end with the best of them, while delivering super-rich and detailed sound that wraps across the room despite their compact 'pupils'. And they're active speakers, so you can put them wherever you want in your home and just start playing.

Cambridge Evo 300

This is the artist formerly known as Cambridge Audio's new, more powerful compact streaming amp — if you've got a really beefy speaker. Still, if you don't want to dedicate too much space to components, then the 300W per channel you can get from the Evo 300 might be exactly what you want.

That's paired with Cambridge's excellent, super-comprehensive streaming platform and digital skills, so you've got easy access to Spotify, Tidal, Qobuz, Roon, and Deezer, with various casting options from your phone and aptX Bluetooth if you prefer. There are two sets of speaker outputs, plus a sub out; for input, you've got XLR, HDMI eARC, and analog options including an MM phono input.

It's just the ultimate all-in-one modern amp if you've got big speaker ambitions — and here in 2026, why shouldn't you?

Canvas Hi-Fi Canvas L

This is basically a pair of floor-standing speakers disguised as a soundbar for Halloween. You've got a stereo setup where each side has a tweeter, a midrange driver, and an 8-inch bass woofer with a matching 8-inch passive radiator. There's 1500W of amplification behind that, as well a necessarily well-braced cabinet — all of which are designed to attached to the rear of your TV using a mounting bracket, with the speakers sitting underneath the screen.

And it's in this list because it sounds like two excellent floorstanding speakers. It delivers unbelievably deep and resonant bass for a floating speaker bar, with the low end dispersed well throughout the room. There's phenomenal texture and realism to vocals, and it's all brilliantly musical and full of excellent rhythmic energy. It's delicate when it needs to be, but our overarching takeaway from listening to music is just how firm and 3D every instrument feels.

We didn't get to try it with music, but this is the first time we've heard something claim to be an audiophile soundbar and responded, "Yep, that's fair". It was electric, musical, and kind of addictive.

iFi iDSD GR 2

The iFi iDSD GR2 portable DAC is a considerable upgrade on its beloved predecessor, the venerable xDSD Gryphon, in a number of ways. It delivers far more amplification power, longer battery life, and even a touchscreen for a more user-friendly experience.

After trying it out at the show, we loved how it more seamlessly helps you to bring the very best out of a pair of premium headphones, and with K2HD tech for enhanced harmonics alongside a whole load of connectivity options, the GR2 has just about everything an audiophile needs, whether listening at home or on the go.

Meze Audio Arta

These new planar magnetic headphones come from a brand known for bringing high-end sound to a very reasonable price — but this time, Meze Audio just went all out, price be damned.

The result is one of the biggest and most cohesive soundstages we've ever heard from a pair of headphones. From the tinkliest treble with heavy sub-bass, these headphones deliver it all with total control and clarity, all at the same time if they have to. It's that cohesion that stands out, partly because it means individual parts don't stand out — everything sounds simply 'correct' in a way that deeply satisfies the brain. They deliver total audio order — a perfect, seamless whole.

Noble FoKus Artemis

These are wireless active noise-canceling headphones, from a company that most people will probably know best for putting improbably powerful driver arrays into earbuds. Well, it's now put an improbably powerful driver array into over-ears, including a dynamic driver, a planar driver, and a balanced armature — and somehow, the end result is pretty lightweight and comfortable, with a 50-hour battery life.

The end result is probably the most revealing noise-canceling headphones we've ever tried. They're utterly impeccable at picking out every nuance of instruments, even in the most dense mix, and even with the ANC mode activated (which is pretty good too).

There's a huge dynamic range, and really steep level of attack to them: every drum is hard, and every plosive is picked up with precision in a voice. The sound is maybe a little cooler than most people will be used to from ANC headphones, but that will be exactly their strength — they create the silence, and then fill it with tiny details you'd never heard before.

Ruark R710

The Ruark R710 streaming amplifier blends a beautiful retro-style look with an expansive suite of modern features — as well as some not-so-modern ones that we very much welcome. It builds on Ruark's previous R610 in a number of ways, packing in more power for the speakers, along with an integrated CD player, which has apparently been included by popular demand (and is hidden in the handsome wooden front grille, making it a fun secret touch).

When listening to the streamer alongside Ruark's new Talisman R speakers, we were impressed by the warmth and tonality of vocals, the high caliber of instrument separation in the mix, and the striking power of the overall presentation from a compact box.

Yamaha NX-70A

Yamaha's new active speakers have a very sleek and stylish look, but generally seem quite unflashy and demure — though in our demo at the show, they seemed like something of a wireless wonder.

They offer a lively, precise sound with really well-honed handling of transients, which helps them to build an excellent stereo spatial presentation. The diffusion of ambient sounds into the room while holding the tension on the sharper central sounds makes them a really exciting listen. There's so much detail, creating a really physical sense of texture to something like the hum of a saxophone reed. Add the pleasingly weighted bass response, and you get a set of active speakers that really grab your attention, in the best way.

• High End Vienna brings even more speakers
• Kanto Tuk Grand brings premium, stand-mounted boxes in 'burled' wood
• Bowers & Wilkins goes for the formidable sci-fi look

I am convinced that there are two types of speaker, and all the pomp and ceremony of High End Vienna hasn't convinced me otherwise. Two new high-profile, high-price announcements prove I'm right, too.

Type number 1: the box. Lots of speakers are essentially well-braced, driver-filled boxes that you put on your shelves or place on stands. There's nothing wrong with that; it's a simple look, and today it's Kanto Audio that's waving the cute, ever-so-slightly kooky cuboid flag with its new Grand Tuk.

This new $999.99 / £799.99 (about AU$1,600) speaker pair is due to go on sale at some point this summer. Don't worry, we'll spend more time with Kanto Audio in a moment, but we've someone else to meet.

On the other side of the scale is type number 2: the 70s sci-fi creature. We see all sorts of formidable towers of power-style speakers, which occasionally look inspired by the costume department of Doctor Who in the best way — and representing that team today is Bowers & Wilkins.

The brand's new 800 Series Diamond D5 range of speakers has quite a few different products, headlined by the 801 D5 which we weren't provided release or price information for. Some look like legally-distinct Daleks, others aerodynamic car spoilers, and they'll all go on sale in September.

Bowers & Wilkins 800 Series Diamond D5

Let's start with the big range, so I can share a picture of a Dalek to prove my point. The Diamond D5 series consists of the flagship which, as already pointed out, doesn't have a price or release date, though that doesn't specifically mean it won't release; we're just waiting on details. Instead you can buy a similar model, the 802 D5, which comes at "a more affordable price point": $45,000 / £32,500 (about AU$66,000) for a pair.

Naturally, it's a floor-stander, as are the 803 D5 (MSRP $35,000 / £25,500, which converts to roughly AU$52,000) and 804 D5 (MSRP $25,000 / £16,500, converting to around AU$37,000).

Also showing up to the party, just without a leg to stand on, is the 805 D5, $15,000 / £10,000 (roughly AU$10,000): a stand-mounted pair of speakers.

Rounding out the range are two three-way center channels for home theaters: the $15,000 / £10,000 (same conversion as before) HTM81 D5, and the $12,000 / £8,000 (about AU$16,000) HDM82 D5. These are both designed to be used alongside the main products: the HTM81 works with the 801 and 802, while the cheaper model goes with the 'cheaper' speakers.

So why are these things so expensive? Well, the big selling point is the use of Bowers & Wilkin's Diamond Dome tweeter, which is that little microphone-looking flourish at the top. It's designed to provide reference-quality sound in the higher ends.

They've all clearly been meticulously designed too — that's why they look so unusual — and come with impressive (though varied) extra speakers. These are hands down professional-grade high-end audiophile pieces of kit, but there's something for the rest of us at High End too...

Kanto Tuk Grand

Let's move on to everyone's favorite Star Wars character: Kanto Tuk Grand. This new bookshelf speaker offering goes for a cool $999.99 / £799.99 (about AU$1,600) per pair and after the Bowers & Wilkins, that looks cheap.

As I've mentioned before, it's our more traditional example within this article, but there's a reason audio companies return to this tried-and-true build. Kanto has, the company tells us, spent time refining this cabinet design, both to improve the sound and to "belong with" the space you put it in.

Specs-wise (because there's only one product, we can actually talk about its specs without creating a massive list), you've got a 28mm x 35mm Air Motion Transformer tweeter, and a 6-inch aluminum cone. It hits a frequency response range of 40Hz-22kHz, and a power output of 160W.

There's a nice range of connection options here: you can plug them in via 2x RCA cables or optical, as well as USB-C, and those latter two will bow allow 24 bit/96kHz playback. You can also pair via Bluetooth 5.4, with the Tuk Grand supporting atpX Adaptive, AAC and SBC.

Design-wise, it's relatively basic compared to the Diamond boys, but simplicity is underrated (a lower price point is not underrated, though I still wouldn't call the Kanto 'cheap').

The Kanto Tuk Grand was unveiled alongside three second-gen speakers from Kanto Audio, due out between summer and fall, but make no mistake: the Grand is the flagship product here.

• Ruark unveils R710 Music Console and Talisman-R floorstanding speakers
• The R710 is Ruark's 'most powerful' console yet, with CD player and phono stage
• It costs £2,199 (about $3,000, AU$4,000); Talisman-R is £1,499 (around $2,000, AU$2,800)

Let me be clear: UK audio specialist Ruark is a master of compact hi-fi products — just see the five-star MR1 Mk3 petite powered desktop speakers for starters.

Although the duo of products that Ruark has just unveiled at High End Vienna may look heritage, they're chock full of thoroughly modern tech (and also some slightly older tech too) under their delightful exteriors. And yes, they absolutely can be purchased together to make a beautifully simple, space-conscious hi-fi system.

Those slim floorstanding speakers put me in mind of the electrostatic designs Quad made in collaboration with the BBC in the 1960s, but Ruark tells me they actually hark back to one of the company's own original flagship designs, first launched in 1990.

Both new products, says the company, have been designed "make high-end hi-fi accessible" and as a further celebration of Ruark's 40th year in trading (following two stunning 'radiogram' options at the start of the year), it's a gorgeous offering indeed.

Ruark R710 Music Console and Talisman-R floorstanders: key specs and pricing

The R710 is an update to the firm's Ruark R610 console (and Sabre-R bookshelf speakers) that I adored when I saw them in the flesh, back in 2024.

Alongside its built-in CD player, phono stage (so your vinyl-spinner can be added as a source) and onboard dual 200W Class-D amplifiers, high-resolution music file support and streaming is here, at up to 24-bit 384kHz, thanks to R710's quad-core CPU, with Spotify Connect, Qobuz Connect, Tidal Connect, Apple AirPlay, Google Cast, Internet Radio and apt-X HD Bluetooth all baked in.

For local music libraries, R710 also supports playback from both networked media servers and attached USB storage devices — and if you want to hear your film soundtracks through it, R710 adds an HDMI ARC/eARC connection for TV connectivity too. And while you get a gorgeous rotary Bluetooth remote with your purchase, to make playback control easier (it's not too dissimilar to something the aspirational amplification brand Moon might offer), a huge selling point for me is that large front-mounted color display for album artwork and text.

And those Talisman-R speakers? You're looking at a two-way, bass-reflex passive wired system, comprising a 27mm Ruark silk-dome tweeter and 6.5-inch long throw woofer with a lovely long, slim profile and sloped front baffle — although take note, they still weigh a reassuringly hefty 17.6kg each.

Ultimately, Ruark wants you to consider the R710 and Talisman-R speakers as a beautiful system — and I get it. Both products are available in Fused Walnut or Satin Charcoal lacquer, and the R710 is priced at £2,199 (so around $2,000 or AU$4,000, as rough guesstimates) with Talisman-R at £1,499 (which is $2,000 or AU$2,800, or thereabouts).

• Yamaha new wireless speakers feature HDMI eARC and CEC connectivity
• Room calibration and wide streaming support is also onboard
• Priced £2,587 (about $3,475 / AU$4,870)

Yamaha has unveiled a set of high-end wireless hi-fi speakers that look like they'll be a serious rival to the five-star KEF LS50 Wireless II. The new NX-70 speakers bring features and materials from Yamaha's flagship products and musical instruments, and they are designed to work with all kinds of audio — including from your TV.

They're good looking too, with solid aluminum tops, copper accents and gently rounded cabinets. That isn't just cosmetic: the shape minimizes internal standing waves and the 5mm thick aluminum plate suppresses resonance.

The speakers connect to each other wirelessly and you can stream to them via Spotify Connect, Tidal Connect, Google Cast, AirPlay 2 and from other sources via Yamaha's own MusicCast app. The speakers are Roon compatible and they include an HDMI eARC/ARC port with CEC control for your television.

Yamaha NX-70A wireless speakers: key features and pricing

The NX-70A speakers feature a 5 and 1/4-inch Harmonious Diaphragm Cone woofer and a 1 and 1/4-inch Harmonious Diaphragm Dome tweeter putting out up to 100W and 60W respectively.

The wonderfully named Harmonious Diaphragm system blends Zylon polymer, which is also used in Yamaha's flagship speakers, with spruce wood; that's the wood Yamaha uses in its grand piano soundboards. According to Yamaha the result is "a consistent tone over the entire frequency spectrum" that delivers instruments and vocals "naturally and with remarkable musicality."

The NX-70As also feature Yamaha Parametric room Acoustic Optimizer, which is Yamaha's own room calibration system. It uses an included microphone to measure the sound of your room or other space and then adjusts the sonic characteristics accordingly so you don't have to worry about perfect speaker placement.

The Yamaha NX-70A speakers will be available from July 2026 with a recommended retail price of £2,587 (about $3,475 / AU$4,870).

In modern computing and electronics, the transistor tends to get the credit – and rightly so.

It is the foundational switch of the digital age which every processor, memory chip, and digital system ultimately depends on.

But running alongside it, built from the same silicon, is a parallel technology with far less attention, but follows the same logic: if you can carve a transistor into silicon, you can carve anything.

That field is Microelectromechanical Systems – MEMS.

Silicon as a mechanical material

The defining mindset shift regarding silicon’s capabilities came in 1982, when Kurt Petersen published "Silicon as a Mechanical Material" – until this point, silicon had been treated almost exclusively as an electric material. Petersen’s idea was deceptively simple: the same photolithographic processes used to manufacture transistors can also be used to produce microscopic mechanical structures that flex, pump, resonate, and deflect.

This shift created a new category: MEMS. Instead of assembling mechanical parts, engineers could now fabricate them using semiconductor processes – alongside the electronics that interpret their signals. However, MEMS is not exclusively a silicon technology.

Devices can also be built from glass, piezoelectric ceramics, polymers, and compound semiconductors, depending on individual physics demands, but silicon dominates the space as it sits inside a global manufacturing ecosystem – with a scalable and cost-effective supply chain already in place.

The first commercial wave

MEMS established its value – outside a laboratory setting – in applications where size and precision were critical for successful operation.

The inkjet printhead came first: microscopic nozzles, chambers, and heating elements ejecting droplets of ink with sub-millimeter precision. With the application of MEMS technology, the device’s previous, complex mechanical systems became a solid-state fluidic device manufactured like a chip.

MEMS’ second breakthrough came in automotive safety, in the form of the airbag accelerometer. Before MEMS, crash detection relied on mechanical systems such as the rolamite – a roller inside a tensioned band. This too was mechanically complex, and consequently sensitive to wear and difficult to safely mass-produce.

In 1991, Analog Devices introduced a MEMS chip – a tiny, suspended mass that shifts under sudden acceleration, and whose signal can trigger airbag deployment in milliseconds when processed electronically. This alternative was smaller, faster, more reliable, and far easier to manufacture at scale, causing MEMS-based sensors to rapidly replace mechanical crash detection systems in mass-market vehicles.

The invisible infrastructure

Once MEMS proved reliable at scale, the technology began to spread into the core of modern electronics.

A defining example is the Digital Micromirror Device (DMD), developed by Larry Hornbeck at Texas Instruments. The device consists of millions of microscopic mirrors, each individually steerable by electrostatic force, switching at kilohertz rates. Each mirror represents a controllable pixel of light, and is the foundation of Digital Light Processing (DLP) projection – which is used in many cinema screens and office projectors today. The technology is invisible to the end user but essential to the system.

Today, MEMS technology underpins many modern electronics, quickly outpacing preceding legacy architectures:

1. Motion sensing in smartphones and wearables – i.e. gyroscopes and accelerometers

2. RF filters and band-switching in mobile communications

3. Oscillators replacing quartz crystals in compact timing devices

4. Microfluidic chips running chemistry at the cell scale

5. Optical MEMS switches routing light between fibers inside AI data centers

The manufacturing foundation enabling this scale is Franz Laermer's deep reactive ion etching process, developed at Bosch in the 1990s. The technique allows precise, high-aspect-ratio silicon structures to be produced at an industrial scale – an essential for modern MEMS production workflows.

Microphones: the pattern

While the systems described above are built with MEMS at their core, the technology first became visible to consumers at scale through microphones.

MEMS microphones were introduced in the early 2000s, offering something its predecessors could not: wafer-scale uniformity and consistent units from a single production run, at dimensions that no preceding microphone technology could approach. This consistency changed system design.

At the time, mobile phones typically had one microphone. Today, they often have several. Likewise, earbuds contain multiple microphones, modern vehicles integrate upwards of eight, and emerging next-generation devices – such as smart glasses – are moving toward even larger amounts. This integration is to run capabilities such as superior beamforming, active noise cancellation, and spatial voice isolation simultaneously, and is driven by economics.

MEMS made each additional microphone cheap enough that adding it became a logical next step; product designers now move from ‘one best microphone’ to distributed sensing architectures.

MEMS Speakers: rethinking how sound is generated

If microphones were an early success, then speakers were the next MEMS frontier – and the hardest problem to solve.

This came down to how sound is generated. Audible sound requires moving meaningful volumes of air, and moving air demands physical displacement at a scale that stiff silicon structures are not optimized for. Every attempt to transpose the conventional speaker model into a MEMS form factor ran into the same constraint: a rigid microfabricated membrane cannot move enough air.

The solution required letting go of the conventional model entirely.

A conventional speaker membrane pushes air hundreds of times per second, and must be large enough to do so. MEMS architecture replaces that membrane with an ultrasonic air pump – a small, stiff membrane paired with an acoustic valve, together cycling hundreds of thousands of times per second – replacing size with speed.

What the membrane loses in displacement, it recovers in frequency, delivering the same acoustic output from a structure a fraction of the size. Silicon's stiffness now becomes an advantage; it enables precise, stable, high-frequency operation without mechanical distortion or fatigue.

The result is a speaker delivering full-range audio from a chip-scale component, manufactured using standard MEMS processes. This unlocks new form factors and device capabilities, including: ultra-compact in-ear devices, invisible audio systems, and assistive technologies that look more like sleek accessories than bulky health devices.

With MEMS speakers, audio is no longer constrained by diaphragm size, and devices can now be defined by the function they deliver – not the capabilities limited by their size.

Plenty of room

MEMS technology has shown a consistent pattern: when mechanical systems are reimagined at microscopic scale, entire product categories change.

For example, Larry Hornbeck’s micromirror arrays became the foundation of modern projection systems. Accelerometers moved from bulky mechanical assemblies into invisible chips inside smartphones.

Today, MEMS continues to expand into new domains, including advanced sensing, optical routing, medical systems, and hybrid electromechanical architectures.

What began as an extension of semiconductor fabrication is now becoming its own design paradigm – unifying the separate disciplines of mechanics and electronics.

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This article was produced as part of TechRadar Pro Perspectives, our channel to feature the best and brightest minds in the technology industry today.

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• Danish brand Jamo returns after hiatus with two new lines
• Concert revive 1990s design, wooden veneer
• Element offer shallow bodies and understated designs

After a 2024 sale of the company threw doubt on its continued existence, legacy Danish hi-fi brand Jamo has proven the skeptics wrong by coming back. And it's not just returning with one product, but a whopping seven.

This is across two families, and one will look familiar to audiophiles. The Concert Legacy series brings back the look of Jamo's older speakers, including the Concert 803, but in a newer form.

There are three models here: the Legacy 8 ($2,999), Legacy 9 ($5,299) and Legacy 11 ($7,999). Each price is for a pair of speakers, and we're waiting on international pricing, but we expect them to be available in plenty of countries.

The Legacy 8 is a passive bookshelf speaker with a 6.5-inch midwoofer and 1-inch dome tweeter. The Legacy 9 is a floorstander that adds two 6.5-inch woofers to the mix, and the Legacy 11 pops in another one of those woofers for good measure.

In the latter two models, the woofers are separated to a lower unit, which is padded with rubber to avoid it affecting your higher frequencies.

Each model comes in a trio of wooden finishes: Onxy, Heritage or Northern Frost.

Keeping it flat

The newer family of devices from Jamo is the Concert Element series. This differentiates itself by taking a Scandi-chic design; each looks like a Lego brick that plays music. They're minimalist and funky.

There are four devices here: the Concert Element 50 ($1,099), Element 70 ($1,899), Element 90 ($2,499) and the subwoofer SW10 ($699, and this price is for just one unit, not two).

With a (relatively) thin design, these devices are designed to fit better in shallow crevices or, in the case of the bookshelf Element 50, on furniture. This model has a 1-inch dome tweeter and 6.5-inch woofer, with a down-firing port.

The next two models are both floor-standers. The Element 70 gets a 1-inch tweeter, 5-inch medium cone and 8-inch woofer, while the Element 90 slightly increases the sizes of those drivers with a 1-inch tweeter, 6.5-inch medium and 10-inch woofer.

As you can probably guess by the prices, these aren't the exact audio equals of the Concert Legacy series, though you'd still expect them to be impressive. It's the design that sets these models apart, with a clean look that screams modernism, and we really like the thoughtfulness around make a more slimline option for narrower spaces.

The Concert Element SW10 offers a 10-inch long-throw woofer, and connects to other speakers by dual RCA / LFE line in.

All of these seven new Jamo speakers will go on sale in August 2026, so you've got a while to save up for them.

• JL Audio, owned by Garmin, unveils new hi-fi products
• Two speakers: T6 and S3, each with high prices
• Also unveils CS Stereo Centerpiece preamp and streamer

Everyone's favorite smartwatch brand Garmin has taken a break from wearables, such as the recent Tactix 8, to release a series of home audio gadgets with bank-breaking prices.

This is JL Audio's Primacy range, and this is one of Garmin's sub-brands. You'd be forgiven for not having heard of them, as their chief areas are car and maritime audio, and this jump into luxe hi-fi is sure to raise some eyebrows.

Don't expect these gadgets to price similarly to the best Garmin watches, though. They're seriously expensive pieces of hi-fi gear — priced to match the elite stuff from the likes of Bowers & Wilkins and Wilson Audio — that you can only pick up from specialist audio dealers.

Meet the Primacy pals

Let's talk about the Garmin JL Audio Primacy T6 first (just above). This is the priciest of the bunch, retailing for around $90,000 per pair.

These floorstanding active speakers have six drivers each: a 1-inch carbon tweeter, a 5.5-inch mid-range driver, and four 5.5-inch woofers. These are three amps per unit, totaling 1000W of output, and each amp has its own DSP and DAC, with support for 32-bit/192kHz audio.

The JL Audio Primacy S3, selling for $35,000 per pair, drops the specs a little. They're active speakers again, with the same 1-inch dome tweeter as the bigger model, plus a 5.5-inch woofer, and two amplifiers per unit.

Both speakers have various refinements such shaped enclosures and audio filters to offer tuned sound. They connect via XLR, RCA or Cat 6

Rounding out the trio, ostensibly to control the others, is the $15,000 CS Stereo Centerpiece. This is both a streamer — with compatibility for various audio services — and a preamp. It has all the trappings you'd hope at the price, such as room correction, user profiles, Bluetooth compatibility, and a built-in screen.

None of Garmin's new devices are available from its website. Instead, the listings guides you to your local retailer, who you can pick them up from.

• Audiovector unveils R 5 Arreté loudspeaker
• Beautiful fin-shaped, hand-crafted wooden design
• Barrage of speakers includes twin bass drivers

I don't think I've ever seen a floor-standing speaker that wasn't beautiful or exotic in some way, and Audiovector has just proven my point by unveiling the new R 5 Arreté.

You've already seen this speaker in the above image, so you already know how good it looks. Each unit is hand-made in Denmark, and you can pick it up in a range of finishes. Above, you're looking at African Mahogany, but there's also Italian Walnut, White Silk, and Black Piano.

Audiovector is a family business, as we discovered at the launch of the Trapeze Ri, and so it makes sense that care goes into the speakers. The cabinets are designed ot be narrow, to "minimise edge diffraction for a more precise and transparent soundstage" according to the brand.

This attention extends to the plinth, with that staggered design achieving "a perfectly controlled coupling to the surface beneath". As you can see from the quotes from the brand, we haven't actually tested the R 5 Arreté yet.

You can, if you'd like, because it's on sale now. But you'll have to pay £17,500 (about $23,600, AU$32,860) for the pleasure of doing so.

Have you forgotten about the sound?

Okay, okay, the R 5 Arreté isn't just a lovely piece of furniture, but a loudspeaker. So what's it packing under the hood?

The three drivers are all 6.5-inch carbon speakers that use the brand's Accelerated Force Concept to reduce driver inertia. One's a mid driver, one's a lower-mid driver, and another's a bass driver aimed at the lowest frequencies. There's also a tweeter to handle the higher frequencies.

According to Audiovector, the frequency response is 23Hz-53Hz, with an average impedance of 8 ohms and a sensitivity of 90 decibels.

Another selling point of the Arreté is that it's designed to work well with amplifiers, due to its "unique three-position damping adjustment". So you can use your extra accessories to really eke the most out of the speaker.

If you're worried about whether you can fit these things, they're 11cm tall, 22cm wide, and 41cm deep with a weight of 32kg.

To many people, super-speakers like that might be outside the budget. But I was recently at a hi-fi show where I found some affordable hi-fi kit that might fill the Arreté hole in your soul.

• Pro-Ject announces two wireless upgrades for classic hi-fi gear based on WiiM OS
• Stream Box E upgrades your amp with streaming skills
• Wireless Box E turns any passive speakers wireless by connecting to the binding posts

Beloved hi-fi brand Pro-Ject hasn’t slowed down at all in 2026. After announcing a premium turntable in January and record cleaner last month, it has two more pieces of gear coming soon.

The brand has announced the Stream Box E and Wireless Box E, as part of its growing hi-fi ecosystem. They cost £159 (about $200, AU$300) and £199 (around $270, AU$400) respectively.

The Stream Box E is a wireless network streamer and digital pre-amp that can upgrade your wired audio system to allow for Spotify Connect, Tidal Connect and Qobuz. It can be connected to an amplifier, or directly to active speakers.

Then there’s the Wireless Box E, which also gives a tidy tech upgrade to existing gear. This time, it upgrades your passive loudspeakers, acting as a wireless receiver for them, meaning you can position them anywhere without needing to worry about running cable to them, giving you more flexibility over where you put them, or perhaps where you put the rest of your hi-fi setup.

You'll need one per speaker, of course, and each needs to be connected to a power outlet.

A WiiMsical choice

Perhaps the most intriguing part of the news, is that the Stream Box E and Wireless Box E will both run on WiiM OS. This is a platform primarily designed for the brand’s own tech like such as the WiiM Sound, but is also available to other brands, bringing their tech into the burgeoning WiiM ecosystem.

We’ve compared Sonos vs WiiM in the past to help you understand the differences, but the gesture is clear: this is part of a growing alternative to Sonos, and is clearly one that wants to be as flexible as possible based on these launches.

However, there's a big catch here for Apple users, which is not exactly a small portion of the world. WiiM has some kind of on-going issue with Apple that means that many of its products don't include Apple AirPlay 2 as an easy streaming options, and it's the same with these.

While support for the likes of Spotify Connect and Tidal Connect might mean you're actually fine with this, it also means these boxes are basically no good if you're an Apple Music user, or if you want to be able to use AirPlay's platform-neutral multi-room skills.

In this instance, Sonos absolutely still has the edge — it not only supports AirPlay fully, it's the only brand with a streaming amp that has native Apple Music support in its app for lossless listening.

The fast pace with which Pro-Ject is releasing gears shows that it’s only getting bigger and bigger in the home hi-fi game, especially with affordable options like these. Perhaps it’s found an ideal partner in the equally ambitious WiiM — we can't wait to see how well these work in practice.

Tribit Stormbox Micro 3: two-minute review

Four years after its predecessor launched, the Tribit Strombox Micro 3 has landed — and it’s been well worth the wait. This new model offers plenty of improvements over what came before, with a higher power output, extended battery life, faster charging, and a refined look. But is it worth picking over the competition? Here’s what I think after a week of testing.

First of all, we have to talk about sound. This speaker may be small, but it packs 13W of output power, which is nothing to sniff at. Its dynamic full-range driver links up with two passive radiators for impressive volume, and genuinely hard-hitting bass. When listening to low end-focused genres like House and Hip-Hop, I was wowed by the speaker’s bass output — it’s powerful and full-bodied, but never seems muddy or compromising to other sounds in the frequency range.

