Deezer has never been backwards about coming forwards regarding the scourge of AI slop infecting our music streaming platforms. Just days ago, the French streaming site announced that over half of all new daily uploads to its site are AI — up from 44% in April and just over 30% at the end of last year. So, things are only getting worse.

Luckily, the platform not only implements its own proprietary filter to find, label and in some cases purge AI tracks from its site; it also recently made the tech available to everyone, irrespective of your chosen streaming platform.

But how was Deezer's own in-house AI filter developed, why is Deezer so keen on tackling AI tracks, and what does the company think the future of music streaming will look like — you know, for actual humans still trying to make it their career?

I spoke with Manuel Moussallam, Deezer's Head of Research, and Jesper Wendel, the company's Head of Communications, to get their takes on all this and more.

Moussallam agreed to speak with me on the morning after the company's summer party, held at a music venue in Paris. As he was "Checking if the hangover is showing on my face", I couldn't help but think it's good to know that proper live gigs and parties still matter to a firm whose success hangs on our love of music.

Identifying an issue (back in 2021)

How long has Deezer's research arm been thinking "Okay, this AI thing is an issue, and we have to do something about it"? Moussallam explains that the site's comprehensive AI filter, now available to anyone who wants it, has been almost five years in the making.

"It all started in scientific conferences back in later 2021 or early 2022, because the generative models that were already working for images and videos were starting to make real progress — like real scientific progress — for music," he says. "That was probably a couple of years before the first commercial services were appearing.

"So, since we participate a lot in these scientific conferences, we saw people from Google and from Meta sharing these foundation models that were starting to work quite well for creating whole pieces of music. Not just snippets of 10 seconds like before, but really whole songs. So I guessed that eventually, if you're able to generate a lot of music, you can also distribute it quite easily — and down the road, it would end up in our catalogs."

"I would say we started working on the project in 2022, first with some complicated methods, because that's unfortunately a reflex for people like me — to try to do AI to capture AI — but then eventually we simplified a lot because we made some mathematical discoveries on how those models work.

"We realized that we didn't actually need a big AI to understand and to detect these pieces. Just by relying on some plain signal processing and mathematical tools, we were able to actually detect these artifacts for most of the models out there.

"Yeah, I think we deployed the first version of the detector in September 2023 — and we communicated the first numbers when we were able to scale it up to the catalog a few months later."

A big problem — and it's only getting worse

I wonder why, given that various rival music streaming sites have implemented 'Transparency Tags' (read: optional AI badges that place the onus on distributors and labels to tell listeners that what they're listening to was not written or performed by a human), Deezer chose to create a comprehensive filter — and then to release it to all? While admirable and commendable, that's a lot of R&D budget on AI, no?

Moussallam laughs. "There are many aspects, but I guess firstly, we did it just because we wanted to see if we were able to do it. On my team, we do a lot of audio analysis. So, knowing was the first motivation."

"But then, I think since Suno, Udio, and all these tools are trained on unlicensed catalogs, I was pretty convinced that eventually we would have to take down all this music, because it would be considered as plagiarism or copyright infringement in some sense — which may be the case if the legal battles end up that way.

"So at some point we thought that, okay, if people agree with us that it's kind of unlawful to train this model with all this music and they ask us to remove all the content from Suno in the catalog, we need to be prepared. We need to be able to do it. So, that was another big motivation.

"It didn't turn out like that — for now — but it may be that one day people tell us, 'OK, everything that was generated with that AI model prior to this date in the future, when people actually have agreements and compensate musicians for their work, all of this needs to be removed'. And we would have to be prepared for that."

Putting information into the hands of people who need to make decisions

I mention that across all of my audio streaming subscriptions (not a flex, I simply review audio kit for a living), I tried the Deezer AI filter, and none of my playlists contained AI, bar one: my Tidal catalog listed 1% AI content — and to know what the pesky tracks are I'd need to switch to Deezer. I ask what the reception has been since the release of the software for all.

"Mostly people are happy with the tool, I think everyone just wants to know," replied Moussallam.

"Ever since we started deploying this detector, we've been talking to major labels, obviously, but also indie labels, sometimes small publishers. All of them just wanted to know. Some of them made some pretty interesting discoveries on how their members were using — or actually not using — these technologies; so overall it's really about putting this information into the hands of people who need to have it to make some decisions.

"Implementing some transparency for our users was also a main motivation for us to flag the content on the website. And then we realized that people had to come to Deezer to check an album, say, to see if it had the label. And we said, 'Okay, we can also create a tool just for you to check — you will see for yourself how contaminated your whole library is on other platforms".

To purge or not to purge, based on AI markers?

Speaking to Moussallam even briefly, it become clear that he's a scientist as well as a musician (among his many accolades is a Master's Degree in Acoustics, Signal processing and Computer science applied to Music, from the Université Pierre et Marie Curie).

So when I ask how this proprietary new filter works to pick out 100% AI-generated content — which I assume is fully text-prompted music — and whether Moussallam and his team are looking to take it further, to stuff that's only 50% AI generated, say, things get more serious.

"It's a very complicated question," Moussallam concedes. "Right now, we can't really say that we only detect fully AI-generated songs, because what we detect is the presence of markers of AI generation in a song, and we detect the strength of these markers in the song.

"When we flag an album, it's because these markers are strong enough for us to be confident that it's been AI generated at some point.

"But we don't know if you wrote the lyrics for yourself, for instance. We also don't know if the song contains very few elements of human creation; that's not something that our detector is able to do right now — but that's the focus of our current research.

"So we really want to be able to boil down to the stem level and be able to make a decision based on a stem by stem case, because obviously we're seeing a lot of hybrid cases, and a lot of artists are also integrating AI tools into their creative process.

"So, these very strong markers of AI, we're starting to see them spread in human creations, and we need to be able to disentangle that from what you mentioned, like purely text-prompted music curation".

Can the markers the filter picks up recognize whether it has flagged an AI vocal, say, or artificially generated instruments — and how about stolen melodies?

"No, no, we can't go that far," admits Moussallam. "I mean, we are working on the stem by stem detection, but right now we detect markers — and we are not so sure where they come from."

He smiles. "I mean, we have ongoing research, but not something that I can publicly share. When it comes to detecting chord progressions or melodic impressions or plagiarism metrics, we are not so interested in that, because it would lead us too far. And I mean, there are so many songs that share only four chords! I think that debate is way, way out of our hands in any case."

What's next at Deezer — and can AI and humans coexist happily in music?

Perhaps surprizingly for someone who's spent nearly five years building the tech to flag and potentially quash AI music tracks, when I ask Moussallam where he thinks Deezer and online music will be in 10 years time — and whether he'd like to see all flagged AI tracks gone from the site — he instead builds a quite compelling case for computation in music.

"Well, the very first piece of music that was written by a computer dates back to 1953 I think, back in the days where computers were actually whole buildings built around them.

"Ever since people built computers, they tried to make music with computers. I think that's the story of the 20th century. I'm confident people are going to make great things with these new creative tools. It enables some stuff, and I guess as long as it's being used by humans to create cool music for other humans to listen to, we are very fine with that.

"What we're really fighting at Deezer is automated music generation, people who script computers to generate songs — I mean thousands of songs — and uploading them in batches to streaming platform to try to overwhelm and flood and basically really replace human creation with automated creation.

"So, I guess I hope music will stay artisan, as we say in French, so something that humans do to have the attention of other humans. That's really what I guess drives our motivation. If the music includes computers, that won't be a such a revolution — computers are fine, numerical instruments are fine — it's just who is using them to create that matters, in the end."

Jesper Wendell is keen to hone in on the fraudulent aspect of AI slop and the payment dilution for for artists, because that's also one of the motivations for stifling the recent development of the AI-in-music game.

"Fraud has always been there, it's just easier now with AI music," he says. "And if you upload thousands of tracks, then you can sort of spread that fraud across more and more tracks — and that's something that we want to get rid of as much as possible".

I mention that from the perspective of the consumer (i.e., me), the key annoyance is tracks making it into our recommended playlists and ultimately usurping streaming royalties — small amounts maybe, but still — which we'd prefer would go to a band that we actually like.

Moussallam emphatically agrees. "That’s really something we wanted to avoid. Anyone listening to AI music without knowing that it's AI music, like just feeding it to people in a recommendation? That's something that was very clear for us from the beginning we wanted to avoid. Because that's an awful feeling, I think for everyone".

Given that Tidal only recently drew its anti-AI line in the sand, Bandcamp's strong and concise stance was set out in January of this year, and Spotify's Verified by Spotify badge certifies that an artist is human but doesn't help filter out the slop from any generated playlists, I think it's safe to say that Deezer is leading the charge here.

Based on Reddit threads I see every day, I think I speak on behalf of thousands of music lovers when I say we're grateful for everything the Deezer team is doing to combat the AI infestation trying to take hold on our streaming sites. Where do we go from here? For now, trust in Moussallam's work.

• Beyerdynamic announces new DT 275 Pro wired headphones designed for use in "challenging" and noisy environments thanks to passive noise reduction
• The have a frequency range from 5Hz to 24kHz, and weigh under 200g, so they're nice and portable — and their 45-ohm impedance means they're easy for devices to drive
• They launch on July 28th 2026, and are priced at £99 (about $131 / AU$188) — as a user of Beyedynamic's more expensive headphones, I'm intrigued

Beyerdynamic has launched a new pair of on-ear headphones designed for audio and video professionals in "challenging" and noisy environments, such as live music venues, location recording and mobile production. The DT 275 Pro promise to deliver professional audio and noise isolation without a premium price tag: they're just £99 (about $131 / AU$188).

I'm a big fan of Beyerdynamics' studio headphones, so much so that they're my go-to for recording, mixing and mastering music (TechRadar's Audio Editor Becky Scarrott loved the Beyerdynamic DT 72 IE earbuds), but I don't have to do any of my music-making things on location or in noisy environments, and these new closed-back headphones have been designed for exactly that.

Beyerdynamic DT 275 Pro: key features and specs

The Beyerdynamic DT 275 Pro have an impedance of 45 ohms, making them easy to drive, and they have a quoted frequency range of 5Hz to 24kHz.

Maximum sound pressure is 125dB SPL, and they reduce ambient noise by a claimed 22dBA thanks to their closed-back, on-ear design.

Despite the slightly chunky appearance, these headphones come in just under 200g, so they should be comfortable for long shifts, and the supplied cable can be attached to the left or right ear cup and locked into place. The cable is 1.5m (4.9 feet).

The rotatable ear cups are made from sweat-resistant leatherette, which makes sense for mobile working — the velvety material used in many of the firm's studio headphone earcups isn't something you'd want to have on your head in the heat of a venue or club.

And key components such as the cup cushions are replaceable so the headphones should remain hygienic and last for a long time.

These are very much a niche product, so if you don't need the isolation and toughness I'd recommend one of the more indoor DT Pro pairs.

But if you need accurate audio when you're out and about, in a venue or on location these look like they'll be just the job — and for far less than you'd expect to pay for pro headphones that I use.

The Beyerdynamic DT 275 Pro will be available from 28 July 2026 with a list price of £99.99 / €119.00 (about $131 / AU$188).

If someone tells you a song is important to them, you should listen to it carefully. Because afterwards, you'll know them better. If they share a song with you, treat it with the kind of care and respect you'd give to a treasured photo or keepsake. It's a window into their very private world. And it is all we really have, in the end.

I knew the songs that were truly important to my mom: Eric Clapton (well, Derek and the Dominos) and Layla; Cream's Strange Brew; Crosby, Stills, Nash & Young's Sanibel (which I can never ever listen to without crying, ever again); Hendrix's Are You Experienced?; Jethro Tull's Aqualung and so many more that were on heavy rotation in the car, whenever she'd drive me to ballet class as a child.

And I knew the musicians she respected: Janis Joplin, Prince ("He's a better musician than anyone gives him credit for, Becky"), The Hollies, Led Zeppelin, Queen, Bowie, Rod Stewart, The Police, Genesis, Springsteen, The Eagles, Fela Kuti (my parents actually met in Nigeria, but that's another story)… it's a long list.

What I didn't know was that my mom had since learned to love Sam Fender, Lewis Capaldi, The Weeknd, Bruno Mars and Ed Sheeran. I only know this because she'd bought their CDs from thrift stores. I even now know a couple of the volunteers from said thrift stores. They worked out who I was from my name, when I went to donate a few things (it's so hard to let anything go when someone dies) and they asked after her.

It turns out that they used to put certain CDs aside, ready for when she came in. And apparently she always bought whatever they recommended — my mom was a kind, giving and inquisitive person.

I also didn't know my mom had an extra cupboard stuffed solely with CDs. The entire back catalogs of The Beatles, Jackson Browne and Jethro Tull weren't a surprise, but Wu-Tang Clan's 1993 epic Enter the Wu-Tang (36 Chambers) was likely a thrift store revelation — I can even see she paid £2 for it — and I love that for her.

I should explain: my mom and I were very close. We also lost my beautiful younger sister in 2021 after an illness (not helped by that whole pandemic thing) which made us cling to each other even more. But I lived and worked in London; she lived a three-hour drive away. Distance is annoying.

You may have guessed that my mom has passed. And you may also have guessed that it was sudden, so I never got the chance to say goodbye. I never got to do it the way you always imagine you'll be able to at the end; to hug her, hold her hand, thank her for being my awesome mom and hear whatever she might want to tell me.

If you're reading this and thinking, 'Me too', I urge you to sit with your person's music for a while. And this is especially pertinent if it's music they kept in their car.

Tangled up in blue

Behold! The car my mom part-exchanged her bigger, sportier Mazda for in 2013. I coated her off for getting an "old lady car" with its "toaster engine" and begged her to reconsider, but the deal was done.

And now that this vehicle has sadly come to me, I made a curious revelation: the CD player I've always known to be in this car wasn't there when she bought it. She must have had it fitted later. How do I know? I found the original central dash column in the spare wardrobe. And she clearly loved this (then) new souped up player, because every available compartment, door and nook in this car is stuffed full of CD books — those ones where you do away with the case for space and fit the holographic discs into the little plastic sleeves.

I love that she did this as a gift to herself and didn't tell anyone. When I first stuck the key in the ignition, Hootie & the Blowfish's Cracked Rear View was playing. We went to see them in the early noughties, at the House of Blues in Florida. I cried for a full hour at the wheel, still in the parking lot. I needed it. Actually, it felt good.

Also in the car was Santana (we saw Carlos et al at the Hammersmith Apollo in 2016), Bon Jovi ('95, Wembley), Bruce Springsteen (Ricoh Arena, Coventry, also 2016) and several CDs I'd burned for her between 2002 and 2005. I always tried to write in a circular fashion with my black Sharpie when I created these discs, to echo the grooves of a record. There's a whole extra feature to be written about the lost art of burning a CD for someone you love, I think.

Oye Como Va

It wasn't just acts we'd seen live taking up the limited space in her car, of course. My mom kept a lot of Bob Dylan around; Blood on the Tracks was clearly the last thing she'd been spinning before switching the disc out for a bit of Hootie — and Traveling Wilburys' Vol. 1 was just below that, in the little cubby hole above the CD player.

In the time since I lost my mom, I've driven this car a lot. I have often driven it at night, when I couldn't sleep. On the road, I belted out the songs I burned for her back when that was a thing you did for people you loved. It was my grief therapy. I shared playlists with her friends and we talked about gigs they'd been to with her. They say it helped them too.

If I couldn't make a decision about what she'd want me to do about things, I put one of her tracks on in the car and found the answer. And it was invariably, "Don't worry about it. Live your life and be free, Becky. I love you".

I hope she knows I love her too. I miss her. And I definitely approve of her taste in music.

Music has always been a non-negotiable in my life. I see now that it was a non-negotiable in my mom's life too. She just showed it quietly and in different ways, because she was a mom to two daughters and that took it out of her.

I truly believe humans need music. We need real music with real lyrics, that actual people had to write down or they couldn't rest. We need the chord progressions that had to get out of their heads and onto a tape. And we need the meaning these tracks take on years down the line — their association with the lives and loves of people close to us.

Old, scratched, starting to struggle; those compact discs are like my mom's little Madza — becoming harder to run. To be honest, I know the feeling. Parts of the car are held together with gaffer tape (aren't we all?). At its last service, the intake of breath over the teeth and slow shake of the mechanic's head seemed a little graver than before.

But I will never sell that car, or the collection of CDs within it. Not that I'd get much for either, anyway.

I have named the car Hidders, short for Hidalgo, after our gypsy heritage. To me it will always be priceless. And somehow, owning the music my mom casually kept in her ever-evolving life gig on wheels has brought me closer to her.

Now that I've listened to every CD that was squirrelled away in Hidders when I got it, I've started taking my sister's old collection of discs in there too, whenever I need to chat with her. Oh yes, we carefully kept her stacks of Erykah Badu, Lauren Hill, Prince, Maxwell, Sinéad O'Connor, D'Angelo, Red Hot Chili Peppers, Beck, Madonna, Black Eyed Peas and more too.

And don't tell me you never talk to people who may or may not physically be there in the car? You should try it, it's great.

Love you, mom and Jo. See you both down the road.

You may not have heard of the Armour Home Group, but you have almost certainly heard of its three hi-fi brands: Q Acoustics, QED, and Goldring. Q Acoustics is one of the masters of great-value value speakers, QED is one of the best-known cable makers, and Goldring is a 120-year-old turntable specialist.

And you may not have heard of its new Managing Director, Charlie Henderson, but you will absolutely have heard of the audio brands he's helped to lead, including Cambridge Audio, Naim, and Jabra.

I've met Henderson before in his roles at Cambridge and Naim, and I was fascinated by how the email I received announcing his appointment promised to focus on expanding the brands "beyond the hi-fi" sector.

I wondered if that meant moving into more 'mainstream' parts of the audio world, and I wasn't sure how that would really work with a brand like QED, so I wanted to find out more — but it turned out that Henderson had something completely different in mind.

He wanted to talk about how the brands can support the return of public listening rooms, how they can engage with the new wave of people getting into hi-fi — and how the hi-fi world can get its "mojo" back.

TechRadar: You said in your introduction at the company that "My goal is to elevate these brands beyond the hi-fi sector and into the broader music community", referring to Q Acoustics, QED, and Goldring. So what do you have in mind?

Charlie Henderson: I have felt for a long time that the hi-fi industry has lost some of its mojo. If we go back to the '50s, '60s, '70s — kind of the essence of British hi-fi in particular — lots of those company founders were either part of rock bands, or they were gigging, or they were visiting live venues, and that's why they got into this industry. So a real love of music was always there.

I think we've seen maybe over the last 10 years or so that it's gone a bit stale. And I think in all the roles I've had in this industry, I've been really keen to make sure that we reboot it. So we talk about our mission as a business, which is to move beyond the hi-fi bubble and become part of music culture — almost as though that's revolutionary, but it's not; it's just going back to what hi-fi was. It was always part of music culture.

But if we think about going around Vienna High End or the Bristol Hi-Fi Show or any of these kinds of events, it's usually less about the music and it's mostly about the equipment and the technology. I think that's a shame. It's not why I'm in this industry; it's not why all the people I tend to find that I'm working with are in this industry.

So that is our mission, and the way we do it is by just being authentic about why we're really here.

TR: It's funny, of all the big tech shows, IFA is the one that has started doing what you're saying, and trying to be a cultural hub as well as a tech show. But really audio is such a kind of tangential part of IFA compared to these music shows that you're talking about.

CH: I remember chatting to a [very respected] hi-fi journalist at the Munich show a couple of years ago, and he just hung out with us. This was in my Cambridge [Audio] days, he just kind of just hung out because he was like, 'Man, at least someone's playing some proper music.'

You walk around the halls and it's Kate Bush and Pink Floyd and Led Zeppelin and all of the usual stuff. Great artists, they're still important musical acts and incredible — but decades have moved on and there's different artists today, you know? People like Fred Again and Ren are my two favorites at the moment, because I think they're British artists who are defining the real musical culture right now. And I haven't heard any Fred Again or Ren at an audio show.

I probably would hear it at IFA, and I think it's because IFA represents companies who understand that they are part of consumer culture. I think the hi-fi industry maybe sometimes thinks that consumer culture is a dirty word. I couldn't disagree more. Knowing who your customer is and what appeals to them and being part of their world, that's our responsibility as manufacturers ultimately.

TR: So what do you see music culture as being in 2026? We're in the middle of one of the most interesting times of audio I can think of, where the new audience who grew up on streaming are coming in and going, ‘I want to move beyond this.’ And that is partly behind the vinyl revival with young people really wanting to actively get into that side — but it's also leading us in the direction of every device having streaming built in or being ‘active’. There are these two arguably separate paths, so where can you ‘meet’ music culture as a company?

CH: There's a little bit of convenience going on here. Active is clearly a future direction for our industry, fueled by convenience and simplicity. I've spent a long time in my career involved in separates hi-fi, and that has a place, but I think even companies who have been focused on that over the last few decades realize that active is the direction of travel. I think that's down to people just wanting a simpler life.

But then there's the ironic flip side of that. We talk about the vinyl revival and analog renaissance and all these things, [including] CDs. I'm using one of my old Motorola phones for my phone because I don't always want to be connected on a smartphone.

But one of my favorite cartoons is [the one that asks] ‘What got you into vinyl? Was it the inconvenience or the expense?’ You know that one? I think the ritual [of playing and choosing vinyl] is really important.

Just for a second, I'm going to kind of dive off into part of how we'll execute our mission. You know, moving into being more a part of music culture isn't just about understanding the music side of it, it's actually how people experience music. I think as an industry, the hi-fi industry has long lamented the question: how do we get people to come in and listen to what music should sound like?

I don't believe [getting people to come to us] is the right answer. Go to where people are listening to music and show them how it could sound. There is a bar culture called the kissa bar culture that came out of Tokyo over the last 20 or so years. It manifests itself in these listening rooms, and you see them at Studio 180 in London, for example. Spotify has just announced its own version of one of these listening rooms as well. That's where music culture is for me.

There was a great article I was reading the other day where it's basically saying listening rooms like that are the new nightclubs. I thought that was super interesting because it's a place where people just assemble, share a passion of music. They might be sipping nice teas or drinking great whiskey or maybe just chatting, you know? It's a place to socialize.

We're seeing this resurgence of gaming, and I mean board gaming. I think that's beautiful, because it's people coming together and escaping the distractions of modern-day technology. It's definitely a younger audience who are doing that because they are sick to the high teeth of everything being online, everything being intangible and losing that connection with friends.