You also get clear mids and articulate treble, with solid balance using the speaker’s default sound signature. Sure, you’re not going to get the high-fidelity, openness, or detail that some more premium options in our best Bluetooth speakers guide offer, but the Stormbox Mini 3 still sounds admirable given its limited confines and tempting low price.

Something else I love about the Stormbox Micro 3 is its plentiful playtime. You get up to 24 hours here — double of what the Stormbox Micro 2 could deliver. Combine that with faster charging speeds and the capability to charge external devices, and you’ve got a seriously strong performer in the battery life category.

Other changes, like improved waterproofing, a newer Bluetooth version, and a novel magnetic base only help to make the Stormbox Micro 3 feel like a worthy successor to the Tribit Stormbox Micro 2 — a model we absolutely loved.

A lot of returning features, including a built-in mic, multi-speaker pairing, and extensive EQ options also stand Tribit’s small-sized speaker in good stead against the competition. The much-beloved JBL Go 4, say, doesn’t have hands-free calling capabilities, has a more humble output power, and lacks the detailed EQ controls you'll get here.

Still, that’s not to say that the Stormbox Micro 3 is perfect. I touched on its revamped design earlier, which gives it a more rounded look and provides the logo with a cleaner, more striking feel. But this speaker still isn’t the prettiest I’ve seen, and the lack of color options hold it back from greatness in terms of design.

Regardless, its dust and waterproofing, drop-proof build, and compact size ensure that the Stormbox Micro 3 is a highly practical model, and one that’s ideal for taking on the go. And many of my other complaints are mere nitpicks — the lack of backwards compatibility with the Stormbox Micro 2 plus a modicum of compression when listening at higher volumes, but these are extremely common gripes for speakers of this size.

All in all, the Tribit Stormbox Micro 3 is a very capable small-sized speaker. And the fact its price has barely changed from last time out makes it a seriously attractive proposition. At $64.99 / £62.99 (about AU$130), it’s an absolute steal, and considering the quality it posts across the board, I’d say that it’s one of the best value Bluetooth speakers I’ve ever tested. As a result, it’s an easy recommendation for me to make.

Tribit Stormbox Micro 3 review: price and availability

• List price of $64.99 / £62.99 (about AU$130)
• Released in April 2026

The Tribit Stormbox Micro 3 was first released in April 2026, about four years after the Stormbox Micro 2. Thankfully, the new speaker comes in at an extremely similar price to its predecessor — it will only set you back about $64.99 / £62.99 (about AU$130), which is a great price given its talents.

Tribit Stormbox Micro 3 review: specs

Tribit Stormbox Micro 3 review: features

• Battery life has been doubled to 24 hours
• Lots of customization options with Tribit app
• Multi-speaker pairing, but no backwards compatibility

The Stormbox Micro 3 has had quite the refresh in terms of features. The most striking is its improved battery life — you’re getting up to 24 hours this time out, which is double the amount of playtime you got on the Stormbox Micro 2. Of course, if you’re listening at higher volumes and using the XBass function, you’ll struggle to get that maximum 24 hours, but in my testing I found that number to be pretty accurate.

On top of that, the Micro 3 charges a lot faster than its predecessor. Tribit notes that you can get its lil’ speaker’s battery to 100% from empty in just 2 hours — a big leap from the 2.5-3 hours required to juice up the Stormbox Micro 2.

As we saw last time out, you can also use the Strombox Micro 3 to charge up other devices with a USB-C cable. That’s a pretty handy feature if you need to give your phone or wireless earbuds a boost, for instance, and the higher battery capacity makes this feature feel more worthwhile.

The new Stormbox Micro also has an improved Bluetooth version — it’s using Bluetooth 6.0, which gives you 45m of range, ideal if you want to keep the tunes moving while in a different room.

What’s more, the Stormbox Micro 3 packs 13W of power from its full-range driver (which is accompanied by a couple of passive radiators). That’s better than its predecessor’s 10W, and results in a louder, meatier sound.

Another nice inclusion is the built-in mic, which enables you to take calls hands-free like a speakerphone. I tried this out, and was genuinely surprised by the clarity of my speech. Given that a lot of rivals (JBL Go 4, I'm looking at you) skipped the mic, this was great to see.

You can also customize the sound of this speaker using the Tribit app. There are a nice range of EQ presets, including genre-specific options, and some designed for specific environments, like Outdoor. There’s also a nine-band equalizer, giving users the chance to tailor sound to their specific tastes.

In addition, there’s an XBass mode for those that really want to ramp up the low-end. I steered clear of this, though, as it just made the low-end sound overpowering, and caused the speaker’s battery to drain at a faster rate.

Finally, you can pair the Stormbox Micro 3 with a second, identical unit to activate stereo sound. Typically, audio will be downmixed to mono, so this is a useful feature — I just wish Tribit had let us pair with the Stormbox Micro 2 as well, something that would’ve given owners of that model a better reason to upgrade.

• Features score: 4.5/5

Tribit Stormbox Micro 3 review: sound quality

• Powerful, well balanced sound
• Seriously commendable bass from such a small speaker
• Lacks the mid and treble range finesse that premium rivals supply

Given its limited confines and low price, the Tribit Stormbox Micro 3 doesn’t sound perfect — you’ll experience some compression at higher volumes, and there are no fancy codecs like LDAC or aptX Adaptive. But still, the speaker performed pretty admirably in my testing.

I’ll start by saying that I spent most of the time using Tribit’s Signature EQ — XBass is here for a bumped-up low end, and there are a few other presets, but the standard tuning had a more balanced, controlled sound, so I rarely felt tempted to deviate from it.

For me, the most impressive thing about the Stormbox Micro 3 is its bass output. So many small-sized speakers fall flat here — even some more premium models sound as if there’s nothing going on whatsoever in the low-end, resulting in a thin, de-energized presentation.

But not the Stormbox Micro 3. In tracks like Harmony in the Distance by M-High, I was struck by the pumping, impactful bass that never sounded lethargic or bloated. Indeed, the low-end hit pretty hard considering this model’s small form-factor, but at the same time, it never drowned out synths in the mids or higher frequency percussion.

In this track, treble also sounded surprisingly sharp, with a rapid decay to ensure drums hit with rhythmic precision. They didn’t have the full-sounding fidelity you’d expect to hear on more premium speakers, though — something I’ll get onto shortly.

Moving over to one of my favorite tracks, Space Cowboy by Jamiroquai, and the Stormbox Micro 3 maintained impressive quality. Vocals were nicely weighted in the mix, and funky bass occupied a well-defined pocket, never seeming over-eager or muddy. At one point, the vocals and bass cut, as the tune built towards its euphoric climax, and the speaker recreated the re-entry of various instruments with finesse, indicating its solid dynamics.

With really deep, demanding records, such as Morning Wonders - Leo Pol Remix by Kolter, Tribit’s tiny speaker still managed to hold its own. The dark, rippling bass was perhaps a little too much for it to handle, but it still put up a valiant effort, while translating the aggressive higher-pitched percussion with control, rather than letting it fly off the handle.

So far, the Stormbox Micro 3 was doing pretty nicely, but I wanted to turn up the temperature, so I decided to test it against a pricier rival from a big name: the Bose SoundLink Micro Gen 2. Now, for all of my gripes with Bose’s small-sized speaker, I have to say it sounds pretty good, with vibrant treble, expressive mids, and clean bass. So how did Tribit’s mini rival compare?

I started with a tech house track, Good Luck from ADR (UK) and OUTTEN, and straight away, I realized how the Tribit replicated low-end sounds with much more confidence and vigor than its Bose counterpart. Despite lacking some low-end punch, the SoundLink Micro Gen 2 produced cleaner overall audio in my view, with more refined clarity in the treble range in particular.

It was similar in Shinchiro Yokota’s Do It Again, with Tribit conjuring up more regimented, full-sounding bass, but less polished highs. The Bose really did struggle with some of the darker sounds, though, and despite its impressive clarity further up the frequency range, you’d expect more given its hefty asking price.

It’s with softer tracks, though, like Yellow Giant Reprise by Tatsuhiko Asano, where the Stormbox Micro 3’s limitations are laid bare. Mids just sounded more detailed, open, and separated on its Bose rival, and although Tribit’s speaker still plated up perfectly clear and non-distorted sound, it failed to offer that premium edge.

Overall, though, this comparison showed me the fantastic sound for pound value of the Tribit Stormbox Micro 3. Sure, it lacked the nuance and grace of the SoundLink 2 in the mid-range and treble, but it still performed solidly in those areas, while also producing far more energized bass and higher volume potential than its Bose rival.

It’s also worth noting that I mainly kept the Stormbox Micro 3 upright, typically while magnetized to my fireplace. It sounded great with this configuration, but you can also lay it flat, which has a less rounded, but still enjoyable sound.

• Sound quality score: 4/5

Tribit Stormbox Micro 3 review: design

• New rounded design still not the prettiest
• Magnetic base with handy silicone strap
• IP68-rated and drop-proof

The Tribit Stormbox Micro 3 looks pretty similar to its predecessor, but it's got a slightly more rounded build and a neater, more striking logo at its center. It’s not the prettiest small speaker I’ve seen — the retro-style Marshall Willen II and modern Bose SoundLink Micro 2 have a more premium, eye-catching aesthetic, although they’re also quite a bit pricer.

What I do like, however, is the practicality of the Stormbox Micro 3. First of all, this new model comes with a magnetic base, which makes it easy to fix to a shower or fridge. I had the speaker attached to the fireplace by my desk, which worked fantastically.

There’s also a strap on the reverse side of the model (carried over from previous iterations), which makes it easy to hook onto a bag, bike, or hook, so this is a very versatile speaker placement-wise. And it’s incredibly compact, which means you could easily chuck it in a bag when it’s out of use as well.

What’s more, the Tribit Stormbox Micro 3 has an IP68 rating, meaning its fully dustproof, and can survive a 1.5m dunking underwater for as long as 30 minutes. That’s an improvement over the previous model’s IP67 rating, and while it’s fairly unessential, it’s pleasing to see Tribit keep up with the likes of JBL’s water-resistant tech.

The Stormbox Micro 3 is also drop-proof, making it ideal for taking on the go. Tribit says that it can survive being dropped from about 1.2m, in-line with US military standards — so you shouldn't have to worry about it taking the occasional tumble.

Other than its average looks, my only complaint would be the Stormbox Micro 3’s lack of color options. You can only grab it in Black at the moment, while its predecessor could be purchased in Blue, Red, or Mint instead. Hopefully more colorways will be released down the line, but that lack of vibrancy is a shame, particularly given the vivid options supplied by Bose and JBL, among others.

• Design score: 4/5

Tribit Stormbox Micro 3 review: value

• Plenty of improvements over predecessor with next to no price bump
• Strong sound at this price-point, with great bass output
• High battery life and durable build make it a slam dunk

When it comes to value-for-money, I’m not entirely sure you can do better than the Tribit Stormbox Micro 3. We already raved about its predecessor's high quality paired with a low price, and things are much the same here.

There’s been next to no increase in list price against the Stormbox Micro 2, in spite of macroeconomic pressures, and you get even more for your money this time. More power, better battery life, a magnetic design, a more rounded look…this is a worthy improvement over a speaker we already loved.

For just over $60 / £60, you’re going to make a few sacrifices. You don’t get the stellar detail, nuance, and open sound that some small-sized rivals can offer — but they’ll come at a significantly steeper price-point. The Stormbox Micro 3 still sounds very good overall too — even if it can be outclassed, the clarity and balance on offer is highly commendable.

And given that the Stormbox Micro 3 performs very nicely in the low-end — an area where a lot of small speakers struggle, you’re getting plenty of bang for your buck as far as sound goes.

I was also delighted by the Stormbox Micro 3’s exceptional battery life, which is higher than a lot of premium rivals. Combine that with a durable build, and almost everything you could want from a small speaker can be yours at a very modest price indeed.

• Value score: 5/5

Should I buy the Tribit Stormbox Micro 3?

Buy it if…

Don’t buy it if…

Tribit Stormbox Micro 3 review: also consider

How I tested the Tribit Stormbox Micro 3

• Spent one week testing
• Mainly streamed tunes over Tidal
• Reviewed by someone who’s tested more than 40 Bluetooth speakers

I spent one week testing the Tribit Stormbox Micro 3, predominantly using it at home — both stood upright and resting on its base.

When listening to music, I made sure to stream tunes over Tidal, starting with the TechRadar testing playlist, which features tracks from a wide variety of genres. I also bumped a range of tunes from my personal library, and tried out the speaker’s different sound modes and mic functionality.

More generally, I’ve spent in excess of two years testing audio gear here at TechRadar, which includes everything from the best wired earbuds through to premium wireless headphones. I’ve tried more than 40 Bluetooth speakers during my time here, and personally curated our guide to the best Bluetooth speakers, so I know exactly what is required for a model to stand out in this heavily convoluted market.

• Read more about how we test
• First reviewed: April 2026

Dali Sonik 1: Two-minute review

Dali’s new Sonik series of speakers is the Danish brand’s re-introduction to the global hi-fi market — and these, the Dali Sonik 1, are a set of versatile, broad-appeal passive bookshelf speakers aimed squarely at the entry-level audio enthusiast. They enter a saturated market at this size and price, rubbing shoulders with about every major speaker brand you can name; still, they stand apart and more than hold their own.

Clever driver and cone designs, refined from Dali speakers past, provide a surprising quality of sound, from clear and distortion-free articulation to smooth, natural-sounding mids and highs. Everything shines through these, but vocals benefit perhaps the most.

Transient performance is nothing short of delicious, and the low end is surprisingly supple for the size of the units (helped along by some very enthusiastic bass reflex ports). There’s a chance that the Sonik 1 are a little over-eager with respect to high end, but it’s marginal — and minimal against the robustness and throat on display in denser mixes.

Being a curmudgeonly sort, I tried my best not to love these speakers at first listen. I failed. It’s love. From the clear attention to detail shown in their design and build to the stunningly versatile sound performance, the Dali Sonik 1 are an overperforming pair of almost-budget bookshelfs. And definitely among the best stereo speakers on the market.

Dali Sonik 1 review: Price & release date

• Released February, 2026
• Priced $900 / £449.99 / AU$849

Do you ever feel like the Scandinavians just do it better? From my distant and semi-ignorant perch in deepest West Yorkshire, in the UK, I can’t help but feel like it’s true. Whether its education, taxation, or straight-up happiness, the concept of Nordic exceptionalism is very real indeed – and we’ve got even more proof right here in the land of domestic hi-fi audio, thanks to the landmark Danish audiophile loudspeaker industry frontrunner, Dali. Which stands for, er, Danish Audiophile Loudspeaker Industries.

Dali has been designing speakers from the ground up since the early 80s, and has established a well-earned reputation in that time. Its speakers touch every point of the hi-fi market, from budget-friendly fare to audiophilic bucket-list bookshelfs and beyond. Its roster of speakers is broad, deep and a little intimidating to reckon with — which is, in part, why it came out with this in February 2026: the Sonik series of passive speakers.

The Sonik series is Dali’s full and formal self-introduction to a global audience, taking everything it’s learned in its 40-ish years of loudspeaker development and cramming the best into a budget-spanning set of new flagships. There are seven different sets in the Sonik series, a comprehensive spread encompassing standmount, floorstanding and home cinema-friendly models. Whatever it is you want or need, chances are you’ll find it here.

Of these, the Dali Sonik 1 are proudly the smallest and cheapest of the bunch: a set of bookshelf standmounts that are dinkier than they look, and also much more powerful than that deceptive dinkiness would suggest. At $900 / £449.99 / AU$849, these aren’t the cheapest bookshelf speakers money can buy (especially in the US!), but they’re more or less in direct competition with entry-level bookshelf fare from practically every other hi-fi brand going; from Klipsch’s RP-600Ms to KEF’s Q1 Metas to Bowers and Wilkins’ 607 S3s to umpteen other austere offerings.

It’s a tough crowd, but one that Dali’s been quietly besting in a few key areas for a long time. In this competitive loudspeaker arena, will Nordic exceptionalism prove itself again?

Dali Sonik 1 review: Specs

Dali Sonik 1 review: Features

• Small-format bookshelf speakers with two-way crossover
• Patented cone design for smoother mids
• Remarkably low distortion, via proprietary driver composition

The Dali Sonik 1 are a pair of passive bookshelf speakers, with a two-way crossover involving a 29mm soft-dome tweeter and a 5.25-inch woofer, and a ported bass reflex chassis. They’re single-wire connectable, as opposed to bi-wirable; unless you have grand and arcane plans of driving tweeters and woofers separately, I don’t consider this in any way a shortcoming — and if you actually do have such plans, you are surely looking in the wrong price range.

Being passive, the Sonik 1’s features are almost entirely found in their clever composition, which hides some smart proprietary bits and pieces behind those optional magnetic cloth grilles. For instance, the whole Sonik series, Sonik 1 included, benefits from Dali’s trademarked Clarity Cone technology (taken from the Kore range that came before), wherein the speaker cones are made using a proprietary paper/wood-fiber blend, said to improve mid-range smoothness among other things.

There’s another trademarked feature, too, in the “SMC” (Soft Magnetic Composite)-assisted magnet systems that constitute the driver. Dali’s patented composite sits in the voice coil, significantly reducing distortion in the process. Collectively, these in-house divinations deign to create a fulsome, highly natural-sounding set of standmounts.

The Sonik 1 are the smallest of the Sonik series, and quite slender even for their size. It’s a small surprise settling them in to their respective homes and having some room to spare — but still, there’s a sense that they’re certain to punch above their weight class as soon as you take them out of the box.

Speaking of which, there’s not much here in the way of box candy (no speaker cables, either). That said, they do ship with two sets of stick-on rubber feet: small, squashy black ones for standing them on your shelf of choice, and some thick, translucent ones for sticking on the back if you intend to wall-mount them. I’m not one for wall-mounting them just yet, but I was nonetheless touched that Dali elected to send clear stand-offs so as not to cause unsightly shadows if you do hang them.

That particularly small-beers inclusion is, for me, a perfect crystallization of Dali’s approach with the Sonik 1, and a reflection of its journey to this point. Small things, offered without ceremony, that add up to a thoughtful and gratifying whole.

• Features score: 5/5

Dali Sonik 1 review: Sound quality

• Smooth, dulcet vocal reproduction
• Deep, reflex-assisted bass
• Transparent treble and tactile transients

Dali talks a big talk about the natural sound of the Sonik series. As someone that also works on the other side of the mixing desk from time to time, it’s hard to describe what makes something sound ‘natural’ as anything other than a neutral approach to representing exactly what was recorded. Hi-fi devices are not typically designed to do this, either; they’re designed to flatter. They accentuate the bits that gratify us, giving us more to grab onto than a flat-response set of monitors would dare to. And yet...

To reach for a sense beyond natural, the Sonik 1 do some marvelous things, from delicate treatment of higher highs to a round, robust treatment of reedier sounds. It’s the voices, really, that shine, with no undue thanks to those Clarity Cone woofers; my household’s vinyl copy of Mitski’s Nothing Is Happening To Me has been on heavy rotation, and rendered in disturbingly effective heartbreaky three-dimensionality each and every time, since I installed the Sonik 1 pair.

Cats is a long, soft-silk ribbon, pulled deftly through my left ear and out the right. If I Leave’s brief crescendo of deep-gritted guitars and chest-voice urgency is a weighty presence in the room. B-side opener and second single, I’ll Change For You, is an honest-to-god tearjerker with thanks to an exceptionally tangible rendering of that stunning lead line – Mitski’s voice honestly feeling as if it floats forward through the mix, drifting airily on its own delusive train of thought. Brain-scratchingly good stuff.

Spinning the 10th anniversary repress of Adult Jazz’s Gist Is, I got a real feel for the Sonik 1’s handling of space. The richness of that midrange lends itself to roomy sounds, in which Gist Is, a patchwork of heres and theres, readily revels. Sparse, clever instrumental arrangements are articulated with fullness — illustrating some tactile transient responsiveness just as much as a natural, earnestly flattering representation of timbre.

The cheeky-swung drums on opener Hum are a bright, effervescent presence; cymbal crashes and open hats fizz in Am Gone. Slow-burner Spook is a highlight, rendering powerful dynamic shifts and slow-developing ambiences with a sense of unbothered expertise. Palm-muted guitars spike through like football cleats through turf, and legato lead lines skate sharply across the crescendo as if on six feet of ice.

Dali commits to harnessing low end wherever and however it can, leading to some extremely impressive bass performance from speakers that have neither the stature nor the right. There’s a little weight missing, and the bass reflex port is doing a lot of heavy lifting to replace it (aided, no doubt, by the sub-optimal listening position in which the Sonik 1 lived for most of my testing), but even without that telltale pumpy bluster, there’s a lot to love about the structure of the heft they possess.

If I were to find anything to complain about with the Dali Sonik 1, it would end up being a slight high-end over-presence. The treatment of trebly sources is delicate, considered and even fastidious, but sometimes, to the point of clear preference over other elements of a mix. This is emphasized further by that slight lack in the low end, countered by an eager bass reflex.

But here’s the thing: I feel like I’m reaching. Putting on one of the more chaotic records in my vinyl collection — My Bloody Valentine’s Loveless — I’m greeted with unexpected clarity and cohesion. Everything’s resolved as it was, is and should be, from brain-swallowing yet still-punchy lows to screeching uber-compressed wall-of-guitar highs. It’s a high-performing pair, through and through.

• Sound quality score: 5/5

Dali Sonik 1 review: Design

• High attention to detail
• Clever attachable grille
• Cool, understated looks

Dali’s full-spectrum approach to design and manufacture means the same care and attention is given to the development of each product in their roster, as gamely demonstrated by the quality on display with the Sonik 1.

There’s attention to detail wherever you look, be it the chunky brass terminals at the rear or the tastefully radiused face-plates at the front. Really, these are tasteful-looking through and through. The pair under review are the natural oak variant version, but you can also pick these up in white, black ash or walnut. With mine, a cream front face is gamely disrupted by bold black driver surrounds, accentuating the presence of that cool burgundy woofer cone.

The included cloth grilles are a mottled off-white, and attachable (as is becoming increasingly common) with magnets; this leaves a smooth face on the speakers, and makes for a posh-feeling set overall. With the grilles on, the Dali Sonik 1 become coolly understated; they fade amenably into the figurative milieu of your living room, and shine all the more prominently on their acoustical merits.

• Design score: 5/5

Dali Sonik 1 review: Value

• A familiar price for entry-level audiophile fare
• Incredible performance for budget
• Impossible not to like

Generally speaking, and whichever way you slice it, $900 / £449.99 / AU$849 is a lot of money to ask someone to pay for something. But it’s the de facto floor price (excepting that tariff-y US-import price) for something good in the audiophile hi-fi space. When big numbers get bandied around for confoundingly clever loudspeakers further up the chain, it’s easy to lose sight of the real ask here for the average consumer.

Every brand that puts out an entry-level artefact of posh loudspeaker design at this price, then, has to be able to justify it. And most of the heavy hitters do, pulling down top-flight innovations to an affordable price and walking the walk on sound quality (Bowers and Wilkins’ 607 S3 being a chief competitor and major example). And just as most of the heavy hitters do, so too does Dali.

The Sonik 1 are as smart a pair of bookshelf speakers as you could ask for. They’re deeply versatile, deep-sounding despite their stature, and delightful to listen to. The frequency response reflects a hyper-natural richness, without overrepresenting anything too nakedly. They fill small and medium spaces capably, handle loud signals with minimal distortion, and deliver gratifying performance from wherever you sit or stand.

These speakers are an excellent example of what investing in hi-fi can actually mean for someone. The articulation and fidelity on display is demonstrably far, far better than cheaper fare you come across. The Sonik 1 may be the entry-level pair in a large family of new broad-appeal loudspeakers, but they’re as refined as you could ever want in a mid-range listening setup. They look the part, yes, but they feel the part, too.

To be blunt, I went into this review with a harshly critical eye. It was softened instantly, by a self-assured set of speakers that elevated my home hi-fi without ceremony. Dali is doing some incredible work reinstating the importance of attention to detail, of pride in a product, via a seamlessly well put together set of speakers that actually exceed their expectations.

• Value score: 5/5

Dali Sonik 1 review: scorecard

Should you buy the Dali Sonik 1?

Buy them if...

Don't buy them if...

Dali Sonik 1 review: Also consider

How I tested the Dali Sonik 1

• Tested for 6 week(s)
• Used as main living-room listening speakers
• Predominantly tested using vinyl records, played on Vestax turntables; also with CDs and hi-res streaming from Qobuz

The Dali Sonik 1 bookshelf speakers found their home at the epicenter of my living-room listening station, where they were hooked up to my Cambridge Audio A2 integrated amplifier, and received audio from a variety of sources — most commonly, vinyl records played through Vestax PDX-D3 turntables (outfitted with Audio-Technica AT-VM95E cartridges) and a Vestax preamp and mixer.

I listened to CDs using a FiiO DM13 CD player, and I threw some hi-res streaming from Qobuz in there for good measure, too, via a 3.5mm jack from my laptop to the Vestax mixer.

First reviewed: April 2026

Read more about how we test at TechRadar

I’ve tested more than 40 Bluetooth speakers during my time here at TechRadar, and I always get most excited to test the party speakers. They’re large, powerful and — for someone who loves house music like I do — ideal for pumping out tunes with impactful and immersive bass.

This is an area where JBL has been pretty dominant. In 2025, JBL launched more of its high-performing PartyBox speakers, and its owner, Harman, claimed that the brand had “solidified its position as the number one portable and party speaker brand”. It’s hard to dispute that. Not only is JBL shipping a whole lot of units, but its party speakers come with impressive power, AI-optimized audio, modern features such as Auracast, and generally moderate pricing.

However, JBL has competition on its hands from another brand that’s used to putting on a show. Marshall recently took launched to two models to knock JBL off its perch: the Bromley 750 and Bromley 450 models.

Why has Marshall decided to scale this mountain, and how is it differentiating itself from rivals like JBL? I put these questions — among others — to Marshall, so here's what it has to say about the world of party speakers.

Standing out in a homogenous market

Marshall’s amp-making heritage certainly makes it seem at home in the realm of party speakers.

That was a clear focus for Hanna Wallner, Product Manager at Marshall Group, who told me: “We have a long history of bringing sound to the stage, and in more recent years, to homes through our Bluetooth speaker range, headphones, and TV sound. It was a natural next step to move into the party speaker category, and we saw an opportunity to bring something different to a uniform market."

But how exactly do the Bromley speakers stand out in a segment full of generic boxes with colorful lighting? For Wallner, this had a lot to do with “staying true to our identity and what we are great at — prioritizing iconic design and superior acoustics”.

That involves considering every element of design through this lens. “Everything is thought through in such great detail, from the PU-leather cabinet wrapping and tactile control panel, right through to the light sequencing patterns that are inspired by stage lighting,” said Wallner. As someone who’s tested both the Bromley 750 and 450, I have to say that the white, stage-inspired lights are a stand-out aspect of their design, offering an alternative to the swathe of RGB-light-adorned rivals.

And nailing that lighting was crucial for Marshall. Wallner explained: “When we first introduced the idea of lights, we were hesitant as the different colored LEDs that we see on competitor products didn’t feel quite right. But we managed to find our own unique way of integrating lights whilst staying true to our heritage. This is a speaker with ‘party’ at its core and in parallel puts the Marshall stamp on the party speaker category.”

The ‘Marshall stamp’ is clear in just about every part of the Bromley speakers, not only through their lighting, but also through their sound signature. A lot of party speakers — at least in my experience — put a lot of their eggs in one basket, with very heavy bass and limited attention placed elsewhere. Sure, that can open up loud, attention-grabbing audio, but it’s less satisfying for those of us who want a more refined, well-rounded listening experience.

However, the Bromley 750 and 450 are able to paint a fuller picture. Yes, they plate up hard-hitting low-frequency audio, with a serious dosage of output power. But they also manage surprisingly detailed, well-separated mids, and snappy and responsive treble. They also offer a great soundstage — Marshall’s ‘true’ 360-degree stereophonic sound really saps the blind spots out, meaning you don’t get the overly directional sound that some rivals supply.

Learning from the past

Interestingly, though, Marshall’s entry into the world of party speakers doesn’t mark its only adventure into a new segment of late. For instance, the audio specialist decided to try its hand at the TV audio market in 2025, and released three new products: the Marshall Heston 120 and Heston 60 soundbars, as well as the Heston Sub 200 subwoofer. With those releases, Marshall undertook a considerable amount of market research when producing its entrant models.

And that appears to have been the case with the Bromley 750 and 450 too, with Wallner sharing: “When we started this project, we wanted to really deep dive into the different behaviors in the category. Together with consumer insights and our design research team, we did a qualitative user study globally, where we focused on people that owned and bought a party speaker in a similar size and price. From this, we learned that this category is all about setting the right environment for a party."