You're seeing it also manifesting in things like running clubs appearing and becoming a huge thing for people in their teens and 20s and early 30s, just craving for human connection.

And I think that is part of music culture. It's human connection. It's why gig tickets are going through the roof again — Glastonbury's selling out faster than ever.

And people really spend more on music, on a hi-fi system or an audio system. They're quite happy with their [premium] Apple Bluetooth products, they're already spending that money. They're dropping £1,000 on Glastonbury tickets and spending all this money on Taylor Swift to get the eight different versions of an album that she releases. They're obsessed by music, but they don't know who to talk to because no one's talking to them.

TR: This might tie back to what your plan is to get out there and interact with people, but the immediate problem that occurs to me with having more of these spaces — and about these spaces becoming more popular even though there's appetite for them — is the general collapse in the ‘third-place’ concept. Places you can go that are not work and that are not home and that are also sustainable businesses. A lot of these places are struggling. Board game cafes have done all right, but you've got maybe one or two per city. They're not like how pubs and bars have been absolutely everywhere in the past. So do you see yourselves opening some of these venues, or supporting them directly in other ways?

CH: I think the pub reference is interesting because we've seen a decline in pubs. We know how many pubs are shutting every week, and nightclubs. I think it's just a different way of people getting together. I'm not surprised that there's only one or two [board game cafes] in a town, because there's probably only ever been one or two nightclubs in a town. Clearly not the same number of people going through [board game cafes as nightclubs], but it's just a place where people can get together.

But just because they're not doing it publicly, doesn't mean they're not doing it at home, you know? We know that vinyl and turntable sales continue to increase year over year over year because people are creating their own environments at home.

In terms of how we execute it, it's by working through our relationships that we have as a team — and that I bring to the business as well in terms of relationships in the music industry and venues within the music industry — and saying ‘how do we support you creating your own listening bar environments’ or being able to [develop] kissa bar culture.

And doing that globally, importantly, as well. We might be based in the UK and proudly British hi-fi brands, but we're a global business, so how do we get a venue in Tokyo, the home of all of this culture? We've had some really good conversations in Vienna just last week about being able to do this in places in Australia, and opportunities in places like New York and across Europe. Spain, Italy and France are way ahead of the UK when it comes to this listening bar culture already.

And then obviously in the UK, our approach will be to support those venues either by equipping them with the right kind of technology to be able to deliver it, or helping people to open them. There's a difference between pop-up events, which are fun for the industry, and actually supporting these venues to be successful in what they're trying to do.

There's an ethical story here. Sometimes people say, ‘So what is it you do as a business? You're making stuff?’ I'm like: no, it's bigger than that. We make products for sure, but they transform people's lives.

It sounds very floaty and you know, almost ephemeral, but it's true: music changes how people feel, so we have a responsibility to make that available to people wherever they want to be. That's kind of our cultural thing, and we'll do that by making sure that the great kit that we make is in the places they want to go to — the two come together.

The outcome is that people realize that [our brands are] actually part of music culture, and therefore we are the people who are signposting who they could listen to great music through, and that's the business upside of it.

TR: So when you talk to these places about what support they need from you, what are they saying?

CH: Support financially. Equipment. There are some which have been really successful with very advanced audio systems, but most locations can't manage that.

We are proudly in the accessible end of the spectrum as a company, particularly around the Q Acoustics range. It's high-quality equipment, but it doesn't cost the Earth, so we can help some of these smaller venues perhaps be part of this movement; we can loan equipment to them, or work with them on [cost]. I think that's probably the practical thing that we'd be able to do.

TR: You’re talking about getting closer to music culture and being a music-listening brand, not a technical brand, if you think of it in those terms. Do you think that's something that separates you from the Chinese hi-fi brands that are exploding in popularity? A lot of them feel quite led by technical people who are able to create pretty incredible products for low prices, but the pitch feels based on technical specs.

CH: I think these brands aren’t that different to traditional hi-fi companies. You know, I've worked in a number of brands where it’s an engineering-led culture — and there's a bit of a transformation that we'll do at Armour Home; there's a degree of engineering-led culture [there].

What has been fun is seeing everything from the engineering teams, but also that our designers saying, ‘Hang on, we could be bolder and braver and less safe and actually be really exciting.’

So I'm already seeing renders for products that will come out in the next 12 to 18 months where I'm like, ‘Yeah, OK, now we're talking’. These are products that really speak to having a sense of style and presence, and really selective decisions around the colors, materials and finishes that we use, and being much closer to interior design. Pantone colors of the year and these similar cultural cues that matter [to people] — just being cool and relevant, that alone is more than maybe the Chinese brands are able to do because they're not attuned to it in quite the same way.

There is a distinction, though. It isn't just British tastes that matter; it's understanding the global tastes as well. So working with our global distributors as well to really get a sense of what is current right now in China or in Australia or in the US, and bringing that as a bit of a mix. Otherwise we fall into the trap I think British hi-fi brands have done in the past where they think everything starts and stops at the English Channel.

TR: Right now, Goldring is really a turntable accessories company that happens to make one turntable [the Goldring GR3]. So, is your plan to expand its reach by offering more turntable models, or are you thinking more about expanding the kind of accessories it makes into phono stages or something else that's not in the range at the moment?

CH: One of my observations when joining the Armour Home Group is that we focus a lot around the Q Acoustics business. And then we have two other businesses within it, which are Goldring and QED. I think that focus is a miss, [and] that's a shame, because we have 120 years this year of history with Goldring. It is one of two of the oldest audio brands in existence, and it has been there at all the defining moments over a century.

Then we have QED, which is 53 years old this year, and it was the brand that started the whole cable revolution from bell wire to proper audio hi-fi grade cables. Something called the Genesis report, which was written by the guys at QED, is still the bible that everyone else has followed ever since.

Q Acoustics has been the new kid on the block a little bit. It's 20 years old this year, so I kind of joke with people in the business that it's not a teenager anymore, we're a grown-up… but we have 120 years of Goldring.

So in the context of your question, Goldring is a beautiful thing for us to have in the family because it allows us to talk about 120 years of history, and iconic decks like the G99 or GL75 with Lenco that were built over the decades. But it's also bang up to date, because vinyl culture is hot.

So we have to do a couple of things. One is to celebrate the past and then also bring things bang up to date in the future. I've had some extraordinary conversations with some of the people I've met in this business, but one of them in particular is a guy called David Giffin.

He's been in the business for 40 years, his father was in the business for 41 years before that, and he was sharing with me this extraordinary scrapbook of all of the sort of cuttings over decades of this business.

That is extraordinary in itself, but he's now the person that people come to from all of the forums going, ‘This is the guy who can rebuild whatever cartridges from around the world’. He's showing me pictures of some Japanese cartridges, like super-esoteric cartridges made out of marble, that he's been tasked with repairing.

So this extraordinary level of skill sits in our Goldring team, and we don't talk about that nearly enough; it's extraordinary. How do we make that manifest itself in the consumer world? We let people know that we have some of the best cartridges, certainly for consistency of performance, that money can buy. We've got everything from entry level right up to Ethos at the top level

You can come to us for turntables too. We have GR3 as a turntable at the moment, and without giving any secrets away, of course we're looking at what more we can do more around that.

But I need to make sure that [a new] turntable is something truly iconic that celebrates 120 years of Goldring, that reminds everybody that this was the brand that started it all, and can sit proudly in a kissa bar environment, celebrated on this plinth, almost like they're shrines. Something that's truly special.

And then at the same time, [should] tie our brands together, so I can use QED technology in the development of that turntable, and I can also make sure we've got Q Acoustic speakers that do service to a turntable with 120 years' worth of history. That’s where some of these new flagship projects that we're working on are really exciting, because the material choices alone are bold.

I talk a lot internally about the thread between the brands. They're not disparate brands. We're incredibly fortunate to have three brands that bring everything together from the source through the connectivity through to the output, and we need to do more of that.

TR: So we should probably expect a cohesive, very premium, very celebratory set of stuff to come from this thinking?

CH: This is where I get kicked under the table by my PR handlers. You should expect a much more bold and confident view as to what we bring to market because I believe we've earned that over many, many, many, many decades.

TR: Are you considering doing something like special edition versions of Q Acoustics speakers that are Goldring-branded or designed? Q Acoustics' design language tends to have friendly, rounded corners, and rounded edges. I look at the GR3 and I see this stark, hard-edged cuboid block. Do you want a set of Q Acoustics speakers that are equally hard-edged and glossy-finished, [and] maybe have the Goldring logo on?

CH: I think it could be that way, or it could be the other way around. You could see a Goldring turntable that leans more into the home-friendly design, or I could see everything elevating to a new design approach as well, sure.

What I can be clearer about is that I think it's important that there are technology linkages where possible across the three brands, and design cues where appropriate across all three as well, without betraying the core design fundamentals of each brand. It's a balancing act.

TR: The biggest missing pieces of your portfolio are the amp and streamer. Is that something you think about expanding into, or do you think the future is more in the combined active speaker route in the Q Acoustics range?

CH: There are two parts to that. We have our core business, and we have our distribution business in the UK, and it’s important to mention that our distribution business is really interesting.

We've got Xgimi at one end in terms of cutting-edge projector technology; we’re just rolling that out with retailers across the UK, and we literally can't keep up with demand.

Almost at the other extreme we've got Grado. Cool as hell, legit New York vibes, super interesting, iconic design. And then in the middle we've got Burson Audio, a head-fi and amp brand.

But there is the missing link [in our brands], which is amplification and streaming. Active speakers definitely support that, clearly, but we have a very successful passive speaker range, and I need to work out how to tackle that. Is that through partnerships? Is that through collaboration with existing manufacturers in the industry, those who are on the same mission as us of understanding that music culture is really important for the industry? Or do we treat it as a distribution opportunity for us in the UK? And I don't have the answer yet, but I know it's important.

TR: QED is surely the hardest brand here to expand beyond the core hi-fi community, unless you take a bit of a left turn. So what is your thinking there? Would you keep QED as a nice ‘glue’ option to connect everything together, or is there some future for QED that goes beyond what it does now?

CH: I would start by saying it’s about re-remembering that QED is the brand that started it all, and helping that awareness grow. There are other brands out there who've established a strong position in the premium and luxury cable sector, but they're all essentially going back to the Genesis report.

We are working on redefining the ranges, I'll put it that way, so you'll see some news coming out of QED fairly soon anyway.

I think connectivity is a question in itself. Cables were the original connection, but now wireless is a connection, and so I'm certainly pondering in my idle moments about whether QED should be in that wireless area. Because it's the modern day glue, and it's interesting you ask the question because it's definitely in my mind.

TR: You alluded to this earlier, but it's the old business study question of asking ‘What do we actually sell? Is it cables or is it connections? And if it's connections, then should we think about something medium than cables in the future?’ Is that the kind of question you're exploring for QED?

CH: Absolutely. And I’m only four weeks in, which is why I'm not giving you clear answers, but I can see that there is a clear consumer understanding among those who know us today that we are the connection. But there are consumers today who don't even know us, they're not being signposted well enough because of the music culture topic we've gone into as to how they listen to music — so they might recognize QED as being the connection, but they're only used to wireless connectivity. And so what do we do with that?

TR: I'm sure you are not going to have anything specific to say on this subject when it comes to products, but it's very relevant to this topic: have you seen the Pro-ject Wireless Box E? They've made this little box that connects directly to the speaker posts on the back of your passive speakers, it plugs into power, and it makes them wireless using the WiiM platform.

CH: I think that's actually quite exciting for our category. A theory I have is that a lot of people are starting to inherit hi-fi, so family members might be getting to an age or passing on, sadly, and people are discovering turntables in the loft. ‘What do I do with this?’

That's interesting for me as well, which is getting people on a journey. One of the companies I worked at was world-famous for understanding the importance of being there at the beginning of someone's journey and being with them for life. It’s a separates company, and it's the upgrade journey that people went on that's really important to me. It's one of the things that I'm talking to the marketing teams about, within the group. It's about making it easier to understand where you start and where you could go.

QED is a perfect example actually, where it's a bit of a maze and really hard to navigate, so making sure that, just from a packaging and a communications point of view, people know where they are on that journey. Are they at the beginning? Are they at our ‘good’, our ‘better’ or our ‘best’ — so they can work out where they could step up through their audio life.

I don't think we have done that enough in our ranges. It's the same with our 3000 series to our 5000 series range, and then up to our Concept portfolio, in Q Acoustics. It's making it really clear about what this [product] does at this level, what you can expect at this [higher] level and what you can expect at this [highest] level. This idea that it's always a little itch that's not quite scratched; it could always get better.

TR: One of the entry points that I think we're seeing a lot of at the moment is desktop speakers. You guys have compact speakers, bookshelf speakers that are pretty small — but in particular, there's this kind of breakout sector right now that’s one step down in size from there. Quite often wireless or active, but designed for people who are getting into the audiophile stage via their desktop. Based on what you were just saying, are you guys exploring more of these opportunities where there is some breakout sector where you can say ‘OK, this is where we can get people on board in our journey’?

CH: I'm gonna half answer that. We have three different bookshelves in our 3000 series and the same in the 5000 series, and those are to meet the needs of three different kinds of bookshelf customer. Some of them are international, like the 3030c, because they’re the bigger of the lot and the US buyers like a larger volume for the cabinet.

The 3010 and 5010 are our small footprint version. They are used in home offices a lot, but I think there are new audiences coming through. There's gaming, and there are younger consumers who might be in flat shares or whatever that need something smaller. So yes, we are watching that part of the industry very closely.

TR: We’ve talked a lot about music, and that's kind of clearly where your focus is as far as building a new identity and the opportunities. But Q Acoustics has such a successful history in the home theater space; it was one of the earliest pioneers of soundbars and soundbases, but left that area really right as it was exploding — though exploding with entries from the likes of LG and Samsung. At the moment, there's no a product in that area; is that something you could see the brand getting back into, or do you want to focus on that music side?

CH: So there is a crossover. Being part of music culture doesn't mean it's exclusive to other elements of it, and I think home entertainment and AV is still very much part of that culture of entertainment. And it is important to us strategically; we still have products in the range that allow us to satisfy a lot of those needs. We have a range of subwoofers from entry through to high performance.

In terms of the soundbar category, it’s quite a scary category. It's very hard to compete with free, and the TV manufacturers will offer a soundbar as free, or give a retailer the latitude to offer it for free to close a TV sale.

I've been actively involved in some products in that space in the past, and I've seen how successful they can be if they are designed really well.

I'm dancing around an answer to say: no plans at the moment. It is a category that I look at with curiosity, but I'm not sure if it's the absolute priority yet. Surround sound, yes — but soundbar, I'm not sure yet.

TR: In surround sound, what we’re seeing there is, again, a lot of people who are ready to step up, in the same way as we talked about people in hi-fi wanting to move up in the journey. One of the key trends happening in home theater right now is the move to wireless surround systems. Do you think that is a route you can see Q Acoustics going down? It's a complicated technical thing to deal with, but I feel like it's something that any company in the space right now needs to reckon with.

CH: So we've definitely got the capabilities to develop solutions in that space. An area we haven't talked about is install, and I think there is a bigger opportunity actually about making install an option for homeowners. We have a branch of products that we call ‘easy install’ — the name says it all, you know, super easy for the average DIYer through to electricians to install. I see that there's probably a future for much more there, in terms of in-ceiling speakers and maybe some satellite speakers to create this environment.

There's a whole tangent we could go down about whether Atmos has gained momentum. I think for me, it's still a ‘watch and see’.

But I think the idea of in-ceiling or in-wall speakers and satellite speakers, and maybe some floorstanders or bookshelves as an option, and them all working together, that's interesting — and I think wireless within that environment is really interesting. And by ‘interesting’ that means ‘yes, I'm considering that’.

The ‘easy install’ stuff is super interesting though for us, because we've all been in this industry a long time. We've seen that installation systems are seen as complex and scary and difficult and expensive. You need a server-mounted system and you need specialisms and you need lots of complexity and disruption to your home… it isn't like that anymore. I've been really blown away.

My wife doesn't know this yet, but I'm going to switch stuff out in our house, because I've suddenly realized how easy it is. Q Acoustics has a thing called the E300a, which is essentially a built-in amplifier and streaming modules in a down-lighter-like size. Wire it up to a couple of in-ceiling speakers, you've got a system ready to go. It couldn't be easier. Voice controlled, so you can say ‘Alexa play BBC 6 Music’ or whatever.

I don't think people realize they can do this yet generally, and that they can do it themselves on a weekend, or they can get their local electrician to come and pop it in, because it's easy. And we're trying to support the electrician channel to do more of that. Maybe that's more interesting than the soundbars on their own.

Let's get nerdyish for a second. HDMI ARC I think is really, really important. Thank God for it, because I think particularly if you're earlier on in your [hi-fi] journey, you have to make some compromises, but you can enjoy hi-fi quality sound through an HDMI ARC interface and it'll still be part of a pseudo AV system.

Sure, it's compromised because you're not going to get the bells and whistles coming from all around — Titanic isn't going to sound quite the same — but it's going to sound beautiful when you listen to music. In that kind of relationship between ‘is it music’ or ‘is it audiovisual’, I think it’s entertainment as a whole, and finding the best of both worlds. HDMI ARC has been a savior.

TR: There's also the element where, if people go to [the] Reddit home theater community for their advice on whether to buy a soundbar, or which is the right soundbar, what they will get is a lot of people saying that they should actually get a stereo setup. There are people who say this will always be better than any soundbar, and you guys do have that option in your active speakers.

CH: That's what I mean; you can get the best of both worlds. That stereo presence though is always going to be better; that’s the point, isn't it, because you're not compromised by [having] the bar in the middle.

TR: So finally, what is the holistic brand proposition you want to offer from Armour Home? If you're addressing what you want all of your brands to do at once, and you’ve got this idea of how you can integrate with the community, what do you want people to think about Q Acoustics and QED and Goldring in combination?

CH: I want people to see that there is a relationship between all three brands that takes us from the origins of the audio experience right up to the modern day. That there is some confidence in those brands, that we understand the legacy that they bring, and that Q Acoustics kind of brings that freshness to it as well.

That we can bring those technologies together more, so there's more integration there and the design and feel about them having a relationship closer together as well. So rather than Armor Home as a parent company being a collection of brands, Armor Home is the home of source through to the output.

And that we've got a vibe as well, that we're not passive, forgive the pun, in this industry — that we recognize that it's about the hairs on your arms. It isn't just about the engineering.

It's just about having a shared passion and experience and being visible to everybody in the places that they enjoy being. This idea of ‘we'll come to you, you don't need to come to us because we are the same as you’.

Nothing Ear (3a): Two-minute review

Sometimes, reviews are written with a heavy heart, and this is exactly that. I've championed Nothing's affordable "(a)" earbuds for well over two years — with the updated pink set for 2026 appearing to be right up my strasse. But all is not as it first appears.

The issues don't concern their cost. Like before, they come in at just under $100 and are therefore a candidate for our best budget earbuds guide.

Bizarrely, for the review star rating, I also have very few bones to pick with audio quality, which is still best pals with LDAC and now with Bluetooth 6.0 for a stronger connection. I recommend you tweak the sound profile from the box, mind — it's overly bassy by default — but that's hardly unheard of for earbuds at this level, and it can be rectified with a little effort.

It would have been lovely if Nothing had allowed its special sonic tests (for personalised EQ profile curation done by Nothing's software, rather than you tweaking sliders or blobs yourself) to be made available here, but the company has clearly decided that its three-minute hearing test is flagship only — although there is a new "Advanced" 8-band EQ tab with "Q factor" (more on this later).

What of the comfort levels and overall build quality? Here you get everything you'd expect of Nothing: rock-solid, colorful, and with just a couple of new flourishes to enjoy. Battery life has taken a knock, but that might possibly be down to having to work a bigger driver.

So what's the main problem? Actually there are two: Call Recording and Audio Snapshot (sometimes referred to as Audio Capture in Nothing's extensive marketing). Nobody asked for these features and, honestly, they're not the USP I wanted — even as a journalist who interviews people regularly.

None of the best noise-cancelling earbuds we recommend come with these features, but that's hardly a problem in itself. Such tech exists in the world, obviously; I point you to the Viaim RecDot, for example. But the Viaim's buds publicise their raison d'etre; there's a visible "record" button on the case, a light for in-person meetings, and a business-class $249.99 / £185 price tag. That's not the case with Nothing's version, where a surreptitious squeeze of the stem kicks off audio capture of your current call (or whatsapp voice note) in a set of buds that otherwise seem to scream "I'm a bit of fun!"

As with the RecDot, Nothing offers tech to transcribe your recordings (and not just on its own phones, either) — to a point. You get three months of its Pro Transcription service for free, with 120 minutes to use each month. And after the trial? Nothing tells me official pricing hasn't yet been finalised, but will be decided in August. If it was hard to recommend such a package before, it's even harder now when one doesn't know how much it will cost.

I can't help but feel that Nothing has taken a wrong turn here. I'd much rather have seen fan-favorite features such as personalised sound profiles and/or wireless charging rather than in-call recording. Some TechRadar team members have suggested I make like Elsa and just Let It Go, but in a year when consumer tech already feels uncomfortably intrusive (Meta, I'm looking at you with those smart glasses), adding call and voice note recording feels like a step too far. It's important to question where these features are taking us.

At $99 / £99 / AU$179, the price is definitely right. I'm just not sure the feature set is…

Nothing Ear (3a) review: Price & release date

• Released on July 7, 2026
• Priced $99 / £99 / AU$179, same as the 2024 Ear (a) (AU$10 more in AU)

The Nothing Ear (3a) cost the same as their predecessor, priced at $99 / £99 in the US and UK, and AU$10 more in Australia at AU$179.

Although the name might suggest otherwise, these are the direct successors to the excellent, five-star Nothing Ear (a) from 2024 – there was never a Nothing Ear (1a) or Nothing Ear (2a). They also slot nicely alongside the still-current but more expensive Nothing Ear (3), with the shared 3 denoting that they're part of the same generation.

The Ear (a) are some of the best budget earbuds I've ever had the pleasure of testing, and I'd looked forward to their update ever since word was out that it was coming.

Key rivals to the Nothing Ear (3a) include the Apple AirPods 4, which offer gesture control alongside a few other iPhone-exclusive features, or, for a little less, the five-star Cambridge Audio Melomania A100. If you're tempted by open earbuds instead, the Huawei FreeArc or even clip-style SoundPEATS Clip1 can both be picked up for less than the Nothing Ear (3a) right now, making them excellent-value alternatives.

Nothing Ear (3a) review: Specs

Nothing Ear (3a) review: Features

• Bluetooth 6.0 (15m range) with LDAC support
• Improved ANC (cancellation up to 45 dB, effective to 5 kHz)
• Pinch stems for Call Recording/Audio Snapshot, no Nothing phone required

It would be easy to say, "Look, you don't like the cutesy branding of Nothing's new 'Audio Snapshot' offering? Don't use it — there's still plenty to like for $99!" but let's dig in to see why the take is not so simple.

Firstly, we should get granular on what Audio Snapshot and Call Recording do, and what they cannot do. I mentioned above that as a journalist, I regularly record interviews, often over Zoom, Google Meet or even Microsoft Teams. When set up as an interview, my subjects usually take it as a given that I will be recording — and where I reside in the UK, it is legal to record calls, even without consent from the other party. I still always ask.

In the US, however, the laws on recording phone calls are different, varying from state to state. For calls crossing state lines, the stricter 'two party consent' law (as per the Federal Wiretap Act) applies, where both parties on a call must consent to a recording.

So what is Nothing doing about it? In its reviewers' guide, the company says it "aligns with internationally recognised privacy standards ISO 27001, ISO 27701 and EN 18031". To this end, during setup, the Nothing X app also displays a short tutorial reminding users to obtain permission before recording calls — as shown below.

Interestingly, on a traditional phone call made in the UK, the "prompt" Nothing promises will be played to everyone on the call is a simple beep. On Google Meet, a female voice announces "This call will be recorded in 3, 2, 1", presumably so anyone not OK with that can scream "Oh no you don't!". From smartphone to smartphone, there's no vocal.

Thanks to the Nothing Ear (3a)'s 32MB of onboard storage, you can start recording with just a pinch of the stems, storing up to two hours of audio on the earbuds themselves. You can also record and transcribe voice notes from apps such as Instagram or WhatsApp — and from August, Nothing says it will add summaries of call recordings, speaker identification and the ability to create calendar reminders based on what was discussed.

What these earbuds can't do is record conversations that take place around you, or indeed your own voice. So, thankfully, there's no scope for eavesdropping around the water cooler.

However, my thoughts on this are clear— I'm not wholly OK with it. It puts the onus on buyers to adhere to laws, and opens the door for flouting rules of consent. I tried muting my mics to see whether the beep could be silenced, but it still plays for the person on the other end of the call to signal that recording has begun. Nevertheless, I think I've made my concerns around this feature clear.

Elsewhere, you get Bluetooth v6.0 and LDAC support for hi-res audio (the Sony-developed codec that lets you stream high-resolution audio up to 32-bit/96kHz over Bluetooth at up to 990kbps, if your device supports it and the file is up to scratch). While the predecessor did also include the latter, it remains a valuable inclusion here.

There's also onboard spatial audio, albeit of the "static" variety rather than head-tracked spatial audio that keeps the sound anchored to your source device as you move your head. It adds a little extra depth and height to the presentation, but for me, the effect is decidedly light-touch compared to what you get from pricier earbuds.

Note that you don't get the Ear (3)'s splendid personalized hearing tests, or the useful "walkie-talkie" Super Mic. That said, there's in-ear detection (to pause music when you remove the buds and resume it when they're in), a low-lag toggle for gaming, seamless pairing, multipoint to two devices, an ear-tip fit test and a Find My Earbuds feature, which emits a rattlesnake-style sound from whichever bud you're trying to locate, to help you find it.

Nothing's Transparency mode is decent. It's a little warm, but it still delivers a more three-dimensional presentation than many buds at this level. I could hear the placement of the TV, voices in my home and a dog outside, rather than all of these sounds appearing tinny, omnipresent and seemingly on top of one another.

When deploying ANC (rather than "Transparency" or "Off"), you can once again select from High, Mid, Low, and Adaptive noise-nixing profiles. High is decent: Nothing tells me performance is up to 45dB (effective to 5 kHz), which equates to a 17.1% improvement compared to the Ear (a), thanks to a software upgrade and improved architecture regarding where the mic sits.

The issue in 2026 is the existence of the AirPods Pro 3 and Bose QuietComfort Ultra Earbuds (Gen 2). Although it would be unfair to compare like for like, owing to the chasm in pricing, you can get better if you're willing to pay for it. That said, the ANC here is no slouch, giving a fairly clean, largely uninterrupted and issue-free neutral background for my music.

If you have a Nothing Phone, the Nothing X app and the ChatGPT app, then you can once again you can also access ChatGPT access via the Ear (3a)'s stem; simply squeeze and talk.

The new EQ tab is now an eight-band offering (up from three in the older buds), as well as the more basic audio splodge Nothing made its own — and which I rather like since it reminds me of Nura True Pro's visual depictions, rather than a mixing desk. You also get five presets in the Advanced tab, and four in the Simple tab — but you can create your custom EQ using whichever system you prefer.

And I think you'll need to get familiar with these, as I'm about to explain…

• Features score: 4 / 5

Nothing Ear (3a) review: Sound quality

• LDAC support represents value
• Fun, V-shaped sound — if a little quiet
• A little bass-heavy from the box, but you can fix it

As was the case with their siblings, it would be wrong of me to knock Nothing Ear (3a) in the sonic department for this money. The sound quality is easily worthy of the outlay.

That said, there are a few points to bring to your attention.

Those with a Sony or Samsung smartphone (I used a Sony Xperia) will find much to celebrate in LDAC music streaming. In My Chemical Romance's The Ghost of You, guitars snake from my left to right ear in a cohesive mix — with Gerard Way's vocal central, petulant and every bit as emotive as I remember it in the mid-noughties.

Even when I stream Apple Music songs from my iPhone, the Nothing Ear (3a) offer ample width as my playlist continues to Thank You For the Venom and the intro guitars find a spacious home in my left ear. There's room around every stem in the mix to shine, but they're all held properly in check, even in this fast-paced and challenging song.

It's a little bass-heavy at times, though. Fleetwood Mac's The Chain is a good test of a regimented low-end, and alongside the kick-drums, I did lose just a little of Stevie Nicks, Christine McVie, and Lindsey Buckingham in that glorious upper harmony through the chorus. It seems to be Nothing's modus operandi to offer a bassy listen generally, and while I did find that the new Advanced EQ tab helped, I think the enhanced low-end went a little far here.

Nothing offers a "Q Factor" in addition to what you've just tweaked in the 8-band tab, to control the width or sharpness of your adjustment. So, imagine it as a "quality factor" (because that is what it stands for), where the number you select between 0.1 and 10 determines how wide or narrow of a frequency range is boosted or cut — all of this specific to your chosen frequency. Selecting a low Q Factor will generate a wider, more gentle curve to your adjustment, where a high Q Factor will make the change narrower, steeper and more effective around that specific frequency augmentation (or reduction).

I eased off the bass and selected a Q Factor of 3.2, but you must of course play with these things yourself — and sadly, Nothing hasn't included its hearing tests here, to check how perceptive your ears are within this particular tuning.

For dynamics and nuance, the Nothing Ear (3a) are perhaps a shade less engaging and arresting than I'm used to, owing to their volume. Once criticism often levelled at Nothing's budget earbuds is they don't go especially loud, and I frequently found myself listening above 50% volume. Also, since battery life is measured at that volume, it did mean the quoted "4.5-hour battery life with ANC deployed" claims although bang on, were still disappointing.

• Sound quality score: 4 / 5

Nothing Ear (3a) review: Design

• Curvier case
• That 1mm bigger driver is sucks up power
• And the battery life isn't great

Hold the Nothing Ear (3a) earpieces and case next to their older Nothing Ear (a) and you'll certainly struggle in a game of spot the difference. There's the color, obviously — also available in black, white and a slightly different yellow to the hue I love in this older set — and the 50% curvier case. There's also a trio of LEDs on the case that deliver a total of six status indications for battery status, pairing status, charging levels and so on.

For further tweaks, we have to look deeper.

The driver is now 12mm rather than 11mm and features an "aerospace-grade diaphragm". You also get an extra set of ear-tips in the box, four in total, and although the XS will appeal to owners of small ears, the actual earpieces here aren't tiny, despite being lighter in weight than Ear (a), at 4.53g versus 4.8g. The actual design of the tips has been finessed, too: they're a little thicker and more flared across the outer wall. I found the buds very secure, if a little big to accommodate comfortably over my small-ish ears over the course of long listening sessions.

I've said it before now and I'll say it again: I think we've reached a point of diminishing — perhaps even negative — returns when it comes to ever-larger earbud drivers. Every new release seems to tout a bigger driver without adding weight, as if bigger automatically means better. But where does it end? 13mm drivers? 15mm drivers? To my ears, the Ear (3a)'s 1mm larger driver hasn't negatively impacted the sound, but I don wonder if it's contributed to sthe shorter battery life. In my briefing, I was told the buds themselves would last 10 hours — but that turned out not to be the case.

While the battery in each earpiece — along with the larger driver and onboard 16MB flash drive — works hard to power the buds, it's only good for up to 6 hours without ANC, or 4.5 hours with ANC turned on. And remember, I had to pump the volume up higher than 50%, which the level at which those measurements are typically taken. With the case, you'll get up to 25 hours with ANC off, or up to 18 hours with it on.

None of these stats is much to write home about. Take Nothing's own Ear (a), which offered up to 9.5 hours of playback on a single charge with ANC off, and about 5.5 hours with ANC on. Now, consider the very inexpensive Cambridge Melomania A100, which offer 11 hours per charge or up to 39 hours with the case, along with aptX Lossless. I know which I'd rather take on long road-trips…

Again, Nothing's pinch-to-control stems return here, and while volume controls aren't enabled by default, you can assign them in the Nothing X app — provided you're happy to sacrifice another shortcut in the process.

While I'm here, a quick note on call-handling. It's absolutely clear and clean as a whistle, thanks to the 3 MEMS mics per bud.

• Design score: 4 / 5

Nothing Ear (3a) review: Value

• Still very good-looking earbuds
• Decent ANC; not so great for stamina
• LDAC adds value, but call-recording (for me, at least) is a no

Before now, I've always championed Nothing's "(a)" buds — and while the basics in the (3a) are fine, there are a few issues that are hard to ignore.

The Call Recording feature is top of the list here. More than any technical limitation, it's the privacy implications that concern me. Much as seeing someone wearing smart glasses now makes me wonder whether I'm being recorded, these earbuds leave me asking why someone might want to capture our conversations. I appreciate that some readers may see this as an overreaction, but it's a genuine concern for me, informed by my own experiences as a woman and former dancer who had to deal with overly familiar fans.

I think the audio quality here is perfectly acceptable for $99 / £99, but the stamina and feature set can be bettered. Even in the open earbuds market, I'd happily direct you to the cheaper Huawei FreeArc or SoundPEATS Clip1 over these earbuds.

• Value score: 4 / 5

Should I buy the Nothing Ear (3a)?

Nothing Ear (3a) scores

Solid generally, but with battery concerns and a potentially problematic call recording 'feature'

Features

4

Sound Quality

4

Design

4

Battery Life

2.5

Noise Cancellation

4.5

Value

4

Overall

4

012345

Group 1 Data

Product	Features ()	Sound Quality ()	Design ()	Battery Life ()	Noise Cancellation ()	Value ()	Overall ()
Nothing Ear (3a)	4	4	4	2.5	4.5	4	4

Buy them if...

Don't buy them if...

Nothing Ear (3a) review: Also consider

How I tested the Nothing Ear (3a)

• Tested for two weeks, listened against the Ear (a), Bose QuietComfort Ultra Earbuds (Gen 2), Technics EAH-AZ100 and AirPods 4
• Listened in the office, walking along a beach, on a train into London, into Central London and at home
• Listened to Tidal Masters, Apple Music Lossless tracks and Spotify on an iPhone 15 Pro, MacBook Pro and Sony Xperia smartphone

The Nothing Ear (3a) became my primary musical companions for well over two weeks — after a 48-hour run-in period.

They accompanied me to work (walking brusquely to our Paddington office and on the London Underground to various press events) and even walking on a beach at sunset.

To assess comfort levels, ANC and battery life claims, I followed TechRadar's meticulous methodology testing and found much of note — including slightly disappointing stamina.

To check the audio quality across the frequencies, I listened for several hours to my own reference playlists on Apple Music and Tidal, alongside TechRadar's reference tracks, plus podcasts and movies. Additionally, I wore them to watch YouTube tutorials from my MacBook Pro.

I’ve been testing audio products for well over seven years, full-time. As a dancer, aerialist and musical theater performer in another life, sound quality, fit, and user experience have always been a priority for me, but having heard how wonderful ANC can be when done well, I know what I'm listening to here, too.

Read more about how we test earbuds at TechRadar

• First reviewed: July 2026

Shokz OpenDots Air: Two-minute review

I've long pointed to the flagship Shokz OpenDots One as the best open earbuds in the clip-style category, so I'll admit that I watched the release of the brand's budget-grade option with trepidation.

All too often, a brand's wallet-friendly earbuds tend to fit poorly, cut too many features, completely miss the mark sonically, or launch at a price point that doesn't make sense. But I'm happy to report that the Shokz OpenDots Air side-step those issues.

In fact, for most buyers, this pair just makes so much more sense than its sibling, the Shokz OpenDots 2. That's despite the set you're here to read about being an inferior model, on paper.

Like the numbered OpenDots, the Air uses dual 11.8mm drivers; you're only going to be able to hear a difference in sound quality if you really need Dolby Atmos or some of the unique Shokz features (which, I'm guessing, most people don't).

The OpenDots Air take a largely similar design too, which means they're just as reliable in your ear on long runs or gym sessions. Now and then, I did find them to pinch a little, which I take to be the fault of a few design tweaks, but it was nothing that stopped me using them.

There's more: the battery life is great, the carry case is nice and small and the connection was reliable. But some carry-overs are a little less desirable: like other OpenDots, the touch controls are finicky to use. And while Shokz offered some of the best-sounding open earbuds last year, the Air (and 2) launch to a much more competitive market.

What sets the OpenDots Air apart from the 2-suffixed set, making them a better buy, is the price; you can get them for roughly 25% less. For most buyers, I'd say that you should save your money and buy the Air... unless any of the other fantastic cuff-style buds (which typically do undercut any of Shokz' options) pique your interest.

After all, the Shokz premium is still in play, even with its more affordable buds.

Shokz OpenDots Air review: Price and release date

• Launched on June 4, 2026
• Sells for $129.95 / £129.99 / AU$219
• Cheaper alternative to OpenDots 2

The Shokz OpenDots Air were released on June 4, 2026, alongside the OpenDots 2. That was about 10 months after the original OpenDots One became available.

You can buy the earbuds for $129.95 / £129.99 / AU$219, so they're markedly cheaper than the $199.95 / £179.99 / AU$339 OpenDots 2. The original OpenDots One also went for that price, though a year on they're easy to find at around $150 / £150 / AU$239 (and even less during sales).

Note also the flagship Shokz OpenFit Pro, (more 'traditional' shell-like open earbuds) which include noise reduction and launched in January 2026, at the significant cost of $249.95 / £219 / AU$399.

I'll continue to refer to the OpenDots Air as affordable cuff-style buds, but that's only in comparison to the OpenDots 2 and the other Shokz options listed above. Remember, Shokz is a class-leader in this category, and you pay for that. You can easily find great alternatives for even cheaper (we've even listed a few at the bottom of this review).

Shokz OpenDots Air review: Specs

Shokz OpenDots Air review: Features

• You'll get 9 hours of listening; 36 with case
• EQ has four presets, 5-band custom mode
• App is pretty light on features

You're getting 9 hours of battery life with the Shokz OpenDots Air; at least, that's the cited listening time, and from my testing, I have no cause to doubt it. That's a hair below the OpenDots One / 2's 10 hours, but the difference is negligible, and it's still a solid battery life.

The case rounds that figure up to 36 hours of listening, including recharges. That's more in line with industry standards.

As with most open earbuds, there's no noise cancellation here. It's a shame, because Shokz is one of the few companies to offer ANC-adjacent tech in open-ears (the OpenFit Pro have 'noise reduction', but we tested it and it's the same thing), and I find it's even more useful in earbuds of the like.

While the OpenDots Air aren't as featured-packed as many other earbuds, downloading the Shokz app lets you play around with what there is.

Possibly the best reason to download the app is the equalizer; there are four presets (standard, vocal enhancement, bass enhancement and an audio leakage reduction mode), as well as a simplistic five-band custom EQ which lets you create your own mix.

The app also lets you turn on Multipoint Pairing, change what the touch controls do, turn on (or off) microphone noise cancellation in calls, and turn on (or off) wear detection.

Admittedly, the list is a little svelte. Beyond review purposes, I only opened the app a single time, and that was to double-check I hadn't accidentally turned gesture controls off (I hadn't, more on that later).

• Features score: 3.5/5

Shokz OpenDots Air review: Design

• Svelte carry case
• Attractive blue marbled design
• Not designed to stick in the ear

They ain’t called clip-on buds for nothing – the OpenDots Air are clip-shaped earbuds with a C-shaped band joining a rounded earbud with an ovoid counterweight. The 'dot' goes in your ear-well, the 'egg' sits just behind it, looping around the lower part of the helix.

The earbuds weigh 6.3g each, with silicone and plastic making up the casework of the earpiece. I tested them at the gym, on cycles and on runs (and in other, less-intensive settings) and never had a fit issue; that’s a benefit of this form factor, and I’ve never had a wobbly clipper.

However I did find that the Air could pinch a little during longer wear sessions, and I was surprised by the relief I felt at removing them after an hour-plus run. On the topic of criticisms, the buds technically have touch controls, but I could barely get them to pick up my touch. You have to be incredibly precise to find the right spot, and I quickly gave up on using them. At this level, it's not a deal-breaker in this type of design (at least not yet), but it's my job to notice.

You can buy the earbuds in black or purple, a choice which carries over to the charging case. They’re IP55 protected, which means they’re safe from dust and jets of water, but you shouldn’t take them swimming.

The charging case is lighter than most I’ve seen, tipping the scales to the tune of 37.3g — that’s without the buds, and you’re looking at a total package that’s under 50g. It’s nice and small too, and I really appreciate case like this that’s lightweight and portable like this: it disappeared in my pockets with no problem.

The simplicity extends to the ports and buttons; you’re getting a USB-C port but no wireless charging, unlike the OpenDots 2, and intriguingly no Bluetooth pairing override. I don’t recall the last time I saw an earbud case without this ‘hope-you-don’t-need-it’ feature, but Shokz apparently thinks you don’t need it at all.

• Design score: 4.5/5

Shokz OpenDots Air: Sound quality

• Dual 11.8mm drivers
• Well-defined treble and bass
• Some premium features missing

Shokz has found an audio set-up it likes and has stuck with it. As with the OpenDots One and OpenDots 2, the OpenDots Air have two custom 11.8mm drivers providing the music. The company is coy on what each of these drivers are actually handling, but I’m guessing at least one is tuned towards low-end, given how much "Bassphere" is mentioned in marketing.

(What’s Bassphere? Um, a marketing word, by the sounds of it, and Shokz is quite light on specifics. I've done my due journalistic diligence in trying to dig through the fluff to get granular on Bassphere, but have been unsuccessful. It seems to be what the company refers to as its two-driver system.)

The OpenDots Air do miss some features of their pricier stablemates. There’s no Dolby Atmos tuning, for one, and it lacks a few other Shokz-designed features, including MirrorPitch (which aims the sound into your ear) and Bassphere 2.0 (like 1.0, but designed to reduce distortion which could arise from the two-driver system).

Okay, I’ve been dancing around the topic; how do the Shokz OpenDots Air actually sound? They’re rather good, for open-ears — they’re not quite on par with the higher-end OpenDots, or some varied rivals, but I enjoyed listening to music with them.

It’s clear to my ear that one of the drivers is dialled into the low end, giving bass a clear scooping distinction that’s often missing in open-ears. Songs like Brian Kelley’s Beach Cowboy or Kasabian’s Superpowers offer clean low-end that sit comfortably below higher-frequency sounds, without blowing it out.

The lack of support for better-than-vanilla codecs such as LDAC, or seemingly any higher-quality streaming, means audiophiles might not find these an enjoyable listen. I can’t pretend they’re on par with ‘standard’ in-ear earbuds costing this much, including ones which are geared towards sports users. But for fitness-first listeners who need their ear canals free to hear traffic, they’re all you need.

Naturally, when you’re out and about, the bass will struggle a little bit — it has a harder time cutting through surrounding noise than treble does. That’s par for the course for this kind of earbud, but it bears repeating for those not familiar with the form factor.

• Sound quality: 4/5

Shokz OpenDots Air review: Value

• Great value for money compared to Shokz roster
• Other cufflinks undercut these

If you’re comparing the OpenDots Air solely to the OpenDots 2, they're great value: you’re basically getting the same earbuds for a sizeable discount. I see the Air being the better buy for most people, out of the two.

But when you look at the wider earbuds market, my recommendation gets a bit more muted. I’ve tested plenty of pairs of clip-style earbuds that hover at, or below, the £/$100 mark, which perform basically the same as the OpenDots Air do. If you’re not married to buying Shokz buds, then you’ll find a few different money-saving alternatives below.

• Value: 4/5

Should I buy the Shokz OpenDots Air?

Buy them if…

Don’t buy them if…

Shokz OpenDots Air review: Also consider

The open earbuds market is incredibly competitive. Here are some others that I've tested and would recommend.

How I tested the Shokz OpenDots Air

• Tested for one month
• Paired with Android phone for Spotify, streaming and games
• Used during multiple kinds of activities

I used the Shokz OpenDots Air for roughly a month to write this review. This ensured they underwent some extensive testing.

This testing included countless runs, several cycles, many gym sessions, loads of walks around my neighborhood, plays on various kinds of public transport, a house move, and a trip to a surf town during a holiday.

During this time, the buds were paired to my Android smartphone. They got most of their use through Spotify, but I also used them for calls, watching some YouTube videos and playing games.

I've tested gadgets for TechRadar since early 2019. Since that time I've reviewed countless earbuds, including loads of open-style ones and the Shokz OpenDots One.

• First reviewed in July 2026

• Read TechRadar's reviews guarantee

• Spotify is rumored to launch its own song ID tool
• Changes in the Android app were spotted, with references to 'Identify a song’, ‘listening’, and ‘analyzing’
• It could add a level of convenience when adding identified songs to a playlist, just like Apple Music's Shazam shortcut

There’s one thing that Spotify has over Apple Music, and that’s music discovery features, though the latter service has the edge when it comes to music recognition — but that could all change soon.