But how do you translate an abstract concept like a party ‘environment’ into something tangible? “Acoustics are naturally very important,” said Wallner, “but more than that, this product needs to trigger your senses and add that extra layer to the party. It needs to work as a social lubricator, and also a showoff piece."

This seems to be a sensible approach. While Marshall may not be able to offer its products as cheaply as the dominant player, JBL, the brand has an instantly recognizable aesthetic that turns its audio gear into statement pieces.

That’s evident in the Bromley speakers’ gorgeous faux-leather casing, golden details, and metal grilles — but also in the design of its other models, such as the Marshall Kilburn III, Middleton II, and Emberton III. Buying one of these speakers will provide impressive audio, yes, but there's an undeniable sense of cool to these designs built on the the guitar amp and live music heritage that other speakers just don't match.

Marshall beyond the stage

So, Marshall has delivered a couple of party speakers that set themselves apart, not only in terms of sound and features, but in terms of design, but they still have to be good, right?

In my review of the Marshall Bromley 750, I described it as “a great-sounding party speaker debut, packed with plenty of power, connectivity options, and an extensive battery life”. I also raved about its premium build quality, iconic look, and repairable parts.

OK, the Marshall app is a little under-equipped and the high price — compared to JBL's PartyBox line — could be a dealbreaker for some. But I still felt that the Bromley 750 was a strong party speaker debut for Marshall.

The Marshall Bromley 450 was revealed a little later, and just released in March 2026. Wallner revealed a little about its inception: “Early into that project [the Bromley 750], we saw a great opportunity to bring all the great pieces from 750 into something smaller and more accessible. We actually started the 450 project before 750 hit the market."

And in my four-and-a-half star Marshall Bromley 450 review, I praised how Marshall compressed so much of the 750’s talents into a more portable, affordable model, talking up its immersive sound and tasteful lighting, among other things.

But that’s only one side of the coin. I was curious to hear about consumer uptake and feedback, and gauge whether Marshall is starting to make a splash in the party speaker world.

While the company refused to delve into specifics on sales figures and the like, Wallner stated: “The response so far has been fantastic. Our launch into TV sound and the party speaker category in 2025 proved there is a real and growing appetite for Marshall beyond the stage."

When I asked if more party speakers were on the way, Marshall declined to say, but did add that the company is looking forward to “bringing the unique Marshall experience to returning fans and new audiences alike”.

• Leak unveils new Sandwich 100 passive hi-fi speakers
• More compact than the previous Sandwich 250 and 150...
• ... and more affordable too at $899 / £499 / AU$1,099 per pair

When legendary audio company Leak dropped back into the spotlight with its Sandwich 150 and 250 speakers back in 2024, we were all abuzz, and it's just happened again.

Hot off releasing its first network audio player, Leak has decided which way its bread is buttered by announcing a third speaker option: the Sandwich 100.

This new audio hoagy, as the name suggests, is smaller than the Sandwich 150 and 250. It measures 34 x 21 x 25cm, so is compact and will fit in your bookshelf much more readily than the other models.

Perhaps a bigger draw, though, is the price. The Sandwich 100 costs $899 / £499 / AU$1,099 for a pair, which is half the fee of the 150, even if it's a little pricier than your standard sando. It's due to go on sale in mid-April.

No subwoofer for the sub

Audio specs-wise, you're looking at a 30mm coated textile dome for treble, and a 150mm Sandwich cone for mids and bass.

This latter is one of the draws of the speakers: Leak designs its own diaphragms, based on its designs from the 1960s, with this model apparently being designed especially for the Sandwich 100.

It's designed for "immediacy, clarity and conviction" according to the brand, with a focus on stiffness by using aluminum skins in layers (hence the name).

The Sandwich 100 needs between 25W and 100W power from your amp, with a 6-ohm impedance, so nothing very dramatic. It comes in a two-way vented box enclosure, and as far as I can tell, doesn't have a stand option like the Sandwich 250 did.

It's good to see hi-fi brands catering for those on a lower budget, with launches like this and the Dali Kupid — we can't all afford the $2,995 / £2,299 / AU$569 for the Sandwich 250-with-stands package — and Leak also sells amplifiers, so you can stick with the brand for all your gear if you like. And I wouldn't blame you, with how classy the Leak gadgets look.

Bose SoundLink Micro Gen 2: review

The Bose SoundLink Micro Gen 2 is the sequel to the audio specialist’s 2017-issue mini Bluetooth speaker. And according to Bose, this palm-sized follow-up brings a fair few enhancements to the table: ‘improved audio performance’, ‘enhanced features’, and ‘extended battery life’. But is it actually worth buying? Here are my thoughts after several weeks of testing.

First of all, it has to be said that the Bose SoundLink Micro Gen 2 is a significant improvement over its predecessor — as you’d probably hope given that they were released eight years apart. Now, you get USB-C charging, and up to 12 hours of battery life, which is nothing special, but comparable to some similar-sized rivals from JBL and Ultimate Ears.

On top of that, its new and improved fabric strap is fantastic — it’s so easy to sling around shower heads, bikes, bags… you name it. Pair that with a still-great IP67 dust and waterproof rating — which enables the SoundLink Micro Gen 2 to survive being dunked under a meter of water for 30 minutes — and you’ve got a speaker that can go literally anywhere with you. Combine this with its small size and lightness of build, and Bose’s bijou audio companion is more practical than just about any model out there — even those listed in our best Bluetooth speakers guide.

Something else that has been improved is audio quality. And in fairness, the Bose SoundLink Micro Gen 2 is a pretty solid-sounding model given its small size — but that’s not to say it’s perfect.

Bose has gone for a relatively balanced sound profile on the SoundLink Gen 2. Bass is pretty punchy, but never boomy or overstated. Mids are clean, but not the sole star. And treble is energetic, but not tinny — unless you’re listening at top volumes, but that’s something I’ll get onto later.

Anyway, when listening to Black Eye by Allie X, I was impressed by the tonality of vocals, and the way that the speaker replicated their almost breathy quality. The attack of violins in the intro wasn’t the most dynamic I’d heard, but it was certainly clean and distortion-free at mid volume levels. And after bumping bass up by a level on the Bose app, the pumping low end came through with decent impact too. Was I wowed by excellent instrument separation, pounding low-end performance, and top-tier detailing? No. But that’s to be expected on a speaker this small.

While we’re on this topic, it’s worth noting that the Bose SoundLink Micro Gen 2 has a fair few sonic limitations, as a direct result of its compact form. You won’t get the bass thump that larger models — like the Bose SoundLink Plus, or even the Bose SoundLink Flex Gen 2 — can muster. And if you push volume all the way to the maximum, you’re going to get pretty thin-sounding audio, with very noticeable compression and slightly shrill treble. But in this model’s defense, this is fairly standard for mini Bluetooth speakers — trust me, I’ve tested tons of them!

But still, this model did perform well, all things considered. In Felini by Venerus and Marco Castello, the precision of fingerpicking guitars and airy sound effects was commendable, and the two vocalists' harmonies intertwined neatly.

Deeper tracks, like M-High’s Never Would don’t sound amazing on the SoundLink Flex Gen 2, as it struggles to handle the darkest parts of the frequency range. Still, standing upright, the speaker managed decently agile bass, and matched the track’s aggressive treble to good effect. Rivals like the Ultimate Ears Wonderboom 4 can produce a more weighty performance, but if you’re not listening to the heaviest tunes, that shouldn’t be a problem for you.

I’ll finish talking about sound by mentioning that the Bose SoundLink Micro Gen 2 has strong codec support, with SBC, AAC, and even aptX Adaptive — if you’ve got a compatible device that is. There aren’t any wired playback options, though I suspect most users will be fine with using Bluetooth 5.4 connectivity.

So, the SoundLink Micro Gen 2 sounds pretty solid overall, but how does it perform elsewhere? Let’s step on over to the features domain.

This model isn’t doing anything out of the ordinary by Bose 's standards. It has multi-point connectivity, fast-pairing, and a shortcut button for Spotify or linking with another Bose speaker. And you can link with various other Bose speakers, luckily, including another SoundLink Micro Gen 2 for stereo, or models like the Bose SoundLink Max for generally bigger sound.

However, you can also rename the speaker in the Bose app (mine’s called Bite Size Party), enable or disable voice prompts, and alter EQ. As we’ve seen with many Bose products, the EQ settings are a little basic, with presets to boost or dampen bass or treble, and a three-band equalizer to adjust the bass, mids, and treble. However, this still works decently well.

I would’ve liked to have seen some more interesting features, like a personalized EQ test for more tailored audio, or hands-free calling, seen on the original SoundLink Micro (which had a built-in mic), but this model still has a good feature-set all in all.

Perhaps my favorite thing about this speaker, though, is its design. I’ve already mentioned its excellent fabric strap, which I’ve been using to attach the speaker to my shower, but there’s more. It has well-sized, responsive button controls, a rubber body that’s drop-resistant, and a classy range of color options. I used the Black version, but I’m partial to the Blue Dusk, Petal Pink, and Sandstone alternatives. Ultimately, this is a great-looking, compact, and waterproof speaker that really can go anywhere with you.

Still, there’s one thing that holds me back from recommending the Bose SoundLink Micro Gen 2 outright: its price. This model comes in at $129 / £119.95 / AU$179.95, which is a lot for a speaker of this size. For reference, you can get our pick for the best Bluetooth speaker overall, the JBL Flip 7, for $149 / £129 / AU$179 at full price. And that model is considerably more powerful, offers far superior audio with awesome bass, and has more features to explore too. It’s also regularly discounted, and although it's a little larger, remains highly portable.

Even if you wanted something as small as the Micro Gen 2, you could go for the JBL Clip 5, which retails for $79.95 / £59.99 / AU$89.95, or the bass-heavy Ultimate Ears Wonderboom 4 for only $99.99 / £89.99 / AU$149. I’m not convinced that the Bose SoundLink Flex Gen 2 offers sound that’s good enough to warrant the extra cost. All of these other models are highly waterproof, sound strong, and look great to boot. So, even if Bose’s speaker performs fairly well across the board, it feels like a slightly tough sell.

And there you have it. The Bose SoundLink Micro Gen 2 is a very solid upgrade on its predecessor, and I was satisfied by its thoughtful design and improved sound quality. Ultimately, though, it doesn’t feel exceptional enough — either sonically or in terms of features — to earn its steep price-tag, meaning that I’d only recommend this above rivals — from the likes of JBL and UE — if you can get it on sale.

Bose SoundLink Micro Gen 2 review: price & release date

• List price of $129 / £119.95 / AU$179.95
• Released in August 2025

The Bose SoundLink Micro Gen 2 released in August 2025, eight years after its predecessor, the Bose SoundLink Micro. It comes in with a list price of $129 / £119.95 / AU$179.95, which represents a $10 / £20 / AU$30 increase over the original, at their respective launch points. However, there are a lot of improvements on this second model which make it the better pick over its ancestor. The SoundLink Micro Gen 2 is available in Black, Blue Dusk, Petal Pink, Sandstone, or Twilight Blue.

Bose SoundLink Micro Gen 2 review: specs

Should I buy the Bose SoundLink Micro Gen 2?

Buy it if…

Don’t buy it if…

Bose SoundLink Micro Gen 2 review: also consider

How I tested the Bose SoundLink Micro Gen 2

• Tested over the course of multiple weeks
• Used in our music testing space and while showering
• Mainly tested using Tidal

I spent multiple weeks testing the Bose SoundLink Micro Gen 2, and spent hours listening in our music testing space at Future Labs, at home, and in the shower.

Most of the time, I listened to tunes via Tidal, on either my Samsung phone or the Nothing Phone (4a). To begin with, I ran through the TechRadar testing playlist, which features tunes from a wide range of genres, but I also made sure to bump tracks from my personal library. I also tried using party mode, by connecting the speaker to my Bose SoundLink Flex Gen 2.

More generally, I’ve tested more than 40 Bluetooth speakers here at TechRadar, and personally curated our guide to the best Bluetooth speakers. I’ve reviewed all sorts of models, from premium Bose units, through to budget-friendly alternatives like the Tribit PocketGo. As a result, I have a strong understanding of the segment, and know exactly what it takes to stand out in a highly convoluted market.

• Read TechRadar’s reviews guarantee
• First reviewed: March 2026

In a world where speaker objets d'art exist such as the JBL L100 or B&O’s Beolab 90s, it’s always felt to me that if you’re lucky enough to own some high-end hi-fi speakers, they should be proudly on display in your home.

To that end, the notion of residential 'invisible speakers' always seemed like a solution to a problem that didn’t exist, in my mind. Installed in recesses behind walls or ceilings, allowing you to magically hear your music and movies without the speakers being in view at all, they perhaps made sense to me for commercial settings and places where floor space is at a premium — that's why in-wall speakers are so popular in home theater installations — but otherwise the tech always came across as somewhat gimmicky.

Moreover, the examples I’d heard at audio and home theater shows often left me feeling flat (appropriately, I suppose), with anaemic outputs more reminiscent of the delivery you’d expect from a cheap soundbar than a home theater system.

Fast forward to 2026, and a visit to the ISE expo in Barcelona left me realizing that the game has very much changed, and not necessarily for the reasons you’d expect.

The luxury home-installation bracket is traditionally where hidden speakers reside, but two exhibitors at the show, each with a different approach to their hidden speakers, suggest you might be seeing — or not, as the case may be — more of these sound systems cropping up in more regular homes.

The first revelatory moment for me came with a visit to Amina’s stand. Based in Cambridge in the UK, the company is solely focused on its “plaster-over” invisible speakers, with its designs initially inspired by tech that first featured in the UK's Ministry of Defence helicopter simulators from the 1980s.

Pride of place on the stand was an unassuming wall decorated with laminated wood behind which was housed three of the company’s latest larger Sapphire 375 75-watt speakers, coupled with one of its ALF 100 subwoofers, which had a vented port near the floor.

Listening to Van Morrison’s Days Like This through the system, I was taken aback by the full-bodied, yet controlled, crystal-clear delivery of the familiar song, coming from something that was, simply, a wall.

After moving around the wall, it soon occurred to me that the system appeared to have an unexpected advantage over a conventional speaker setup: there was no discernible 'sweet spot'. No matter where I stood when facing the wall, there was still the same level of separation to the track’s instruments — whatever way the speakers were dispersing vibrations across the wall, it was allowing the 180-degree sound to fill the entire room in a uniform, consistent manner.

Advantages to an unusual approach

Speaking to Amina’s Managing Director Richard Newlove at the show , he explained how the design of Amina’s vibrational panel speakers takes influence from acoustic musical instruments, allowing them to create sound in a way that is more harmonious with their surroundings.

“A regular, moving-coil loud speaker is directional, so it's only aiming in what direction the speakers are pointed. But when those reflections do come back, they start to interfere,” Richard explained.

“And in the worst-case scenario, what's happening there is that you're changing the sound in the room from what the speakers are creating. But acoustic musical instruments like violins send all frequencies in all directions, 360 degrees. The surface is creating a very complex energy wave, not a phase-related energy. A vibrational soundboard is better at connecting with air and putting sound into it. The beauty is that this way of dispersing sound is also scalable — a double bass and a violin work the same way.”

Amina’s early products were speakers disguised as pictures on walls, as well as ceiling tiles and projection screens, but they soon received requests for installs that were even more discreet, that could be recessed into the wall without any shadow line or gap, with those solutions evolving into what’s become its current speaker lineup.

The brand’s latest Sapphire range use super-lightweight honeycomb-structured panels that are driven by an electronic exciter, which delivers sound vibrations to the surface.

The panels are just 31mm thick and can be installed into a routed hole in stud walls or in plasterboard dry walls that can then be skimmed over, while their slim frame also enables them to work well behind panelled wood so long as the veneer isn’t too thick (anything over 2mm can degrade the output).

While early versions of vibration-based invisible speakers used a low-powered piezoelectric system to distribute sound and carbon panels that were too stiff to give out meaningful low frequencies, the improved materials and exciters being used in Amina’s Sapphire 375 speakers mean they’re able to deliver much greater midrange and bottom end with an impressive claimed frequency response of 50Hz to 20kHz.

Stealth mode

A short walk across the hall to American brand Stealth Acoustics shows a different, but no less impactful, approach to creating sound systems that disappear into their surroundings.

Based in Washington state, the company has been producing invisible systems for the best part of 25 years, and is now on its eighth line of speakers with its LineaRadiance range. Stealth’s speakers uses a hybrid approach, combining traditional cone woofers with acoustic lever technologies for bass.

Their flat front diaphragm design also 170-degree dispersion, and also means you don’t have to worry about symmetrical placement.

While that means that they’re more directional than Amina’s speakers, their flat front diaphragm design still means they deliver wide dispersion and also mean you don’t have to worry about symmetrical placement.

They do however, carry a lot more heft in output, both from a power perspective — up to a meaty 200 watts RMS with the new flagship L-RAD 430 speakers — as well as in terms of frequency response, with a much wider, deeper soundstage with a useable bass delivery down to ~35Hz.

Needing more depth and heavier in weight than Amina’s panels, Stealth’s LineaRadiance speakers are perhaps best suited to new construction projects where wooden studs are visible.

“The goal is to make a speaker that you go to first,” explains Stealth’s Business Development Director, Mark Cichowski. “Not to think, ‘I need an invisible speaker’, but more like, ‘I need a good-sounding speaker, and it is also invisible’.”

The permanence of hidden sound systems is also a consideration for Stealth, with Cichowski keen to stress its 20-year warranty. “Once it’s in the wall, there’s no maintenance — the failure rate is incredibly low. The systems themselves have circuit protection, so if someone goes and turns it up to 100, you’re not going to blow a speaker out and then have to dig it out of the wall and replace it. It’ll cap itself and tell the power to come back down.”

Some of the drawbacks that have always dogged invisible speakers, of course, still remain. While the costs have fallen since the early days of invisible speakers, that discreet elegance unsurprisingly still comes with a premium asking price, with Stealth’s L-RAD 430’s priced at $3,000 for a pair, while Amina’s Sapphire 375’s come in at a slightly more costly $1,800 per speaker — all before the installation costs.

While there’s always the option of fitting the speakers yourself, but much of the sound quality of both brand’s speakers is dependent on a quality install, so the two companies both advise using a professional service from their partners.

Once installed and finished over with plaster or paint, there’s then the issue of accessing them for service, upgrade or even if you want to remove them and take them with you should you move house — all scenarios that are considerably more difficult than with traditional visible speakers.

These factors aside, the tech has come far enough for invisible speakers to now become a real consideration for even discerning audiophiles. If you’re moving into a new place, or about to decorate your listening area, it might now be time to build your very own wall of sound.

I’ve said it before, but choosing a Bluetooth speaker in this day and age is a very challenging task. Simply put, there are just so many amazing options – not good for those of us who struggle with choice paralysis.

Luckily, I’ve tested more than 40 Bluetooth speakers, so I have a good idea of what to look out for when selecting your next portable audio companion. Today, I wanted to compare two speakers that may have premium price tags and offer great sound, but actually have a whole host of differences: the Bose SoundLink Plus and the Bang & Olufsen Beosound A1 3rd Gen.

Now, both of these speakers are excellent and received stellar reviews from us here at TechRadar. They both also compete with the very best Bluetooth speakers around. But which one should you buy? I’ll walk you through their unique qualities, and compare them across areas like features, sound quality, design, and value, to help you make the right call.

Bose SoundLink Plus vs Bang & Olufsen Beosound A1 3rd Gen: price and availability

The Bose SoundLink Plus was released in June 2025, and is typically priced at $269 / £249 / AU$429. And sure, that’s a fairly steep price to pay, but you do get an awful lot of quality in return. On top of that, I’ve seen the SoundLink Plus go on sale in the past – even dropping as low as $180 / £180 in some sale events.

Meanwhile, the Bang & Olufsen Beosound A1 3rd Gen dropped in May 2025, and is typically a little pricier than its Bose rival. It has a list price of $349 / £299 / AU$639 – a luxury cost for an equally luxurious product. This model goes on sale pretty rarely, but I’ve seen it discounted in some territories, like the UK, for close to £260.

Bose SoundLink Plus vs Bang & Olufsen Beosound A1 3rd Gen: specs

Bose SoundLink Plus vs Bang & Olufsen Beosound A1 3rd Gen: features

You’d expect an expansive feature-set from any speaker in the $200 - $300 / £200 - £300 price bracket, and both of these models supply that – at least for the most part.

The Bose SoundLink Plus comes with the usual good stuff like multi-point connectivity and Google Fast Pair, but if you download the Bose control app, you can unlock even more. For instance, you can customize the handy shortcut button, rename the speaker, or adjust EQ.

Personally, I think Bose’s EQ settings are a little simplistic. You can select a preset that either boosts or reduces the bass or the treble, or you can manually alter the level of the lows, mids, or highs. But a lot of rivals offer genre-specific presets too, and often have five-band or higher EQ customization, enabling you to better customize sound to your taste.

Still, most of the stuff you’d want from a modern Bluetooth speaker is here. And audiophiles will appreciate the option to stream music at a higher resolution using the aptX Adaptive codec – though you’ll need a compatible device. Otherwise, it’ll be SBC or AAC.

The Beosound A1 3rd Gen also comes with support for the aptX Adaptive codec, which I always find gives a pleasantly detailed take on my favorite tunes. But where Bang & Olufsen takes it up a notch is with the inclusion of USB-C audio passthrough. This provides lossless, higher-fidelity listening than the SoundLink Plus can offer – a model that skips on 3.5mm connectivity too.

On top of this, the Beosound A1 3rd Gen provides a step-up in the EQ department, with mood-based presets like Bright, Relaxed, Energetic, and Warm. You can also go for a custom setup if you’d prefer, although I think this model sounds great out of the box. Its app is also a bit more fleshed-out, with some fun inclusions like integrated radio stations available.

I’m not trying to be mean to the Bose SoundLink Plus, but B&O has it beat in other areas too. For instance, the Beosound A1 3rd Gen has built-in microphones for clearer hands-free calls – something omitted by its Bose counterpart. You also get 24 hours of battery life from B&O’s circular speaker, while Bose only provides 20 hours of playback.

It’s not all one-sided, though. For example, the Bose SoundLink Plus offers very solid multi-speaker pairing capabilities, with the ability to link with an identical unit for stereo sound, or with other models – like the Bose SoundLink Flex Gen 2 – for some added volume. The B&O can pair with an identical unit, or the Beosound A1 2nd Gen for stereo playback, but it lacks the ability to link up with other models. Still, I think we’ll hand the first category to the A1 3rd Gen, all things considered.

Bose SoundLink Plus vs Bang & Olufsen Beosound A1 3rd Gen: sound quality

Here’s where things gets juicy. See, it may look like the smaller Bang & Olufsen speaker would struggle to compete with the stockier and blockier Bose model, but they both boast plenty of power. Whichever model you pick, you’ll get enough volume to keep the vibes strong, even at a gathering or small party.

But which model sounds better? Well, let’s start by taking a look at the Bose SoundLink Plus. This speaker largely impressed me during testing, and took a satisfyingly revealing approach to playing my music. When listening to Clair-Obscur by Alice Duport-Percier and Lorien Testard, soaring, layered vocals intertwined beautifully, while expressive and emotive acoustic guitars glided through the track with beautiful rhythm and tonality. Instruments and vocals were separated to impressive effect, yet there was a strikingly cohesive quality to the speaker’s output.

The speaker tackles treble well too, offering expressive yet controlled highs, even when creeping towards peak volumes. When listening to heavier tunes, I never felt that thrashing drums sounded shrill or tinny – they were aggressive in a way that felt true.

In the low-end, my views remain largely positive, though I have a few notes. In general, you get a pretty punchy performance from the SoundLink Plus – the low-end comes through clearly and doesn’t sound underpowered, especially with a custom tuning. But when I listened to house tunes, like Touch Me by Luke Dean and Max Dean, I was left wanting a little more. The bass didn’t have that full-sounding thump that I was craving, and could sometimes fall short of the presence and dynamism I’d expect.

Don’t get me wrong, I still think that the SoundLink Plus performs decently in the depths of the frequency range, but it could be better.

When it comes to the B&O speaker, I wouldn’t say the same about its bass output, though – for me, it nails it. For a speaker of its size, the Beosound A1 3rd Gen offers seriously impactful low-end sound – it’s mighty, direct, and even immersive. I’d even issue a warning here – make sure you’ve got a solid surface for this thing to sit on, because it can cause less stable constructions to shake at higher volumes!

I tried listening to a lot of house music on the B&O model, and in tracks like Breather by Chris Stussy, I was astonished by the agility and complete-sounding bass on offer – I could hardly stop listening when using it while testing for my best Bluetooth speakers buying guide.

But unlike Meghan Trainor, I don’t think it’s all about that bass. See, the Beosound A1 3rd Gen offers balanced all-round sound, with commendable detail across the frequency range. In tunes like A Horse With No Name by America, I was instantly impressed by the way vocals and the strumming acoustic guitar occupied almost separate pockets. Subtler percussive sounds also came through sounding gentle yet perfectly weighted . As the tune built, the speaker kept its composure, and delivered a layered, intricate, and emotive performance.

Treble is tight and vivid too, with M-High’s Harmony In the Distance showcasing the B&O’s ability to serve up expressive highs while pumping out imposing bass and hypnotic synths – all without a single element impeding the other.

The Bose SoundLink Plus is a very good performer overall, and I want to pay kudos to its open, spacious sound. But the Beosound A1 3rd Gen is a cut above in the bass department, and it offers that extra layer of separation required to wow the listener. Another B&O win.

Bose SoundLink Plus vs Bang & Olufsen Beosound A1 3rd Gen: design

When it comes to looks, these two couldn’t be much more different. See, the Bose SoundLink Plus assumes a more traditional cuboid form, with a fabric loop on the side if you want to fasten it to something like a hook or bag. However, the Beosound A1 3rd Gen has a circular build, with an upward facing speaker grille and a versatile leather strap. And the differences don’t stop there.

For instance, the Bose SoundLink Plus has a rubber exterior as well as a powder-coated steel grille, giving it a brilliant combination of drop-proof practicality and a premium finish. It’s available in a simply stunning set of colors too, including Citrus Yellow and Blue Dusk, but there’s also a basic Black if you’d prefer.

The B&O can’t quite offer the same vibrant, eye-catching look of its Bose rival, but that’s not necessarily a bad thing. This model opts for the more understated, classy approach, and is available in colorways like Wam Granite, Green Eucalyptus, Natural Aluminium, and my personal favorite, Honey Tone. All of these look excellent and fit the luxurious look of the model to perfection.

The Beosound A1 3rd Gen is also constructed masterfully. The lower half of the speaker is constructed from hard-wearing polymer, while the upper segment is made of textured pearl-blasted anodized aluminum. We stated it clearly in our review, but I’ll repeat it here: the pride of ownership you experience with this speaker – not only from its sound, but from its build – is precisely what makes it so special.

While the B&O may have a durable exterior, it may be a little more prone to scratches and scuffs than its Bose rival. Still though, both are pretty rugged – something symbolized by their shared IP67 rating. This indicates that both models are fully dustproof, and can be submerged in up to a meter of water for as long as 30 minutes. Perfect for shower listening sessions or pool parties.

Both of these speakers have great designs – they even have neat button placement and LED lights to indicate aspects like remaining battery life. But the model you prefer will be a personal thing. If you want something bright and colorful with top-tier durability, then the Bose is where it’s at. However, I’m going to give the edge to the B&O once more – the quality of its materials, its iconic circular build, its distinctive color options… it’s all to die for.

Bose SoundLink Plus vs Bang & Olufsen Beosound A1 3rd Gen: value

As I mentioned at the start, both of these speakers come with premium price tags, but which one is actually worth splashing out on?

Well, the Bose may seem like the obvious choice at first due to its typically lower cost. At $269 / £249 / AU$429, it’s not exactly cheap, but remains a very tempting option. It offers revealing sound with hi-res Bluetooth streaming support, it’s well-built with a vibrant look, and can link up with other Bose models to boot. I think the feature-set could be a little more expansive, and bass could be a little more refined, but it’s still a fantastic model all things considered.

Meanwhile, the Beosound A1 3rd Gen comes in at $349 / £299 / AU$639. And I won’t beat around the bush: that’s an awful lot to spend on a speaker of this size, especially when that amount of cash could typically land you a larger model like the JBL Xtreme 4 or an on-sale Bose SoundLink Max.

But even if it’s pricey, I still think you get what you pay for with this B&O speaker. It’s made of luxurious materials, and has equally luxurious sound quality to match. It's highly waterproof, comes with an amazing companion app, and supports genuinely lossless audio via USB-C.

Even though the Beosound A1 3rd Gen is expensive, I’m yet to test another Bluetooth speaker that’s got it beat for quality in its size class. And by B&O’s lofty standards, this speaker is definitely on the more affordable end of the spectrum anyway. There’s a lot to like about the Bose SoundLink Plus – I just think I’d want slightly better battery life and features at the price, so I’d edge the B&O model here.