In a recent investigation from Android Authority, the outlet found lines of code in the latest version of the Spotify app which suggest the platform is working on its own song identification feature. Though this has only been found in Spotify’s Android app, we wouldn’t rule out the possibility of it launching on iOS.

As it is with every rumor, we’re taking this with a pinch of salt until more information surfaces, but Android Authority’s findings present some pretty convincing evidence, showing text that reads ‘Identify a song’, ‘listening’, and ‘analyzing’. It seems the feature will need access to your device’s microphone, and will display pop-ups when a song can’t be identified.

Essentially, it sounds like Spotify is developing its own in-house version of Shazam, which could act as a band-aid for many music fans out there who, like myself, rely on third-party music-recognition software to put titles to songs.

When Apple bought Shazam in 2018, it thrust the music-recognition platform right into the iOS experience. Instead of needing to use the standalone Shazam app, you can add the ‘Recognize Music’ tab to your iOS Control Center for easier access, and Shazam will be right there at your fingertips.

It also works wonders for quickly adding songs to your Apple Music library. When you Shazam a song, a pop-up reading ‘Add to Apple Music?’ appears and all of your tracks will be sent to your library. Until now, this level of convenience wasn't available for Spotify users.

Since Apple took ownership of Shazam, Apple Music and its users have greatly benefited, but listeners who use Spotify, Tidal, and the rest of the best music streaming services have been missing out. Not all was lost however; last year Shazam rolled out a feature where each song you identified using the app would be automatically added to a special playlist in your Spotify account titled ‘My Shazam Tracks’.

I have to say, this small but effective feature has become one of my most-used tools for keeping tabs on new music, but if you Shazam quite a lot of songs from different genres, it creates a very messy-looking playlist.

Even after my Shazamed songs have been added to ‘My Shazam Tracks’, I still go back into the playlist to individually move songs into my other playlists — which is why a native Spotify song ID tool would go a long way, and would be even better if you can add it to your iOS Control Center.

Just think about it: you’re out and about and a song starts playing which you know you’ve definitely heard before, but can’t remember for the life of you what it’s called or who sings it. A simple swipe down to the Control Center and a tap of a button gives you the song title in seconds, and then it directs you to your Spotify Library where you can add your recently-discovered song to a specific playlist.

We’ve reached out to Spotify for a comment, who replied with the following:

"We're always exploring ways to improve our product and deliver more value to users, but we don't comment on speculation around possible new features and don't have anything new to share at this time".

Listen up, music fans: the best streaming service in the world* just got even better.

I'm talking, of course, about Qobuz — the French streamer that we consider to be the best music streaming service for high-res audio and which has just rolled out a bunch of updates that fix some of its biggest problems.

And, to be clear, it did have a few. While Qobuz is without question the best music streamer if you care more about audio quality than anything else (and are you really a music lover if you don't?), it has traditionally lagged behind the likes of Spotify when it comes to user experience and features.

This update brings a bunch of nice quality-of-life changes that make it a slicker, easier platform to use, as well as adding some sorely missed features that most of us have come to expect these days — for instance, lyrics.

Let's dig in.

* According to me, not TechRadar as a whole

Fixing a hole

There were two big things that jumped out to me when I switched from Spotify to Qobuz in late 2025.

One was the incredible leap in audio quality; oh my word, you have not lived until you've heard Wilco's Yankee Hotel Foxtrot in glorious 24-bit / 192kHz quality on a decent hi-fi.

The second was how bare bones the app experience was. Spotify is many things, and not all of them good, but its app is generally a joy to use. In contrast, the Qobuz interface felt distinctly lacking, as if so much effort had gone into making the music sound good that they hadn't spent much time making it look good too.

This new update changes that as follows:

1. The Qobuz player has a fresh new look

The first change is on the face of it a relatively superficial one: the player that displays when you're listening to music has been redesigned. However, I'd actually rate this as pretty consequential.

For instance, the player now changes color to match the artwork of whatever you're listening to. Who cares? Well, me. Immersion is a massive part of the music-listening experience, and opening the app to see that its background is of a similar hue to the album art helps to keep you in the mood. After all, if you're listening to Joy Division or The Cure, you don't want a bright yellow sunny screen to snap you out of your intentional gloom.

There's more to the overhaul than just the colors, though. The fact that the player stays visible during navigation is appreciated, while the split-screen tablet mode — which I haven't tried yet — promises to make multi-tasking easier still.

2. You now get lyrics!

This is a big one. I've been on the Qobuz Beta for several months and so have had access to lyrics on the app for a while — and frankly, I can't imagine (musical) life without them. After all, there's only so many times you can listen to Total Football by Parquet Courts before you really, really need to know whether he's genuinely saying something rude about Tom Brady at the end. (He is.)

It is fairly astonishing that it's taken this long for Qobuz to add lyrics to the service, admittedly, but better late than never eh?

The lyrics also scroll as the song is playing, with the current line highlighted, and there's even translation of foreign-language lyrics via single button press.

One caveat: your experience may differ depending on what you listen to. My tastes are geared more towards the relatively obscure alternative rock side of things, and some of my favorite tunes either don't have lyrics at all or don't have the fancy scrolling-and-highlighting-and-translating options. But hopefully the catalogue will expand over time.

3. There's a new Explore section

One of the big differences between Spotify and Qobuz is in how rarely the latter service tries to persuade you what to listen to. In many ways this is a plus point; for all of its supposed algorithmic expertise, Spotify never really knew me too well. And I definitely didn't need to be told that I should be listening to some high-energy party playlist just because it was a Friday, thank you very much.

Qobuz's new Explore section shows how it should be done. Simply click the icon when listening to any song and you'll be shown an excellent overview of related content: albums by the artist, playlists that feature them, magazine articles about them (yes, Qobuz has a built-in magazine), more from the same label, similar artists, similar releases, and genre classics.

It's a one-stop-shop for music you might well want to listen to next, and its contextual nature really lifts it above the competition and makes it far more useful than most.

4. You can easily go deeper

Want more than what the Explore section offers? You can go deeper still by clicking the Info icon. This already existed on Qobuz, serving up credits for the musicians on the track and the label behind it. But it's now been expanded to give easy access to an artist bio, label bio, info about the audio quality and the ability to follow artist and label.

5. The queue finally makes (some) sense

Qobuz's queue feature was definitely not its strongest point in the past, although many of the criticisms I've seen aimed at it are based entirely on the fact that it doesn't work exactly like Spotify's; not worse, it's just slightly different.

Anyway, it's another area that's received a freshening up here: it's easier to see what's coming up next, you can easily add or remove tracks from the queue with a swipe, you can reorder by dragging and dropping. Simple things, but things that make it slicker to use and so are welcome all the same.

What's next?

Qobuz probably still has some work to do on the user-experience front if it wants to convert more people from Spotify, Apple Music and Tidal. The desktop apps lack some of the enhanced features now found in the mobile versions, for instance, and I still have some major frustrations around playlists in particular — not least the 2,000 track limit that has broken some of my favorite collections.

But that's for the future. For now, I can rejoice in the fact that the gap between Qobuz's audio chops and its user experience has been sharply narrowed. If you love music I recommend you give your ears a gift and try it out.

The new Qobuz features are available now on the service's iOS and Android apps for mobile and tablet.

On the hunt for a pair of headphones that will deliver satisfying sound without clearing out your bank account? Good affordable headphones are tricky to come by, but they do exist — you just need to know where to look.

Here at TechRadar, we test dozens of pairs of headphones every year, and in amongst them we've unearthed some wallet-friendly wonders. I asked TechRadar's audio specialists which headphones they'd recommend to buyers on a budget, and rounded up their suggestions for this article.

If it's true wireless in-ears you're after, you'd struggle to do better than the Nothing Ear (a) buds, which Audio Editor Becky Scarrott awarded a perfect five stars, calling them "a resounding home run" for the British startup and praising the noise cancellation, sound quality and battery life in particular. In the over-ear arena, Becky loves the CMF Pro. In her tests, she was impressed with the "superb" sound quality, and pleasantly surprised to discover "the sort of... personal sound profile curation [we're] more used to seeing in headphones much higher up the food chain".

Read on for more budget-maximizing buys — and hit the 'View details' button for a summary of what we thought of them in our tests, plus links to the full reviews.

Top cheap earbuds and headphones

• Galaxy Unpacked 2026 was Buds-less
• A new report tips an end-of-year announcement
• Perhaps announced alongside tablets and FE (or 'Fan Edition') devices

Samsung's latest product launch event, Galaxy Unpacked 2026, was uneventful. Well, uneventful for audio fans; there were three foldable phones, two smartwatches and some all-seeing glasses... but where were the much-rumored Galaxy Buds Able?

This is a new pair of open earbuds, which we'd heard would be released alongside the foldables (it didn't). So where are they?

Well, shortly before Galaxy Unpacked, we may have heard our answer. According to a Korean publication called Electronic Times, which commonly reports on industry news, the Able are coming much later in the year.

The report states that the buds will release in 'Q4', though separately says September or October (September is Q3). Either way, expect them later in the year.

That could see the buds come alongside new tablets, or new FE smartphones or earbuds, all of which we're expecting to see before Santa's visit in December.

UnAble to launch?

According to the report, Samsung delayed the launch of the Galaxy Buds Able, implying they were originally meant to release alongside the Folds and Flips.

They're said to be delayed so that Samsung could evaluate "the product's quality and launch timing". The latter point is fair enough; the Galaxy Buds 4 haven't been on shelves for long.

The latter point also implies that Samsung doesn't think the Able is 'there' yet, and that's also fair enough; open earbuds — especially the even newer ear-cuff or clipping kind — aren't as easy as normal buds. The fit and audio architecture is a lot more important, and brands need to figure out a way to ensure audio quality isn't lost as the music is beamed from the buds to your ear.

To compete with big rivals from Shokz and Bose, the Galaxy Buds Able need to be top-quality, and I imagine Samsung won't launch anything until it can hit that bar.

So essentially, pencil in a rough 'September or October' date in your calendar for these new earbuds — and keep following our news coverage. As we know, so shall you.

• Someone used an AirPod to record flying disc throw statistics
• Tested with throws of up to 45mph and no damage
• Strava-friendly export for dedicated disc throwers

One of Apple's most famous adverts opened with "Here's to the crazy ones. The misfits. The rebels. The troublemakers. The round pegs in the square holes. The ones who see things differently." The text didn't explicitly say "here's to the ones sticking AirPods on frisbees", but I think Steve Jobs would have approved of the Redditor who's done exactly that.

Pavlo Sharhan, aka Disastrous-Body-297, has invented a use for AirPods that I'm pretty sure nobody at Apple ever considered. He used them to upgrade a standard frisbee and to stream real-time data. It can even export sessions to the Strava app.

Airpods can track frisbee throws from r/airpods

Why upgrading a frisbee with AirPods isn't completely crazy

As the intrepid inventor explains: "The AirPod streams motion data to the phone and detects/analyses throws in real time. With optional voice feedback into the second AirPod. It measures speed, revolutions, airborne time, throw count. It also measures heartrate (either with latest AirPods or external HR)."

You can try it for yourself: the app is the sports metrics app Kinapod, which the creator says is currently going through Apple's approval process. The AirPod is literally just put through a hole created in the dead center of the disc. Sharhan says "Just punch a hole in the center of the disc and that’s it! You’ll be surprised how reliable it is. The AirPod stem is not entirely cylindrical, it doesn’t slide out."

The result is a lot of data: average speed, maximum spin, total airborne time, and more.

There's a market for that kind of information: as one Redditor, lenfantsuave, joke posts, "Tech disc: I will never financially recover from this." Tech Disc is a company that makes a range of launch monitors for disc golf priced at $299.99, which track multiple metrics and flight paths in order to help players improve their game, and someone from the firm joined in the online conversation to praise Sharhan's ingenuity.

Sharhan's tracker is very much a "fun thing" rather than a serious setup, not least because expensive earbuds aren't the most cost-effective gyro sensors to attach to a frisbee; the risk of damage or destruction is clearly pretty high, although the AirPods have survived so far.

Sharhan is currently chatting with Redditors on forums such as r/discgolf about alternative and more affordable ways of collating data. And in the meantime, the AirPod/Frisbee combination made me and other Redditors happy: "This is very rad," says claybythebay9, while GrandMasterFlex reckons, and I'm including to agree, that "this is sick as hell".

As Apple's ad put it, "while some may see them as the crazy ones, we see genius." Or as SilverMelodyPrincess says in the Reddit thread: "Apple accidentally made the most over-engineered frisbee stat tracker and I'm here for it."

The original version of this story used Sharhan's old screen name rather than his real name, so we've updated it.

• Spotify has rolled out its first music video charts playlist
• It's part of the platform's steady expansion of its music video ecosystem
• Spotify is once again battling YouTube, but it's not close competition

Music videos in Spotify are becoming one of the most popular ways to engage in digital music streaming — now the service is expanding its video ecosystem in another attempt to one-up YouTube.

For the first time, Spotify is bringing music videos to its Charts hub with the launch of Music Video Charts Global, a new top 50 playlist of the most streamed videos. Additionally, the platform has also rolled out a new Videos for You editorial playlist, which offers personalized music video recommendations based on your streaming habits.

Music Video Charts Global rolled out on July 21, and is already playing a big role in Spotify’s gradual expansion of its video content. Recently, Spotify altered the video uploading process for musicians, allowing them to upload their own videos directly through Spotify for Artists instead of going through their label and distributor to do so.

Artists can also pitch videos to Spotify’s editorial team to give them a better chance to feature in playlists such as Best New Videos, Live Performances, and Today's Top Videos.

If you were like me and spent most of your youth scouring through music TV channels before they were sadly phased out, Spotify’s new music video charts might evoke a sense of nostalgia — but the platform is doing it in a way that’s designed for the streaming era.

Music Video Charts Global ranks the top 50 videos around the world based on daily music video streams, refreshing daily at 6pm ET / 11pm GMT / 8am AEST (the next day). Spotify also shared that it will spotlight the top 10 music videos across its social media channels every Tuesday — but there’s another reason why the best music streaming service is doubling down on its commitment to music videos.

Even though Spotify is trying to emulate these channels, a form of music consumption that once shaped listening habits, the platform is backing its music video expansion with data linked directly to streaming.

In an email sent to us, Spotify shared “After streaming a video on Spotify, listeners stream that song 64% more over the next three weeks, are 1.4x more likely to save it, share it, or add it to a playlist, and go on to stream the rest of that artist's catalog 57% more”.

For Spotify, its new ecosystem does more than lead to higher fan engagement and video views — it also gives artists an opportunity to boost audio streams. This is beneficial for both fans and artists, but as someone who doesn’t use Spotify for music videos I see this as just another way for it to compete with YouTube.

The Spotify-YouTube battle continues

Spotify has been playing catch up to YouTube ever since it rolled out music videos in 2024. Although there are users out there who do use Spotify for videos, and the platform has the numbers to support it, I’m just not one of those people. As soon as the music TV channels went bust, it was YouTube that filled the void for me, and it’s been that way ever since.

However, Spotify knows it can’t just build a music video ecosystem and hope that YouTube users will flock to it, it has to offer something extra — which is why it’s taken advantage of early releases. For example, artists like Taylor Swift and BTS have each released music videos to Spotify as exclusive content before uploading the videos to YouTube in the days after. This is where Spotify has the upper-hand.

Because Spotify is centered around music and audio streaming, it’s more likely that artists will gravitate towards the company when it comes to exclusive partnerships. Though YouTube has its own music platform, its standard video player houses content across countless genres from web series, interviews, how-tos, vlogs, and so much more — so music isn't the only place it makes its money. Besides, YouTube Music isn’t as influential as Spotify.

Do I think that Spotify is going good by bringing classic music video charts into the streaming era? I guess so — but I still don’t think it’s enough to entice loyal YouTube-first music video viewers to make the switch.

• Motorola Pad 70 Groove just launched in india, with wider release in August
• The bezels and back tote 4 tweeters, 3 woofers and 2 passive radiators
• Will likely be great for movies and music — annoying for other commuters

We've seen loudspeakers come in all shapes and sizes, but JBL's latest has some odd additions. There's the 12.1-inch screen, the cameras, the pretty in-depth user interface... oh, it's a tablet, isn't it?

Meet the Moto Pad 70 Groove, a new touchscreen handheld which has just launched in India, ahead of a general sale in early August. There's no word on global availability, mind — and given that the other Moto Pad products are India-only, I'm not holding my breath.

Anyway, this is a new mid-range Android slate which has an array of JBL-tuned speakers as the central feature. There are nine speakers in all: four tweeters, three woofers, and two passive radiators, and they're all arranged together behind the grille on the back of the tablet. Audiophiles might wince at that sardine-like placement, but it is what it is.

The tablet has a kickstand so you can aim the speaker in different directions (or, more accurately, lift the tablet so the speakers aren't facing directly down into a table). The brand seems to be pitching the set-up for movie streaming (the display is 2.5K, with Dolby Vision), and playing music out loud — the max output is 48W.

Buy it or skip it?

I've tested smartphones and tablets designed for audio before, and I've yet to hear anything that comes remotely close to the best Bluetooth speakers, even cheaper ones.

Portable devices just don't offer the stereo spacing you'd want for a great audio sound — and the Groove's rear speaker stack might make the tablet rather unwieldy for use as an everyday slate.

If you're still curious to test it, I covered leaked renders of the Lenovo Tab Plus Gen 2 several months ago, and the device is now on sale for $399 / £369 (about AU$700). It has the same speaker system, kickstand, attached tablet... in fact, it seems to be basically the same thing (Lenovo owns Motorola, so there are no accusations of plagiarism here).

Still, I think I'd rather buy an actual Bluetooth speaker and just pair that to my current tablet, rather than buy a brand-new one just for its novelty. Thankfully, I happen to know of a website where they test gadgets just like that...

HEDD HEDDphone D1: Two-minute review

The HEDDphone D1 are a quite frankly astonishing pair of over-ear headphones, trucking in a new line of innovative thought from the Berlin brand that also brought AMT technology to the wearable market. They’re open-back and passive, with eyes locked both on the world of pro audio and at-home audiophile listening.

While most brands struggle to occupy both spaces in any meaningful way, it’s my view that the HEDDphone D1 are a rare and commendable success. They are full in heart and full in throat, with an expansive frequency range and a hugely expressive soundstage. Their Thin-Ply Carbon Diaphragm (TPCD) drivers make good on their claims of tonal balance and transient excellence, making these just as adept at clinical representation as they are at gratifying, fulsome home listening.

The specs are friendly to both camps too, starting with the works-with-anything 32-ohm impedance. Traditionally, I’m less fond of this in other devices, but here and with the D1’s rich sonic capacity across devices, it’s a boon. They’re comfortable to wear, innately and over long periods of time, and they never get fatiguing to listen through either.

I don’t like giving full marks to things. It makes me feel like I’ve failed; like I’ve missed something, somewhere, or that I’ve even dared to be a bit lazy. More’s my disappointment, then, that I can’t fault the HEDDphone D1 in any meaningful way.

Sure, the build quality might stoop a tad beneath the price in places, but then the pristine presence afforded by those unique dynamic drivers shoots well above. Likewise, a slight low-end boost might disincentivise some pro-audio folk from trusting them in their line of work, but that same lift allows these headphones to provide weight and context unlike any other set of open-backed headphones at this (or perhaps any) price. Every question an answer.

So, then, I resolve to put away my thoughts of laziness or journalistic inadequacy, instead settling with the thrilling and essential truth that must be my own final answer: these are the best headphones I’ve tried in my career thus far. And they get full marks. Among the best wired headphones on the market? Emphatically yes.

HEDD HEDDphone D1: Price and release date

• $799.99 / £599 / AU$999
• Launched on 6th November, 2025

When a pioneering set of headphones hails from a German brand literally called HEDD, it’s one’s duty to take notice. HEDD stands for Heinz ElectroDynamic Designs, and is the another in a series of major audio-tech gifts from Heinz Klaus — founder of ADAM audio, and key contributor to the development and improvement of AMT (Air Motion Transformer) transducers.

HEDD is a continuation of Klaus’ inventorial pursuits, first with a new suite of professional monitor speakers, then with bringing AMT and some clever material design to new territory: the world of head-fi. All lovingly designed and manufactured in Berlin.

The subjects of today’s scrutiny are the HEDDphone D1, the fourth set of over-ears to come from HEDD, following HEDDphones ONE, TWO and TWO GT respectively. Where prior cans focused on combining AMT drivers with over-ear headphones, the D1 are an exploration of dynamic drivers through the lens of Thin-Ply Carbon Diaphragm (TPCD).

The HEDDphone D1, then, purport to be every bit as stereotypically precise as one might expect from a pioneering German audio brand — with emphasis on the ‘stereo’, and with pun very much smugly intended. If Heinz can do it, so can I.

At £599 / $799.99 / AU$999, the HEDDphone D1 certainly aren’t cheap; they tickle the upper reaches of what might be considered ‘mid-range’ in a broad market, increasingly filled with audiophile-grade cans that ask for four-figure sums (including HEDD’s own flagship HEDDphone).

But the D1 pitches itself, sonically, as a pair of ‘phones that’ll go toe-to-toe with most when it comes to detail, tone and depth — to the point that they’re marketed quite keenly towards professional audio-folk and audiophiles alike. And, not to spoil you too soon, I think they more-than stick the landing.

HEDD HEDDphone D1 review: Specs

HEDD HEDDphone D1 review: Features

• 50mm Thin-Ply Carbon Diaphragm (TPCD) dynamic drivers
• 5Hz-40kHz frequency range
• 32-ohm impedance

The HEDDphone D1 are a pair of open-back over-ear headphones, designed as a mid-weight contender for pristine professional audiophile listening. They’re a passive, wired affair, and about as operationally simple as headphones get.

The big sell here is HEDD’s Thin-Ply Carbon Diaphragm (TPCD): a diaphragm constructed with an advanced carbon fibre composite that maintains rigidity in spite of its thin, low-mass design. The result is a responsive dynamic driver that doesn’t need to trade its proverbial lightness-of-foot for distortion or tonal imbalance, and doesn’t need conventional diaphragm-level dampening to maintain clarity either.

The HEDDphone D1 is outfitted with two 50mm TPCD-constructed dynamic drivers, which extend up to 40kHz and down to 5Hz — a remarkable range, with a remarkably steady response curve where it counts.

These drivers field an impedance of 32 ohms, making the HEDDphone D1 a suitable candidate for practically any sound source. I usually prefer my monitor headphones to have a little more fight in them than this, but on this occasion, I certainly don’t mind the results.

• Features score: 5 / 5

HEDD HEDDphone D1 review: Sound quality

• Incredible clarity across frequency spectrum
• Deep, full and spacious low-end
• Expansive soundstage

Being someone who encounters and experiences new audio tech as a matter of course, I’m rarely in a position to be surprised by something. I usually have some vague idea of what to expect, and my expectations are usually somewhat in line with what I ultimately hear. Here, though: wow.

Having had plentiful experience with professional monitor headphones before, I thought I knew what I was in for with the HEDDphone D1. I didn’t. These ground-up Berlin-designed drivers are a marvel — and, perhaps, a rare instance of experimental reality actually informing PR copy. The D1’s got everything: depth, width, height; microscopic detail and macroscopic grandeur; pro-grade clinical clarity and gratifying, grin-worthy weight. They are full-range and balanced enough to work well as monitor headphones, but not clinically transparent to the point of flatness. It’s a delicate balancing act that pays off.

There’s a lot to get into here, but let’s start with the bass. Though impressively even with respect to frequency response, there is a slightly pronounced push in the low end — the quality of which is, quite simply, astonishing. There is a bulging fullness, of the same heft that makes closed-back headphones so gratifying, but also a depth-of-field that only open-backs can achieve. It’s the platonic ideal for low-end presence; the best of both worlds.

First impressions of this were achieved through digital streaming, listening to hi-res audio streamed from Qobuz. Pile’s All Fiction is a maximalist flood of roomy orchestrations, reverb-drowned voices breaking like waves, and huge blooms of messy low-end energy. It should not be an easy-to-parse record, but the D1 handle the heft of Loops and Poisons handily.

That deeply-impressive low-end control isn’t all that’s happening here. It serves to support an incredibly detailed upper register, too; things sail above it with ease. Mitskis’ Cats, from early-2026 heartbreaker Nothing’s About To Happen To Me, is a supremely balanced slug of sad-folky Americana, carried on a wave of deep bassy richness and carrying a full, clear, near-sailing Mitski vocal. In fact, those vocals are a revelation of their own, every fathom and every miniscule wave rendered in the same amazing definition.

Definition, ultimately, is the word. The transients are, to my immense gratitude, tight and immediate without overextension or insistence. Mitski’s I’ll Change For You demonstrates this capably, through dead-on kick-drums, rich clatter-y rim shots and the most tactile shakers you’ve ever heard hidden in a ballad. The light plosives in Mitski’s voice are discernable, to great humanising effect.

To figure out some more of that definitional excellence, I turned to PJ Harvey’s Stories From The City, Stories From The Sea. Harvey’s vocals are an immediate, forthright affair, and pop into being with a refreshing urgency. Again, there’s some excellent separation between voice and instruments, even as things spiral away beneath as in Big Exit, Kamikaze and This Wicked Tongue. Across the album, dry drums, harsh leads and percussive acoustic guitars build a clear and crisp picture of the D1’s composure.

Over on vinyl, things are just as impressive. Queens Of The Stone Age’s …Like Clockwork demonstrates the D1’s soundstage admirably, as well as their gutsy, gratifying treatment of distorted guitars. I Sat By The Ocean is cleverly rendered in space; My God Is The Sun is addictively propulsive, from its growling plinth of glistening bass to its tight trio of ever-climbing riffy guitars. Homme’s voice is, as ever, a mile-long track of croon-y honey.

Between PJ Harvey, Mitski and QOTSA, the D1’s aptitude for rock instrumentation — much like my personal proclivities for the same — have been summarily proven. To change tack, and to make a small case for my actually-quite-eclectic-I-promise taste, I threw on my vinyl copy of jazz drummer Roy Haynes’ 1963 album Cymbalism.

It’s a rich and free-wheeling collection of quartet-arranged brilliance, opened up with fast-paced flute-led swinger Modette. Haynes’ ‘snap-crackle’ drums shine immediately, and Frank Strozier’s flute, that threatens to be unlistenably harsh, comes in bright, beautiful and searingly insistent. The double-bass is a subtle, hollow, plucky affair, held up well somewhere between kick and snare; the piano is unobtrusively clear, even sharp.

In Lonnie Liston Smith And The Cosmic Echoes’ sprawling 1973 spiritual-jazz missive Astral Traveling, I found the D1’s tonal strengths on full display. In Search Of Truth’s a slow, sure-footed hike, its footsteps a consistent bass riff over which a spaced-out, upward-spiralling piano, disparate, immaculately-preserved percussive elements and a steady harmonium drone reach towards a mountain’s peak — a full-throated, ensemble-derived answer to the call, and a truly expansive experience in these headphones.

It’s clear to me how the HEDDphone D1 can be marketed simultaneously as a powerful home-listening audiophile product and a pro-grade monitoring headphone. The soundstage is broad and deep across the frequency spectrum; instruments and elements have their space, to be appreciated or scrutinised accordingly. That broad low-end lift could be argued as a platform by which to better examine low-end information, but really, it’s a little gift for you and me.

• Sound quality score: 5 / 5

HEDD HEDDphone D1 review: Design

• Unusual — yet welcome — grip on head
• Incomparably comfortable for long
• Slightly underwhelming material choices in places

The HEDDphone D1 are some seriously comfortable headphones — and not in the conventional way, either. Most headphones aiming for comfort have a light touch; they’re trying to be light, airy, and leave little evidence of presence on your head. The HEDDphone D1 are gloriously opposed to this approach.

Instead of a feather-light balancing act, the D1 goes hard, gripping your head with a deep and encouraging firmness. Some super-soft ear cup cushions eat up a lot of that inward force, and a firm foam cushion beneath the headband provides supple support from above. It’s a tight hug in headphone form, and all the better for it. They melt into your head, and, thanks to their open-back breathability, never get old.

Materials-wise, the HEDDphone D1 doesn’t quite have the same quality of build as other headphones at this price point — with a firm and reverential gaze levelled at the likes of Meze Audio. Besides the metal grilles protecting the diaphragm, and the spine of the headband, everything visible is plastic, foam and variably-breathable fabrics.

This is to say that the money’s been spent elsewhere; within. And given the incredible quality displayed within, I’m actually not all that fussed by the less-rarefied material design here. Besides, things work where it counts. The headband adjustment feels firm and reassuring, and the foam used for the cushions couldn’t be better-suited.

There is some semi-significant sound leakage out into the world, as is to be expected from anything open-back; that said, the same can’t quite be said for the inverse — at least, when music’s playing. It’s hard to be distracted when wearing these things.

• Design score: 5 / 5

HEDD HEDDphone D1 review: Value

• An undeniably upper mid-range price point
• Sonic performance that outstrips pricier cans
• Unignorably high bang-for-buck

Value’s always the hardest thing for me to pin down in a piece of tech. Circumstances differ, but MSRPs above a certain point are almost always a big ask. And I think it’s fair to call $799.99 / £599 / AU$999 a big ask. But in comparing that to the value of other headphones on the market, something emerges. At least, to me. The HEDDphone D1 pretty much clears them all for sonic characteristics.

Reservations may rightly be held for the plasticky nature of the chassis in places, but I think the D1’s built well enough to see off any assertions of poor value for money, particularly when they sound as good as they do. As far as fidelity is concerned, this could well be the absolute best bang-per-buck on the market.

Let me couch that in something a little more tangible. I’ve reviewed audiophile-grade over-ear headphones worth upwards of $2,000 / £1,899 / AU$3,550; I’ve even loved them. But not as much as these. And that’s irrespective of price. If the HEDDphone D1 can outperform something three times their price (and something I’ve deemed more-or-less worthy of that price, too), then they are stunningly under-valued.

Yes, $799.99 / £599 / AU$999 is a big ask for a lot of things, headphones included. But if you care about sonic fidelity personally or professionally, and when you’re getting four-figure sound quality at a mid-budget price point, it’s hard to call this anything but a steal.

• Value score: 5 / 5

HEDD HEDDphone D1: Should you buy them?

Buy them if...

Don't buy them if...

HEDD HEDDphone D1: Also consider

HEDD HEDDphone D1 review: How I tested

• Tested for 5 weeks
• Used as primary home listening headphones, for streaming and vinyl
• Predominantly tested using Qobuz on a Windows laptop, connected to a UAD Volt 4 audio interface
• Also tested on a Vestax turntable setup with an Audio-Technica VM-95EN cart

I spent a month with the HEDDphone D1 headphones, wherein they were used as my primary home listening headphones. They split their time between my attic office space and my living room hi-fi stack.

In the attic, the HEDDphone D1 were used to listen to hi-res audio on the streaming service Qobuz, as well as lossless audio in my digital music library, through the headphone output of my trusty Universal Audio Volt 4 audio interface.

In the living room, they were used to listen to vinyl records played on a Vestax PDX-D3 turntable, outfitted with an Audio-Technica VM-95EN cartridge, via the headphone output of my Vestax PCV-275 mixer.

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

• Singer Lorde called out Spotify's AI 'About the Song' feature
• She says it featured incorrect details and limits free interpretation for listeners
• Users are starting to catch onto its flaws

Spotify is always dropping new tools to enhance your listening experience, but one of its newest features has been called out by one of the most influential pop artists of this generation.

New Zealand singer-songwriter Lorde slammed the best music streaming service’s ‘About the Song’ feature which launched back in February. The tool is currently in beta, and pulls information from third-party sources to create AI-generated summaries of individual songs offering context and background.

According to the pop star, one of the summaries for her song ‘Current Affairs’ mentioned incorrect details which were sourced from themusic.com.au, stating the following:

“On her Ultrasound World Tour, Lorde turns Current Affairs into a full-on performance piece, stripping down to underwear while a dancer pours water over her stomach so the song plays out like the shower scene she talks about on stage”.

The singer didn’t hold back, taking to Instagram Stories to call out the platform while highlighting the dangers features like this pose on listeners:

“Hey @spotify I’m gonna go out on a limb and say we don't want this. Not only is this inaccurate (not the song I did that in) but reducing a song to an AI-generated meaning right at the source feels like it limits free interpretation IMO. At least make it possible for artists to opt out please,” she wrote.

It didn’t take long for Lorde’s comments to spark reactions from all corners of the internet, and Spotify has come forward to offer clarity from its side. We reached out to the platform for further comment, and a Spotify spokesperson replied with the following:

“We built ‘About the Song’ because fans want to dig into the stories behind the music. It’s still in beta. The info comes from articles across the internet, and when something’s off, we move fast to fix it, like we did here. Getting it right matters to us”. According to The Hollywood Reporter, the song summary has been removed.

‘Half the fun is figuring out your own meaning’

At the time of the feature’s launch, many Spotify subscribers welcomed ‘About the Song’ with open arms — I even went into detail about how much I couldn’t get over it and how it taught me things I never knew before. But despite the positive reception from subscribers, Lorde’s observation of the AI feature has sounded the alarm for music lovers.

Comment from r/Music

Aside from its inaccuracies, Lorde’s comments highlight another big issue with AI features like ‘About the Song’; they remove the listener’s opportunity to interpret the music for themselves. This has been the topic of many online discussions since Lorde aired her comments, especially on Reddit — ‘half the fun is figuring out your own meaning instead of getting AI Cliff Notes right away,’ one user says.

But according to others in the same Reddit thread, it speaks volumes about how art consumption is evolving. Whether you’re reading a book, watching a movie, or listening to an album, everyone looks at things differently which is what allows conversations and debates to flow. Another user went the extra mile, saying “If you need AI to tell you what it thinks the song means, you've stopped thinking”.

That said, Spotify isn’t the only music platform that dives into the background of music — Apple Music includes detailed summaries of albums located under the Play button — but these pockets of context are all written and developed by Apple Music’s editorial team, who don’t rely on AI for third-party sourcing.

But the album summaries is where Apple Music draws the line. As soon as you hit Play the platform leaves you to get lost in the music — which subscribers would rather have over what Spotify is trying to sell them.

• Deezer announces over half of all daily music uploads are AI-generated
• The platform also announces stricter exclusion criteria for AI slop
• Deezer says AI slop is used largely for 'streaming fraud', and it's cracking down

If you haven't seen an AI slop commercial, social media post or Minion meme then you're lucky. I can't say I've heard much AI-generated music (at least, that I'm aware of) but I try very hard to actively avoid it.

Despite this, major streaming service Deezer has announced that over half of all tracks uploaded to its library in June 2026 were slop songs. That's over 90,000 new tracks, all of which weren't made by people.

This is a big increase in a few months, as we heard in April that 44% of tracks were AI-made, and in December 30% of tracks were AI. That's a rough rate of 3.3% increase every month, suggesting that October 2027 is when we could see Deezer hit the musical singularity.

Deezer knows all this because it's been pioneering AI-detection tools, as seen in its AI slop playlist scanner. It also automatically detects and tags AI-made music, and excludes it from recommendations and playlists.

And the hammer is coming down harder going forward...

First steps in countering the tide

When the company shared these AI figures, Deezer also confirmed a few extra steps it was taking to counter the rising AI tide.

The streaming service has announced: "Moving forward, Deezer will systematically take down AI-tracks used for streaming fraud, and those that haven’t been streamed for at least 6 months", which implies, perhaps optimistically, that there's AI music not used for this purpose.

Streaming fraud is the bulk upload of low-quality churned-out music, to earn some quick cash. Think people scripting computers to generate songs — and I mean 1000s of songs at once — then uploading them in batches. Why do this? To overwhelm, flood and replace whatever human-made music might otherwise be there for your ears to discover, and rake in the streaming royalties because you just became a big fish.

To explain, artist payout from streaming services usually involves everyone getting a share of a large pie, with more streams ensuring you get a larger slice of the pie (money). Beyonce gets a bigger slice of the pie than, say, The Bedford Band (a bad example since we haven't written a single track yet, but you get the idea).

Fraudsters upload massive amounts of AI music in the hopes that, if they even get a tiny number of listens on each track, the slice of the pie will scale up due to just how many AI slop tracks they put out.

It's not clear how Deezer will identify AI-generated tracks as being used for streaming fraud, as opposed to... whatever other reason you'd create AI music for. It also remains to be seen whether this move will have a significant impact on the amount of AI tracks uploaded, or if it'll be like scratching a layer of ice off a glacier.

But it's still good to see a music streaming service try to contend with AI slop, instead of embracing it or just, well… ignoring it.

Sony PS-LX3BT: Two-minute review

The Sony PS-LX3BT is one of the first new turntables to leave Sony’s R&D department in years. It comes some time after the launch of the Sony PS-LX310BT, one of what TechRadar rightfully deems to be the best turntables for beginners — and has big shoes to fill, accordingly.

And fill them it sort-of does, at least in the most literal of senses. It shares a lot of physical attributes, aims for the same sleek aesthetic, and seeks to corner the same, well, corner of the market with user-friendly interfaces and a no-nonsense approach to playing records. It’s a shame it doesn’t quite stick the landing.

Price is the major sticking point for me — its launch price far overshot similarly specced, and better-featured, turntables in the same market. This was the backdrop against which certain bugbears became serious missteps — from a stylus that Sony insists you need to replace through them, to a cheap-feeling body that feels like it’s come from a device a third of the price.

These things overshadow the PS-LX3BT’s capable performance with audio, via its decent on-board preamp and its star-of-the-show press-and-play Bluetooth connectivity. It could be good — it is good, by some metrics — but not for where it’s asking to sit.

Sony PS-LX3BT review: Price & release date

• Unveiled February 2, 2026
• Priced $399.99 / £299 / AU$469

The Sony PS-LX3BT is a fully automatic, Bluetooth-enabled plug-and-play turntable, with an eye cocked squarely at the upper limits of the entry level. At its launch price of $399 / £299 / AU$469, it’s not what I would call cheap; in fact, it’s undercut by a fair few near-equivalent competitors — most compelling of which is the Audio-Technica AT-LP70XBT.

Then, there's this turntable's own sibling (they actually launched together), the Sony PS-LX5BT which is pricier but adds a more delicate stylus pressure of 2.0g ± 0.5g, a thicker and more premium rubber mat, a tweaked circuit design engineered to suppress unwanted vibration, a dedicated gold-plated audio jack out port (something not present here) with a cable in the box, plus a slightly more high-end, all-black finish.

Most other competitors in the market, though, do not have ‘Sony’ tastefully emblazoned on the chassis. Sony is a tried-and-tested household brand for AV tech, be it TVs, games consoles, CD players or integrated hi-fi systems.

Hence, the brand is likely better-trusted by new or returning vinyl enthusiasts to deliver something intuitive, fuss-free and of a minimum quality. Is this trust well-founded? The 2019 Sony PS-LX310BT was a huge success, but it was also a lot cheaper (depending on where you lived), having launched at $199 / £200 / AU$399. So, you can see the issue…

Sony PS-LX3BT review: Specs

Sony PS-LX3BT review: Features

• Fully automatic operation
• AptX Adaptive Bluetooth output
• Built-in phono preamp and gain control

The Sony PS-LX3BT is an automatic turntable; this means it can be operated entirely by the array of buttons and switches adorning its anthracite-hued surface. Simply select the size and speed of your record, then use the buttons at the front to control the placement or removal of the tonearm. The platter’s rotation is triggered by moving the tonearm past a certain point, so even if you want to use the PS-LX3BT manually (by virtue of the silver finger-rest protruding from where the headshell would be) you literally only have to lift a finger to play a record.

Automatic turntable mechanisms are not so new, and this mechanical design doesn’t sound especially new either, with some familiar clunks and whirrs I know from my old Rotel system. What is, at least slightly newer, though, is Bluetooth connectivity, which the PS-LX3BT quite proudly has. More specifically, there’s aptX Adaptive Bluetooth transmission, for low-latency, high-resolution streaming from the turntable to your Bluetooth receiver of choice and accessed via a suavely flush button in the front-left corner of the chassis face.

On top of this Bluetooth connectivity, the LX3BT has connections the old-fashioned way, via a hard-wired stereo RCA cable out from the back. It’s an odd choice to use a permanently attached cable instead of a port – and at that, given the audience for this thing, I’m surprised there isn’t a 3.5mm Aux out either.

Still, that RCA cable feeds a built-in and switchable phono preamp, which means you can plug your turntable in most any amplifier without needing an extra gain stage. On top of that, there’s a gain switch that lets you boost or attenuate your turntable’s output by 4dB. Surprising in a different way; thoughtful, even.

The LX3BT has, like many other entry-level turntables of its ilk, a completely built-in cartridge arrangement with a replaceable stylus element. The stylus part here looks strikingly like one of Audio-Technica’s AT-3600 series, but is “designed specifically for this turntable”, according to Sony’s website FAQ. With a bit of sleuthing, the stylus does appear to be Audio-Technica’s AT3600LAX, a conical stylus with a carbon-fiber cantilever – though Sony’s specs point to a slightly heftier 3.5g tracking force. (Incidentally, my own tracking-force measurements of the tonearm put its exertion at a, for me, troublingly high 3.7g.)

Crucially, this thin layer of proprietariness creates an uneasy route to self-replacement, or indeed upgrade. Sony would prefer you go through its dealers or customer service department for a like-for-like stylus replacement, indicating that “other styluses are not supported”. Built-in cartridges and replaceable styli can be clever entry-level phenomena, and can be executed transparently well, but here, in this manner, it trends a little too close to being anti-consumer for my liking. Minus thoughtfulness points.

• Features score: 3 / 5

Sony PS-LX3BT review: Sound quality

• Warm, clear sound from stylus
• Faultless Bluetooth transmission
• Clean, clear built-in preamp

For all the grumblings I’ve leveled at the Sony PS-LX3BT thus far, I will contend that it actually does sound good. That definitely-not-an-AT-3600L-in-a-moustache cartridge presents a perfectly reasonable quality of sound — great, even, for its place in the market.

True to the marketing copy, the LX3BT sounds warm, the general color of its cartridge being a little on the soft side with some noticeable roll-off towards the upper reaches. Future Islands’ As Long As You Are sounds no less rich for this character, all big, warbly synths and croon-adjacent missives throughout. It's an enjoyable listen.

Testing the 7-inch functionality of the automatic mechanism, I chucked on early-80s groover Emergency (Dial 999) by Loose Ends (a DJ-set staple, and an undeniable bop besides — fight me). It ended up being a great conduit by which to recognize the strengths of the PS-LX3BT’s built-in phono preamp. Often in budget turntables, these can be brittle or a little saturating; this one is clear and full, rendering those snappy standout snares and breakout vocal refrains in gratifying detail.

The whole outfit seems to benefit guitars and vocals over anything, though everything sounds, to some extent, present and fulsome; Ryuichi Sakamoto’s Risky, featuring Iggy Pop, is a sparse arrangement benefited by Iggy’s game attempt at a Let’s Dance-era Bowie impression — his voice is a raspy little joy all the time, but rendered to some good effect here.

Unobtrusively good sound quality notwithstanding, the aptX Adaptive Bluetooth connectivity is arguably the star of the show. It’s fast to connect to, and, with regards to fidelity, sounds indistinguishable from its analog alternative. I had a whale of a time in the kitchen listening to Mitski’s Nothing’s About To Happen To Me, in all its full and heartbreaking glory, fuss-free.

• Sound quality score: 4 / 5

Sony PS-LX3BT review: Design

• Cheap-feeling construction
• Easy to set up
• One-touch Bluetooth

Pulling the PS-LX3BT out of the box, I found the chassis to be quite light. Surprisingly light, even. Putting it together, it became clear that almost every element was some form of plastic — besides occasional aspects, and the die-cast aluminum platter. It’s not a reassuring weight, though the turntable is undeniably stable on its feet.

I’m more disappointed by the perceivable cheapness of the construction on display here. A series of design decisions were made that preferred cost to user experience, leading to a pretty nasty-feeling finish on the chassis shell, a flimsy tonearm rest clasp that doesn’t actually clasp, and a spring-assisted tonearm that inspires little confidence.

At least the LX3BT is an easy thing to set up — as easy as seating the platter belt, plugging in a power adapter and delivering the hardwired stereo RCA cable to your amp or speaker of choice. It couldn’t be more plug-and-play, nor more foolproof to use via its clearly labeled buttons and knobs.

Again, the best bit of the Sony PS-LX3BT seems to be its Bluetooth. Where many other devices struggle unduly with one-touch connectivity, connecting this turntable to my portable speaker was the easiest time of my life; a single button press, a modicum of patient waiting with speaker held (camply) in-hand, and it was paired.