Bose SoundLink Plus vs Bang & Olufsen Beosound A1 3rd Gen: verdict

So, there you have it. After winning the vast majority of the above categories, victory goes to the Bang & Olufsen Beosound A1 3rd Gen. It’s hard to think of a better looking Bluetooth speaker, and its infectious, immersive sound is seriously hard to top. Yes it’s pricey, but it actually feels worth the expenditure – and if you can grab it in a rare sale, I’d strongly suggest doing so.

As for the Bose SoundLink Plus, I want to be crystal clear: this is a very good speaker indeed. It has a rough and ready design, is popping with color, and its sound quality – although not quite perfect – is still very strong, with impressive detail levels and aptX Adaptive support. If you want something a little cheaper than the B&O, I’d happily recommend this model, especially if you can get a discounted unit.

Look, I love a hulking boombox just as much as the next person, but sometimes I need a smaller Bluetooth speaker to enjoy my tunes. Yep, whether I’m on the go or taking a shower, I always appreciate having a pocket-sized audio companion at my disposal. So, today I want to compare two of the very best Bluetooth speakers in the flyweight class.

First up, we’ve got the JBL Clip 5. This carabiner style Bluetooth speaker is a real stand-out, combining a practical design with surprisingly strong sonic capabilities. It’s a couple of years old now, but it remains a real favorite of mine and other colleagues here at TechRadar, with some killer features and an ultra-rugged build.

But it’s got some serious competition. That’s right, I’m pitting the Clip 5 against the Ultimate Ears Wonderboom 4, which is an astonishingly punchy Bluetooth speaker given its mini size. It’s pretty rugged as well, and I’m a huge fan of its eye-catching aesthetic. But is it actually better than the Clip 5? You can find out down below…

JBL Clip 5 vs Ultimate Ears Wonderboom 4: price and availability

The JBL Clip 5 hit the shelves in June 2024, and came with a list price of $79.95 / £59.99 / AU$89.95. Given that it launched a fair while back, you can often grab the Clip 5 on sale now – I’ve even seen it discounted to under $50 / £40 / AU$65 before.

It’s a very similar story for the UE Wonderboom 4. It was also released in June 2024, and is regularly on offer for a tasty low price. However, due to its higher power output, it will set you back a little more than the Clip 5. It has a list price of $99.99 / £89.99 / AU$149, although I’ve spotted it going for less than $60 / £60 / AU$90 now and then.

JBL Clip 5 vs Ultimate Ears Wonderboom 4: specs

JBL Clip 5 vs Ultimate Ears Wonderboom 4: features

The first category isn’t actually that close. You see, as much as I love the UE Wonderboom 4, I’d be lying if I called it a marvel in the features department.

Why? Well, above all, it leaves out companion app support – something that’s a bare minimum for speakers in this price range as far as I’m concerned. This means you can’t customize the speaker very much or remotely alter its EQ for instance. Yes, it does have a podcast mode and outdoor calibration, which can be activated with the UE’s onboard button controls, but that’s really it.

The Clip 5, however, has a nifty app that comes equipped with a custom equalizer as well as a few handy presets. This companion software also enables you to activate PlayTime Boost for some extra hours of listening, and has a display for the speakers remaining battery life.

Speaking of battery life, both models offer a pretty decent helping here. You get up to 12 hours with PlayTime Boost active on the Clip and 5 – 10 hours without. Meanwhile, the UE plates up 14 hours of playtime, which is very respectable indeed.

Even still, the JBL does surpass the UE Wonderboom 4 in basically every other area. For instance, both speakers support multi-speaker playback – including stereo pairing if you’ve got two of the same model. But the Clip 5 brings Auracast connectivity to the table, enabling it to seamlessly link up with a ton of other compatible JBL speakers, including the JBL Grip, JBL Flip 7, and even the rear speakers on the JBL Bar 1300MK2.

Ultimately, the Clip 5’s companion software support, better EQ controls, and Auracast connectivity make it the clear victor in the features department.

JBL Clip 5 vs Ultimate Ears Wonderboom 4: sound quality

OK, so the features head-to-head was a bit of a blow out. But things are going to be way tighter from here on in. Especially because both the JBL Clip 5 and UE Wonderboom 4 are amazing sounding speakers given their limited confines.

Let’s begin with the JBL Clip 5. It uses a single, full-range 45mm active driver, and has a maximum power output. As you can imagine, this means that it’s hardly the most booming speaker out there – though it does still pack a solid punch, all things considered.

I was struck by the Clip 5’s talents when playing Copricolori by Marco Castello. In this track, leading vocals were incredibly clean, never smothering keys in the mid-range. The track’s funky bass was well-balanced in the mix too, and didn’t sound sluggish or muddy at mid-volume. Sure, the Clip 5 can’t reach any lower than 95Hz, so don’t expect rippling sub-bass, but mid-bass sounded decently impactful when I sifted through various house tunes.

The UE Wonderboom 4 is a pretty different-sounding model, but it’s also very strong. As soon as I started playing tracks on this thing, I was struck by one thing above all: its seismic low-end output. There’s more of a thump here than the Clip 5 can muster – perhaps unsurprising given the Wonderboom 4’s dual driver configuration and mightier 10W maximum power output.

Although bass is undoubtedly the main event, that doesn’t come at the cost of enjoyable mid-range or treble performance, though. Don’t get me wrong – you’re not getting the intricate mids that a speaker like the Edifier ES20 can relay, but you’ll experience commendable clarity right across the frequency range.

So yes, both speakers are top performers in their weight class. But it’s worth noting that neither of these support higher-res Bluetooth codecs, and neither have a 3.5mm port or USB-C audio passthrough for wired listening. As a result, you’re not going to get the most detailed listen imaginable. You’ll also experience compression at top volumes with both the Clip 5 and Wonderboom 4 – that’s pretty common for speakers of this size, but it’s worth noting.

But which model sounds better? Well, I’d argue that the Clip 5 offers a little more balance overall, and its customizable EQ makes it easier to tailor to your preferences. But even with EQ tweaks, you won’t be able to match the pure bass weight of the Wonderboom 4. Its higher power is also a big plus, and its 360-degree wraparound design helps it to deliver a more engrossing soundstage than the Clip 5.

Even if bass is the focus on the Wonderboom 4, it still plates up sophisticated mids and highs, resulting in a fun, engaging sound. As a result, UE takes a slight edge for me here.

JBL Clip 5 vs Ultimate Ears Wonderboom 4: design

If there was ever going to be a close category, it was going to be this one.

I think it’s safe to say that there are a fair few similarities between the Clip 5 and the Wonderboom 4 – their numerous colorful variants, their rugged fabric build, and their high standard of build. In fact, both of these models also share an IP67 rating, meaning that they’re fully dustproof and can be submerged in a meter of water without accruing damage for as long as 30 minutes. Pretty cool, right?

But still, there are a few differences worth exploring, with the most striking being their different forms. The aptly named JBL Clip 5 has a carabiner design, meaning you can attach it to just about anything – a bag strap, a shower hose, a bicycle… you name it. It’s the main thing that sets the Clip 5 apart from other small-sized rivals, and I’m a big fan.

The UE Wonderboom 4 takes up a slightly more traditional build. It’s a palm-sized, stubby cylinder that’s simple yet sleek. It has a fabric loop, which you could put on a hook, for instance, but it’s not quite as versatile as the Clip 5. Still, I’d argue that it’s a little more attractive than JBL’s model, with the rounded look and eye-catching button controls making quite the impression.

With that said, I do still like the look of the Clip 5, and it’s available in a much wider range of colors than its UE rival. Still, both can be purchased in a range of vibrant colorways – or more understated ones if that’s your style.

For me, the UE Wonderboom 4 is a bit more stylish, but it’s hard to deny the practicality of the Clip 5. As a result, we’ll call this one a tie.

JBL Clip 5 vs Ultimate Ears Wonderboom 4: value

Right then, it seems we’re all tied up in the approach to our fourth and final category: value for money. But before we get into things, it’s worth flagging again that the UE Wonderboom 4 is more powerful, and a little larger too. This means that it’s reasonable to pay a little more for its services.

And indeed, you’ll almost certainly have to splash a bit more to get your hands on the Wonderboom 4, which typically comes in at around $99.99 / £89.99 / AU$149. Having said that, it is often on sale, and I’ve seen it drop below $60 / £60 / AU$90, which is an excellent price given the raw power of its bass output, its attractive design, and its strong battery life.

Meanwhile, the Clip 5 comes with a list price of $79.95 / £59.99 / AU$89.95, although it’s discounted almost every time I see it on Amazon, and has been available for less than $50 / £40 / AU$65 in the past. Again, that is a ridiculously good price for such a practical model with brilliant waterproofing, well-balanced sound, and a fleshed-out feature suite.

So, is it worth spending more on the UE Wonderboom 4? I’m actually quite conflicted. I think that the answer is yes for anyone seeking out more punchy low-end sound and attractive looks. But the lower price of the Clip 5 is incredibly tempting, especially given its inclusion of a companion app and a carabiner for easy fastening.

OK, the Clip 5 hasn’t got quite as much power, and that low-end kick is a little less prominent. But it still sounds great, and when I look at the speaker as a whole package, I think that lower price gives it the tiniest of advantages over UE.

JBL Clip 5 vs Ultimate Ears Wonderboom 4: verdict

It’s very tough to pick between these two, but as I suggested in the value section, I think the JBL Clip 5 just about stands as my overall winner. It just has a few too many one-ups on its UE rival, like a convenient companion app, a practical carabiner design, and Auracast connectivity. It’s also ultra-cheap, but still sounds great, which is no mean feat.

Having said that, I think the Wonderboom 4 sounds great too – I just wish it had a few more features. It’s an awesome mini model, and if you’re more of a bass-head, I’d perhaps pick this over the Clip 5. In truth, I expect you’ll love either of these speakers, no matter which one you opt for.

But what do you think? Did I make the right call? Do you want to share your experience with either of these models? I’d be interested to hear your thoughts, so let me know down in the comments.

If you’re looking for a Bluetooth speaker that provides regimented bass and impressive fidelity, while still remaining pleasingly portable, then a mid-sized model is probably the path you’ll want to take.

In my search for the best Bluetooth speakers, I’ve tested a number of excellent middleweight options, but there are two that really stick out to me. Those being the JBL Charge 6 and the Marshall Middleton II. Both of these are phenomenal sounding, brilliantly built, and feature filled, offering just about anything you could want for listening at home or on the go.

But which one of these models is better? Well, I’ve spent hours with each model, comparing them directly to find out which is the best value for money, and which I’d recommend to all of you out there. Interested to know which model will come out on top? Then make sure to scroll on down. Oh, and I’d be interested to know whether you agree with my conclusion or not, so let me know any thoughts in the comments.

JBL Charge 6 vs Marshall Middleton II: price and availability

The JBL Charge 6 released in April 2025, and comes with a list price of $199.95 / £169.99 / AU$229. However, I have seen it going for less on a few occasions – it dropped below $130 in December 2025, for instance, and is selling for £125 on Amazon UK even as I type this.

If you’re looking to buy the Marshall Middleton II instead, you can expect to spend a fair bit more. It typically sells for $329.99 / £259.99 / AU$499, and sales are few and far between – perhaps unsurprising given its more recent July 2025 launch. I’ll speak more about the reasons for that, and whether it’s worth the increased cost down in the Value section.

Both of these models are available in a collection of colorways. There’s a Black and Brass or Cream variant for the Middleton II, as well as Red, Purple, Camo, Blue – among other options – for the JBL Charge 6.

JBL Charge 6 vs Marshall Middleton II: specs

JBL Charge 6 vs Marshall Middleton II: features

You get plenty of useful features on both the JBL Charge 6 and the Marshall Middleton II, although both offer a pretty distinct set of options.

For instance, the JBL Charge 6 supports USB-C audio passthrough, which opens up 24bit/96kHz audio quality – something that a lot of rivals don’t supply. You can get high-resolution playback from the Middleton II as well, but it employs a 3.5mm port instead of USB-C data transfer. This is a nice option, but USB-C is so much more ubiquitous now, and feels like the more practical route.

EQ options look a little different on these two as well. The Charge 6 has a seven-band custom equalizer, as well as various genre-related presets, making it an awesome pick for all listeners. The Middleton II only has a five-band equalizer, and its set of presets is smaller – it’s still absolutely fine, don’t get me wrong, but there’s more customizability with JBL.

It may seem like Marshall’s down a bit right now, but it does take the edge over JBL in a couple of areas.

First of all, it serves up superior battery life. You get 30 hours out of this thing, which is absolutely fantastic for a speaker with this much power and scale. Sure, you can get 28 hours from the Charge 6, but that’s only with PlayTime Boost on, which will reduce audio fidelity. Without this, you’re getting 24 hours – still very respectable, but inferior to the Middleton II all the same.

On top of that, the Middleton II has a built-in mic, handily enabling you to take hands-free calls. That’s something JBL decided to skip on the Charge 6, which may not suit the more avid chatters among you.

Having said that, the Middleton II does omit some of the features I love on other Marshall speakers, including placement compensation – a calibration option that optimizes the speakers’ sound for your listening environment. The Charge 6 doesn't have this either, although it does come with AI Sound Boost tech, which analyzes audio content in real time and optimizes output to reduce distortion – pretty cool.

Both models also support Auracast for multi-speaker connectivity, although you can pair two Charge 6 models the traditional way in order to access stereo sound instead. Unfortunately, the Middleton II doesn’t let you create a standard stereo pair, which is a shame, but not a total dealbreaker given it can output in stereo via a single unit.

This is a very close contest overall, and it’s really hard to separate the two. But as much as I love the Middleton II’s 30-hour battery life, I still think JBL offers a healthy dollop of playtime. And although the Marshall does have a built-in mic, JBL’s AI Sound Boost tech, better EQ options, and inclusion of USB-C audio passthrough just about give it the edge for me.

JBL Charge 6 vs Marshall Middleton II: sound quality

This is where things get interesting. See, the JBL Charge 6 and Middleton II sound pretty different, although both are very strong performers in their own right.

The Charge 6 is JBL all over. You get direct, powerful, yet beautiful audio in one rough ‘n’ ready package, with clean bass, rich mids, and expressive highs. Despite its 45W maximum power output, the Charge 6 punches well above its weight – especially in the low end. I was wowed by its regimented yet large low-frequency presence – it’s a considerable step up on the JBL Flip 7, which already plates up sumptuous bass.

With a USB-C connection, you can also experience surprisingly intricate detail levels on the Charge 6, with subtle percussion and vocal quirks easy to make out. Combine that with its effective handling of dynamics and genuinely impressive soundstage, and you’re onto a winner with JBL’s midweight audio companion.

But for me, the Marshall Middleton II takes things to new heights. In fairness to the Charge 6, Marshall’s rival is a lot more powerful, and packs in 80W of power across its two woofers and two tweeters. But the Middleton II really does make the best of what it’s working with, serving up a clear, intent-filled sound that’s instantly gripping.

When listening to deep house tracks, the Middleton II managed pumping, agile bass without a hitch. In smooth jazz songs, charismatic leading sax and subtle keys were ultra-clear in the mix. And even in energetic electronic tunes, high-pitched percussion never sounded harsh or uncontrolled – even at higher volumes.

What really sets this model apart from the Charge 6, though, is its impeccable stereo sound. For my review, I tuned in to Foxey Lady by Jimi Hendrix – an artist who loved to play around with the stereo field to create immersive listening experiences. And with the Middleton II, vocals on the left and percussion on the right were both expertly positioned, creating an engrossingly spatial impression.

The Charge 6 downmixes stereo content to mono, unless you have a second unit to pair it with, so if you’re after a more nuanced presentation, the Middleton II should be your go-to. It can also go louder, and some elements like instrument separation seem superior on Marshall’s model, so I’d give it the nod in the audio department.

JBL Charge 6 vs Marshall Middleton II: design

These two are worlds apart across multiple aspects of design – especially if we’re talking about looks.

Just like its sound, the JBL Charge 6’s appearance is incredibly on-brand. It’s a very rugged model, with a hardy fabric exterior, drop-proof build, and a trusty carry handle. Is it the most stylish speaker out there? No.

Despite coming in a range of enticing colorways, the aesthetic screams substance over style – it’s a reliable cylindrical audio companion, but not one that’s oozing with class and luxury.

It’s a different story for the Marshall Middleton II, though. This model is a feast for the eyes, featuring gorgeous golden details, a faux-leather exterior, and an attractive speaker grille. It’s got a real retro feel to it, and its amp-inspired aesthetic is timeless. If we were judging this on looks alone, the Middleton II would clear its JBL rival without question.

But there’s more to a speaker's design than looks alone. If we’re talking about more practical elements, the playing field begins to even out a bit. For instance, the JBL Charge 6 is IP68 rated, meaning that it’s fully dustproof, and capable of surviving a 30 minute dunking under a meter and a half of water. Pretty impressive, right?

Sure, the Middleton II has a similar IP67 rating – which means its waterproof, but can’t be submerged as deeply as the Charge 6 – but there are other ways in which JBL surpasses it. The most obvious for me is its portability. The Middleton II is seriously hefty for a speaker of its size, and doesn’t even come with a proper handle, unlike its larger cousin, the Marshall Kilburn III.

Meanwhile, the Charge 6 is considerably lighter, comes with a handle, and is generally much more portable. So, when it comes to design there’s really not a lot in it. The convenient nature of the Charge 6 is very appealing indeed, and it's built to a high standard. But for me, the premium look of the Middleton II makes Marshall’s speaker the top pick, even if it has slightly inferior waterproofing and a bit more bulk.

JBL Charge 6 vs Marshall Middleton II: value

This one’s been too close to call so far, but we’ve finally arrived at the most important category of all: value for money.

The Middleton II is, admittedly, a more premium model. It’s constructed from more fancy materials. It's got more drivers and power than its JBL rival. And yes, it’s got a higher price to match. Typically, this thing will set you back $329.99 / £259.99 / AU$499. That’s a lot of cash for a midweight model like the Middleton II, and as it’s still fairly new, there’s been little in the way of sales yet.

Does it earn that price-tag? I’m sort of on the fence. It’s an amazing-sounding speaker – better than the Charge 6 for me – and it’s dripping with style. But you’re still shelling out a lot of cash. A similar amount to what you’d need for the Charge 6’s larger cousin, the JBL Xtreme 4. Its slightly awkward size and considerable heft also prove to be a thorn in the Middleton II’s side – the speaker’s got a lot going for it, but it’s perhaps not the best value for money option on the market.

The same can’t be said for the JBL Charge 6. This Bluetooth speaker offers much of the good stuff we covered on the Middleton II – it sounds fantastic, it's well protected against the elements, and its build quality is commendable.

However, it’s way cheaper, typically coming in at $199.95 / £169.99 / AU$229 (but often on sale for less). Sure, it’s not as stylish, but it makes up for that with a superior feature-set, cementing it as the ultimate value pick in this clash.

JBL Charge 6 vs Marshall Middleton II: verdict

This is one close battle – perhaps even closer than I imagined in the first place. But as I mentioned in the Value section, the JBL Charge 6’s impeccable value for money just about gives it the edge for me. It supplies superb sound, an awesome IP68 dust and waterproof rating, and its portability is top-drawer.

There’s still a case for the Middleton II, though. If you need a mid-sized speaker that screams luxury and has some unbelievably good stereo sound, it’s a great pick.

For me, its slightly larger cousin, the Marshall Kilburn III, is a better value option. It’s priced surprisingly similarly to the Middleton II, but sounds better, looks classier, and has a handle for easy transportation. But that will cost far more than the JBL Charge 6, which comes out as the winner in its close-fought contest with the Middleton II.

Wharfedale Diamond 12.1i: One-minute review

The Wharfedale Diamond 12i standmount speakers are the latest in the line of 'Diamond' speakers that has, one way and another, been around since 1982. The most recent (and wildly acclaimed) series, the Diamond 12, launched back in 2020 – so it’s about time the Diamond 12i range made an appearance.

(Obviously not everyone loves a ‘13’ name, and Wharfedale is open enough to acknowledge that this new range of loudspeakers is not a ground-up redesign of the range it’s replacing - so ‘12i’ it is.)

The Wharfedale Diamond 12.1i tested here is a two-way bookshelf (or, more accurately, standmount – I'll come back to this) design that sells for the same £249 that the outgoing Diamond 12.1 launched at – which does, of course, mean it’s less expensive in real terms. It's not a situation that occurs all that often with the sort of hi-fi equipment I deal with. In the US, the new model costs $499, and in Australia it's AU$699.

But if you think Wharfedale has cut corners to get the Diamond 12.1i to market at this very aggressive price, think again. Build quality is more than acceptable. The trio of available finishes look (and even feel) good. Best of all, though, is the way the Diamond 12.1i sound. They’re perfectly OK at lower volumes – but let them loose even just a little and they really come to life, combining insight, balanced, dynamic potency and simple entertainment to periodically thrilling effect.

The specification (with highlights including a 25mm woven polyester tweeter, a 130mm mid/bass driver made from mica-enhanced polypropylene, a carefully tuned rear-facing bass reflex port, and some very judicious cabinet bracing), results in a speaker that’s easy to drive and has a frequency response of 65Hz - 20kHz.

The front baffle of each Wharfedale features the tweeter positioned behind a minimal waveguide – the idea is to expose the driver as much as possible in an effort to achieve wide dispersion. Below here is the 130mm ‘Klarity’ mid/bass driver, backed by a substantial magnet with an aluminum compensation ring, with a voice coil that’s wound on a glass-fibre/epoxy resin bobbin.

The crossover between the two drivers is positioned at a sensible 2.6kHz, and is performed by a Linkwitz-Riley network featuring air-core inductors – it has been specified with minimal phase-shift and smooth integration in mind.

Wharfedale’s description of the Diamond 12.1i as a ‘bookshelf’ speaker is, I think, just a little bit naughty. Yes, you may have a bookshelf big enough to accommodate the cabinet’s 250mm depth (which rises to 280mm once you include the speaker binding posts, and more if your speaker cable is terminated with plugs) – but when you factor in the breathing space the rear-facing reflex port needs, even the deepest shelf is unlikely offer the breathing space the Wharfedale require. Let’s just go with ‘standmount’ and leave it at that, shall we?

At 312 x 180 x 250(ish)mm (HxWxD) the Diamond 12.1i are tidily proportioned for standmounts, and the standard of build and finish is more than good enough to justify the asking price. Both of the available colors (‘deep’ black and ‘stone’ grey) are in a kind of semi-matt finish that looks nice (to me, at least), isn’t all that reflective and is actually slightly soft to the touch. Your other option is ‘classic’ walnut, and I will have to reserve judgment on its qualities as I have yet to see (or feel) it.

Each of the finishes is supplied with magnetically attached, full-length grilles finished in black fabric – it certainly makes for a clean look, but I feel it’s a shame to hide the mildly shiny driver surrounds and clean overall appearance. You may feel differently.

On the inside, the Diamond 12.1i feature minimal and carefully targeted ‘spot’ bracing designed to keep both resonance and resonance transfer to a minimum. In conjunction with cabinet walls of varying thickness, plus the resonant properties of the glue holding everything together taken into account, this is a slightly more sophisticated piece of engineering and design than the asking price might lead you to believe.

Some loudspeakers don’t alter their character no matter the volume level you’re listening at. The Wharfedale Diamond 12.1.i don’t undergo drastic volume-related changes, I must emphasize – but at very modest volume levels they can sound just a little matter-of-fact. All you need to do is nudge the level north just a little, though, and these speakers come bounding to life – and then they reveal themselves to be one of the very best budget options around.

Get a Tidal-derived stream of Zaho de Sagazan’s version of Modern Love playing as a 24bit/44.1kHz FLAC file, for instance, and you’ll find out exactly what’s what. The Diamond 12.1i are a direct and spirited listen, with an uncomplicatedly upfront sonic signature and an almost palpable enthusiasm for the recording.

Low frequencies are respectably deep, and nicely controlled where attack and decay is concerned, with knock-on effects to the rhythmic expression and momentum that are entirely positive.

Detail levels are impressive, too, so there’s plenty of variation where tone and texture are concerned to go along with the straight-ahead punch. Transition into the midrange is clean, and once there the Wharfedale demonstrate a similarly insightful and animated attitude – the details of attitude and character in the voice are just as readily available as those regarding phrasing and technique.

At the top of the frequency range, the Diamond 12.1i have quite sensibly decided that discretion is the better part of valor, staying relatively constrained in the mix – but although the highest rebel sounds are dialed down just a little, there’s still no shortage of bite or the overall enthusiasm for attack.

With the discretion at the very top of the frequency range borne in mind, the frequency response here is nicely even and even-handed – and while the overall tonality has a nice little suggestion of heat to it, it’s not even close to becoming overcooked.

The attention to detail the speakers pay extends to the most transient or fleeting harmonic variation, and there’s a respectable amount of dynamic headroom available for when the tune shifts through the ‘volume and intensity’ gears.

Soundstaging is convincing, and the Diamond 12i are able to escape the confines of their cabinets, just a little, in every direction. The layout of the stage is plain, and while the Diamond 12.1i manage to give every participant on it just a little breathing space they’re capable of offering a sense of unity and togetherness at the same time.

The Wharfedale seem in no way demanding of their partnering equipment, either – they don’t get flustered by sitting at the end of a disproportionately expensive system, and they don’t seem to mind being driven by some standard all-in-one electronics costing less than they do. There are qualitative differences, of course – but broadly speaking the Diamond 12.1i are easy-going and adaptable.

Bear in mind that the Diamond 12.1i, just like every other pair of passive loudspeakers, needs a degree of ‘running in’ before they sound how they are intended to sound – certainly you should ensure they have quite a few hours on the clock before you judge them.

The entry-level in passive loudspeakers has enjoyed a very successful decade so far – and this is in no small part thanks to Wharfedale’s efforts. Yes, the company has inspired some very credible rivals to take this area of the market properly seriously (I’m thinking particularly of the excellent Dali Kupid), but there’s just no getting around the fact the Diamond 12.1i offer prodigious value for money in every respect.

They look and feel more expensive than they are, and once they’re properly positioned they sound it too. Unless you’re been suckered in by the promise of an actually bookshelf-friendly design, I cannot think of a single meaningful downside to Wharfedale Diamond 12.1i ownership.

Wharfedale Diamond 12.1i review: Price & release date

• Launched in December 2025
• Priced at $499 / £249 / AU$699

The new Wharfedale Diamond 12i range of entry-level loudspeakers launched in December of 2025. This 12.1i model is, at £249 in the UK, the second-least-expensive of the five-strong newest Diamond range of stereo speakers. In the United States it sells for $499, while in Australia the going rate is AU$699.

This compares very favorably to options from the likes of Dali, Monitor Audio or Q Acoustics.

Should I buy the Wharfedale Diamond 12.1i?

Buy them if…

Don't buy them if…

Wharfedale Diamond 12.1i review: Also consider

How I tested the Wharfedale Diamond 12.1i

I positioned the speakers on a pair of Custom Design speaker stands in my home and usual speaker testing room, and connected them to a Naim Uniti Star and also an A&R Cambridge A60 for amplification.

Sources of music were the Naim (as a network streamer), a Rega Apollo CD player and a Technics SL-100G (with a Goldring 1042 cartridge and pre-amplified by a Chord Huei) as a turntable. So I was able to listen to music from lots of different formats, and of various styles and genres.

• Read TechRadar's reviews guarantee
• First reviewed: February 2026

Bose and JBL: two titans of the audio world, and two real household names. Between them, these companies have released some of the best Bluetooth speakers around for many a year, and they both consistently deliver models that pack in stellar sound quality, intelligent design, and plenty of smart features.

So, recently I pitted two of my favorite models from each brand against one another. In the red corner, we have the JBL Flip 7, an impeccable cylindrical audio companion, that produces sound so bold and so refined, that it almost defies belief. And in the blue corner, we’ve got the Bose SoundLink Flex Gen 2 – an effortlessly stylish and carefully crafted model that’s been a mainstay for me over the last year or so.

I’ve tested both speakers extensively, comparing each of them across areas like audio quality, looks, and value for money. And spoiler alert – both of these are strong performers that I’d happily recommend to anyone reading. However, only one can come out on top. Here’s the breakdown.

JBL Flip 7 vs Bose SoundLink Flex Gen 2: price and availability

These Bluetooth speakers are sitting in a similar ballpark price-wise. The JBL Flip 7 comes in at $149 / £129 / AU$179, although I did see it drop below $110 / £80 in the US and UK respectively over Black Friday. That’s pretty impressive too, given that the Flip 7 only hit shelves in April 2025.

Meanwhile, the Bose SoundLink Flex launched in September 2024 at $149 / £149.95 / AU$249.95. Like its rival from JBL, I’ve also seen this model going for significantly less during sales events – it’s occasionally available for less than $100 / £100, which is a great deal in my book. Both models are also available in a range of colors.

You’ll find the Flip 7 in red, purple, black, camo… you name it. The SoundLink Flex Gen 2 has a number of variants too, such as Alpine Sage (green); Sandstone (brown); and my personal favorite, Blue Dusk.

JBL Flip 7 vs Bose SoundLink Flex Gen 2: specs

JBL Flip 7 vs Bose SoundLink Flex Gen 2: features

It should be no surprise to you that both the JBL Flip 7 and Bose SoundLink Flex Gen 2 come equipped with a whole lot of user-friendly features. Both have the basics nailed – I’m talking multi-point connectivity, companion app compatibility, and multi-speaker pairing… you get the gist.

But both also bring some special sauce to the party that you may not find elsewhere. Let’s start with JBL. The Flip 7 has Auracast support, which makes it seamless to link to a range of other compatible models from the brand, including the JBL Grip, the JBL Charge 6, and even the rear speakers on the JBL Bar 1300 MK2.

It also delivers AI Sound Boost tech for optimized audio output, a PlayTime Boost option to give you a little bit more battery life, and USB-C audio passthrough capabilities for a more stable, quality-focused listening experience.

But don’t count Bose out – its speaker also brings a strong suite of features to the table. For instance, its PositionIQ tech enables it to deliver the best possible sound regardless of how it's positioned, which has served me well over the last year. Snapdragon Sound is onboard too, meaning that you can make use of the aptX Adaptive codec for higher-resolution Bluetooth music streaming – but only if you’ve got a compatible device.

That’s not to mention that the SoundLink Flex Gen 2 also has a built-in microphone, which means you can seamlessly take hands-free calls and even make use of voice assistant capabilities. Still, though, I think Bose misses a trick in a few areas.

For example, I’m not a big lover of the SoundLink Flex Gen 2’s approach to EQ adjustment. There are a few basic presets, and a three-band equalizer – which enables you to adjust bass, mids, and treble – but that’s genuinely it. The Flip 7, though, has a much better list of presets, and its inclusion of a seven-band custom equalizer affords much more control to a user. Sure, it’s not quite parametric EQ levels of control, but it’s better than what Bose is offering!

I also would’ve liked to have seen Bose’s mid-priced speaker deliver a little bit more battery life. Twelve hours isn’t terrible by any means, but it’s significantly less than the maximum 16-hour playtime available to Flip 7 users. I think it’s a fairly close contest on most points, but JBL’s superior battery life and EQ tweaking give it the edge for me.

JBL Flip 7 vs Bose SoundLink Flex Gen 2: sound quality

As you’d expect from this pair, you get great sound quality from both – but there are a few differences worth exploring.

The JBL Flip 7 is a truly spectacular-sounding speaker, especially given its limited confines. When I tested it for my best Bluetooth speakers buying guide, I was astonished by its deep yet controlled bass more than anything. There are few speakers in its size category that can reach down so low, sound so regimented, and still not overwhelm other sounds in the frequency range.

Speaking of which, the Flip 7 offers a surprisingly detailed listen in the mid-range, with vocals sounding ever-so-slightly forward when using the default tuning, helping them to sound emotive and expressive. Treble is clean and personality-filled as well, and I was satisfied with the speaker's dynamics.

Of course, some larger models can offer a little more nuance and power, as well as stereo sound capabilities, but for a speaker this small, there are very few meaningful negatives to note. You’ll experience some compression at peak loudness, with bass slightly thinning, but that’s the case for Bose’s mid-sized speaker too.

On the topic of the SoundLink Flex Gen 2, let’s discuss how it compares to JBL in the audio department.

We’ll kick off with the good stuff. I’m often impressed with the SoundLink Flex Gen 2’s instrument separation – the speaker is capable of giving individual elements their own pockets in which to operate, making for a very engaging listening experience. Sounds in the mids and treble frequencies come through with particular clarity on this model, with plenty of detail poured into every note, especially when making use of the aptX Adaptive codec.

The area that perhaps lets this model down a bit, though, is its bass output. Out of the box, the low-end sounds pretty underwhelming, lacking the raw energy that you’d expect from the Flip 7. With some tuning, things do get a lot more impactful, and bass output is certainly clean – not ‘boom-y’ or anything. But even still, I just think the Flip 7 performs better, and delivers a more attention grabbing low-frequency performance.

Another aspect that can work to the detriment of Bose’s mid-range model is its front-facing design. This limits the fidelity of audio at certain listening angles – a problem that the Flip 7 doesn’t have to deal with. If you’re just listening on your own, this shouldn’t be a big issue, but if you’re using the speaker for a party or gathering, it may not be ideal. Don’t get me wrong, this is still a very good-sounding speaker, but I think JBL takes the win.

JBL Flip 7 vs Bose SoundLink Flex Gen 2: design

In terms of design, it’s a pretty close contest. See, when it comes to pure practicality, it’s hard to argue against the JBL Flip 7. We already mentioned the benefits of its wraparound speaker, but there are a few other areas where it outdoes Bose’s mid-sized model.

First of all, it has slightly better waterproofing. Its IP68 dust and waterproof rating is class-leading, and a slight lead on Bose’s IP67. Both models are fully dustproof and can survive being submerged underwater – but the JBL can be dunked under a meter and a half of water without accruing meaningful wear, which is 0.5 meters more than the Bose can withstand.

The Flip 7 also feels a fair bit more rugged than its Bose counterpart. Its fabric exterior and drop-proof design make it the ideal speaker to take out and about, whether that be on a hike, beach trip, or whatever. The SoundLink Flex Gen 2 is fairly durable itself, and its rubber casing should keep it safe from a few drops, but it doesn’t quite supply the same level of rough and ready protection that JBL’s model does.

However, if we’re talking about looks, I think Bose is very hard to beat.

I absolutely adore its sleek, curved build – it gives a real look of luxury. Its rubbery body and well-finished grille are very eye-catching, and help it to stick out in a convoluted market. As do its various color variants, which are truly stunning. Options like Blue Dusk and Citrus Yellow are genuinely mouth-watering, and I’d recommend them highly.

I don’t have an issue with the look of the Flip 7. Its well-sized button controls, iconic cylindrical form, and similarly wide array of color options make it a great pick. I just don't think it has the flair and panache of its Bose rival. The tiny upgrade in waterproofing and slightly sturdier build of the Flip 7 is tempting, but the pure beauty and style of the SoundLink Flex Gen 2 is undeniable, and give it the upper hand here.

JBL Flip 7 vs Bose SoundLink Flex Gen 2: value

And finally, let’s talk about what is arguably the most important thing of all – value for money. It’s been a pretty close contest so far, and so it will likely be of little surprise that these speakers are priced very closely indeed.

The JBL Flip 7 comes in at $149 / £129 / AU$179, while its Bose rival typically goes for $149 / £149.95 / AU$249.95. Both also go on sale semi-regularly, but still tend to sit at a similar sort of comparative cost. So, if you’ve got $150 to spend, let’s say, which Bluetooth speaker actually gives you the best bang for your buck?

Personally, I think you’ll get a tiny bit more out of the Flip 7. At the heart of it, you simply get slightly better performance across a number of key areas. Bass hits with more impact and intent, battery life is that bit longer, EQ options are more fleshed-out, and waterproofing is a tad stronger. A lot of the improvements are small, but together, they make a convincing case for JBL.

If style is your priority, I think that the SoundLink Flex Gen 2 is a really great alternative, though. For a similar cost, you’re getting a speaker that still offers plenty of detail, high build quality, and also a built-in mic – something that the Flip 7 also offers. But I think JBL nails it in the areas that matter most – and that’s why I’d give it the nod in this battle for the ages.

JBL Flip 7 vs Bose SoundLink Flex Gen 2: verdict

So, there you have it. As I suggested in the Value section, I think the JBL Flip 7 is the best overall pick. It’s close, don’t get me wrong, but the improved battery life, stellar sound quality, and ruggedness of JBL’s mid-range model is why it sits as the best overall pick in our guide to the greatest Bluetooth speakers.

I do have a big soft spot for the Bose SoundLink Flex Gen 2, though. I’ve been using it consistently for a long time now, and its combination of detailed audio with a flashy design make it easy to recommend.

If I was going to spend my money on one of these, then, it would be the JBL Flip 7. But do you agree? Let me know your thoughts down in the comments.

• A new edition of the L100 speaker, first launched in 1970
• Limited to 800 pairs worldwide, for JBL's 80th anniversary
• $7,499 (about £5,449 / AU$10,700)

JBL has released a new version of its legendary speaker, the L100. First launched in 1970, the L100 became the biggest-selling speaker in JBL's history. The L100s are prized for their warmth, deep low end, and dynamics, which is why they've remained in production for decades with occasional updates, such as the L100 Classic in 2019 and the L100 Classic 75 in 2021 – and now they're back in a new, strictly limited-edition version to mark 80 years of JBL speakers.

The L100 Classic 80 will be limited to just 800 pairs worldwide, and while the outside retains that iconic '70s style, these are thoroughly modern speakers.

I know the word 'iconic' gets thrown around a lot in hi-fi, but the JBL 100s really are: they have a very distinctive design that's instantly recognizable, and they even ended up in an – that word again – iconic advert: the 1983 Maxell ad depicting a man being blown away by music.

JBL L100 Classic 80 comes with crate expectations

The very retro design features the iconic 'quadrex' foam grille that makes the JBLs look like they've been transported from a 1970s bachelor pad – that's a compliment – and in this version it's a very retro shade of brown that sits in a black satin frame. The cabinet enclosures are oak veneer.

Each pair sports anniversary edition badges on the front and rear including a numbered plaque signed by principal engineer Chris Hagen. And on the back you'll find dual sets of gold-plated binding posts.

The drivers are a 12-inch (300mm) pure-pulp cone woofer, which is teamed up with a front-firing tuned bass reflex port; a 5.25-inch (130mm) pure-pulp midrange driver; a 1-inch (25mm) titanium dome tweeter mated to an acoustic lens waveguide; and high-frequency and mid-frequency level attenuators. Frequency response is 40Hz to 40kHz, impedance is 4 ohms and sensitivity is 90dB/1W/1m.

The JBLs are sold as a pair with stands included, and they'll arrive inside a "specially crafted" wooden crate. They're yours for $7,499 (about £5,449 / AU$10,700).

About four months ago, I replaced my go-to Bluetooth speaker with an alternative from premium audio brand Bang & Olufsen. And the quality of my listening sessions has improved exponentially.

The speaker I’ve been using is the Bang & OIufsen Beosound A1 3rd Gen, a compact yet mighty model that we presented with our elusive and esteemed five-star rating. Since getting my hands on this beauty, I’ve barely had it switched off, using it while doing chores, showering, or preparing for a night out.

I like this speaker so much that I’d even recommend it over the JBL Charge 6 – a rival from a household name that we also gave five stars here at TechRadar. And yes, it also features in my guide to the best Bluetooth speakers around. But what makes B&O’s small speaker so special? And how does it stand tall over a titan like the JBL Charge 6? I’ll reveal all below.

1. Luxurious looks

So, the main reason I’d pick the A1 3rd Gen over a speaker like the JBL Charge 6 is because it’s arguably the best-looking Bluetooth speaker on the market.

No, really, this thing is an absolute beauty. It’s got an enticing circular design, with gorgeous curves, an expertly crafted leather strap, and a perfect finish. It also comes in a wonderful set of color options, including Natural Aluminium, Eucalyptus Green, and my personal favorite, Honey Tone. All of these phenomenally complement the luxurious aura of the A1 3rd Gen, and make it a real stand-out pick in a heavily convoluted market.

On top of this, this speaker is constructed from some truly premium materials, which helps to make it worth the seemingly high list price. The lower part of the A1 3rd Gen is made from hard-wearing polymer, while the upper segment is built from textured pearl-blasted anodized aluminum.

The Charge 6 isn’t a bad-looking speaker by any means, and I’m a fan of its excellent durability and waterproofing. However, its fabric-like textured exterior isn’t so classy or sleek when compared to the A1 3rd Gen.

2. Truly impeccable audio

You probably saw this one coming, right? Yes, the Bang & Olufsen Beosound A1 3rd Gen is a truly excellent-sounding Bluetooth speaker, especially when you consider its limited confines.

Under the hood, you’ll find a single 0.6-inch tweeter, as well as a 3.25-inch woofer. Each of these pack 30W Class D amplification, meaning this speaker is a lot more powerful than it may look. It can also handle frequencies as low as 54Hz, which ensures it has mighty yet well-regimented low-end performance.

Away from the tech specs, you’re getting a special listen from this speaker. As I alluded to, bass extension and clarity is top drawer, and the low-end impact on offer is mesmerizing. Meanwhile, mids are expansive and detailed, with snappy yet controlled highs wrapping up a stellar full-range performance.

Thanks to aptX Adaptive codec support, you can also stream your music over Bluetooth at a higher resolution than the Charge 6 can manage. However, both speakers do offer USB-C audio passthrough, which enables 24-bit/96kHz playback.

But the A1 3rd Gen is just that bit better for unveiling details in your favorite tracks you may never have heard. Its instrument separation is great too, and helps the speaker to craft a spacious, nuanced presentation.

3. A class-leading companion app

To cap things off, let’s discuss the excellence of Bang & Olufsen’s companion software. In our review, we described B&O’s app as “the best of its kind”, praising its exhaustive functionality.

All of the usual stuff is here – stereo pair setup, multi-point connectivity management, EQ controls, and a battery life visual. However, there are some really stand-out options that you wouldn’t get on the Charge 6’s JBL Portable companion.

For instance, the B&O app has a section in which you can integrate your favorite music streaming apps, including Deezer, Spotify, and Tidal. But it also provides internet radio access through the B&O Radio section – a segment that is laid out simply and is bursting with content.

Don’t get me wrong, I think JBL offers fantastic features through its companion app, and the inclusion of Auracast is definitely a win over the A1 3rd Gen. But the stylish, content-filled nature of the B&O app – compared with the speaker’s supreme audio and build quality – just give it that edge over the still-fantastic Charge 6.

If you’re looking to get your hands on a new Bluetooth speaker in 2026, you have plenty of awesome options to pick from. I should know, having personally tested more than 30 models during my time here at TechRadar, including big hitters from the likes of Bang & Olufsen, Bose, and JBL.

But the speaker I want to discuss here isn’t from one of those household name brands. It’s also not the most premium option around. But it’s an incredible-sounding, compact, and classy model that I just can’t get enough of. And the best part? It comes in at under $90 / £50 / AU$100.

The model I’m talking about is the Edifier ES20, a palm-sized speaker with a retro-style aesthetic that’s so good that it even made the cut in my guide to the best Bluetooth speakers that money can buy. But what makes it so special? Well, I’ve selected the three main reasons why I’d recommend it down below, so if you’re interested to hear more, scroll on down!

1. Excellent audio with mesmerizing mid-range performance

First and foremost, the Edifier ES20 is an amazing performer given its small size and equally small price-tag.

When I tested it for my Bluetooth speakers guide, I was particularly blown away by its phenomenal mid-range clarity. The definition and expressiveness of electric guitars and vocals really stuck out to me, and helped the ES20 to stand out over top-tier rivals like the Ultimate Ears Wonderboom 4.

On top of that, you get satisfying, natural-sounding treble that sounds controlled yet energetic. And even though you won’t get incredible low-end weight from this small audio companion, bass is still punchy and agile, making for an exciting yet clean listening experience.

2. Immersive and ambient listening with customizable lighting

The Edifier ES20 doesn’t only sound great, it finds a way of immersing you in your tunes so much more than most rivals in this price category.

And the main way it does that is with its integrated lighting, which you can customize via the speaker’s companion software. Yep, simply head over to the Edifier ConneX app, you can choose from a wide variety of lighting options, such as Breathing, Glittering and Rainbow. On top of that, you can personalize aspects like light modulation rate, brightness, and the displayed colors.

During my time testing the speaker, the lighting helped me to indulge in more atmospheric listening sessions. And because the ES20’s LED lighting is positioned on the reverse side of the speaker, you can even illuminate a wall behind it, which creates a real sense of ambience

3. A rugged yet classy design

One more brilliant thing about the Edifier ES20 is its phenomenal design, which merges rough and ready portability with a surprisingly luxurious look.

First of all, this model is IP67-rated – a rating shared with many of the best waterproof speakers. That rating means that it’s fully dustproof, but also highly waterproof, and is able to withstand being submerged in a meter of water for as long as 30 minutes. It’s also got a really solid feel to it, meaning it will likely survive being dropped a few times without accruing any meaningful damage.

However, this model is also a real looker. It’s definitely got that retro-style that Marshall speakers have thrived on over the years – there’s clear inspiration from the Willen line in particular. But that combination of faux-leather casing, golden detailing, and an appealing protective grille really is to die for. And that marriage of practicality with sleekness is just another reason to love this cost-efficient Bluetooth speaker.

I’ve tested a whole lot of Bluetooth speakers here at TechRadar – everything from palm-sized audio companions to giant boombox-style models. So, more than anyone, I understand that the Bluetooth speaker market is incredibly convoluted, with a bunch of amazing – and not-so-amazing – options to choose from.

If you’re looking to grab one of the best Bluetooth speakers, then, it’s crucial to find something that sets one model apart from the rest. Sure, we all want something that sounds good, looks attractive and offers good value for money – but a special feature or two can really make a speaker stand out.

That’s why I often find myself recommending JBL’s speakers. Yes, they often sound fantastic. They're typically vibrant, attractive, and waterproof too. But their excellent feature-sets – and in particular their ingenious PlayTime Boost setting – really give them that killer edge, in my view. But what is PlayTime Boost? What’s so useful about it? I’ll reveal all down below.

Keep the party moving

PlayTime Boost is a feature on modern JBL speakers that adjusts a model’s audio output to unlock even more battery life.

JBL itself claims that when PlayTime Boost is active, the speaker “optimizes and tunes the performance for a louder and crisper sound”. Lower-frequency sounds are typically less prominent with PlayTime Boost active, but JBL’s speakers still sound great, and that extra lease of life can go a long way.

For instance, I’ve found myself using PlayTime boost a fair bit when I’ve forgotten to charge my speaker, but need a boost in a pinch. On a model like the JBL Grip, you can simply activate PlayTime Boost in the JBL Portable app, and the speaker’s battery life will increase from 12 hours, up to 14 hours. It’s just a great way to keep the party moving if you’ve not got a charger nearby.

Speakers with this feature built-in include the tiny JBL Go 4, the mid-sized JBL Charge 6, and the chunkier JBL Xtreme 4. Best of all, you’ll find PlayTime Boost on the JBL Flip 7 – a small model with big sound that proudly sits as my top overall recommendation in our guide to the best Bluetooth speakers.

Given that a lot of JBL speakers already supply battery life in line with, or higher than, the bulk of their competition, PlayTime Boost really does make them easy to recommend. But rival manufacturers have released some incredible alternatives lately as well – check out my list of the top 5 Bluetooth speakers of 2025 to get the lowdown on the latest and greatest models you can buy.

When Victrola announced its space-saving new Soundstage speaker for turntables, I had obvious concerns. It's effectively a soundbase, for people who remember when those were popular for TVs – a slab of a speaker that sits underneath something else, and uses the good internal volume you get from a low-profile but large footprint to deliver deep and impactful sound.

The obvious problem with this plan is: speakers vibrate, and turntables need to be kept steady. Putting the latter on top of the former seems like asking for trouble.

So at CES 2026, I tracked down Victrola to get not only a first listen to the Soundstage, but also to get my hands on it and feel whether the vibrations are a concern.

As you'll have seen, it's a nice-looking bit of gear, available in walnut or black finishes. The styling, size, and finishes are an exact match for Victrola's Wave turntable, though you can use it with anything that fits on its 42.95 x 38.37 x 8.95cm frame.

There's an RCA connection for your turntable, plus a 3.5mm jack, USB-C audio, and Bluetooth – making it a nice modern music center as well as a vinyl addition.

Let's start with the bass rumble. The Soundstage has a system Victrola calls the 'Symmetric Drive Woofer' to deliver bass, and it's a force-opposed dual-diaphragm bass system, firing up and down simultaneously from a single driver.

It's very much like the Sonos Sound Motion bass driver used in the Sonos Arc Ultra soundbar (you can read all about the development of that speaker here), in that it's designed to provide big bass in a small space, but with a force-opposing configuration to avoid vibrations.

Force-opposing speaker systems mean that you have two identical diaphragms facing opposite directions. When speakers play, they push air forward, which means there's an equal force pushed the other way, into the speaker enclosure, in the form of vibrations. But in a force-opposed system, those vibrations then meet the exact same vibrations coming the other way from the other diaphragm, so they cancel each other out, and you end up with no major shaking at all (or close to it, and the rest can be absorbed by a well-built enclosure).

The double bass driver has the effect of giving this speaker a surprising amount of thump for something not very tall, but placing my hand on the sides, back, and top of the unit, I could barely feel any vibration in it. There is some, but nothing different from what you'd expect if you had your turntable on top of a piece of furniture with two speakers on either side of it.

You can feel a lot more vibration on the front of the unit, where the forward drivers are, but since I couldn't feel the effect of this heavily on the sides and back, it seems like the bracing and build of the speaker can absorb this well enough without it passing it through to the turntable (which will have some protection against vibration of its own, of course).

Victrola says of the front speakers that a "Balanced Mode Radiator (BMR) technology delivers exceptionally wide, even dispersion, creating a spacious, natural stereo image that stays clear and detailed anywhere in the room" and my experience with this is that there's very little stereo on offer here, despite these promises – if that's your priority, you've got to go with separate speakers.

But Victrola told me that even dispersion around the room was a big focus for the speaker system, and it absolutely nails this – I moved around to really off-center positions to see if the sound balance would alter drastically and weaken, and actually, it barely changed compared to being right in front of it.

That's impressive, and makes it super-flexible for listening positions, which again, makes sense for something designed for people with little spare space.

As for the overall sound itself, I would say that it's quite warm – leaning into vinyl's tendency that way, perhaps – and trends somewhat bass-ward. Mid-range and treble seemed present and correct enough, but I didn't get the sense of there being a ton of fine detail and expression from my demo.

Naturally, we'll reserve judgment until we can test in a proper environment, but my initial impression is that you may get finer hi-fi results from a pair of active stereo speakers matching the $349 price of the Soundstage, but probably less deep bass. It may be a question of choosing the fullness and impact of the sound versus the resolution and imaging.

But in some ways, that dilemma also misses the point: this compactness. This speaker sits under the turntable, with no extra space and no extra components needed. In that way alone, it might be exactly what you've been looking for.

• The first new Klipsch over-ears in a decade
• ANC, bass-heavy and audiophile models
• Price and specs tbc

The American speaker brand Klipsch and the Japanese hi-fi experts Onkyo share a parent company, and to mark 80 years in audio they've announced some exciting new headphones and speakers, plus some teasers for future hi-fi products.

There's lots of interesting stuff coming from the two brands, and I think the most interesting new products are the Klipsch Atlas series headphones: they're the first new headphones from Klipsch in a decade, and they look very impressive.

Klipsch Atlas Series headphones: what to expect

The new Atlas Series headphones are a trio of premium over-ears that Klipsch says is "the next step beyond its former Heritage headphone series". There will be three new models: the HP-1, HP-2 and HP-3.

The HP-3 will be the flagship. They're semi-open back headphones promising "a spacious, speaker-like presentation for audiophiles" with a wide cushioned headband, alcantara materials and perforated ear cups for long listening comfort.

The HP-2 are closed-back and emphasise bass response and low-end impact: they're aimed squarely at the "bass-forward enthusiast segment". I think they mean me.

Last but not least there are the wireless ANC Atlas HP-1 headphones, which have been designed to be ultra-light and long-lasting with "standout" battery life. Rather mysteriously Klipsch says there is a "planned third party feature compatibility for spatial audio and hearing compensation."

Klipsch will also be launching a new generation of its Music City Series Bluetooth speakers, Auracast Bluetooth tabletop speakers and the Flexus Element soundbar, designed for all-weather outdoor installations. It'll also be updating its Reference Premiere speakers and moving into more premium sectors with its Reference Signature Series and a new "moonshot" called Project Apollo. Details of that are still sketchy but Klipsch promises "elevated industrial design, upgraded materials, and new engineering based on Klipsch’shorn-loaded legacy architecture, tuned specifically for audiophiles and enthusiast listening."

As for Onkyo, it's launching 80th anniversary limited edition versions of the Creator Series GX-30 and GX-10 powered speakers, which will launch this summer. It's also teasing a new "room-filling" tabletop speaker, although details of that one are still under wraps. More details will be announced later this year.

TechRadar will be extensively covering this year's CES, and will bring you all of the big announcements as they happen. Head over to our CES 2026 live news page for the latest stories and our hands-on verdicts on everything from 8K TVs and foldable displays to new phones, laptops, smart home gadgets, and the latest in AI.

You can also ask us a question about the show in our CES 2026 live Q&A and we’ll do our best to answer it.

And don’t forget to follow us on TikTok and WhatsApp for the latest from the CES show floor!

As someone who’s tested a whole lot of Bluetooth speakers – more than 30, to be exact – my standards are pretty high for every model that I get my hands on. And recently, a speaker landed on my desk that really impressed me – but not due to a gimmick or novelty feature.

Instead, I was blown away by its performance – something I’ll get into the specifics of later on. But essentially, the model wowed me with its nuanced and expansive approach to replicating my favorite tunes, especially considering its moderate mid-sized form.

What speaker am I talking about? None other than the Marshall Middleton II – one of the audio specialist’s 2025 releases. It's a fairly premium model that certainly competes with some of the best Bluetooth speakers that I’ve tested – sonically speaking, at least – here’s why.

Bumpin’ that stereo

As soon as I started playing tunes on the Middleton II, I was instantly struck by one thing – its spectacular stereo sound. A lot of smaller models will downmix your music to mono or require a second speaker, which acts as a stereo partner. And in all honesty, many rivals that do offer stereo sound aren’t always the most convincing – we even found this with the Sonos Move 2.

But the Middleton II does exceptionally well as a relatively small standalone stereo speaker. The sense of left and right channel separation is, simply put, astonishingly good.

When listening to Foxy Lady by Jimi Hendrix – a man who loved to play creatively with stereo imaging – the definition of individual instruments was sublime. Vocals on the left and percussion on the right were both perfectly positioned, meaning I was treated to a deliciously layered listen.

What makes this even better is that the audio sounds awesome from every angle imaginable. That’s thanks to the inclusion of Marshall’s 360-degree ‘true’ stereophonic sound.

This is designed to eradicate any ‘blind spots’ in the speaker’s vicinity, and works like a dream. Pair that with the excellent stereo sound on offer, and you’re getting an engrossing-sounding speaker.

It’s also worth noting that this model is highly talented outside of its high-quality soundstage and stereo separation. It serves up pumping, agile bass, ultra-clear mids, and tightly controlled treble. You can also adjust the EQ in the Marshall app, allowing you to select the ideal sound for your playlists.

The look of luxury

The sound of the Middleton II is what really sets it apart from the competition, but if there’s one other thing I love about this model, it’s the way it looks.

This Bluetooth speaker has the iconic amp-inspired aesthetic that Marshall has become known for over the years, with a gorgeous speaker grille and faux-leather casing. The Marshall logo is front and center, too, with a golden multi-directional button up top for controlling volume and playback.

Sure, it’s a little hefty for a model of its size, coming in at 3.9 lbs / 1.8kg, but you get a nifty carry strap with an enticing red velvet interior. This emphasizes Marshall’s focus on luxurious looks and build quality, as well as making the speaker easier to carry around with you.

Oh, and one more design aspect that I love about the Marshall Middleton II is its ability to brave just about any environment. That’s because it has an IP67 rating – considerably higher than the IP54 rating of its larger-sized cousin, the Marshall Kilburn III.

This IP67 rating doesn’t only mean that the Middleton II is highly dustproof, but it also indicates great waterproofing. In fact, this speaker can survive a good dunking under a meter of water for up to 30 minutes. Pretty impressive, right?

OK, the Middleton II isn’t the cheapest model on the market, coming in at $329.99 / £259.99 / AU$499. But that stellar stereo sound and genuinely premium build make it a very tempting option indeed, and if you’re looking to buy a new Bluetooth speaker for 2026, it's well worth considering.

Edifier S880DB MKII: Two-minute review

As the best small-format active speakers go, the Edifier S880DB MKII are pretty swell. They go toe-to-toe with a great many other low-to-mid-range hi-fi pairs, thanks to a prodigious array of forward-thinking inputs both analog and digital. There’s also a subwoofer output to fully extend the practicality of these little (and surprisingly loud) actives, and a gesture-controlled remote puck to access a bunch of different functions, from input switching and volume control to handling various EQ sound profiles.

Excellent as the S880DB MKII are on paper, between their swish aesthetics and versatile, future-friendly control options, small frustrations abound with the remote control’s reaction time and bass-representation issues inherent to the small-bookshelf format.

These frustrations are just that: small. But they’re made all the larger when other active speaker models in Edifier’s roster, namely the excellent MR5 monitors, are simultaneously cheaper and better-performing.

Ultimately, though, the Edifier S880DB MKII do a lot of things right, and as many things well. I’m thusly inclined to score it kindly, in recognition of what it’s achieved over what it’s competing against. After all, it’s a MKII, and well and truly a well-upgraded successor in a competitive niche.