This aptX Adaptive connectivity can be utilized simultaneously to the PS-LX3BT’s analog outputs, too. This means dual-zone listening; I got to enjoy hi-res Mitski in the kitchen while my wife bopped along in the living room, too. And, again, it sounded great! A positive side-effect design decision, that pitches the Sony LX3BT well for casual home listening.

• Design score: 4 / 5

Sony PS-LX3BT review: Value

• Great-sounding entry-level turntable…
• …that’s fundamentally overpriced
• And doesn’t allow self-replacement of stylus

To be completely frank, I find it difficult to square the price of this against its own quality, let alone the standards set by other turntable brands. It’s the top end of the entry level, and yet it has the same unfriendly design principles as the cheap-and-cheerful, ten-a-penny budget turntables it’s meant to outclass.

The caveat is that it does, ultimately, deliver on its core purposes. It’s an automatic turntable, and it does indeed automate much of the turntable-playing process — for the most part successfully, too. It’s a Bluetooth-enabled turntable, and its Bluetooth just works, which is something you can’t say for some other devices. And through it all, it sounds pretty darn decent.

But these are all things that turntables a third cheaper can offer. You deserve so much more for $400 / £300 than a brand logo; if you let it, that same amount of investment could buy you a solid turntable that delivers better quality sound, and gives you the keys to the kingdom vis-a-vis calibration and repairs too.

Here, it is worth my acknowledging that, in the intervening weeks since the LX3BT’s launch, there seems to have been a post-launch price-adjustment of sorts; many outlets are offering it at $348 / £250, or even slightly less. This makes the turntable a much more palatable prospect investment-wise, but I do think my criticisms stand — and that other turntables have met the moment a little better.

• Value score: 2.5 / 5

Should I buy the Sony PS-LX3BT?

Buy it if…

Don’t buy it if…

Sony PS-LX3BT review: Also consider

How I tested the Sony PS-LX3BT

• Tested for 4 weeks
• Used as a part of a living-room hi-fi system
• Tested with a Cambridge hi-fi amplifier and Dali Sonik 1 bookshelf speakers

The Sony PS-LX3BT spent a month or so atop my living-room hi-fi stack, as my primary means of listening to records. As such, its output was treated by a Cambridge Audio A2 integrated amplifier, which itself fed a pair of Dali Sonik 1 bookshelf speakers.

Bluetooth connectivity was tested with my trusty kitchen speaker, a Soundcore Motion 300. For testing, I listened to a wide variety of favored records across genres, to get a comprehensive feel for the LX3BT’s performance.

• Read TechRadar's Reviews Guarantee
• First reviewed: July 2026

• Topping has unveiled its new and compact desktop DX1 II DAC
• It's relatively affordable at £119 (about $160, AU$240)
• Multiple inputs and outputs, some clearly designed for gamers

If you've been considering buying one of the best headphone DACs, it's probably because you want to connect them to an audiophile-friendly hi-fi system — or even to your phone or dedicated music player on the commute. But Topping's latest option aims squarely at a very different audience: gamers.

The Topping DX1 II is a new piece of kit which is slowly being released in different regions; it's just been released in the UK from Electromod. It costs £119 (about $160, AU$240), so it undercuts many other options save for models built specifically for smartphones or digital audio players.

The DX1 II seems to have a specific user in mind though. The DAC is designed for all budget-conscious, audiophile-curious buyers, but it does feel aimed at gamers more than most. And that is thanks to a few key considerations that seemingly make it a good pick for enhancing your games' sound.

For example, while the DAC has two headphone outputs (3.5mm and 4.4mm), they're two-way, so you can use headsets with microphones. It can also switch between USB Audio Classes, allowing you to use it alongside the Nintendo Switch and PS5 which are some of the few gadgets only using UAC 1.0.

A DAC is for life, not just for gaming

Despite some gaming features being the headline tools, the Topping DX1 II seems to be a solid all-rounder too — and given how much we loved the larger and more expensive Topping DX5 II, it's well worth taking a closer look.

The DAC can input from USB-C as well as optical, and output to optical, stereo RCA, 3.5mm or 4.4mm. There's support for 32-bit/384kHz PCM and DSD 256, so high-quality audio won't be a problem. There are also EQ tools as well as filter and gain settings.

A built-in amp can deliver up to 1,000mW audio, and since it's quite compact at 10x10x3.2cm, it'll fit into various existing set-ups — and that glossy white casework will make it look right at home next to a PS5.

As a prolific gamer, I'm not sure that I can see a DAC being crucial to a hardware set-up — although I absolutely recommend any one of the best wired gaming headsets. That said, the Topping is still very useful as an affordable entry-level DAC for my music that can get double use for gaming.

Fluance RT87 Turntable review: two minute review

Nothing highlights the highs and lows of vinyl like a proper turn table such as the Fluance RT87. Maybe you’ve been using the same Audio Technica LP-60 or even Crossley or Victrola that proliferates the storefront of every record store you’ve ever been to. No shame, I’ve had each at some point.

But there’s something about a fully manual turntable from assembling and calibrating (and testing one’s patience) to cleaning a record every time you put a new one on. Convenient is not necessarily a word that I would use for this process. But it is a bit meditative. More importantly, the audio quality you get a step above with that analog warmth that the best turntables are known for, while not adding unnecessary distortion that may make your vinyl also sound a bit unintentionally lo-fi.

Of course, spending the $799.99 / £666.33 / AU$1,231.70 is not enough for that immersive listening experience. You should probably get a pair of the best stereo speakers you can afford. And if those speakers don’t have a built-in phono preamp, you’ll have to get one of those too. This turntable does not come with one.

Fluance RT87 Turntable review: price and release date

• How much does it cost? $799.99 (around £666 / AU$1,230)
• When is it available? Available now (launched in June 2026)
• Where can you get it? Available now in the US; UK and Australia coming soon

Newest among Fluance’s offerings with a mid-June 2026 release, the Fluance RT87 is available in the US and will (at the time of writing) be available in the UK,and Australia very soon. And whether you get it in Natural Walnut, Piano Black, or Piano White, the price goes for an only-cheap-to-audiophile price of $799.99 (around £666 / AU$1,230). And that price stays the same regardless of cartridge, of which you can choose from the Ortofon 2M Blue or Audio Technica AT-VM95ML.

Just be aware that the Fluance RT87 does not have a built-in phono preamp, so you’ll need to invest in one. Fluance does sell the PA10 Phono Preamp for $99.99 / £82.99 / AU$154 and can be bundled (though without a discount) on its site.

Fluance RT87 Turntable review: features

• Very light on features and extra perks — the connoisseurs' choice
• No phono preamp or 45 RPM adapter
• Does come with a bubble level

If the Fluance RT87 is more for the audio purist and I think that’s who the brand is targeting, then it makes sense that this turntable is pretty light on convenience-focused features. There is no built-in phono preamp — something you can find on much cheaper decks like the Audio-Technica AT-LP70XBT. And, of course, you won’t find Bluetooth connectivity or any other unique types of connectivity.

I don’t say this as a bad thing, either. After all, the Fluance RT87 is meant for someone ready to enter more serious vinyl listening and all those extra accoutrements take away from what’s important and that’s its performance and everything involved in making sure that it performs properly.

While I’ll cover most of those choices for performance in the next couple sections, it’s worth noting that the Fluance RT87 comes with the option of either the Ortofon 2M Blue or Audio Technica AT-VM95ML cartridge, either of which cost over $150 as just as part ($166.99 and $179.00, respectively). The configuration reviewed here is the Ortofon 2M Blue.

While there are plenty of opinions out there on both cartridges and how they affect the sound and I won’t parse out that whole conversation — people’s opinions of cartridges are as varied as they are on any other piece of audio equipment — other than to say that either cartridge marks an entry point into serious audio quality from more budget cartridges… just like the Fluance RT87 itself.

It’s also worth mentioning that this turntable can play 78, 45, and 33 RPM, via a selector on the lower left corner of the turntable so no need to adjust the belt like some turntables. Unfortunately, it doesn’t come with a 45 RPM adapter. Additionally, it has an Auto-Stop toggle on the back.

Features score: 3 / 5

Fluance RT87 Turntable review: sound quality

• Has a sweet, slightly warm sound
• Soundstage is immersive
• No discernable inner groove distortion

I learned a lot about my records using the Fluance RT87 as my conduit. I learned that I didn’t like the way Fleetwood Mac’s Rumours is mixed. I learned that there’s way too much happening in Kamasi Washington’s Truth. Just to name a few.

You hear something that was there this whole time, but you noticed it on this last listen. And that’s not something that typically happens with entry-level gear. In short, I really enjoyed listening to the Fluance RT87. And while the turn table is a step or two up from entry-level gear (maybe beginner audiophile gear or first serious turntable level), the rest of the chain was more on the budget side — Fluance’s affordable PA10 phono amp and the company’s Ai41 speakers. Solid gear, but not transcendent.

One of the good things about using the Ai41 speakers is its Bluetooth connectivity. I could compare a record to a digital stream of the same music via HiFi through Deezer, which I did in a few cases. Rumours, for instance, got a play through vinyl as well as Kacey Musgrave’s Golden Hour. And the vinyl sounded just a little bit better. Maybe it’s the even-order harmonics. Maybe it’s using physical media over digital zeros and ones. To me, everything through the Fluance RT87 had this little bit of bloom to it. It just sounded a little bit sweeter.

Since I had done my best to properly set up my bookshelf speakers when I did my serious listening, I found the soundstage to be expansive and enveloping during listening sessions. I mentioned Kamasi Washington’s Truth, from his album Harmony of Difference before. When playing that song (really the whole record), not only could I hear his band to the outer reaches of where the speakers were projecting, but I could hear precise placement of various horn parts placed across the sound stage. In the same vein, Radiohead’s Pyramid Song sounded phenomenal on this setup.

As far as frequency response goes, I was pretty pleased. With the obvious caveat that the speakers are going to be the biggest bottleneck in a sound system (a bit of an oversimplification), I found the mid-range to be rich and full. Kacey Musgrave’s voice and guitar on Slow Burn, the opening track from Golden Hour, has weight to it. And the high-end has plenty of detail, while retaining some of the warmth of analog as it’s a tiny bit rolled off in a pleasing kind of way.

Now, the bass response is a bit tighter as opposed to big or woolly. It was still very present. Sure, it has a defined space on an older record like Rumours or Talking Heads’ Remain In The Light, but it’s easily placeable and doesn’t overpower the mix in something like FKA Twigs’ EP1.

Lastly, every record I played had a good amount of headroom so that the music came through clearly and without any real distortion (outside of those even order harmonics). And there wasn’t any discernable inner groove distortion either as the stylus would wind its way to the end of each side.

Sound quality: 5 / 5

Fluance RT87 Turntable review: design

• Heavy-duty plinth and platter
• Belt-driven
• Removable cartridge

If you’re just getting into turntables, you might be wondering what puts the Fluance RT87 in a more expensive price bracket compared to a lot of the popular, feature-filled turntables out there, one of which you might be upgrading from.

Obviously the sound quality is a huge part of that, which we’ve already covered, but that sound quality is affected by the build of the Fluance RT87. Of course, it’s worth mentioning that it’s a classy-looking deck with a high-gloss finish, available in Natural Walnut (reviewed here), Piano White, and Piano Black. It is made from MDF, but that’s actually a positive, as it doesn’t create any resonance.

Getting back to that build, the plinth, aka the body or chassis of the turntable, is heavy — the whole thing weighs 21 lb (9.5 kg) — giving the turntable a durable feel. Also, the acrylic platter is hefty in and of itself at 4.1 lb (1.85 kg). Incidental bumping or closing of the dust cover, which is surprisingly easy to scratch, doesn’t skip or affect the sound. And unless your record is warped, it will rotate without any up or down motion.

This is a belt-driven turntable with an adjustable and rigid carbon fiber tonearm (you even get a little hex wrench to adjust it), complete with removable counterweight and tiny anti-skate weight, and replaceable cartridge. I’ve mentioned earlier the two types of cartridges to select from and the fact that the reviewed model here came with the Ortofon 2M Blue. It’s worth noting that this is a moving magnet cartridge with a nude elliptical stylus.

The feet, of which there are three, are adjustable to help level the Fluance RT87. They are basically large, mostly silicon silicon screws.

Control-wise, there’s just the speed selector on the front, left corner of the plinth and the auto-stop toggle on the back. The ports are about as Spartan — just stereo RCA inputs and a ground outlet.

As far as extras go, the turntable comes with a RCA cable, ground cable, hex wrench for adjusting the tone arm, and bubble level, so you can adjust the turntable’s angle accordingly before you end up butchering any records. Brushes and any extras will require an individual purchase.

Design score: 4.5 / 5

Fluance RT87 Turntable review: ease of use and setup

• Putting it together takes ten minutes
• Not plug-and-play
• Fine tuning takes even longer

This should not be your first turntable. There’s ritual to setting up the Fluance RT87, as there is for a lot of turntables once you graduate beyond the three-to-four hundred dollar range. Because of that, it was equal parts frustrating and engaging. So, yes, there is some assembly required.

When first unboxing, I had to remove everything from its plastic wrapping and then spend probably five minutes just getting everything all together. I had to put the platter on the plinth, put the belt around the platter and then on the motor, put the Ortofon cartridge on one end of the tonearm followed by the counterweight on the other end, then on goes the anti-skate weight, and, lastly, I had to add the hinges to the dust cover and then attach it to the plinth.

But wait, we’re not ready to start playing any records. I had to turn the platter a few times with the belt on so that it’s evenly distributed. Since the platter doesn’t have a ridge or indentation for the belt, it has a habit of slipping off (and still does if I’m a bit clumsy removing a record after play) — something you don’t have to deal with on cheaper decks.

I also had to adjust the feet so that the turntable is completely level, making sure records lie flat during play. This takes a bit of time because you have to reach under and turn each foot clockwise to extend (counter-clockwise to shorten) until the bubble level shows its bubble directly in the center. This took me about ten minutes of adjusting initially, though to be fair, I was using a table that wasn’t very level. After moving the Fluance RT87 from the table I first had it set up on to a different, somewhat treated room where I had to put it on the floor, it required much less adjusting.

Adjusting the tonearm’s counterweight took quite a while as I had to be precise in getting it to balance flat instead of flying up and away from the turntable or digging into my records. While it’s par for the course, this probably also took me about ten minutes of adjusting, though that’s partially because I set it up according to the manual and found the tonearm to still not have enough weight from the counterweight.

Similarly, the anti-skate weight here is a bit finicky as well. It’s just a tiny ball on a thread thin enough to thread a needle with a loop on the other end to attach to the tonearm. The tonearm attachment is basically a lever with four notches on it to account for different anti-skate weight needs (for instance, the anti-skate should loop over a different rung when using the Ortofon cartridge versus the Audio-Technica one). Not only did it take some experimentation to find the right setting, but the loop kept slipping off its rung.

If you’re upgrading to your first big-boy or big-girl turntable and considering this one, just be ready to put in some time getting it right before actually using it. Also be aware that some of the required attention to detail during setup is not unique to this turntable, though anti-skate weights aren’t always a tiny ball on a tiny string.

Usability and setup score: 3.5 / 5

Fluance RT87 Turntable review: value

• Less features and automation than cheaper turntables
• Better sound quality than those cheaper turntables
• Some entry-to-premium decks may sound as good, but aren’t as sturdy

It’s interesting that the cheaper decks are the more convenient. It’s almost as if the more money you spend, the less features. Exhibit A, for instance, might be the FiiO TT13. This turntable costs a little over a quarter of the price of the Fluance RT87 ($249 / £239 / AU$249 if you need specifics), while adding in Bluetooth connectivity, a built-in phono amp, a fully automatic tonearm, and, frankly, due to its plug-n-play design requires none of the setup or fine tuning of the record player reviewed here. But I would hazard that the Fluance RT87 sounds quite a bit better since it has a bit more heft to its sound.

If you’ve been looking at upping your vinyl game, you might have already looked at the popular Rega Planar PL1, which at $595 / £299 / AU$645, is probably a more direct comparison. But, while the Rega also has a pretty spacious sound, it’s a bit more workmanlike in construction. It’s more utilitarian in looks and is much more light weight in construction. The Fluance RT87’s acrylic platter alone weighs about half of the Rega Planar PL1, making the Fluance more likely to absorb shocks and bumps without fuss.

Value score: 4 / 5

Should I buy the Fluance RT87 Turntable?

Buy it if...

Don't buy it if...

Fluance RT87 Turntable review:: Also consider

How I tested the Fluance RT87 Turntable

• Used regularly for a few weeks
• Played through Fluance P10 Phono Preamp and Fluance Ai41
• Played at various speeds and different size records

I used the Fluance RT87 for a few weeks, listening to as wide a variety of music from Rock to Jazz to Americana that I could. In so doing, I used the different speeds as well as seeing how it did with different size records. I also used the record player in a couple different rooms and with a couple different speakers, the Fluance Ai41 mentioned above and the Klipsch The Nines II.

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: July 2026
• Read TechRadar's reviews guarantee

• Prices are going up across almost all the Apple Music tiers
• There are some bumps in Apple Music prices too
• These are the first price hikes we've seen since October 2022

Apple Music is the latest subscription package to get a bump in price, leaving users with the choice between paying more or losing access to the streaming part of their library. The bundled Apple One package that includes Apple Music now costs more as well.

As reported by Music Business Worldwide (via Engadget), the reason cited by Apple is "rising licensing costs". It's the first price hike for this particular subscription we've seen since October 2022. The new monthly prices are below:

The Apple One price increases are less clear, as they're not as easily available on the Apple website. It appears the Apple One Family plan is now $27.95 (up $2) / AU$24.95 (unchanged) per month and the Apple One Premier plan is now $39.95 (also up $2) / AU$52.95 (up AU$3), though the Apple One Individual plan has stayed at $19.95 / AU$24.95. Internationally, similar price rises are likely.

This comes at a time when everything tech-related is getting more expensive, from laptops to streaming services. Exploding AI resource demand has sent the price of memory and storage rocketing, and that continues to have a knock-on effect everywhere.

Loss of control

Apple raises prices for Apple Music and Apple One subscriptions from r/apple

Apple is of course by no means the first company to put up its subscription prices, but it's a reminder of the pitfalls of the digital rental model. As soon as you stop paying, you lose access — so if you need a service, you have no choice but to accept the higher price.

The online reaction has mostly focused on this too: "It's not even about the cost sometimes," writes one Redditor. "It's about loss of control over your finances. Companies can jack up their prices whenever they want." Few commenters seem ready to quit Apple Music, though many are pointing out the billions that Apple has in the bank.

Apple Music doesn't have a free tier like Spotify does, but it beats every other music streaming service in the support it gives you for local files. If you have enough MP3s and ripped CDs, you can use it perfectly well without a subscription.

As we've written about recently, Apple is selling more and more of its software products through recurring payments rather than a flat one-off fee, and one of the reasons is that it's more profitable — and makes it more likely that users will continue to pay up.

• Audio engineer Cameron Oatley is better-known as 'GoldenSound'
• He's teamed up with Status to add a special tuning profile to its Pro X buds
• The result is Pro X GoldenSound; the fruit of impressively extensive labor

Sometimes in this job (as TechRadar's Audio Editor), I just get sent a set of earbuds and a press release. Sometimes, I'm invited to an online briefing so that a marketing rep can explain key terminology before I start my review process.

Rarely am I invited to a lovely pub in London, lulled into a false sense of security with a drink and a comfy chair and then taken through a brief but intense Doctorate in audio engineering.

I jest, of course. But if you've ever come into contact with either Status Audio (see the Status Audio Between 3ANC or Status Audio Pro X for previous examples of greatness) or Cameron Oatley, aka GoldenSound, you'll know that things are about to get decidedly audiophile. And given that this is a collab between the two, it's doubly so.

What you're looking at is the Status Pro X GoldenSound Edition. Yes, it's gold-tone on the top of the case and on the accents of the stems — but that's not all. Inbuilt here (and definitely not available in the non-GoldenSound variant) is a special new piece of software that Oatley thinks is the "most accurate tuning that a TWS product has ever had" and a "faithful recreation of real-world sound".

And this version will be $279 when it hits shelves in August (so $30 more than the current price of the Pro X, at $249) or around £209 / AU$400, give or take.

Status Audio Pro X GoldenSound: are listeners up for a Harmon Curve rewrite?

In terms of hardware, you're looking at everything built into the Status Audio Pro X, so two balanced armatures and a dynamic driver — something Status has been working with for some time and with no dearth of success.

But this time around, Oatley describes his granular approach to tuning thus: "What you measure is the IEM plus the impact of the rig" ie. your inner ear — albeit a metal tube to represent it with a mic at the end, for the purposes of his testing.

Oatley explains that the Harman Curve is often implemented incorrectly by audio engineers, because when it was developed in 2012 (and subsequently published in 2013, quickly becoming a trusted reference), true wireless earbuds hadn't yet been invented.

Because of this, the Harman Curve uses the pinna, or outer ear, as the reference point — ie. part of the "rig". But when developing in-ear products, from a purely sonic perspective (not including the creation of ANC antiphases) you can ignore the outer ear because the product starts within your ear canal. I know! Contrary to what we were taught as kids, the answer to 'My, what big ears you have!' isn't actually 'All the better to hear you with'…

How does all of this stack up against AirPods Pro 3?

I ask Oatley what he's most proud of with this project and he's surprisingly open: "Look, for ANC I think AirPods will always be tough to beat. But a lot of work has been done to make these sound better. These are for the user who wants the best possible sound in a true wireless design. I hope I've achieved that".

He then points me to a graph that's like the Harman Curve, but different. It's what he was able to achieve with the GoldenSound Edition. He's particularly proud of the graceful line between 80Hz and 100Hz, juicy bass frequencies he feels are more accurately relayed in the Pro X GoldenSound Edition. And I have to agree: in this area, these earbuds glitter like gold.

Let's get to the meat of the thing: listening. Both Status and GoldenSound actively encourage me to do this, and even set me up with a Qobuz screen, an LDAC source device and some AirPods Pro 3 for comparison. Oatley adds, "something tuned perfectly on a low codec is still better than something tuned badly on a higher codec", and while we all know you won't get LDAC out of AirPods, it's a very valid point.

Billie Eilish's Bad Guy is expansive and clean, with a snappy, impactful low end. Dire Straits' Money for Nothing is as brooding, snaking and exciting at the outset as you'd ever want it to be. ACDC's Back in Black? A head-nodding and beautifully regimented, cohesive mix.