Edifier S880DB MKII review: Price & release date

• $449.99 / £335.99 / AU$595.99
• Launched on 4th September, 2025

Edifier is a key figure in the budget audio space, with a pretty wide-ranging roster of audio bits and bobs that punch well above their figurative weight. I can prove it, too: I was happy enough to review Edifier’s new MR5 monitor speakers some months ago, and happened to think mighty well of their performance (and even mightier of this performance against their frankly astonishing budget price point).

These speakers, though, exist in a different paradigm to the musician-oriented active listening monitors that the MR5 very much are. These are the Edifier S880DB MKII, a second-gen successor set of multidisciplinary active bookshelf speakers that ably straddle a broad set of use cases. Bedroom hi-fi system? Small desk-friendly active monitors? Subsidiary speaker set for your small cinema system? Why not!

This versatility is courtesy of some powerful internal amplification, some smart user-friendly features, and some future-friendly upgrades that make them more able (and better-sounding) than ever before. But do they make the grade, and do their updated features do them justice?

Edifier S880DB MKII review: Specs

Edifier S880DB MKII review: Features

• Multifarious inputs, plus sub output
• Hi-res Bluetooth LDAC connectivity
• Handy remote-control surface

The S880DB MKII are a highly connectible set of small-form active bookshelf speakers, designed to settle suavely into a wide variety of different at-home listening scenarios. Being a successor model to Edifier’s OG S880DB, there’s a lot of familiar stuff in here. But that familiar stuff is part and parcel of a pretty comprehensive upgrade, that brings some improved acoustics and techy quality-of-life updates.

The biggest auditory updates come from the new drivers. The 1-inch titanium dome tweeter from the first model has been sized up to 1.25-inch, with a bigger voice coil to match. The mid-bass driver has also had a ground-up redesign, with the impact of more low end, any of which is a gift in small-format speakers such as these.

With their small size, large 88W RMS output and surprisingly broad frequency range, the S880DB MKII are excellent low-profile partners for a home office PC system – and they’ll slide just as effortlessly into a multi-faceted living room hi-fi or home theatre system, with especial thanks to an expansive set of inputs.

On the wired side of the equation, we have two separate channels of RCA input, a Toslink optical in, coax, and an all-new USB-C connection – the latter of which enjoys its own DAC architecture, so you can connect a laptop directly to it without any dongle-y jiggery-pokery. Sadly, this USB-C port doesn’t also provide the option of 5V power – when USB ports are a commodity at your desk, a spare port for powering peripherals (foreshadowing alert!) would be a welcome gift. Also new is a 3.5mm TRS output for optional connection to a subwoofer unit, giving what’s nominally a small-form set of active bookshelf speakers a great deal more oomph potential.

On the wireless side of the equation, the Edifier S880DB MKII are handily equipped with Bluetooth 5.3, up from the previous version’s 5.1, and now supports Sony’s hi-res LDAC codec, too. On-board you’ll find the requisite rear-mounted treble, bass and volume controls, and within, a set of five EQ presets for different sound profiles: ‘Classic’, ‘Monitor’, ‘Dynamic’, ‘Vocal’ and ‘Customized’.

A new 2.4GHz wireless remote-control puck eschews black plastic and clicky buttons in favour of a silver-and-white gesture-control surface. It senses your hand on approach, and can be used to switch audio inputs, access Bluetooth, control the volume and switch between the aforementioned sound profiles. Any and all changes are heralded by a cheery little vibration from within the puck itself. The MKII is also tweakable via Edifier’s ConneX app, which gives you access to the same controls as the remote, and a six-band EQ with which to customize the, er, ‘Customized’ sound profile.

A small OLED screen on the front displays the necessaries – defaulting to your current audio input, but also showing you volume changes and differing sound profiles as you cycle through. It’s subtle, but subtly futuristic. And I like it.

• Features score: 5/5

Edifier S880DB MKII review: Sound quality

• Excellent high-end clarity
• Exceedingly powerful for their size
• Unfortunate handling of low end

The Edifier S880DB MKII are loud, and impressively so for the format. I dared, hubristically, to test them at full volume while sat at my desk – a crime for which my ears paid dearly, and for which I undoubtedly owe my neighbour an apology bottle of wine.

When they’re not being loud, they’re being remarkably consistent. Whether listening via RCA-in or Bluetooth, there are no discernible shortcomings on the fidelity front. As for character, these speakers are decent all-rounders, but particularly and delightfully tactile in the upper register. Knik by Portugal. The Man is a delight of swishy cymbals, woozy guitars and stacked chest- and head-voice vocals. It’d be fair to say, generally, that the S880DB MKII speakers are extremely vocal-forward, a function of those tight mid-range drivers and titanium tweeters.

That overall handiness, bolstered by high-end tactility, trades off against an under-representative low end. Knik ends with an explosion of fuzzed-out guitars and blooming bass, all lost to a set of speakers that don’t have the stature to platform them properly. At least, this was the first impression I had of the S880DB MKII, predicated on an initial listen through the automatically applied ‘Classic’ sound profile.

Cycling through other modes revealed a decent wedge more boom on all fronts, the more neutral ‘Monitor’ mode immediately the most musical to my ears. The ‘Dynamic’ mode adds a little treble-y urgency, giving a little more love to transients in the process, while the ‘Vocal’ mode seems to target upper mids, doing exactly what you’d expect it to (with a little compensatory ducking of lower mids). Personally, I don’t see why the Classic sound profile is the default option, when it’s so clearly the worst of the bunch.

Better as the other modes sound, all bear out the same essential conclusion that bass isn’t the S880DB MKII’s strong suit – a fundamental truth of the speakers’ small form. This isn’t to say they’re entirely without punch, though. Across all EQ profiles, they’re tuned exactly as you’d expect a jack-of-all-trades hi-fi device, with plenty of presence for hi-hats, voices, and kick-drum clicks, the latter of which grab you enough to insinuate the oomph you’d otherwise miss much more dearly. And if you crank them, you get plenty of somewhat-indistinct bassy bloom from their ported rear faces.

Of course, Edifier are deeply aware of this form-borne shortcoming, and have even made adjustments towards improving it in this second go-around – including greater low-end extension and a new subwoofer out port. I didn’t have an active subwoofer with which to pair the S880DB MKII, but I’d wager that most potential buyers of such speakers don’t either. Besides which, I wouldn’t want to colour my straight opinion of these things with something ‘else’. All the same, it’s a credit to Edifier that they’re working with the size, rather than against it!

I oughtn’t have spent so long on the lower end of the S880DB MKII’s frequency spectrum, not when there’s so much to love a little further up the graph. Queens of the Stone Age’s Everybody Knows That You’re Insane is an explosive delight, jangly guitars and croon-adjacent vocals giving in to gratifyingly grabby power chords and pingy snares.

Getdown Services’ Blooze, meanwhile, is right at home on these speakers, with a boxy, idiosyncratic mix that attains a woolly, three-dimensional presence on my desk – and brings out the best of the S880DB MKII’s miasmic-bass potential in the process. These are truly some high-definition performers, bringing some densely detailed magic where it counts for most.

• Sound quality score: 3.5/5

Edifier S880DB MKII review: Design

• Aesthetically delightful little things
• Breezy to set up and use
• Remote is cool but slow

The Edifier S880DB MKII are incredibly pleasing to behold, with their two-tone, multi-textured, veneer-sandwiched visual design. There are two colorways on offer: one a black-and-walnut affair, the other a white-and-pine-y sorta deal. My review sample matches Nordic pine vibes with a leatherette finish to make something wholly more living-room friendly than other bookshelf-style speakers, many of which fall prey to the same sort-of boring anthracite proclivities, and stick out like lead-stained thumbs accordingly.

The OLED panel on the front runs the risk of being gaudy, but is understatedly smart in execution. It doesn’t clamor for your attention, and only ever shows you whatever you need to know at the time.

As for the practical side of things, it’s as easy as it could be to situate these speakers. Installation is simply a matter of connecting one speaker to the other via the supplied DIN cable, connecting power and making the various audio connections you require. The S880DB MKII have two RCA-ins, USB-C connectivity and Bluetooth 5.3, so you’re unlikely to struggle, though some may understandably miss the convenience of a HDMI ARC option for their telly systems.

Realistically, the biggest challenge you’ll face setting these up is sorting your wireless connections – but Edifier’s made that a breeze, too. You put the speakers in search mode by touching the dedicated Bluetooth space on the remote, and they pop up a moment later in your device’s list of available connections. That’s it. With Bluetooth connected, you can stream audio and access the ConneX app, which also makes messing with your speaker settings breezy as can bee…zy. [Careful now. Ed.]

The only shortcoming on the design front is the remote – and this is in spite of its relatively inspired gesture-control schema. Every time you go to use it, it needs a moment to wake up first; what could be a smooth one-touch experience becomes a couple of frustrated jabs before your request is recognized. It’s hard to design around this, since the alternative is that the remote’s battery drains so much quicker, but it’s still a minor hiccup in an otherwise butter-smooth setup.

If only you could wire it straight to the speakers via a handy 5V-powered USB-C port…

• Design score: 4.5/5

Edifier S880DB MKII review: Value

• Comprehensive feature-set is great
• Performance is better in other, cheaper Edifiers
• Buy these if you value convenience over sound

The question of value is a difficult one to answer with respect to the S880DB MKII. They’re undeniably an excellent prospect as desktop speakers or a small-room sound system, irrespective of their cost; their connectibility, ease of use and perfectly serviceable sound performance make them functionally excellent. But cost is relative, and something else entirely.

The RRP of these speakers is $449.99 / £335.99 / AU$595.99 – not a lot in a world of high-valued mid-range hi-fis and break-the-bank audiophile speaker systems, but still a fair whack to put down (even if what you’re getting is a completed integrated, powered audio system). It’s especially difficult to judge fairly when another set of Edifier speakers – the aforementioned MR5 monitors – are simultaneously cheaper and, to my ears, far better.

The question of value, then, is a question of what value you place on certain things: convenience, aesthetics, fit. The Edifier S880DB MKII are compact, easy to place, easy to look at and handily controllable with a wireless remote – all things that could justify a little uplift in price, but only to those of you that value them.

For me, this is hard. I genuinely like these speakers, and I think they’re pretty faultless for most of the things you reasonably expect from them. But when I enjoy another set of Edifier speakers far more, which cost quite a bit less, it’s difficult to say this is a good-value purchase.

• Value score: 3/5

Should you buy the Edifier S880DB MKII?

Buy them if...

Don't buy them if...

Edifier S880DB MKII: Also consider

How I tested the Edifier S880DB MKII

• Tested for 3 weeks
• Used in attic office, as primary desktop listening speakers
• Predominantly tested using audio output from a Universal Audio Volt 4 audio interface, and Bluetooth transmission from a Samsung Galaxy S23 FE

The Edifier S880DB MKII found their home on my attic office’s desk, as a primary pair of monitor speakers for my work setup.

They received audio via RCA-in, from my trusty Universal Audio Volt 4 interface; I also tested the USB-C input directly from my HP Pavilion 15 laptop, and Bluetooth connectivity using my Samsung Galaxy S23 FE smartphone.

Over four weeks, I rotated through some new and familiar artists on Spotify and in my personal digital music library, to get a feel for the S880DB MKII in different musical contexts.

First reviewed: December 2025

Read more about how we test at TechRadar

I’ve tested a whole lot of Bluetooth speakers here at TechRadar – more than 30 to be exact. And this year, I’ve got my mitts on so many amazing models, including everything from mini audio companions through to almighty party speakers.

It only seems fitting to celebrate some of the very best Bluetooth speakers released this year, although cutting it down to just 5 has been a real challenge! I’ve decided to stick to one speaker per brand, simply for the sake of diversity and choice. You’ll also find models for all sorts of budgets here – not just ultra-expensive audiophile gear!

When creating this list, I factored in a variety of attributes. Of course, sound quality is a big one – but I’ve also considered the breadth and quality of smart features, as well as the look and build quality of each speaker. Perhaps most importantly, though, I put value for money at the heart of each pick, so you can rest assured that every model will offer plenty of bang for your buck.

With all of that said, let’s dive into my top 5!

5. LG xboom Stage 301

This is one of the more unconventional Bluetooth speakers that I tested in 2025, but that really isn’t a bad thing! The LG xboom Stage 301 is modelled on a wedge-style stage speaker, and it's a great option for getting the party started.

It's got immersive dual-bar RGB lighting that you can customize via a companion app, nifty EQ options, and even DJ effects built-in. You also get karaoke functionality with reverb and voice-changing effects available. Combine that with a very solid battery life and effective AI-enabled sound calibration, and there’s just so much to sink your teeth into.

Although LG doesn’t always get it spot on in the sound department, I was a big fan of this model’s audio performance. Bass isn’t outrageously powerful, but this speaker still reaches down nice and low, and I was really impressed with the clean and agile low-frequency output. Mids and highs are also replicated adeptly, and there’s limited distortion and compression on show, even at higher volumes.

Yes, this speaker launched at $299.99 / £299.99 / AU$449, but I’m seeing it go for much less now in a few regions. In the UK, for example LG is regularly selling the xboom Stage 301 for less than £150! That’s awesome value for money, and seals this speaker’s position in my top 5.

Read my full LG xboom Stage 301 review.

4. Edifier ES20

My big shock of 2025 is the Edifier ES20. I’ll be honest, I wasn’t expecting too much from this speaker given its small size and modest list price of $89.99 / £49.99 / AU$99.99. But I was very quickly impressed by what I saw and heard.

Let’s start with looks. This thing is a real beauty, with a Marshall-esque retro-style design. Its frets, faux-leather exterior, and attractive color options make it the ideal pick for those seeking an aesthetically pleasing portable buddy. Its IP67 dust and waterproofing also means it's more than a pretty face – it's highly durable and can survive being dunked under a meter of water for up to 30 minutes.

Sonically, this thing is also super-talented. Bass is punchy and highs are well-controlled, but the real star of the show is the mid-range. Vocals, guitars, and other instruments that play in the mids sound beautifully detailed and clear, making for a nuanced, emotive listening experience.

On top of that, the ES20 has a built-in mic for hands-free calling, customizable lighting for added ambience, and a nice carry strap for on-the-go use. This is my favorite cheap Bluetooth speaker of 2025, and it's all too easy to recommend.

Read my full Edifier ES20 review.

3. Bang & Olufsen Beosound A1 3rd Gen

Premium audio brand Bang & Olufsen absolutely knocked it out of the park with this small-sized and circular Bluetooth speaker, which provides some of the most intoxicating audio I’ve heard all year.

The Bang & Olufsen Beosound A1 3rd Gen plates up seismic and low-extending bass output, gorgeously separated mids, and expressive treble. It even makes use of the aptX Adaptive audio codec to deliver higher-resolution Bluetooth streaming, and the inclusion of USB-C audio passthrough will suit the more detail-oriented listeners out there.

On top of that, this is one of the most luxurious-looking models I’ve ever laid my eyes on. Its hard-wearing polymer and textured pearl-blasted anodized aluminum construction is a true sight to behold. Again, this one’s waterproof, and comes in a range of tasty color options, with my favorite being Honey Tone.

The Bang & Olufsen app is also equipped with all kinds of fancy features, with integrated radio station access, multi-speaker pairing, multi-point connectivity and all that good stuff. If you’re looking for a more high-end Bluetooth speaker with all of the bells and whistles, this unit should be on your radar.

Read our full Bang & Olufsen Beosound A1 3rd Gen review.

2. Marshall Kilburn III

Just squeaking ahead of the B&O, we have the Marshall Kilburn III, which is an astonishingly good all-round performer.

Other than its exceptional audio quality, the most impressive thing about this Bluetooth speaker is its outrageously high 50 hour battery life. The Marshall app also includes a range of battery preservation options, which means this is a seriously long-lasting speaker – you’ll barely have to charge it! When you also consider the Kilburn III’s awesome placement compensation and Auracast connectivity, this is a real beast in the features department.

Let’s go back to audio though, because I was blown away by just how good this Bluetooth speaker sounded. It makes use of Marshall’s 360-degree stereophonic sound to deliver an excellent listen from every angle, and its thumping bass never overwhelms intricately layered mids or vibrant treble. Everything from instrument separation through to dynamics is handled brilliantly.

You won’t get the high calibre waterproofing of some speakers on this list, but the Kilburn III is intended to be a statement piece as well as a portable speaker. And its classic amp-inspired look really is to die for – the Kilburn III is aesthetically pleasing to say the least. It’s a powerful, swell-sounding option, and I highly suggest checking it out.

Read my full Marshall Kilburn III review.

1. JBL Flip 7

Whether you read the headline or not, you knew JBL would make this list, didn’t you? And the model I’ve chosen for the number one spot is the JBL Flip 7.

The first time I unboxed this speaker and fired it up, I was genuinely in disbelief. How could a speaker so small, so compact – produce such powerful, audacious audio?! You get palpable bass that is as agile as it is impactful. Layered mids and razor-sharp treble also impress, meaning you get an awesome all-round listen.

On top of all of that, this speaker makes use of JBL’s AI Sound Boost tech to optimize audio, and can deliver higher-resolution listening thanks to USB-C data transfer capabilities. With plenty of battery life, unbelievable IP68 waterproofing, and a drop-proof design, this model really is the full package.

And its low price serves as the knockout blow. For just $149 / £129 / AU$179 – and oftentimes less – you get a great-sounding, durable cylinder of sound, which is proudly sitting atop my guide to the best Bluetooth speakers. It really doesn’t get any better than that.

Read our full JBL Flip 7 review.

• Dali launches Sonik standmount, floorstanding, on-wall and cinema speakers
• They use tweeter and cone technology from Dali's high-end models
• 7 models, from $900 / £449 / AU$849

Danish music maestro Dali is on a hot streak: it's just unveiled a new line of budget-friendly audiophile loudspeakers, fresh off launching the super-affordable five-star Dali Kupid bookshelf speakers. The new range of speakers is called the Sonik, and something that might grab the attention of speaker aficionados is that this range replaces the Oberon speaker range, which has become a modern classic.

There are seven models in the new Sonik range, and they are the Sonik 1 and Sonik 3 standmounts, the Sonik 5, 7 and 9 floorstanders, and the Sonik On-Wall and Sonik Cinema speakers.

According to Dali these new speakers deliver "a significant leap in detail, dynamics and musicality" at their price point compared to the award-winning Oberon range. And that price point starts at a competitive £449 / $900 / AUS$849 for the Sonik 1 – so there's admittedly a big difference in their affordability depending on whether you're in the US or outside.

TechRadar spoke to Dali Head of Product Management, Krestian Pedersen, about the decision to replace the Oberon range, who explained that "this has been in the planning for three years, and then we've spent the last 15 months developing the Sonik range. Oberon, I think it's fair to say is, one of our biggest successes when it comes to traditional core hi-fi loudspeakers, so much so that it's almost set a standard … so it's actually a heavy burden to carry on. The Sonik carry on that pattern … so we couldn't go easy on the replacement."

Will you be feeling super Sonik?

'Not going easy' in this case includes launching seven different models:

• SONIK 1 – £449, $900, AU$849
• SONIK 3 – £599, $1200, AU$ 1199
• SONIK 5 – £899, $1800, AU$1749
• SONIK 7 – £1299, $2800, AU$2549
• SONIK 9 – £2199, $4500, AU$4099
• SONIK ON-WALL – £599, $1200, AU$1149
• SONIK CINEMA – £449, $900, AU$859

Dali says that these speakers have been made with two kinds of listener in mind: the "seasoned audiophile" and the "design-driven newcomer entering the world of high-fidelity sound."

One of the advantages of the Oberon range is that it's a very flexible and unfussy set of speakers, both in terms of placement and sources. Pedersen says that principle is a big part of Sonik's design too.

"One of the design principles we have, apart from being not being fussy for [music types and sources], we also have one that's called amplifier friendliness. Basically, we're not in control of people's music tastes and we are not control of people's choice of electronics. So we've got to be agnostic," Pedersen says.

"Also, you know, people's rooms are different, so it's very important that they work in real-life situations where you don't have to build your system and your room around the speakers, but you can take the speakers and place them in your existing [setup]."

The Sonik range takes a number of enhancements from the flagship Kore, Epikore and Epicon ranges, including improved transducer designs, advanced magnet technologies and refined cabinet engineering.

The speakers feature Dali's ultra-light 29mm soft dome tweeter, which is made for low loss and wide dispersion, and that tweeter is teamed up with two variants of low-loss Clarity Cone bass and midrange drivers. The Sonik 7 and Sonik 9 also benefit from a fusion of a 29mm dome tweeter with a 17 x 45mm planar magnetostatic tweeter, which promises to deliver dynamic precision as well as extended high-frequency performance.

"It's the first time in the segment where we're introducing what we call the hybrid tweeter technology, which is a combination of the dome and, and, and the planar magnetic," adds Pedersen. "That's quite unique, and one of our R&D engineers, he actually said, 'Wow, it's like a baby Epikore 7, which is quite a statement in terms of performance."

The Sonik range features the SMC Essential Magnet System, which first appeared in the Epicon series, and was also part of what made the Oberon system so versatile. It's designed to "drastically" reduce third-order harmonic distortion and promises to make Sonik punch considerably beyond its price tag.

Dali has also added a new design to its cones, which is more technology that's coming down from its higher-end speakers, but Pedersen explains that this one was especially ideal for a more cost-conscious speaker.

"This five-spoke pattern in the cone, which has been embossed, helps on the on the breakup modes of the controlling nodes of the diaphragm. And that's actually a technology that is almost free, because you take the existing cone and then once you have the pattern, you stamp the pattern in. So that is one that we could trickle in from [Epikore] without actually affecting cost, because after all, a range like the Sonic, you know, we are on some cost constraints."

And the picture is completed with dual flare bass reflex ports that are optimized for timing, low turbulence and clean low frequency extension. The On-Wall and Cinema models have specialized on-wall and front-firing reflex ports.

Pederson also told us that the Cinema speaker has been designed less to be a simple simpler center-channel speaker, but more to be part of a true LCR system if you prefer – it has a three-way setup like the two mid-range floorstanders, so can deliver matching power and sound.

Visually you're looking at custom-designed magnetic grills, aluminum tweeter faceplates, new in-house developed terminals, updated logo badges and baffles inspired by the Epikore series, and aluminum spike outriggers on the floorstanders. There are four finishes: black ash, walnut, natural oak and white.

The new Sonik range will be available globally from 2 February 2026. One thing that struck the TechRadar team's mind is that this might mean some real bargains on any remaining stock of the Oberon range. TechRadar's Managing Editor for AV, Matt Bolton, uses Oberon 5 speakers at home and raves about them, and he vouches for the quality of the Oberon 1 as well – so keep your eye on the prices.

• Very exclusive special editions of the Bang & Olufsen Beolab 90
• Phantom Edition offers "the power of darkness" while the Mirage is "an explosion of color"
• Expect supercar prices for both editions

Update, December 15: Bang & Olufsen's people have now contacted TechRadar to share pricing for the Beolab 90 Phantom & Mirage, which starts at £339,000 (so around $453,475 or AU$682,389, before any associated duties). The rest of this piece remains as written and published, on December 11.

To celebrate its centenary year, Bang & Olufsen is making five very exclusive Atelier Edition products. The first of them was the Beolab 90 Titan Edition, which took the iconic Beolab 90 speaker to its bare essentials and which was revealed only last month. And now there are two new Atelier Editions, the Beolab 90 Phantom Edition and the Beolab 90 Mirage Edition.

They look incredible – and the specification and (so-far, secret) price are equally incredible, as these are limited editions of 8,200W speakers that already command seriously significant prices.

Bang & Olufsen Phantom and Mirage Editions: key features

The price hasn't been revealed yet but you can expect to shell out a six-figure sum for these extremely powerful and beautiful speakers: these are towers of power with supercar price tags. The standard Beolab 90 is £141,000 / €167,200 (about $188,365 / AU$283,300).

The Phantom edition features a black PVD acoustic mesh with "holographic visual depth"; a carbon fiber face mask, shoulder plates and base panels; and a pearl-blasted aluminium frame with precision trim detailing. It looks like some kind of evil death robot – Bang & Olufsen says it has "the power of darkness" – and it's absolutely stunning in a stealth bomber, killer drone kind of way.

While the Phantom Edition looks incredible, it's the more playful and marginally less frightening-looking Mirage Edition that really catches the eye.

The Mirage Edition has an iridescent fabric covering running from sapphire to magenta, and Bang & Olufsen describe it as "a celebration of color". It features five graded, anodized aluminium parts per speaker with wave-textured surfaces to deliver "a chromatic crescendo". I think it's absolutely beautiful, like a massive stag beetle.

Beneath the new finishes you'll find the same Beolab 90 speaker with its 18 bespoke drivers, massive amplification and advanced beam-forming technology.

These two editions mark the second and third releases of the five Atelier editions. I can't wait to see what the next two look like.

Dali Kupid: Two-minute review

Dali may have been concentrating on the loftier parts of the audio market lately with its various loudspeaker and headphone product launches, but with the Kupid it wants you to know it hasn’t abandoned the entry level. The company has had plenty of success with its affordable speaker ranges before now, and it wants to bring those days back.

The Kupid is a small, neatly finished standmounting design that’s available in a couple of quite vibrant finishes (blue and yellow) along with the more usual black, white and walnut. Its compact nature means it should be easy to position, though its rear-facing bass reflex port means you can’t just plonk it anywhere. Rather unpromising impedance and sensitivity figures turn out to be no major real-world issue when it comes to pairing these speakers with appropriately affordable amplification, though.

And, in practice, the Kupid turns out to be a very successful proposition where performance, as well as appearance, are concerned. One of the best stereo speakers on the market? You bet...

Dali Kupid review: Price & release date

• Released October, 2025
• Priced $599 / £299 / AU$599

The DALI Kupid standmount loudspeakers launched in October 2025, and in the United Kingdom they cost £299 per pair. In Australia they’re a predictable AU$599, while in the United States they cost a slightly less predictable $599.

The American market is a law unto itself at the moment, I suppose, and DALI is almost certainly being pragmatic enough to factor in any whim-based fluctuations in tariffs and the like.

Dali Kupid review: Features

• 26mm soft dome tweeter
• 114mm wood-fiber/paper mid/bass driver
• Rear-facing bass reflex port

These are affordable passive loudspeakers, so it won’t come as all that much of a surprise to learn they’re not exactly overburdened with features. Those features the Kupid do have, though, seem entirely fit for purpose.

At the front they have a 26mm soft dome tweeter sitting behind a mildly dished waveguide. Beneath this there’s a 114mm mid/bass driver made from the same mixture of paper and wood-fiber pulp the company has been refining for quite some time now. This duo is supported by a rear-firing bass reflex port that; a) contributes to an overall frequency response of 63Hz - 25kHz; and b) makes the Kupid slightly less appealing as a shelf-mounting proposition than they otherwise would be.

Crossover between the drivers is sensibly positioned at around 2.1kHz. Nominal impedance (4 ohms) and sensitivity (83dB) mean that the Kupid will be just a little trickier to drive than the majority of the size- and/or price-comparable rivals.

In theory, at least…

• Features score: 5/5

Dali Kupid review: Sound quality

• Rapid, energetic sound
• Impressive grasp of rhythm
• Unlikely levels of dynamism and punch

You’re entitled to expect certain things from a loudspeaker, no matter how small and/or affordable it is. But there are some things that are not quite so easy to come by when you’re talking about compact, (relatively) inexpensive loudspeaker designs. What’s remarkable about the Dali Kupid is how they manage to deliver everything you expect and a fair bit of what you might only be hoping for.

A listen to a 24bit/96kHz FLAC file of ScubaZ The Vanishing American Family gives a strong flavor of both of these things. The tonal neutrality and even frequency response you are expecting is present and correct, but the dynamism, and low-frequency extension and solidity the Kupid are capable of falls squarely into the ‘unexpected’ category.

Detail levels are decently high, and if they’re sympathetically positioned the Dali are capable of creating a fairly large and quite carefully controlled soundstage. Control of low-frequency activity is good, so rhythmic expression is convincing, and despite the unpromising nature of most of the numbers here, there’s more than enough low-end energy available to ensure there’s weight and punch to the Kupid sound.

The midrange communicates quite freely. There’s plenty of space for the voice during King Hannah’s Big Swimmer to project ahead of the similarly close-mic’d guitar – these speakers can do ‘intimate’ just as readily as they can do ‘animated’. The top of the frequency range, while rounded off just slightly in the name of ‘good taste’, can nevertheless bite and crunch with the best any price-comparable rival can summon.

Momentum levels never dip (provided the recording doesn’t dictate it, of course), but the Dali never sound forced – they’re just pleasantly on the front foot. Yet despite the sort of attitude that begins at ‘exciting’, the Kupid retain the headroom to make big dynamic shifts in volume or intensity perfectly apparent.

Music is meant to be fun, isn’t it? Well, most of the time anyway – I guess we all like to pop on a bit of Elliott Smith or Joy Division every now and then. But if it’s ‘fun’ you’re predominantly after, along with the sort of authenticity that can only come from a well-sorted loudspeaker, the sound of the Dali Kupid is the perfect place for most of us to start.