What's gone are the… I hesitate to call them 'parlor tricks', but that typical V-shaped augmented treble one so often hears in designs of this type feels eased. And know this: the sound is altogether more open as a result.

It's not all glowing praise: during my limited time for an initial listen, you understand, I found Apple AirPods Pro 3's audio just marginally more woolly overall in direct comparison. That said, AirPods Pro 3 do have a slightly more soaring treble from the box. As such, some tracks sound more fun, forthright and zealous using the Apple product. It's the age old debate, isn't it: integrated hi-fi sound or fun, V-shaped in-ear mix?

I know my ear is keenly tuned to treble sounds (I've done the tests) but some listeners will love what's been achieved here. I spy an industry disruptor and no mistake. It's nothing if not interesting — and I'd say the industry standard was due a shake up.

I often find listeners might think they enjoy a certain tuning (typically, wearers might augment bass frequencies straight away) when in fact, if we play with their EQ settings, they actually prefer something quite different.

Here, Oatley hasn't given users the option to tweak his proprietary GoldenSound profile within the EQ settings, although you can select from 'Status Signature', 'Status Audiophile', 'Knowles Preferred' or 'Vocal Enhance' presets, or create your own using an 8-band tab set at neutral from the Status Hub app. Sadly, there's no similar visual for the presets so you really need to trust GoldenSound has done it right here. And given the extensive amount of work that's gone into them, I think your trust is well-placed.

This is not to be considered a full review, you understand. For that, I need more time. But what I can tell you right now is that the process won't be a hardship.

• Figures prove CD sales have grown more than record sales so far in 2026
• The data has been presented as part of a physical media boom
• Time to buy a CD player again — or a portable CD Walkman?

In yet another stat that seems to confirm ‘Sony ending PlayStation discs is not what we want’, new data suggests music CD sales growth has eclipsed vinyl in the first half of 2026.

It's hard to deny that a physical media boom is underway. First, there's the continued collective love for vinyl. Then, there's the backlash at Sony discontinuing physical games (along with removing the ability to play a standard CD on both the PlayStation 5 and 4) as well as the pushback regarding Netflix's 'streaming one minute, removed the next' movie library. All of this makes the physical product increasingly valuable and desirable. Did I mention Blu-Ray sales are also on the up in a big way?

To prove the point as far as tangible music products go, a report from Luminate Data suggests that physical media is more popular than ever. Sales of hard-copy LPs, CDs and tapes rose 7.8% through the first half of 2026, apparently.

But more intriguing is precisely what people were buying more of: the data suggests that CDs are spiking in popularity far more than records, which conventional wisdom would suggest is the format in vogue.

Apparently, while records grew by 2.4%, CDs jumped by 16.3%. This tracks with what we've been seeing recently, with retro-inspired CD players getting released all over the place.

No more vinyl?

For a good long while now, general consensus has been that records are the audiophile format of choice — the groove essentially is an analog wave of sound. The best turntables are on sale everywhere and new music gets released on vinyl as standard.

The thing is that digital (still very breakable, scratchable and delicate) compact discs might simply be another way forward, and sales certainly suggest a revival is underway.

It makes sense, since CDs are capable of pretty high-quality audio at 16-bit/44.1kHz, which is the starting point for hi-res audio (unless you're going for Super CDs, which can boast even higher bitrates and overall quality). Also, vinyl will always sound 'warm' and subject to the odd pop or crackle, owing to its design — and the fact that pesky dust particles exist, however much we try to eliminate them.

CDs are also slightly more compatible with modern software; you can burn them onto your computer or digital audio player relatively quickly — although granted, many decks now have a USB port for digital safekeeping of your more abstract presses and recordings.

What I'm saying is, this doesn't mean turntables and records are on their way out. There's something ineffable about the process of putting them on to play and hearing the imperfections and flaws. It's just that people are now seeing CDs as valuable too — and despite the fact that hardly any of the best laptops sport a disc drive these days…

• The European Union is working on tech repairability rules...
• ... except some 'wet appliances' are now exempt now
• This puts 'devices that are worn on the body' in a very gray area…
• …and yes, that probably means AirPods

E-waste worriers (and warriors) like me have been watching the creation of EU regulations with glee, since a selection of them will require tech manufacturers to put replaceable or repairable batteries in their gadgets. But now, there are a few new key exceptions to the rule.

Some major new clarifications, listed on the European Commission's website, mute the positive impact of replaceable, upgradable tech. These exceptions mean that wearables including smartwatches and fitness trackers don't have to be repairable — and I think it's ironic that these are precisely the kinds of gadgets you're more likely to throw out and replace, rather than try to repair.

The EU has moved these products to its "wet appliances" category, for gadgets which can't be kept repairable for safety reasons (ie, because they deal with water). However, no reason was given for why wearables, especially ones not designed for wet use (based on IP ratings) are now exempt.

While the EU's rule change doesn't actually mention AirPods (or earbuds in general), what the wording essentially means is that wireless earbuds, Apple watches and smart glasses reportedly also fall into this specific wearable category. Smart glasses are, to hammer home the point, really not designed for wet use — but their wearer might get caught in a rainstorm by accident, say.

There are two key pieces of information regarding the classification of small devices exempt from adhering to the EU's battery rules, as published in the recent guidelines. The first is that "Wearable devices are portable electronic devices that are worn on the body and often have sensors and connectivity to collect and transmit data. Examples of wearables include smartwatches, fitness trackers, smart glasses or other electronic devices integrated into clothing and other accessories".

The second? It's to do with those IP ratings for water- and dust ingress and whether the addition of a replaceable battery is "compromising safety". It states that if "there is evidence in the product documentation when placing the product on the market that battery replaceability and removability by end-users would compromise the safety of the user or the appliance", the product may be exempt.

So your AirPods 4 with ANC will likely no longer need to feature replaceable batteries because of the EU, including the case itself.

An Apple a day keeps the e-waste away

It's no secret that e-waste is a massive issue: according to the United Nations, the amount of discarded electronics we produce is rising five times faster than our ability to recycle it.

It's why the EU recently pushed through rules to ensure tech is repairable. A pair of headphones that break might just need a new battery; you don't need to buy a whole new pair.

Apple users have been begging for removable batteries in iOS devices, especially AirPods, as we argued back in 2024. AirPods are the best-selling earbuds in the world (and it's not even close), so at least some of them end up in landfill when they stop working, despite Apple's conviction to recycle any that get returned to its stores (Apple doesn't offer any trade-in value for AirPods, but dropping them in for recycling is free).

I believe it's important for all tech to be repairable (see B&O's long-running 'Cradle to Cradle' approach, even buying back and refurbing its own kit, to give it a new life), but doubly so for the ubiquitous kind.

Apple's way is of course a viable way to keep your eco credentials, while disposing of unwanted buds, but it's not the best way. That would be replaceable batteries, small and fiddly though it might be — and it is possible, because Fairphone has been doing it for a little while.

As per the mantra drilled into school kids: reduce, reuse, recycle, in that order. Reusing old earbuds, by repairing them, is much better for the environment than recycling them, and so it's a shame that the EU is giving out exemptions like candy.

If you have any broken tech, be it headphones, earbuds or something else entirely, a repair is always your first port of call before disposing of your existing ones. It's cheaper and quicker than buying new tech and, most importantly, is better for the planet. And if you do need to buy new tech, consider online or physical refurb shops such as Back Market, which repair others' gadgets.

• We Are Rewind's WE-001 tape player gets a limited-edition The Dark Side of the Moon edition with a custom design
• Includes the first tape version of the album's 50th anniversary remastered edition in the box
• Available today for $199 / £159 (about U$310)

Every so often, I'll receive an email about products that a product launch that actually makes me say "Oh damn!" out loud. And seeing the first images of We Are Rewind's new version of its cassette player decked out in Pink Floyd livery was one of those occasions.

The limited-edition 'Pink Floyd X We Are Rewind' version of the WE-001 portable cassette player (which I first got my hands on in its regular edition back at CES 2025) is obviously super-tempting for its beautiful The Dark Side of the Moon imagery on the front (with a Pink Floyd logo on the back), but it also comes with a certificate and a tape version of Dark Side in the box.

The cassette is especially interesting, because it's the first time the 50th anniversary remaster of the album has ever been available on tape — and might well be the only time.

Pink Floyd's Nick Mason joked, "I still have my Nakamichi on the shelf and look forward to testing it with the new The Dark Side of the Moon cassette. Am I correct in assuming that the next major issue will be The Dark Side of the Moon in a large package consisting of the album divided up into 78 RPM discs?"

I already have a WE-001 sitting on my shelf at home, next to my amp, and yet I find myself extremely tempted to pick this new version up anyway.

The WE-001 player is modernized tape player, with a cool aluminum design, and Bluetooth 5.1 support as well as an audio jack for wired headphones. A release from We Are Rewind says there's a "unique headphone amplifier designed with cassette playback in mind" — and it sounds nice, I have to say, though if you're picking up vintage tapes the quality may vary depending more on the tape than what's inside the player.

Even more pleasing is that if you want to get back into mixtape culture (and I do! I've written about wishing streaming services offered more options around this in playlists), there's a line-in — so you can record to tape from another player.

But my desire for this version isn't really about anything the player can do or what it sounds like. I just want that thing on my shelf.

If you feel the same way, it's available to buy now (while it lasts) for $199 / £159 (about U$310). The non-Floyd version of the WE-001 costs $159 / £129 /AU$269.

If prog rock isn't your thing, you might also be drawn in by another We Are Rewind special edition with quite a different look: the jewel-encrusted Duran Duran version.

• Skullcandy launches Crusher 1080 ANC, new premium over-ears
• They mark the debut of three Bose-made features in a non-Bose product
• Just launched and available right now, for $280 / AU$399.99 (about £210)

It is as I foretold: after we saw Skullcandy teases about new headphones, the brand has unveiled exactly the pair of cans I predicted. Meet the Skullcandy Crusher 1080 ANC; they're the pair that skate legend (and brand ambassador) Tony Hawk is pointing at in the picture above — yes, it really is him.

These are, according to the brand, its "best-sounding product" (although interestingly, not the most expensive because Skullcandy's Aviator 900 cans are a little pricier) and in case you didn't know, a 1080 in skateboarding involves three complete skateboard and body rotations performed either frontside or backside.

As a new member of its Crusher line-up, part of the draw will be the adjustable bass (see the big dial on the ear cup), but there's a lot more to celebrate besides that.

You can buy the Crusher 1080 ANC right now; they cost $279.99 / AU$399.99 (about £210) so they're a little cheaper than the likes of the $449 / £449 / AU$699 Bose QuietComfort Ultra Headphones (Gen 2) which they borrow features from.

They come in black, gray, brown, and pink, as you can see modelled sans Tony Hawk below. I rate them in the following order: brown, pink, gray, black, though I'd love to see a camo or floral redesign as Skullcandy is wont to do.

Colors aren't why you'll buy the Crusher 1080 ANC, though. No, it'll be because they offer three new Sound by Bose features at a non-Bose price...

That which we call a Bose by any other name would smell as sweet

We've seen Skullcandy headphones with Bose features before, but the Crusher 1080 ANC are the first pair of cans not made by the brand which have three specific features. And these three features are a big selling point of the product.

The biggest will be Bose QuietControl ANC, which is a massive draw within Bose's own products (including the QuietComfort Ultra Earbuds 2nd Gen). The company's noise cancellation is best-in-class, and now that proprietary Bose technology is baked into Skullcandy's headphones too. To many, this could be a reason to buy the Crusher all on its own.

Bose's TrueSpatial audio with head-tracking (for surround sound profiles irrespective of source material) and WaveForm audio engine (for snappy digital signal processing) are also stepping foot off the Good Ship Bose for the first time with the 1080. These will be great little extras to refine and finesse what Skullcandy already offers.

And that's before we even mention the Sound by Bose tuning and SpeechClarity voice pickup, to improve the music you listen to and your call quality. The latter is new to Skullcandy, but we've seen the former on some earbuds like my beloved Method 360.

And what about the headphones themselves, beyond the Bose stuff? Skullcandy hasn't confirmed the drivers, but I'd guess they'll be 40mm and joined by woofer units.

The battery life is 60 hours with ANC off and 50 hours with it on, which is pretty impressive; there's a 5-band EQ and other features via the Skullcandy app (not Skull-IQ, which some of the firm's earbuds use). Pictures show a dial on the side of the headphones, amongst other physical controls; I'd wager this is a redesigned bass slider, and given how easy it is to miss this on my Crusher 540 Active, I appreciate the rethink.

Reading between the lines, and having tested the Method 540 earlier this year (a 540 is a one-and-a-half skateboard and body rotation performed either frontside or backside, which I cannot do), I get the impression that Skullcandy is undergoing a push to really level up.

The company doesn't seem to be abandoning the commitment to bass that's defined its products in the past (or its love of athletes as brand ambassadors), but seems to want to bring that into a better-rounded audio package with higher-fidelity music on offer. And if the Skullcandy Crusher 1080 ANC is the culmination of this process, I'm really intrigued to know how they sound.

• Affordable audiophile brand Sivga just unveiled new in-ear monitors
• Lyrebird use four drivers for versatile sound
• Sony's recently-released Pro rivals now have tough competition

Sivga, a Chinese head-fi brand which has wowed us in the past with wood-design headphones, including the Sivga Robin and Sivga Oriole, has a new pair of wired earbuds it wants you to hear.

The Sivga Lyrebird are its new in-ear monitors (IEMs), and they've just been released for $149 / £149 (about AU$300). This isn't the cheapest price we've ever seen on this kind wired offering (Sivga itself has also released cheaper, more EarPods-style earbuds called the M260), but since audiophile-adjacent IEMs can sometimes costs thousands, it's still fairly affordable.

Not sure what IEMs are? They're wired earbuds, but aimed at professionals or audiophiles focused on detailed and natural sound. They often house an intricate array of drivers within their headshells — so they're often more expensive than your average wired buds as a result.

With the continued resurgence of wired earbuds, IEMs are seeing a boost in profile. Just last week, Sony unveiled its own IER-M500 Pro option, for a little less than the Lyrebird. When you look at the specs, though, Sivga's new option could blow Sony's Pro IEMs out of the water, on paper at least, with larger and more plentiful drivers.

And this lyrebird you cannot change

Sivga has packed its Lyrebirds with four drivers (the Sonys have a single 5mm one). This is to offer a wide soundstage, while also allowing each driver to focus on a certain part of the frequency spectrum.

For the low-end there's a 10mm polymer composite dynamic driver, and it's joined by a balanced armature driver for vocals, micro planar for treble and 9.2mm piezoelectric ceramic driver for the higher frequencies.

The earbuds connect using a 120cm cable, which has silver- and gold-plated copper connectors and ends in a 4.4mm jack.

Sivga has continued its wooden design aesthetic with the Lyrebird, as you can see from the pictures. The earpieces are handcrafted, and coated in resin to ensure they're durable.

The announcement of the Sivga Lyrebirds coincides with CanJam London, which is bringing plenty of other audio announcements. So before the day is through, we may see many other IEMs to enjoy.

• Marantz unveils replacements for the acclaimed PM6007 and CD6007 amp and CD player
• Amp has HDMI ARC and high-quality Bluetooth streaming, plus phono MM input
• From $750 / £499 / AU$1,000

One of the things I love about quality hi-fi is that it's often made to be a treat for your eyes as well as your ears. The new Marantz Model 70 integrated amp and CD 70 CD player definitely come into that category: I think they look stunning.

I'm probably a little bit biased because my CD player is a Marantz (the CD6007 that this one makes obsolete, no less) and I love it dearly. But both new models promise serious substance to match their style.

The Model 70 and CD 70 are the successors to the acclaimed PM6007 and the aforementioned CD6007, and Marantz promises that both deliver what the brand calls its signature "warm, detailed and deeply musical" sound.

But there are significant upgrades that should make this new generation an even more luxurious listen.

Marantz Model 70 and CD 70: key features and pricing

The Marantz Model 70 is an integrated amp with HDMI ARC and Bluetooth, with the latter offering transmission and reception via aptX Adaptive, aptX HD, AAC and SBC. In addition to the usual audio connections there are preamplifier and subwoofer outputs.

The 50-watt Class A/B amplifier features an upgraded topology with an enhanced power supply and larger toroidal transformer, which Marantz says delivers greater dynamic expression, improved speaker control and increased authority across all kinds of speakers. It includes a high-quality MM phono stage for your turntable and a high-performance ES Sabre DAC for digital audio sources.

The Marantz CD 70 features the same DAC as the Model 70 plus additional proprietary HDAM (High Definition Amplifier Module) circuitry to deliver "detailed, expressive and emotionally engaging reproduction of compact discs, extracting every nuance from treasured music collections," Marantz says. There's a USB-A port on the front for your digital files, and support for hi-res formats including FLAC HD, ALAC, AIFF and DSD.

As with the Model 70 amp, the circuitry has been optimized to reduce noise and preserve detail; there's an upgraded power supply, "strategically deployed" copper hardware and a double-layered chassis base with rigid isolation feet.

As with their predecessors, the Model 70 and CD 70 aren't terrifyingly expensive. The official price of the CD 70 compact disc player is $750 / £499 / AU$1,100, while the Model 70 integrated amp is £749 / AU$1,600. Sadly, the latter isn't available in North America.

Both models will be available on August 15th, 2026.

• App update delivers tab navigation, speaker/room sorting, and Dynamic Volume slider for iOS
• Phased rollout so it won't reach everyone simultaneously
• May take up to two weeks to arrive

Sonos users may not need to keep creating alternative apps for their systems: the official app is getting a significant update that's rolling out now. It's a phased rollout, so not everyone will get it at once, but it should reach everyone's devices within the next fortnight — though it's also optional, so you need to manually turn the changes on (for now).

Posting on Reddit, Sonos said: "We have a new Sonos App update and it's a big one." In addition to the usual bug fixes, there are significant interface improvements and, on iOS, a new volume interface too.

According to ShaunFromSonos, you shouldn't have to wait more than two weeks for the update on iOS or Android, and the timescale is "likely sooner". Provided you have Automatic Updates enabled, you'll get it as soon as it's rolled out to your device — however, once you have version 87 of the app, you need to turn on "Enable Improved Navigation" in Settings.

Sonos says that it's not making it the default until it's been tested en masse, outside of a limited beta environment. If people use it, love it and don't encounter major technical issues, then it could become the default later in the year.

Sonos app update in July 2026: what's new?

The update is coming to the Sonos app and Player and delivers clear tabbed navigation that follows the standard design conventions of Android and iOS respectively, with buttons to clearly show what's been selected and more prominent Home, System, and Search options.

The app will also now let you reorder speakers and rooms directly. You can sort alphabetically, by frequency of use, and by which speakers are currently playing audio. You can also pin your favorite speakers for fast access. As with the interface changes, this is opt-in and requires you to enable the improved navigation.

On iOS, there's a new volume slider that gets bigger when you interact with it, and it displays the number within the slider so you can see exactly what volume level you've selected.

Initial responses seem pretty positive so far, with one poster noting that the search function seems much faster on Android. Sonos are actively seeking feedback here, so if you've got the update already they'd like to know what you think on the app update Reddit thread.

Sonos also says that Lock Screen playback controls are coming to iOS soon, a long-awaited feature that's already available on Android.

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• The W&O X1 headphones come with a camera attached
• They raise new concerns over illicit recordings
• There is a recording light that turns on when the camera is active

The debate around smart glasses with cameras attached continues to rumble on — and apparently Meta still has plans for glasses that are constantly recording the world around them — and we now have a new pair of bone conduction headphones that lose the spectacles but keep the camera.

They're called the W&O X1 (via New Atlas), and of course they're packed with plenty of AI. This on-board assistant can help you navigate to locations, identify landmarks, look up facts and answers online, and even translate between languages. All this happens through voice control and spoken responses.

In order to provide some of that AI functionality, the W&O X1 headphones are fitted with a 4K video camera supplied by Samsung. It can take photos and videos with a tap or a voice command, which can then be saved and analyzed as needed — and in the interests of privacy, a small recording light shows when the camera is active.

The headphones can also double up as a miniature action camera, grabbing high-resolution video at 30 frames per second with a 130-degree wide angle view, with what looks like some impressive anti-shake technology built in too. Oh and did we mention they can play music and make phone calls too?

"Most headsets are made for listening," explains W&O in the product listing. " X1 is built for seeing, hearing, understanding, recording, translating, navigating, and staying connected in motion. It is a wearable AI system designed for the world outside the screen."

Privacy concerns

The idea of wearable cameras is becoming even more popular now, with the growing capabilities of AI and the continued shrinking of the necessary components. There's something appealing about being able to capture memories instantly, without having to dig out a phone and find the camera app.

At the same time, there are real concerns when it comes to privacy. The smart glasses already on the market make it a little too easy to record surreptitiously, and a tiny camera attached to a pair of headphones is even harder to see. There's even now a BanRay movement calling for smart glasses to be banned from certain spaces.

To be fair to W&O, they seem to be targeting these headphones at cyclists, hikers, and other outdoor types, so it's more for solo photo and video recording. Still, together with other gadgets in the pipeline, it highlights a growing need for proper safeguards to be put around devices with tiny embedded cameras.

The W&O X1 have blasted through their $3,000 funding goal on Kickstarter many times over, and if you're interested in a pair you can put in a reservation for $139 (about £105 / AU$200) — with the usual Kickstarter caveat that crowdfunded hardware doesn't always end up reaching consumers.

There are some decent specs here: IP6X dust and water protection, a lightweight 48 gram build, support for Bluetooth and Wi-Fi, and 30 hours of music playback between charges thanks to an integrated 800 mAh battery.

We're just over half-way through the year, and of the 28 pairs of headphones we've had the pleasure of testing so far, there are a number of standout over-ears from both ends of the price spectrum. If you're looking for a new pair of cans, these are the models you should be checking out.

At the affordable end of things we have the Nothing Headphone (a), which manage to be both way better and much cheaper than their predecessors. We praised their "impactful and well-balanced sound, good active noise cancellation" and "excellent and truly useful app". A little pricier but still affordable are the retro-styled and ridiculously comfortable Marshall Milton ANC, and the clear-sounding JBL Live 780NC, with their never-ending battery life.

For true audiophiles with deep pockets, we've tested two blow-the-budget bangers. The Audio-Technica ATH-ADX7000 are the only pair of over-ears to earn a perfect five stars, with their "beautifully precise and engaging audio with exhilarating low-end performance" (here are all the five-star buys of the year so far, if you're interested). We were also blown away by the Grado Signature S750, a pair of handmade, open-back headphones that offer "an exceptional soundstage and excellent clarity", and sound "amazing" on well-produced music.