• Sound quality score: 5/5

Dali Kupid review: Design

• Extensive range of finishes
• Very acceptable build quality
• 245 x 150 x 198mm (HxWxD)

There are a couple of immediately striking things about the Dali Kupid's design. The first is the size of the cabinets – at just 245 x 150 x 198mm (HxWxD) the speakers are almost small enough to perch on a windowsill, let alone a shelf or speaker stand.

The other, if you encounter one of the livelier finishes is, well, the finish. Sure, you can have your Kupid in black, white or the species of fake walnut that my review sample rather disappointingly showed up in, but why would you, when ‘chilly’ blue and ‘golden’ yellow are also available?

As the asking price strongly suggests, there’s nothing special about the materials used here, and at just 2.9kg per speaker they’re not what you might describe as ‘weighty’. But the standard of construction is perfectly sound, and the gently curved cabinet edges offer a slightly more upmarket appearance than the straight-edged alternative that’s more common at this sort of price.

The fact that the grilles attach magnetically, meaning there are no lug-holes in the front baffle of the speaker, only adds to the impression of thoughtful design.

• Design score: 5/5

Dali Kupid review: Setup and usability

• Wall-brackets and rubber feet are provided
• Single-wire speaker terminalsS
• Some running-in required

Where do you want to position your Dali Kupid?

If they’re going on speaker stands, you have plenty of choice from plenty of specialist brands. If you want to put them on a shelf, Dali provides eight little rubber feet in the box to help with decoupling. If you fancy hanging them on the wall, there are rudimentary wall-brackets supplied, too.

As regards setup, there’s really not a lot to it. You have a stereo amplifier, presumably – if not, you’ll need one. Each Kupid has a single pair of speaker cable terminals on the rear of the cabinet – try to keep the lengths of cable you use to connect each one roughly the same length.

And, like all loudspeakers, a period of running-in is required before you hear them at their best. Dali reckons you should expect to put 100 hours on the Kupid before they sound how they’re supposed to sound…

• Setup and usability score: 5/5

Dali Kupid review: Value

The Dali Kupid are by no means your only choice when you’re looking for compact and affordable passive loudspeakers. But they’re more compact than most, which many will find appealing, and the combination of some vibrant finishes and relatively good-looking cabinet-work doesn’t do any harm where perceived value is concerned either.

Best of all, though, and the real deal-sealer, is the energetic and engaging sound these speakers make. Pair them with an affordable streaming amplifier (like the similarly titchy WiiM Amp, for instance), and you can create a compact, high-achieving audio system for a relatively small amount of money. And that means ‘value for money’ all day long in my book.

• Value score: 5/5

Should you buy the Dali Kupid?

Buy them if...

Don't buy them if...

Dali Kupid review: Also consider

How I tested the Dali Kupid

• Connected to a Naim Uniti Star and an A&R Cambridge Audio A60
• Vinyl listening via Technics SL-1300G turntable
• Playing a wide variety of music from a number of different sources

I connected the Dali Kupid to a Naim Uniti Star and also to a ‘vintage’ A&R Cambridge A60 for amplification purposes, and then used the Naim as a network streamer, a Rega Apollo for CD playback and a Technics SL-1300G (via a Leema Elements pre-amp) as a vinyl source.

This allowed me to listen to lots of different types of music from a variety of formats. And, let me tell you, doing so for well over a week, on and off, proved no kind of hardship whatsoever.

First reviewed: December 2025

Read more about how we test at TechRadar

Fluance Ri71: Two-minute review

If you’ve looked into mid-range speakers from Fluance like the Fluance Ri71 powered speakers reviewed here, you’ll see people talk about how they’re good for the price. There have been plenty of caveats and plenty of hedging since, after all, the speakers are manufactured in Taiwan. Never mind that they’re designed in Canada or the fact that, regardless of where they’re from, they’re just good speakers.

Having reviewed these speakers, I can honestly say that the Fluance Ri71 sound great and not just for the price. Yes, they may not quite reach the heights of something from Dali or KEF, but they still have a fairly neutral, detailed sound that works for all genres. The price tag is an added bonus as they’re among the best stereo speakers out there for anyone not wanting to spend over $500.

I do wish there were also USB or USB-C port to connect to a computer and the placement of the volume wheel is not ideal. Though I like the look of a naked speaker (and therefore don’t count it as a negative), they don’t come with a grille for those who care. There’s really not much to complain about here.

Really, the Fluance Ri71 speakers are an easy recommendation for anyone looking for powered bookshelf speakers. And though there’s no spatial audio or surround sound, they work pretty well for TV, too.

Fluance Ri71 review: Price & release date

• Released March, 2025
• Priced $399.99 / £333.32 / AU$620 (approx.)

With a price tag of $399.99 / £333.32 / AU$620 (approx.), the Fluance Ri71 sits right in mid-range territory.

You can certainly find some powered bookshelf speakers for triple the price (and not necessarily triple the performance) – you can also spend quite a bit less. Fluance’s own Ai41 powered speakers come in at $249 (£255, AU$471), but those are smaller with less power and a less refined sound.

The Fluance Ri71 are available in the US and in the UK (via Amazon). Though Fluance maintains a presence on Amazon AUS (for Australia), the Ri71 don’t seem to be available Down Under at this time.

Fluance Ri71 review: Specs

Fluance Ri71 review: Features

• Bluetooth 5.3 with aptX HD and AAC codecs capable of almost lossless streaming
• Included HDMI is ARC-enabled for use with a TV
• No spatial audio or Wi-Fi streaming

Powered bookshelf speakers such as the Fluance Ri7 bridge the gap between a traditional speaker setup and what people want out of a modern sound system. That means there are some great quality-of-life features on hand, while some things a casual listener might expect or hope for are just not here. So, neither spatial audio, surround sound nor Wi-Fi streaming are part of the package, but that’s generally the case with this type of speaker setup and not really a knock against them in my opinion.

What is on hand, however, is a decent amount of connectivity including Bluetooth 5.3 with aptX HD and AAC codecs for close-to lossless streaming. In the past, there’s been a noticeable difference in quality between Bluetooth audio and that sent through a wired signal because the latter doesn’t have to compress the sound. But that’s no longer the case. There’s a small difference but, in my opinion, it’s very hard to notice.

There’s also an HDMI port on hand, meaning these speakers can be used with a TV. The built-in offerings on most TVs generally suck, so having a good pair of speakers is always a welcome upgrade. And while they might not be as feature-filled as some of the best soundbars around the same price tag, they still offer a better stereo soundstage. And (usually) better sound. Since the HDMI connection is ARC-supported, you can control the volume with one remote.

• Features score: 4.5/5

Fluance Ri71 review: Sound quality

• Decent low end without subwoofer
• Impressively detailed high end
• Immersive, if polite-sounding

While you shouldn’t rely too much on a speaker’s frequency range as a gauge of sound quality, the range of 46 Hz - 30 kHz does tell us a few things. At 46Hz, the low end is not all that low, but is comparable to other powered bookshelf speakers, with many having a higher cutoff.

The Fluance Ri71 also has bass ports at the bottom of the speaker cabinet to accentuate what it can reproduce. That means that, while you don’t quite have that very low rumble you might hear in electronic dance music or an action scene in a movie, you still get a well-balanced if slightly restrained bass response. Listening to anything with heavy 808 usage (that deep bass you hear in hip-hop and EDM) is going to lack a little oomph.

On the high end of that aforementioned range, 30kHz is pretty impressive, with that extended high end potentially coming from the AMT tweeters. Either way, that’s much better than the 20kHz range around which many speakers sit. Now, many of us probably can’t hear up to 30kHz but what this extended range, plus the fast response of those tweeters, mean is that there’s not only an immediacy to higher-end sound but a clarity to themtoo.

It’s almost as if someone pulled a blanket off the band I’m listening to and all of sudden I can hear intricacies of the ride and the sweetness of the strings. Or, if you prefer the more boring way of saying it, the music feels less compressed and less filtered.

The midrange feels a little pulled back, which makes everything sound more polite. It can make rock music sound just a little aggressive, for instance. Unfortunately, you can only boost or cut the high or low end.

As far as soundstage goes, the Fluance Ri71 sound good wherever you place them but really benefit from spending the time to actually adjust them to your ears. You’ll know it’s right when you can hear the “center channel” in the middle as if there were a speaker there.

They also do a good job with sound imaging. I feel that I have a solid grasp of where an aural element is in the mix beyond just left, right, and center, which makes the listening experience all the more immersive.

• Sound quality score: 4.5/5

Fluance Ri71 review: Design

• New AMT tweeter is the most unique design choice here
• Unusual placement of controls
• No digital connectivity beyond HDMI

The Fluance Ri71 have a look and general design much like any other active bookshelf speakers. There are two of them standing at about 12 inches (310mm) in height. Each speaker cabinet is fairly rectangular in shape, though they do taper near the back.

And they come in the kind of “looks good in an office” colorways one would expect. Specifically, they’re available in white, walnut, and black. One thing I do appreciate is the fact that the white and black (reviewed here) still have noticeable wood grain. Of course, these are made of MDF wood, but that’s most bookshelf speakers these days for you.

As far as the actual drivers go, each speaker cabinet comes with a 5.25-inch (133.3 mm) woven glass fiber driver and an AMT (air motion transformer) tweeter, along with a long, thin bass port beneath to emphasize the low end. Besides any upgraded internal bracing, the AMT tweeter is the new star of the show. These tweeters are different than the regular tweeters insofar as they offer a faster response and more detail, though placement is a bit more precise.

Since these are powered bookshelf speakers with 120 watts coursing through them via a Class D amp, there are some on-unit controls on the right speaker. There’s a volume wheel on the back at the top, a strange place considering these dials are usually more accessible on the front. You can press the volume wheel to change inputs (an LED indicator on the front changes color depending on the input). Then, there’s a treble and bass wheel on the back along with the power and a Bluetooth pairing button.

Port-wise, I was disappointed to not see any digital connectivity such as USB or USB-C, since I do a lot of my listening through streaming services via my laptop, but it does at least have that aforementioned ARC-supported HDMI, allowing me to change the volume using the TV remote. There’s also the typical RCA inputs as well as a sub-out port.

Because of the placement of the various wheels, the remote is quite handy. Besides power and volume, you can change input, adjust the treble and bass, mute, and turn off the LED on the speaker.

• Design score: 4/5

Fluance Ri71: Setup and usability

• Basically plug and play
• Bluetooth will automatically look to pair
• Placement is important, like any bookshelf speakers

Since the Fluance Ri71 are powered bookshelf speakers, they’re very easy to set up. The active speaker with all the ports goes on the right and the passive one goes on the left. Then you just have to connect the passive speaker to the active with the included speaker wire that’s helpfully color-coded red and white. The tips on each side are soldered solid so you don’t have to worry about little pieces of speaker wire splintering off.

While it would have been even more convenient for the tips to have banana plugs, you just have to insert the appropriate tip in the exposed hole and screw down the top. Keep the colors the same on both sides and it will take less than a minute to connect the two speakers. Then plug in the power cord and turn it on.

From there, you just need to plug in the desired source or connect via Bluetooth – pairing is simple as the speaker will automatically start the process if it’s not already done so – and you’re good to go.

Of course, remember that bookshelf speakers do require a little bit of finesse in their placement for the best sound, but that goes for all bookshelf speakers and is something I’ve covered in another article in greater detail. You want a précis? Basically, just have them an equal distance from each other, and you, with them pointed at you. You're welcome.

• Setup and usability score: 5/5

Fluance Ri71 review: Value

• More than a few alternatives have USB
• HDMI is a bit rarer on bookshelf speakers
• Well-priced, but not a steal

Since the Fluance Ri71 are firmly in mid-range territory, you’ll probably end up comparing them to models from Q Acoustics, Audioengine, and Kanto. Take the Q Acoustics M20 HD for instance, which at $499 is a little pricier yet is considered one of the better affordable powered bookshelf speakers here at TechRadar. It has full, uncompressed sound and has the ability to flip which speaker is left or right. It also comes with a USB port, though lacks an HDMI.

A step up from that, at least financially, is the Kanto Ren, another excellent alternative. It goes for $599 / £599 / €719 and comes with all the connectivity one could want, whether it’s Bluetooth 5.3, HDMI, or USB-C. It also sounds great, with excellent clarity, though its bass can get a little flabby.

The point in comparing the Fluance Ri71 to these other speakers that these are excellent speakers and you’ll be happy with them, if you’re looking to stay under a certain price point. But the ones that are just a little pricier are justifiably so, even if it’s mostly on account of having a special feature or extra port. The Fluance Ri71 are a good price, but they’re not a steal.

• Value score: 4/5

Should you buy the Fluance Ri71?

Buy them if...

Don't buy them if...

Fluance Ri71 review: Also consider

How I tested the Fluance Ri71

• Used regularly for a few weeks
• Listened to all sorts of audio
• Used the various controls and ports

I used the Fluance Ri71 for a few weeks, listening to all sorts of genres of music like hip-hop, EDM, Top 40 pop, rock, and folk to get a better feel for these speakers. They were also tested with some TV shows and computer games. I tested the various controls and ports as well.

I’ve tested a lot of tech gear over the years from laptops to keyboards and speakers, and so have been able to use my expertise towards giving an honest and fair opinion, not to mention a critical eye, to any product I test.

First reviewed: November 2025

Read more about how we test at TechRadar

Edifier MR5: Two-minute review

Active monitor speakers were at one point the near-exclusive haunt of the audio professional, casual listeners leaning more to desktop computer speakers or to hi-fis of their own design. A recent deluge of more accessible, feature-rich monitor designs has attempted to bridge the gap, often at the expense of practical utility to the people they were first designed for – but the Edifier MR5, in my opinion, does a great job at bucking that trend, making them some of the best stereo speakers I've tested recently.

For the low low price of $349.99 / £279.99 (approx AUS$570), you get a delightfully demure set of desktop-friendly speakers that achieve remarkable neutrality, incredible high-end clarity and a satisfying low end that trumps the capabilities of many larger competitors.

This is possible by virtue of Edifier’s smart new three-driver design, incorporating a downward-facing woofer, a bi-ported chassis and a tri-amped, active-crossover architecture. The results speak for their balanced, broad and crystal-clear selves.

There’s a shedload of tech backing up these fundamental smarts too. Digital EQ controls and customization are available via the Edifier ConneX app, including some one-click acoustic tuning options that compensate for corners of your desktop. I feel like these features sometimes get in the way of the MR5’s essential excellence, but that’s just me.

With Bluetooth 6.0, LDAC support for hi-res streaming and four options for analog inputs, it’s understandable that their design budget couldn’t stretch to including the kitchen sink.

Edifier MR5 review: Price and release date

• Released on July 1, 2025
• $349.99 / £279.99 (approx AU$570)

Edifier is a Chinese brand that’s had its mitts in the monitor market for a long time, and has consequently made a reputation for itself as one of the best budget brands going. Its products are often inexpensive and in possession of unusual cheer, particularly for the quality of sound they offer against the MSRP they’re able to pitch their products at.

This pair of active monitors, the MR5, is the latest in the still-quite-new MR series, and every bit an improvement on the prior models with which it shares an umbrella. Against the Edifier MR4, they add dual-device Bluetooth 6.0 connectivity – and, more importantly, a daring new three-way driver design.

The Edifier MR5's price is $349.99 / £279.99, which coverts to roughly AU$570 in Australia although the speakers don't seem to be releasing there.

Between these and the expanded digital control of EQ settings and other features, suffice to say there’s a great deal crammed into these unexpectedly-dinky active monitor speakers. Can they stick the landing, though?

Edifier MR5 review: Specs

Edifier MR5 review: Features

• Three-way active crossover
• Four analog inputs, dual-device Bluetooth 6.0
• App control for voicings and room EQ

The Edifier MR5 monitor speakers are a veritable bag of nifty cross-disciplinary tricks, with features and fripperies that speak to casual listeners, young-buck music producers and burgeoning professionals building a versatile control-room setup.

On the connectivity front, there’s balanced XLR inputs and TRS inputs, plus RCA inputs and a front-facing 3.5mm aux port, for a total of four analogue connectivity options and the absolute elimination of any roadblocks to integrating the MR5 with your studio. Couple this with dual-device Bluetooth 6.0 (and LDAC-supportive) connectivity for ease of passing the digital aux, and you’ve five powerful ways to get what you want out of these – plus a 3.5mm headphone output for quiet-time.

For the pros, there’s the extensive 46Hz - 40kHz frequency range and flat frequency response out of the box, alongside manually-adjustable high- and low-shelf filters for adjusting to the acoustics of your space. Speaking of which, there’s the option for further DSP customization via Bluetooth using the proprietary Edifier ConneX app, including more granular low-cut control, and room compensation algorithms for better performance in reflective spaces.

For everyone else, there’s expressive hi-fi-leaning options for speaker voicings, and digital control of both those voicings and audio playback via the same proprietary app. In short, there’s a boatload to discover – and the discovery doesn’t stop here either. These speakers are also trend-buckingly maximalist with how they approach their core modus operandi.

Smaller bookshelf style monitors like these traditionally have two drivers – a mid-woofer and a tweeter – and use smart chassis design or an optional subwoofer output for low-end coverage. Here, though, Edifier’s somehow managed to squeeze in three drivers in a tri-amped, active-crossover system, comprising a 3.75" mid driver, 1" silk dome tweeter and a side-ported, downward-facing 5” woofer for low-end coverage.

The result is a small set of desktop-friendly active monitor speakers, with an outsized feature-set and a smooth sound output that seriously challenges the demureness of its form – more on which right now, actually.

• Features score: 5/5

Edifier MR5 review: Sound quality

• Controlled bass with body
• Detailed and dimensional high-mid range
• Limited by size, despite smart crossover design

The Edifier MR5 have three distinct voicings you can switch between, at a press of the single knob on the front: ‘Monitor’, ‘Music’, and ‘Customized’. For the uninitiated, ‘Monitor’ mode would attempt as neutral a frequency response as possible, for a clinical representation of sound as recorded. ‘Music’ adds a hi-fi sheen, sculpting the EQ for a more exciting representation, and ‘Customized’, as I’m sure you’ve surmised, is a do-it-yourself mode for saving your personal EQ settings (dialed in via app).

For this review, I spent the vast majority of my time using the ‘Monitor’ voicing. As someone who frequently uses monitor speakers in a professional capacity more so than a personal one, the neutral frequency response is far more useful to me day-to-day. I have some thoughts about the other settings later on, but until then you’re getting my impressions of these monitors at their essential best.

Small caveat for the bargain-seeking audio pros amongst you, too: my listening environment was not that of an acoustically-treated studio control room, and as such my observations should be taken with a pinch of semi-casual salt. It’s a hard line to tread between the exacting expectations of the career-minded and the vibey sensibilities of the rest, and yet it’s a line both this reviewer and these speakers are determined to tread.

Given that unique downward-facing driver design, you might be expecting an avalanche of desk-shaking bass. It is my utmost pleasure to report that no such misrepresentation occurs – at least, unless you push the MR5 to the upper limits of their volume range, at which point you can immediately quell it using the helpfully-named Desktop mode.

Instead, that bold woofer is put to use in delivering body over boom. There’s a little bloom with more outrageously-arranged pieces – Falle Nioke’s Falle Le Le Le features a low end that sounds like it’s already blown the speakers it was blasted through, and even that edgy, crunched-out kick and bass synth is presented with a level of welcome restraint. Distorted, low-tuned guitars a la Greet Death’s Die In Love are full and forceful, to gratifyingly torrential ends.

The ported sides of each speaker give airy movement in the ultra-low end, allowing kicks and thumpy bass guitars to breathe. Unfortunately, despite the clever design principles on display here, you’ll still experience the same limitations imposed by small-form nearfield monitors – namely, a compressed low-middy boxiness at higher volumes, that’s hard to design your way out of even with nifty acoustic tuning options and customizable EQ.

As a probably-intentional byproduct of this restrained approach to bass, the Edifier MR5 are phenomenal midrange communicators. Pile’s Bouncing In Blue, from latest heavy-folk stunner Sunshine And Balance Beams, is a phenomenal showcase of this, primarily through the Biscoff-spread smoothness of Rick Maguire’s drawled voice.

Uneasy, which follows immediately after, is a tactile delight, setting panned staccato guitars and kick-snare-kick-kick-snare percussion against one another with gratifying gusto beneath Maguire’s actually-quite-affected sneer. Indeed, there’s magic in that high-mid and high end, with stunning voice translation and a beautiful reediness in sustained strings and the like.

The MR5’s handling of transients isn’t as cutting or sharp as other speakers, but still reassuringly immediate. At the tippity-top, there’s no bite, spike or scratch, but rather a forthright resolution that puts anything flicky, ticky or indeed scratchy in glorious magic-eye-picture 3D before your ears. Hi-hats, auxiliary snaps, maracas – all presented with a delicate touch and a brilliant sense of in-the-room presence. This impressive soundstaging is a triumph both of the tweeters themselves and the clever acoustic design surrounding them.

Water From Your Eyes’ Playing Classics is one of the driest, most up-front songs going at the moment, and an excellent bellwether for the matter-of-factness these MR5 monitors are capable of. Bluntly-presented digital cymbals, dry DI-ed guitars and sampled-piano melodies make a compelling case for the high-end clarity these are capable of – even if that airy low-end starts to encroach a little.

In ‘Music’ mode, the MR5s add a heaped cup of extra bloom to the low end, along with some characterful contouring that gives a little more hi-fi excitement to proceedings. I get it, particularly for the additional presence it (of course) gives to kicks and hi-hats, but I don’t necessarily love it. With the Customized mode, the graphic EQ makes it easy to select for problem frequencies, but makes vibes-based EQing a tad fiddlier. Nonetheless, EQ moves were expressive enough to give you some control over your ideal outcomes.

• Sound quality score: 4.5/5

Edifier MR5 review: Design

• Extensive connectibility
• Handy, feature-filled companion app
• Digital settings are slow on the uptake

Thanks to the MR5’s prodigious I/O, setting up for analogue playback is about as simple as it could be: plug thingies you have into thingies they’ll fit. Unlike many professional monitor speakers, the MR5 hosts most of its hardware in one speaker, and sends audio to the other using a unique 9-pin connector cable; as such, you only need one plug socket to run the two of them.

Bluetooth connectivity is similarly fuss-free, and much the same as you’ll find anywhere else. A dedicated button on the rear puts the speakers in discovery mode, and connecting is as simple as looking for the good Edifier name on your transmitting device.

Bluetooth control is also how the Edifier ConneX app is able to work its remote-control magic. From the app you can mess with various features, including switching between voicings, acoustic tuning settings, and even selecting which speaker receives left or right channels of audio.

The MR5’s techy maximalism can sometimes get in its own way, though. An over-eager auto-standby can catch you off guard if you pause music for a phone call or a brew – a half-pointless mini-feature that does more to vex than it does to save energy. Thankfully, you can de-activate it using either the encoder knob or the app, rendering this particular gripe half-pointless itself.

Perhaps more vexingly, the customisable EQ settings are communicated through the ConneX app via Bluetooth, and there’s some significant latency between the sliding of a digital fader and a real-terms change in the volume of a given frequency. This latency makes hunting tuning problems a little more difficult and time-consuming than it really ought to be – but, again, if you’re just here for the room compensation, there’s a low-cut knob right there on the back of the speaker.

As for visuals, there’s some understated class to the MR5. The dimpled waveguides around the tweeters add some fun as well as some practical high-end widening; the bronze flourishes on the mid-woofer dustcaps, around the tweeters and via that knurled encoder knob are tasteful, but only just. For my taste, they toe the line between cool and cringe – and toe it all the better in your periphery.

• Design score: 4/5

Edifier MR5 review: Value

• Astonishingly feature-rich for the price
• Signifiers of cheapness few but obvious
• A stunning choice for desktop nearfields

The Edifier MR5 are a truly maximalist affair, and arguably worth every penny on the features front alone. It’s nice to see monitor speakers, particularly at this higher-end-of-cheap price point, not just meeting practical expectations but exceeding them. You can connect to these speakers five different ways, switch between three different sound profiles and control a lot more of its sound and functionality than you might reasonably expect.

Some elements of the MR5’s price point are more obvious than others. For instance, the only part of the speaker with which you actually, actively interface every time you use it is the plastic knob adorning the sole rotary encoder on the front. The encoder itself has a solid and reassuring mechanical feedback, but it’s transmitted through a cheap-feeling tactile surface. It’s a miniscule part of the greater MR5 whole, but nonetheless a shame that this no-brainer of a cost-cutting angle is so necessarily present in, and even central to, the user experience.

I mention this not to dock marks from the MR5, but to highlight just what it’s managed to achieve. That a plastic knob, some delayed EQ adjustment and an optional auto-standby feature constitute the majority of my criticism should tell you everything you need to know about these highly-accessible, multi-disciplinary, pint-sized works of well-priced magic.

I will say that I’m a personal fan of them as an at-home set of trustworthy nearfield monitors. They’re fine mid-field hi-fi operators, but really shine in a desktop or small-office environment, and as a jack-of-all-trades as opposed to a bona fide pro audio solution. For the fine line they tread, this is about as good as it gets.

• Value score: 5/5

Edifier MR5 review: scorecard

Should you buy the Edifier MR5?

Buy them if...

Don't buy them if...

Also consider

How I tested the Edifier MR5

• Tested for five weeks
• Used as monitor speakers in an attic office space,
• Serviced by a Universal Audio Volt 476 audio interface, and by Bluetooth connection
• Predominantly tested using Bandcamp, Spotify, local music files and Reaper sessions

The Edifier MR5 spent their time as the primary listening devices for my office studio setup, as nearfield studio monitors. During my time with them, I streamed music from Spotify and Bandcamp, as well as played music locally from my computer (both high-quality downloads, and works-in-progress on the digital audio workstation Reaper) – all via a Universal Audio Volt 476 interface. I also streamed music from my Samsung Galaxy S23 Ultra smartphone, which also harboured the Edifier ConneX app for testing digital control.

First reviewed: October 2025

Read more about how we test at TechRadar

• Sony's Pulse Elevate speakers have planar magnetic drivers
• Sony acquired audio firm Audeze specifically for this tech
• Planar drivers deliver incredibly dynamic, accurate audio

Life isn't fair, I know this. But as someone whose music listening is mostly desktop-based, I'm jealous of gamers today: why do they get small planar magnetic speakers before audio obsessives like me?

Sony's new Pulse Elevate are the first planar speakers for gaming setups, and promise great specs for modern speakers: low-latency connectivity, noise-cancelling mics, multi-device connections, a built-in battery, and so on.

But according to Sony they also feature something much more interesting: "studio-inspired planar magnetic drivers". That means they've got the same kind of drivers as some of the very best over-ear headphones that require large amounts of money to buy.

These aren't the world's first planar speakers by any means – the Magneplanar entered production in 1969 and its successors are still in production today – but to the best of my knowledge they're the first portable ones. And planar magnetic speakers are a really big deal, because the technology delivers incredibly accurate, lifelike audio.

So how has Sony beaten the big audio brands to the punch?

I think we've seen Sony's planar tech already

The short answer is: Audeze. Sony Interactive Entertainment acquired Audeze in 2023 in order to "strengthen [Sony's] efforts to continue innovating when it comes to the audio experience of PlayStation games". Sony specifically mentioned Audeze's planar magnetic drivers at the time it announced the acquisition.

Audeze doesn't just make planar magnetic headphones. It makes planar magnetic speakerphones too, and those devices use both planar drivers and neural network-based noise cancellation. So perhaps the tech in the new Pulse Elevate speakers was hiding in plain sight all along, albeit in a distinctly non-gaming context.

The Audeze website gives a good overview of its driver tech, which features the firm's Fluxor magnets and nano-scale diaphragms to deliver exceptionally fast performance; together they deliver what Audeze proudly says are "some of the best reviewed [headphones] in the world."

That means the Pulse Elevate could be something special not just for gamers, but for music fans more widely – Audeze's CEO promised TechRadar readers that its tech wouldn't just be limited to PlayStation products, and said: "SIE encourages us to expand these product offerings … This acquisition will only enhance our efforts and provide us with more opportunities in our target markets."

I hope the speakers are as exciting as they appear to be – and that they're just the first in more options. I'd love to see a small planar option among the best Bluetooth speakers, or a beefier option that ranks among the best Wi-Fi speakers, bringing audiophile tech in a compact size.

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Ruark MR1 Mk3: Two minute review

From February 2017 to September 2025 is a fair while for an audio product to stay on the market – so it just goes to show how right Ruark got the predecessor to its new Ruark MR1 Mk3 and what a tough act it has to follow.

Happily, it’s more than up to the task. Slightly larger than the product it replaces and significantly better specified (the MR1 Mk3 can handle everything from aptX HD Bluetooth and vinyl records to 24bit/192kHz hi-res digital audio), this new Ruark is the perfect desktop system. It’s also got great credentials when it comes to TV audio (it’s so much better looking than your average soundbar and can connect via digital optical), and will happily support a fairly extensive system in a small- to medium-sized room.

The Ruark MR1 Mk3 sounds far larger than it looks, and has impressive low-frequency presence that’s complemented by great detail retrieval and an undeniable facility for entertainment. The Ruark can do ‘analysis’ for you as well as any desktop system around, but it doesn’t lose sight of the fact that music is to be enjoyed every bit as much as it is to be admired. Soundstaging is good, dynamic headroom is appreciable, and the frequency response from top to bottom is smoothly even. The MR1 Mk3 sounds admirably consistent no matter which of its inputs you’re using, too.

In short, the Ruark MR1 Mk3 has been worth the wait, and sits firmly in the best stereo speakers on the market. Which is not the same as saying I’d be happy to wait until 2033 or something for the Mk4…

Ruark MR1 Mk3 review: Price and release date

• Released June 2025
• $579 / £399 / AU$899

The Ruark MR1 Mk3 is on sale now, and in the United States it's yours for $579. It goes for £399 in the United Kingdom and AU$899 in Australia.

To be fair to Ruark, that compares quite favourably to the $499 / £349 / AU$749 the MR1 Mk2 launched at back in early 2107, and it means the MR1 Mk3 is, all things considered, even more competitively priced than the model it replaces.

Ruark MR1 Mk3 review: Features

• 25 watts per channel of Class D power
• Bluetooth 5.1 with aptX HD
• Moving magnet phono stage

Ruark has ditched the Class A/B amplification of the MR1 Mk3's predecessor in favour of a Class D alternative derived from its very well-received R410 integrated music system. Power is up from 20 watts per channel to 25, and the driver array (a 20mm silk dome tweeter and 85mm ‘NS+’ treated natural fibre mid/bass driver in each speaker, bolstered by downward-facing bass reflex ports) is good for a claimed frequency response of 50Hz to 22khz.

Input options have undergone an upgrade, too. The MR1 Mk3 uses Bluetooth 5.1 for wireless connectivity, and is compatible with the aptX HD codec. There’s a 3.5mm socket that’s a hybrid optical/analogue input – in digital mode it’s capable of dealing with file resolutions of up to 24bit/192kHz. A USB-C input can handle anything up to 24bit/96kHz. And there’s a moving magnet phono stage behind a pair of stereo RCA sockets, so a record player can easily be integrated into the Ruark system. A pre-out for a subwoofer completes a very agreeable line-up.

Features score: 5/5

Ruark MR1 Mk3 review: Sound quality

• Impressive low-frequency presence
• Detailed and dynamic
• Great sonic consistency across every input

There’s a definite sensation of ‘the Ruark sound’ to the MR1 Mk3, which is great but hardly unexpected. What’s equally impressive, and perhaps less predictable, is just how consistent the Mk3 sounds no matter which of its inputs you’re using.

Obviously there’s an appreciable difference between the sound of Sad and Lonely by Secret Machines being streamed as a 320kbps file via Bluetooth to the same song delivered via the integrated phono stage. But the fundamental Ruark character never wavers: in every circumstance, the sound is bold and punchy, spacious and properly defined, and is loaded with detail both broad and fine. Everyone hopes their tunes will sound ‘musical’ and ‘entertaining’, but the MR1 Mk3 understands and delivers on this better than any price-comparable alternative.

There’s a touch of warmth to the system’s tonality, but this just allows the weighty and nicely varied low frequencies to swing even more naturalistically. Bass sounds are properly controlled, which means rhythmic expression is sure footed – the Ruark is capable of quite startling extension and low-end attack. The midrange is open and revealing, with plenty of detail concerning tone and timbre, especially of voices, revealed. At the top end, the Ruark gives substance to treble sounds just as readily as it gives shine – and here, just as with the rest of the frequency range, detail levels are impressively high.

There’s more than enough dynamic headroom available for the MR1 Mk3 to make the fluctuations in volume and intensity during a listen to Music Has the Right to Children by Boards of Canada obvious. And there’s just as much attention paid to the dynamic variations apparent in a voice or solo instrument, too.

Thanks to the downward-facing reflex ports, the Mk3 always has a fixed boundary the perfect distance away - so it’s not quite as uptight about positioning as some alternative designs. And when you get the positioning just right, stereo focus is enjoyable and the soundstage the system creates is large and confidently defined. There’s plenty of space between individual elements of a recording, but at the same time the Ruark is able to make sure they all relate to each other and all contribute to the singularity of ‘performance’.

Sound quality score: 5/5

Ruark MR1 Mk3 review: Design

• 185 x 135 x 155mm (HxWxD)
• Choice of two finishes
• 2.2kg

Ruark is no stranger to a tidy and attractive bit of cabinet work, and for the MR1 Mk3 it’s done that thing it does, just on a slightly larger scale.

Each Mk3 cabinet is 185 x 135 x 155mm (HxWxD), which is up from the Mk2’s 175 x 130 x 140mm in every direction. It also means internal volume is increased to a useful two liters while the system is still a realistic desktop proposition.

The standard of build and finish is impeccable. Each cabinet is handcrafted, and is almost as appealing on a tactile level as it is on a visual. My review sample is in a real walnut veneer, but a charcoal lacquer alternative is available – both are supplied with fixed slate-grey cloth grilles.

Design score: 5/5

Ruark MR1 Mk3 review: Usability and setup

• Operation via remote control or RotoDial
• 3m braided connecting cable
• Independent gain control for some inputs

There’s not a lot to get your head around when it comes to setting up the MR1 Mk3. The primary speaker – the one with all the inputs and amplification on board – needs to be plugged into the mains. It then needs to be connected to the secondary speaker using the 3m length of braided cable supplied in the box. And that’s about your lot: make any physical connections you might require, and you’re in business.

Control is available via a small and unremarkable remote control – it covers power on/off, volume up/down, and input selection. These functions are duplicated by the classic Ruark RotoDial that’s integrated into the top of the primary speaker and is just as pleasant to use here as it is in any of the company’s other products. And it makes the primary speaker, in fact, 202mm high.

Usability and setup score: 5/5

Ruark MR1 Mk3 review: Value

It’s difficult in the extreme to suggest the Ruark MR1 Mk3 doesn’t represent very decent value for money.

It’s compact enough to be a desktop system, it’s got sufficient sonic scale and presence to work as an alternative to a soundbar via its digital optical or Bluetooth inputs, and it’s ideal as a system for a smaller room. The standard of build and finish is hard to criticize. It looks, as well as sounds, good.

What more, really, are you expecting?

Value score: 5/5

Ruark MR1 Mk3 review: Should you buy it?

Buy it if...

Don't buy it if...

Ruark MR1 Mk3 review: Also consider

Some Bluetooth speakers can form stereo pairs, so something like a couple of JBL Charge 6 could do a job on your desktop, and you’d have a pair of portable speakers for when you’re out and about. The battery-only power scenario might not work for you, though, and there’s only USB-C as an input beyond Bluetooth.

Maybe the Q Acoustics M20 would be a better bet? It’s certainly a great-sounding system, and has sufficient physical, as well as wireless, inputs to be a complete system. It’s large when compared to the Ruark, though – certainly too big for anything but the very largest desktop – and is a little less impressive when it comes to the standard of finish too.

Ruark MR1 Mk3 review: How I tested

• Connected to various devices
• Using every available input
• Lots of music and TV over a fair amount of time

I mostly listened to the MR1 Mk3 on my desktop, where I used an iPhone 14 Pro and a FiiO M15S as wireless sources along with an Apple MacBook Pro connected via USB-C.

I also used it on the end of my main system, where I was able to test out its phono stage using my Clearaudio Concept turntable. And I connected it to my Philips OLED using the TV’s optical output, where it functioned as a replacement for my Bose Smart Ultra soundbar.

I listened to plenty of music and quite a bit of TV content, and made sure to check out the Ruark’s hi-res audio credentials as well as its ability to amplify a turntable and handle a wireless stream.

• First reviewed September 2025
• Read more about how we test

Here at TechRadar, I’ve been able to test a bunch of Bluetooth speakers, from bass-heavy boomboxes all the way through to swell-sounding stage-style speakers. Today, though, I wanted to focus on the smaller models out there – you know, the ones you can easily throw in your bag, take on your travels, or even bring into the bathroom for some shower karaoke.

As a result, I’ve compiled a list covering four of the best small Bluetooth speakers around, those that despite their small size are perfectly capable of serving up stellar sound. Some of the heaviest hitters in the game can be found here. I’m talking Bose, JBL, Sonos… you get the picture.

Of course, sound was a big reason for each model making the list, but I’ve also considered aspects like smart features, looks, portability, and value for money. After all, there’s a lot of competition in the lightweight division of the best Bluetooth speakers market. Anyway, without further ado, let’s get into my top picks.

1. JBL Clip 5

As much as I’m impressed by every model on this list, the JBL Clip 5 might just be my number one overall recommendation. Why? Well its the ultimate intersection of great audio quality, fantastic design, and a low price.

Yes, you can regularly find this exemplary model on sale for less than $60 / £50 / AU$70 – and that’s not even the lowest I’ve seen it for. When you consider its impressively detailed audio presentation, fun-loving color options, and IP67 waterproof rating, that’s simply phenomenal value for money.

The Clip 5’s name comes from the carabiner clip it uses to attach to your backpack, belt buckle, tent… whatever you want, really. For its size, this model can also get pretty loud, and its 12-hour battery life is sure to keep the good vibes going. With Auracast Bluetooth technology, EQ options, and an ultra-compact build, this really is the full package.

Read our full JBL Clip 5 review.

2. Bang & Olufsen Beosound A1 3rd Generation

It's safe to say that premium audio brand Bang & Olufsen knocked it out of the park with its Beosound A1 3rd gen model. In fact, we liked it so much that it earned an elusive five-star rating, and we described it as “magic”. Pretty high praise, right?

So what makes this model so good? Well, it's got the caliber of audio you’d expect from B&O – spacious, punchy, controlled – all the qualities you need for an immersive listen in a small package. It’s a real beauty too, coming in a circular polymer and aluminum casing. Oh, you also get up to 24 hours of playtime, a beautifully engineered control app, and a convenient leather strap.

The catch? Well, you probably saw this coming – it’s the price. See, this one’s expensive for a small model, coming in at $349 / £299 / AU$639. But as we mentioned in our review, the premium materials, stunning build quality, and top-drawer sonic capabilities of this model ensure it still provides plenty of Bang for your buck.

Read our full Bang & Olufsen Beosound A1 3rd Generation review.

3. Bose SoundLink Flex Gen 2

This one’s a real personal pick, as I use the Bose SoundLink Flex Gen 2 pretty much every day to bump my favorite tunes in the shower, while cooking, or just doing the dishes.

Like the Clip 5, it’s IP67-rated, meaning it can be submerged in up to a meter of water for 30 minutes. It’s safe to say I’m never worried about a few splashes of water, then! It’s also got a smooth rubber texture, which means water can be brushed straight off, helping it to compete with some of the best waterproof speakers around.

Beyond waterproofing, I love the Bose SoundLink Flex Gen 2 for its crisp, balanced sound quality, gorgeous design, classy color variants, and companion app compatibility. You get a solid 12-hour battery life, multi-point connectivity, and a handy shortcut button too, so it's equally as practical as it is stylish.

It is a little larger than the Bose SoundLink Micro Gen 2, but we’ve not had a chance to get hands of with that just yet, so I’m sticking the Flex here for the moment. On top of that, I’ve seen the Flex Gen 2 drop to less than $100 / £100 during big sales events, so it can be an absolute steal if you buy when the price is right!

Read our full Bose SoundLink Flex Gen 2 review.

4. Sonos Roam 2

And finally, we have the fantastic Sonos Roam 2. This model brings something to the table that nothing else on this list can offer – Wi-Fi connectivity. That’s right, you can easily play music or podcasts without the need to individually pair to your phone, tablet, or laptop over Bluetooth – just make use of Spotify or Tidal Connect and you’re good to go.

But whether you’re listening over Wi-Fi or Bluetooth, you’ll still be treated to great sound quality on the Roam 2. It’s got a surprisingly broad soundstage, wonderful balance across the frequencies, and plenty of volume.

Beyond sound, we really liked the minimalist look of Sonos’ handheld speaker, as well as its seamless integration with other speakers in the brand’s ecosystem. It’s lightweight, IP67-rated, and easy to control as well, so there really is a lot to like. At the time of writing, I spotted it for less than $180 / £140, so even though it's not cheap, it’s priced pretty fairly for a great-sounding Wi-Fi enabled speaker.

Read our full Sonos Roam 2 review.

So, those are my personal picks for the four best small-sized Bluetooth speakers. Are there any models you think should’ve made the cut? Or perhaps you own and love one of the models listed above? Whatever the case may be, I’d love to hear from you, so make sure to get talking in the comments!

You may also like

• Want truly room-filling sound? Then head on over to our list of the best party speakers
• Or interested in more models that can play music over Wi-Fi? Then check out our guide to the best wireless speakers

• Three models: 10-inch, 12-inch and 15-inch
• 300W, 500W and 650W respectively
• From £599 / $803 / AU$1,229

Elipson has launched three active subwoofers in sizes from 8 to 15 inches. The Premium SUB 10, 12 and 15 are designed to partner with the recently launched Prestige Facet II loudspeakers, but of course they're suitable for any system.

All three models are designed with an internal acoustic guide inside the front-firing bass reflex port, which regulates the airflow generated by the speaker cone's movement.

An internal baffle extends the internal acoustic path and, according to Elipson, ensures smooth, laminar air velocity resulting in dramatically reduced turbulence and acoustic compression, which are often the cause of unwanted port noise and distortion.

Elipson Premium SUB 10, 12 and 15: key features and pricing

All three models share the same design and feature line in L/R inputs and low-level Line Out outputs. Sizes range from 360 × 395 × 442mm for the Premium SUB 10 to 465 × 552 × 534mm for the Premium SUB 15.

The smallest model here, the Premium SUB 10, features a 250mm fiberglass cone and a 300W Class D amplifier. It has a frequency response of 27Hz – 200Hz and weighs 18kg.

Next up there's the 27kg Premium SUB 12. That has a 300mm cone and a whopping 500W Class D amplifier. It goes even lower than the SUB 10, with a frequency response of 22Hz – 200Hz.

And the flagship Premium SUB 15 has a 380mm driver and a 650W Class D amplifier, enabling it to fill even the largest spaces. Its frequency response is from 19Hz to 200Hz and it weighs 41kg.

All three subwoofers are available now, priced at £599 / £799 / £1299 respectively. That's roughly $803 / $1,071 / $1,741, and for Australia, that works out at AU$1,229 / $1,639 / $2,665.

You might also like

• Best stereo speakers 2025: stereo systems for all budgets
• What are the advantages of multiple subwoofers?
• Why AV receivers are still the heart of any good home theater

• Elipson launches Horus 6B bookshelf and Horus 11F active floorstander speakers
• 50W stereo amplification, aptX HD, USB Audio and HDMI ARC
• £399 (about $530 / AU$840) and £899 (about $1,200 / AU$1,880)

French luxury audio brand Elipson has announced two new active speakers in its Horus range: the Horus 6B Active BT bookshelf speaker and the Horus 11F Active BT floorstander.

Both sets of speakers have built-in 50W stereo amplification, a "sophisticated" bass reflex system, 130mm glass fiber-reinforced cellulose pulp bass/mid-range drivers, and 25mm silk dome neodymium tweeters, and they're available in three finishes: light wood / beige, walnut / dark gray, and black / carbon.

Elipson Horus Active BT speakers: key specs and pricing

The Horus 6B Active speakers have a USB Audio connection for PC or Mac offering plug-and-play audio at up to 24-bit/96kHz, and they also have a moving magnet (MM) phono input for your turntable so you can connect it without also needing a pre-amp.

Both sets of speakers also have HDMI ARC for a TV, coaxial and optical inputs (24-bit/192kHz) and Bluetooth 5.0 with aptX HD.

Frequency response is 40Hz to 20,000Hz for the floorstanding Horus 11F Active BT and 55Hz to 22,000Hz for the bookshelf Horus 6B Active BT.

The bookshelf speakers are available now and the floorstanders will go on sale in early October 2025. The recommended retail price is £399 (about $530 / AU$840) for the Horus 6B Active BT and £899 (about $1,200 / AU$1,880) for the Horus 11F Active BT.

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• 4.5-inch woofer with 26mm custom-designed tweeter
• 4-ohm impedence makes them easy to play from any stereo amp

Danish hi-fi company Dali has just announced a new pair of budget stereo bookshelf speakers, and as someone who's been testing the model just above them in the range at home recently, I think these could be very interesting.

The new speakers are called the Dali Kupid, and they're hoping to make you fall in love with their funky color options (as well as more traditional wood finishes), and their promise of detailed, audiophile-pleasing sound for a low price of just £299 (about $400 / AU$625 – no price has been confirmed for the US or Australia at the time of writing).

They sit between the cheapest Dali Spektor 1 bookshelf speakers ($280 / £199 / AU$499) and the impressive Dali Oberon 1 speakers ($600 / £399 / AU$749) – both of which scored five stars from our friends at What Hi-Fi? in their reviews of those products.

I've been using the Dali Oberon 1 at home recently as part of testing a new streaming amp, and they're really quite astounding for the price when it comes to detail and musicality – which means I think these genuinely could be fantastic value.

The Kupid are built with a custom-designed 26mm tweeter paired with a 4.5-inch mid-woofer. While the woofer appears to be very similar to one in the Spektor 1, the combination with a new tweeter and different bass reflex design could produce wider-ranging sound than the Spektor 1.

Though having said that, I should note that the Kupid are rated for slightly less extensive bass frequencies than the Spektor 1 (63Hz for the Kupid and 59Hz for the Spektor) – but spec numbers never tell the whole story with speakers, so I would expect a more full sound from the Kupid when factoring in all elements of the design.

One of the big focuses of the Kupid seems to be making them easy to live with – Dali suggests they should be pretty unfussy to place and get good sound from, and they come with wall brackets in the box as well as rubber feet.

They're also reasonably small, and they can be powered comfortably from 4-ohm amplification, so budget amps should have no problem getting their best sound. Dali says they should sound great quiet as well as loud, so they're suited to a lot of different environments – this is something the Oberon 1 are great at, so I don't doubt it here.

And perhaps coolest of all, they come in five great finishes for different tastes: Black Ash, Walnut, Caramel White, Golden Yellow, and Chilly Blue.

A great way to step up to the detail of bookshelf speakers?

These look like they would pair nicely with something like the Pro-Ject Stereo Box E amp, which costs $349 / £199 and should have enough power for these speakers, plus has Bluetooth built in. That would get you lovely analog audio components from two great hi-fi makers, all in a compact size, plus the convenience of wireless connectivity – all for under £500 total, in the UK.

If you compare to a similar wireless stereo speaker setup – something like a pair of Sonos Era 100 speakers costs only a little less – you'd almost certainly hear a major difference in detail and clarity from the hi-fi system.

With far bigger speaker drivers, more air moved, and more space for powerful components, you'll find that music has a lot more room to express itself than from a smaller system. This usually means you'll get the experience of hearing 'new' elements in songs, or just be able to appreciate them anew with an improved sound profile.

I actually did a comparison listening test recently between a pair of stereo Sonos Era 300 speakers and the Dali Oberon 1 speakers with the new Wiim Amp Ultra powering them – and although the Sonos speakers gave a great account of themselves with the sound dispersal and hefty low-end, the Oberon 1 had a clear edge when it came of mid-range expression, detail across the frequencies, and the handling of complex instrument mixes. Basically, all the things that make you feel really immersed in a song are boosted.

Obviously, we'll have to give these a real test to see if they can do the same at a lower price, but given my recent experience with Dali speakers, and the company's history, I think these look like a good threat to our list of the best stereo speakers.

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• New Moss Green and Sand Shell colors for both wired and wireless ranges
• Also limited-run special edition colors
• From $1,599 / £1,299

When we reviewed (and awarded five sweets stars to) the KEF LS50 Wireless II speakers, we said they were "truly phenomenal" – in fact both the Wireless II and their passive, wired LS50 Meta siblings have garnered a plethora of five-star reviews for their spectacular sound. And now KEF has introduced two new colors for both models, thereby expanding the standard color options to five.

The new hues look quite autumnal to me: Moss Green makes me think of green glass desk lamps, leather chairs and a book-lined study while Sand Shell is more of an open-plan space on a crisp and sunny morning. Both are quite beautiful.

These new colors join the existing range of Carbon Black, Titanium Gray and Mineral White. And KEF also does limited-run special editions in other colors; at the moment that means the bold Crimson Red for the Wireless II and a sober Royal Blue for the LS50 Meta.

KEF LS50 Wireless II and LS50 Meta: key features

The two models have the same curved baffle and clever mid/bass driver with integrated tweeter, but the Wireless II adds built-in amplification, connectivity for TVs and consoles, plus wireless connectivity between the two speakers. That delivers up to 24-bit/96kHz resolution, and if you need even higher performance you can always connect them with the supplied cable to get 24-bit/192kHz.

Each tweeter in the LS50 Wireless II is powered by a 100W class A/B amplifier, which is designed to deliver a “smooth, incredibly detailed treble performance”, while the mid and bass drivers are driven by dedicated 280W class D amplifiers.

As we said in our KEF LS50 Wireless II review, "the LS50 Wireless II stereo speakers continue to provide the phenomenal audio quality offered by their predecessors – and then some."

Prices for the new colors are the same as for the rest of the ranges. For the LS50 Meta that means an RRP of $1,599 / £1,299 (about AU$2,700) per pair, and the LS50 Wireless II have an RRP of $2,999 / £2,199 (about AU$4,575).

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French speaker maker Focal was a very active participant in the recent Audio Advice Live 25 consumer audio show, which took place in Raleigh, North Carolina, from August 1-3. Along with demonstrating a stunning 7.4.4-channel Dolby Atmos home theater system, the company took advantage of the show to make the US debut of its new Focal Diva Mezza Utopia speakers.

Similar to the best wireless speakers, the Diva Mezza Utopia uses a wireless connection to stream music from services like Tidal, Qobuz, and Spotify. But the Focal’s similarities to most other wireless speakers end right there.

The biggest difference is price. While Focal calls the Diva Mezza Utopia a “lifestyle” speaker, at $69,000 (around £51,000 / AU$106,000) for the pair, it is priced stratospherically higher than your typical lifestyle speaker from Sonos, Apple, or Bose.

Another big difference is the resolution of the audio signal that passes between a pair of Diva Mezza Utopias: the system supports a lossless, high-res 24-bit/96kHz wireless connection, and an optional wired speaker interconnect will bump the resolution up to 24-bit/192kHz.

Though it's a “lifestyle” product with all-in-one wireless convenience and a luxurious ivory felt finish to help the 50 x 18 x 24-inch (127 x 46 x 62cm) speakers slot easily into an upscale living space, the Diva Mezza Utopia is designed and engineered like a typical 3-way example of the best stereo speakers.

Its four eight-inch woofers are mated with a 6.5-inch mid-bass driver and a Pure Beryllium ‘M’-shaped inverted dome tweeter. Power is specified at 500 watts per speaker, with separate Naim-designed Class-AB amplifiers used for the tweeter, mid-range, and bass, and separate power supplies used for the tweeter-mid-bass and bass sections.

Along with its Wi-Fi, Bluetooth 5.3, Spotify Connect, and Tidal Connect wireless streaming capabilities, the Diva Mezza Utopia features a range of wired audio input options. There’s HDMI eARC, optical digital, Ethernet, USB, and analog stereo RCA, with that last one also letting you connect one of the best turntables if you pair it with a phono preamp.

Given its wireless, lifestyle-friendly design, most listeners will likely go the streaming route, and the Focal & Naim app lets you stream from the Tidal and Qobuz music services directly within the app, as well as access internet radio stations. The app also features Focal’s ADAPT (Adaptive Acoustic Personal Tuning) technology, which “uses a sophisticated algorithm to calibrate the system to both room acoustics and user preferences,” according to the company.

Focal additionally provides a Zigbee hardware remote for controlling the speakers.

Diva Utopia first, Diva Mezza next

The Diva Mezza Utopia was a no-show at Focal’s scheduled press-only demo due to the speakers being held up in customs, but the company also had its Focal Diva Utopia ($40,000), the Mezza’s smaller, less powerful predecessor, on hand at the show.

Thankfully, the company was able to retrieve its goods from customs the next day and reschedule the demo, but I was glad I had the opportunity to first hear the Diva Utopia before getting the Diva Mezza Utopia treatment.

While Focal’s smaller speaker sounded great, the new wireless flagship had a more open, effortless, and dynamic sound than the original, along with deeper, more powerful bass. Focal leaned heavily on electronic music tracks for its demo, and one track in particular, Bungee Jump by Captain Hook, best showcased the Diva Mezza Utopia's capabilities.

Imaging in particular was fantastic on this track, with the soundstage extending far beyond the physical confines of the speakers themselves. With four 8-inch, separately amped woofers per speaker, the bass was similarly impressive, especially given the large-ish, high-ceilinged room where the demo took place.

With a pair of Diva Mezza Utopias priced around the same as a luxury EV, I won’t be buying them anytime soon. But the dynamic, detailed, full-range hi-res sound I experienced in Focal’s demo was a highlight of Audio Advice Live 25, and it made me desperately want to own these luxury lifestyle speakers.

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During my time at TechRadar I’ve been lucky enough to review some of the best Bluetooth speakers around, but I hadn’t seen many that had truly blown me away in 2025… that was until I tested the Marshall Kilburn III.

This thing is an absolute machine, boasting great features, impeccable audio, and of course, a drop-dead gorgeous design. If you’re on the lookout for a new Bluetooth speaker, this is my top recommendation.

And there’s some strong competition out there. The likes of JBL, Sonos, and Sony offer some top-tier audio companions packed full of battery life, audio talents, and smart design choices. So, I’m going to set out my three top reasons for picking the Marshall Kilburn III over its competitors – let’s get straight into things.

1. A whole lotta battery life

From the first moment I heard the battery life of the Marshall Kilburn III, I was blown away. In fact, I can still barely believe just how meaty it is. Yep, you get 50 hours of playtime from this Bluetooth speaker.

Put simply, that’s an astonishingly long battery life for a speaker in this weight class. 50 hours is the best battery life Marshall has ever offered on a Bluetooth speaker, and more than double as good as that of its predecessor, the Marshall Kilburn II, which could go for up to 20 hours.

In fact, the Kilburn III outclasses just about every rival I’ve tested. Even the excellent JBL Xtreme 4 has a battery life of ‘only’ 30 hours with PlayTime Boost active. Combine that with the Kilburn III’s battery preservation options – like a setting that lowers charging speed if temperature is outside the ideal range – and you’re looking at a true powerhouse.

2. Stellar 360-degree audio

Although I was lucky enough to get an early hands-on with the Kilburn III, I didn’t appreciate just how good the speaker sounded until getting some alone time with it at our music testing space. This really is one of the best-sounding options in its price and size class, boasting phenomenally clear, energetic, and disciplined audio.

What’s especially valuable is the Kilburn III’s 'true' 360-degree stereophonic audio. After placing the speaker in the center of our testing room, I tried listening from all angles, and it was genuinely clear and full-sounding at all times. That’s pretty impressive given it doesn’t have the traditional wraparound design that many 360-degree rivals possess, such as the Ultimate Ears Epicboom, for example.

There’s some smart technology packed into the Kilburn III that ensures not only omni-directional, but also high-calibre audio output. Dynamic loudness tech, for example, automatically adjusts bass, mids, and treble when you adjust the speaker’s volume, helping it to deliver the most detailed, natural-sounding performance possible.

And just generally, this model is capable of handling any genre expertly – it’s not just a rock‘n’roll connoisseur. In fact, one of the first things that struck me about the Kilburn III was its awesome bass, with the pumping low-end of Vitess’s Keep That Groove coming through with incredible impact without any noticeable distortion.

Meanwhile, higher-pitched vocals in ballads, expressive sax in jazz numbers, and wailing electric guitars in heavy rock tracks were all handled with ease during testing, so you can count on the Kilburn III to hit all the right notes.

3. Gorgeous amp-inspired looks

Something that Marshall is brilliant at is ingraining its amp-making history in its consumer-grade audio gear. The Kilburn III is a glowing example of that, combining a beautiful metal speaker grille, tactile control knobs, and a golden Marshall logo.

I wasn’t a huge fan of the white logo and black control panel on the Kilburn II – but this new and improved model feels far more high-end. On top of the aforementioned inclusions, the Kilburn III’s luxurious faux-leather outer casing and sleek handle with a red velvet underside really make it feel premium.

Ultimately, the Marshall Kilburn III is meant to feel like a statement piece in your living space. Sure, it doesn’t have the rugged IP67 and above waterproof rating of rivals like the Bose SoundLink Max, for instance, but it's perfect for use around the home and for outdoor use during nicer weather.

So, have you managed to try out the Marshall Kilburn III yet? Perhaps you're considering picking it up? I'd love to hear any thoughts or answer your questions, so make sure to get chatting in the comments!

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