Scroll down for a comprehensive list of our top-rated over-ear headphones of the year so far — hit the 'View details' button for a summary of the main pros and cons of each one, plus a link to read the full review. Alternatively, head to our general best over-ear headphones list for a run-down of our favorite sets of all time.

Outstanding over-ears

• Majority unveils its compact Mini Shelford
• It is a DAB+ and FM radio, that also doubles as Bluetooth speaker
• There's a headphone jack, sleep timer and alarm too

Despite the recent death of long-wave, there's a lot to be said for radio listening, so you can tune in to sports broadcasts or catch the news when there's no mobile signal to speak of.

And now Majority has a new option, which is tiny, adorable-looking, as well as being lovely and cheap. This is the Mini Shelford (not to be confused with Great Shelford, a village just outside Cambridge, UK).

Costing just £49 (about $65, AU$100), the Mini Shelford goes on sale in August. It's a smaller version of another Majority radio, called the Little Shelford, with many of the same features but an even smaller footprint.

There are four finishes of the Mini to choose from: black, white, pink or green, and they're all adorable.

Chock-full of features

As you'd imagine, the Mini Shelford lets you listen to DAB+ and FM radio. You could still have enjoyed the Wimbledon final if you happened to be in a signal dark spot, then (not that I speak from experience or anything).

But the Shelford also works as a Bluetooth speaker: pairing a device lets you use the speaker to listen to audio content from your phone or other source device. Majority recommends it for "podcasts or audiobooks," implying the drivers aren't really tuned for music that hasn't already been devastated by the FM radio signal.

With a color display, the Shelford offers a few other useful features too, including an alarm clock and sleep timer. It has a headphone jack too, so you can go with wired audio if you want to listen to Radio 4 without anyone else knowing.

As you can probably tell by the name, the Mini Shelford is pretty small; Majority says the footprint is "13cm" though it's not clear what that means, and there's no weight provided.

Either way, it's portable so you can take it into the garden or move it around your bedroom. There's a rechargeable battery, although Majority hasn't announced how long it'll last. How does it sound? Leave it with us, we'd love to find out… 

Sony's social media team are having a rough week: anything they post is getting piled on by angry gamers who are outraged by Sony's plans to stop the production of game discs.

Many PlayStation owners are vowing to boycott the PlayStation Store, cancel their PlayStation Plus membership and never buy PlayStation products again.

It's a PR nightmare for sure, with pretty much any online PlayStation content becoming a place for gamers to protest, derailing any attempt to talk about anything else.

It reminds me of the response to Sonos' introduction of a new and hugely flawed app, which Sonos now admits was badly done.

Sonos' PR nightmare lasted for around 18 months, there is now optimism and rebuilt trust around the new changes it's bringing to improve the app. Could Sony learn from Sonos' experience and its attempts to rebuild customer trust?

I think the answer is: yes it could, but no it won't.

What Sonos got right and Sony probably won't

Speaking to TechRadar earlier this year, Sonos CEO Tom Conrad set out his views on how to try and make angry customers happy again. "You just have to show up in people's life with some humility and do the hard work of earning their trust back through great execution, great product, great software, great experiences, and never forget what you put people through."

So far, Sony isn't doing that: rather than respond to gamers' concerns, it's battening down the hatches and staying silent about its move to digital-only. And that's a shame, because there are genuine reasons for gamers to worry about Sony's decision.

There are three key concerns about digital-only. The first, and I think the most important, is cost. The PlayStation Store is ludicrously expensive: for example Spider-Man 2, a three-year-old game, is £69.99 digital today in the UK, where I'm based. Competition between retailers means it's around £37 on disc.

The second is second-hand gaming. I buy many games second-hand, and many gamers like to sell their games after they've completed them or got annoyed by them, so that they can spend what they recoup on more new games (a win for the industry overall). So I can buy Returnal for about £20 on eBay. I can't buy the digital edition second-hand, so if I want the digital version it's… you guessed it, £69.99.

To be fair, you can get both games, and others, on PlayStation Plus Extra. But not everyone wants or can sustain yet another subscription, and we know that all subscription services go up in price — often dramatically so, as we saw with Xbox Game Pass last year.

And the third is ownership. Sony's disc announcement came just days after it deleted customers' purchased copies of over 500 movies, making it clear that purchasing doesn't mean owning forever. And those movies cost a lot less than £69.99.

Sony may have to eat humble pie for a while in order to mimic Sonos here, seeking out customer views to talk about those concerns, and maybe thinking about how to address them — so for example it could tell us that digital codes would still be sold through multiple retailers, like Nintendo does with its key cards, or that we'd be able to resell our digital-only games (even if it hasn't developed the mechanism for this yet).

However, the reality is that for a firm the size of Sony, even a significant customer backlash such as 246,586 signatures on a petition represents a microscopic proportion of its 125 million PlayStation Plus subscribers, let alone the many more PlayStation owners — and it can afford to ignore them.

That's something of a gamble. Just ask Microsoft, whose Game Pass price hike scared off far more customers than expected — according to reports, it lost 4 million out of 34 million Game Pass subscribers when it was expecting huge growth instead, forcing a partial reversal.

But Sony's gaming business is far bigger, and that means it can still upset a lot of customers without feeling much pain.

I suspect Sony is going to take a different lesson from the Sonos situation: even at the height of customer anger, Sonos still sold lots of speakers, soundbars and subs.

Then again, maybe Sony is more rattled than it's currently letting on. Two days after the digital-only announcement, with customers raging online, Sony CEO Hiroki Totoki sold more than half of his Sony stock and Sony's chief strategy officer unloaded a bunch of Sony shares too.

Marshall Stanmore IV review

If you want to invite a speaker that looks as good as it sounds into your living room, then the new Marshall Stanmore IV could be a great pick for you. It aims to deliver everything its predecessor did, but better, with a broader soundstage, enhanced bass, and superior controls.

And as someone who owns (and loves) the previous model in this line, best believe I was expecting big things from the Stanmore IV. Luckily, it delivered, offering up impressive sound, a solid set of features, and an eye-catching design. But is it worth its relatively premium price tag? Here’s what I think after many hours of testing.

But before we decide whether the Marshall Stanmore IV can sit alongside the very best Bluetooth speakers, let’s take a look under the hood. This thing essentially uses the same setup as its sibling, the Marshall Acton IV, but crucially with a larger woofer. That means you’re getting a single 5-inch sub with 60W of amplification alongside two 0.75-inch tweeters with 25W of amplification. The result? Big, commanding, and engrossing sound.

I started by firing up Are You Gonna Go My Way by Lenny Kravitz, and the Stanmore IV handled it masterfully. Wailing electric guitars had excellent tonal accuracy and cut through with clarity; vocals also sounded driven and emotive.

Moving over to a deeper track, like Vision of Love by Lewis Taylor, and the Stanmore IV continued to impress. Deep bass pumping through the track hit with tremendous impact while remaining regimented and clean. But thumping low-end never came at the expense of sounds elsewhere in the frequency range. High-pitched drums sounded expressive and vibrant, while vocals in the mid-range were granted plenty of room to play in. Bass can even reach down to 38Hz, meaning you get brilliant, low extension — even sub-bass comes through with vigor and confidence.

LDAC is also on board now for higher-res Bluetooth listening, which helped to illuminate breathy vocal details in Black Eye by Allie X. And even though I’d argue the speaker has a more energetic sound signature, with a lot of focus on the hard-hitting low end, it still supplies a detailed, nuanced listen.

One of the limitations of the Stanmore IV’s little sibling, the Acton IV was its stereo playback. Although it whipped up a decent impression of stereo sound, its small size made it a little difficult to create the most meaningful sense of separation. But the larger, wider build of the Stanmore IV takes things up a notch, and in Jimi Hendrix's Foxey Lady I picked up on a stronger sense of separation, with lead guitar brilliantly placed on the right.

And, more generally speaking, the Stanmore IV whips up a broad, engrossing soundstage. Marshall has improved the tweeters and waveguides on this model to help disperse sound more evenly and provide room-filling sound. However the extra width has been achieved, it certainly gets the nod from me.

Marshall’s Dynamic Loudness tech also ensured that tracks maintained admirable clarity, even at higher volumes. Of course, you can still expect a bit of compression at 100%, say, but I was impressed with the speaker’s control in the upper echelons of loudness. The Stanmore IV is even better in this regard than the smaller Acton IV — perhaps thanks to its larger woofer and larger cabinet size.

Overall, the Stanmore IV provides powerful, driven, and exciting sound, with commendable depth and expression. It's bullish and confident, but still takes time to smell the flowers — and its wider soundstage and refined bass even helps it surpass its already impressive predecessor.

But now it’s time to move on from sound and look at a few of the features you can enjoy on the Stanmore IV. If you’ve already seen my Marshall Acton IV review, then you’ll get the gist of what’s on board. The Stanmore IV uses the newer Marshall app, enabling you to save three EQ calibrations (using a five-band equalizer), and you can use the M button to cycle between these if you like. The app also opens up placement compensation, enabling you to optimize the speaker’s audio output depending on its positioning, and there’s an option to change the brightness of the LED indicators.

Like the Stanmore III, there’s also RCA and 3.5mm connectivity, allowing you to hook up a turntable, or connect the speaker up to an AUX cable.

Something I wish the Stanmore IV did have is Wi-Fi connectivity. Not only does Wi-Fi provide the highest quality wireless listening experience, but it also prevents pesky sounds from your device — like phone calls and notifications — blasting from the speaker. What’s more, this is a home speaker, so it could easily have a stable connection to your home network at all times.

Marshall has multi-room covered with Auracast tech, which enables a bunch of its speakers to pair together, but I would’ve loved to have seen Wi-Fi onboard for the most seamless, quality-focused listening experience.

Another thing the Stanmore IV leaves out is voice assistant capabilities. Unlike models such as the Sonos Era 100 or Bose Lifestyle Ultra, there’s no smart voice control onboard. Although this is a function that I personally don’t tend to use on speakers, I know that some may wish for it on a model designed primarily for home use.

But something that’s sure to be a hit with most is the Stanmore IV’s design. This thing is an absolute beauty, and although it looks very similar to its predecessor, I’d argue that there’s no need to fix something that’s not broken. The new Stanmore stuns with a gorgeous faux leather exterior, beautiful speaker grille, and luxurious golden detailing. It looks like a true statement piece, and an item that will complement any living space (while still producing excellent audio).

As was the case on the Acton IV, buttons and control knobs are also perfectly responsive and pleasing to use, and there are also onboard EQ controls for altering bass and treble levels if you want to make some changes in a pinch.

So, now we come to the big question. Is the Marshall Stanmore IV worth the money? Well, it’s not the cheapest speaker around, with a price tag of $399.99 / £349.99 / AU$679, making it $100 / £90 / AU$180 more than the Acton IV. On the surface, that may seem like a significant jump for a speaker that’s almost identical — bar a larger cabinet and slightly larger woofer. But these seemingly small changes actually make a significant difference, in my view.

It maintains tighter control at the highest volumes, and also produces the seismic sound that Marshall has become associated with. And that’s not to do the Acton down — it’s just to say that I think you get your money’s worth when stepping up to the Stanmore. I’d also say that the Stanmore competes well against rivals in its price category, with a lower price tag yet more might than a rival like the Denon Home 400. I’d also argue it produces a more striking sound than a model like the Sonos Roam 2 — though you do miss out on Wi-Fi and a few smart features.

Overall, the Marshall Stanmore IV is a great speaker that produces energetic, impactful sound, alongside a stunning look and nifty companion app. Yes, I would’ve loved to have seen Wi-Fi on board, but with LDAC for higher-res Bluetooth streaming added into the mix, I’d still happily recommend this musical maestro from Marshall.

Marshall Stanmore IV review: price & release date

• $399.99 / £349.99 / AU$679
• First released July 2026

The Marshall Stanmore IV was released in July 2026, around four years after its predecessor hit the shelves. This newer model launched alongside the Marshall Acton IV, which is — in essence — a smaller version of the Stanmore. This model comes in at $399.99 / £349.99 (AU$580).

Marshall Stanmore IV review: specs

Should I buy the Marshall Stanmore IV?

Buy it if…

Don’t buy it if…

Marshall Stanmore IV review: also consider

How I tested the Marshall Stanmore IV

• Spent days testing the speaker
• Used at our dedicated music testing space at Future Labs
• Mainly streamed music over Tidal

I tested the Marshall Stanmore IV over the course of a few days, during which time I listened to hours worth of music and exhausted every feature the speaker had to offer.

Most of the time, I used the Stanmore IV in our dedicated music testing room at Future Labs, where I mainly streamed tunes via Tidal on my Xiaomi 17. To begin with, I sifted through the tracks in our TechRadar reference playlist — which features songs from a wide variety of genres — but I also bumped a bunch of tunes from my personal library.

More generally, I’ve spent years testing audio gear here at TechRadar. I’ve reviewed everything from premium wireless headphones like the Sony WH-1000XM6 through to Dolby Atmos soundbars such as the JBL Bar 1300MK2. I’ve also tested more than 50 Bluetooth speakers, including lots of Marshall models, including the Marshall Middleton II and Acton IV.

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

Austrian Audio The Arranger: Two-minute review

The Arranger by Austrian Audio are an attempt to at least begin to fill the gap that exists between the company’s highest-end headphones and its wildly successful entry-level stuff. In case that isn’t a big enough ask by itself, Austrian Audio wants this new gap-filler to be just as convincing as a pro monitoring tool as they are a domestic pair of headphones.

So the brand has come up with a light, comfortable and slightly oddly colored pair of (semi) open-backed headphones that are easy to drive, fold smaller than the norm and are fitted with mildly exotic DLC-coated dynamic drivers that deliver a prodigious 5Hz - 30kHz frequency response. About the only misstep (apart from the finish) is the lack of a balanced cable option — or, more accurately, the lack of a no-cost balanced cable option.

When it comes to performance, though, complaints like this become irrelevant. Without sacrificing anything where detail retrieval, organization or soundstaging are concerned, Austrian Audio has served up a pair of energetic, entertaining and thoroughly engaging headphones that are just as happy to deliver the excitement of a recording as they are to peer deep into the mix and examine it on a microscopic level. As a combination of analysis and enjoyment, The Arranger are very hard to lay a glove on.

Which is not to say they have the field clear, of course. Similarly specified, similarly priced products from brands with similarly credible reputations are, naturally, available among the best wired headphones — and when you’re talking about companies like Beyerdynamic and Meze Audio, you know the alternatives to The Arranger are going to be compelling.

Austrian Audio The Arranger review: Price & release date

• Released June 2026
• Priced $1,299 / £899 / AU$1,899

The Arranger by Austrian Audio are on sale now, and in the United States they sell for $1,299 per pair. They’re £899 in the United Kingdom, and AU$1,899 in Australia. They're intended to fill a gap, but it means they come up against some pretty stiff competition, too.

Austrian Audio The Arranger review: Specs

Austrian Audio The Arranger review: Features

• 44mm DLC-coated dynamic drivers
• 3m cable with 3.5mm/6.3mm termination
• 25ohms impedance, 110dB sensitivity

Passive, hard-wired headphones are seldom groaning under the weight of all their features, and The Arranger are not in any way unusual. The feature-count is short but in this instance, at least, the few features here are all entirely fit for purpose.

The Austrian Audio are supplied with a 3m length of quite sturdily rubberized cable. It fits using the ‘click and turn’ method into the left ear cup, and at the other end there’s a 3.5mm termination that will happily accept the 6.3mm adapter that’s supplied. A 2m 4.4mm balanced cable and a 3m cable with an XLR termination are both available and, rather annoyingly, both will cost you additional money.

The information that travels along the cable is delivered to a couple of 44mm dynamic drivers. They have a diamond-like carbon coating on the diaphragm and also feature a proprietary ring magnet — the aim is superior impulse response, super-low distortion and significant bass extension. Austrian Audio suggests frequency response is 5Hz - 30kHz, which would seem to make ‘significant bass extension’ something of an understatement.

The Arranger are very forgiving headphones — impedance of 25ohms and 110dB sensitivity means they’re not even remotely difficult to drive. A dedicated headphone amp is always a good idea, of course, but even the 3.5mm socket on your laptop should have sufficient oomph to get the Austrian Audio up to speed.

• Features score: 5 / 5

Austrian Audio The Arranger review: Sound quality

• Significant low-frequency substance and variation
• Open, organized and detailed sound
• Tremendous powers of analysis

Austrian Audio, it turns out, was not just talking. The Arranger really do function almost as well as a pair of monitors as they do when asked to simply entertain. In either circumstance, this is a very accomplished pair of headphones.

The (almost) open-backed arrangement means the presentation is spacious and airy, and the soundstage the headphones present is quite expansive, but not at the cost of unity or singularity. Despite being able to open up a recording like Natural Magic’s Galaxy Builder to the point that its constituent parts are individualized and easy to inspect, there’s a togetherness to the way The Arranger present the recording that makes it sound like a performance rather than simply a collection of discrete occurrences.

It helps that frequency response is nice and even, from the deep and almost extravagantly varied low end to the bright, substantial top end. The midrange projects well without forcing the overall response into any kind of ‘V’ shape, and the lack of coloration to the tonality allows every point of the frequency range to sound natural and unforced. Detail levels are high at every stage, and the amount of insight the Austrian Audio have into even quite complex recordings is never less than fully impressive.

As well as body and insight at the bottom end, there’s also unarguable control. The Arranger take a lot of care in expressing the attack and decay of individual bass events, and consequently have no problem in describing rhythms with absolute conviction. This sense of confidence and positivity is, in fact, apparent throughout the frequency range.

As well as being alert to the finest, most transient details that both build a complete picture of a recording and allow an engineer to understand a recording on a sort of ‘building block’ level, The Arranger are more than willing to handle the broader dynamics of changes in volume, intensity and attack. The distance they’re able to put between the quietest and most contemplative passages in a recording and the final all-out crescendo is significant.

It’s by no means an easy trick to entertain with the vigorous and engaging nature of your sound while simultaneously serving as a forensic tool of insight and analysis — it’s so difficult, in fact, that most headphone manufacturers don’t even bother trying. But it’s a trick Austrian Audio manages to pull off with something very much like aplomb.

• Sound quality score: 5 / 5

Austrian Audio The Arranger review: Design

• (Semi-) open-backed configuration
• 320g without cable
• Just one, rather single-minded, option for finish

In many meaningful ways, the design of The Arranger is wholly successful. This is, at 320g without the length of cable attached, a light and comfortable pair of headphones, and thanks to come judicious choices where hanger arrangement, clamping force and padding of the contact points are concerned, it’s a pair of headphones that stays comfortable for hours on end.

The inside of the headband and the ear cups are of medium-density memory foam with a faux-suede covering. It’s soft, and it resists returning your own body heat longer after some alternative designs have started to warm your ears. Some sturdy articulation in the yokes means not only will the ear cups fold flat, but the frame folds in on itself too. This makes The Arranger much more compact in transit, and a far better proposition where portability is concerned.

To my eyes, though, there’s something quite inelegant and rather rustic about the width of the headband and the point where the headband chunkily meets the ear cups. The one available finish — a combination of black, something that thinks it’s gold and something that is unarguably beige — doesn’t exactly shout ‘premium product!’ either. The slats on the ear cups that result in the Austrian Audio being a quasi-open-backed design are a little more successful but, again, the color isn’t helping the headphones look as expensive as they actually are.

There’s absolutely no arguing with the standard of build and finish on display here but, then again, this is no more than you’re entitled to expect when paying over $1,000 for some headphones. The problem for The Arranger, I think, is about perceived value — and it comes up slightly short.

• Design score: 4 / 5

Austrian Audio The Arranger review: Value

• Headphones for every occasion
• Light, comfortable and easy to wear…
• …although not quite as easy to look at

No, $1,299 / £899 / AU$1,899 is not an insignificant sum for a pair of headphones, even a pair from a company with the track record of Austrian Audio.

But when you consider their potency as a tool of analysis, factor in their energetic and enthusiastic attitude when you’re simply listening for pleasure, and then add in the build quality and the comfort that’s a by-product, they become pretty difficult to argue with on a value-for-money basis.

One or two options where finish is concerned wouldn’t go amiss, mind you — in fact, they might help The Arranger to become an even easier sell.

• Value score: 4.5 / 5

Should I buy the Austrian Audio The Arranger?

Buy them if...

Don't buy them if...

Austrian Audio The Arranger review: Also consider

How I tested the Austrian Audio The Arranger

• Connected to a FiiO M15S DAP
• Connected to a full-size system via Eversolo DAC-Z10 pre-amp
• Using music from many formats and of many styles

The FiiO digital audio player features lots of hi-res FLAC and DSD files, and lots of different styles and genres of music within those digital files. The Eversolo DAC-Z10, meanwhile, is the preamplifier for an Arcan ST25 network streamer, a Technics SL-1300G turntable and a Rega Apollo CD player.

Which means that content from internet radio stations, vinyl and compact disc are all available too - which, by extension, means The Arranger by Austrian Audio got about as thorough a work-out as a pair of headphones at this sort of money demands.

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

PSB iQ2: Two-minute review

‘Larger’ is not the same as ‘large’, and so while the PSB iQ2 is the larger of the two models in the newly refreshed iQ range, it’s still a very compact little pair of speakers. ‘Compact’ in this instance, though, in no way implies a shortage of features or a restriction on performance

The standard of build and finish is good, the looks clean and understated no matter which of the seven different finishes you choose. The iQ2 has everything you could realistically hope for in a wireless speaker system costing this sort of money. It has — deep breath — wired and wireless connectivity (including a moving magnet phono stage for use with a turntable, and a HDMI eARC socket for connection to a TV), one of the best user interfaces around in the shape of BluOS, a total of 270 watts of power, frequency response that belies the physical size of the speakers, and authentically high-resolution playback. That's a lot.

Though you don’t get everything you could realistically hope for where sound quality is concerned, the PSB nevertheless has plenty to recommend it. Through every input except its phono stage, it’s a lively, engaging and informative listen, can deal confidently with rhythms and tempos, has a fair amount of well-controlled punch, and doesn’t overlook the finer details when it comes to unpicking a recording.

It can sound a little cramped via Bluetooth, sure, and its phono stage is dull when every other input sounds energetic. But as long as you’re not expecting small cabinets with small drivers to deliver hangar-filling sound you'll get from the best stereo speakers on the market there’s plenty to enjoy here.

PSB iQ2 review: Price & release date

• $1,399 / £1,199 / $2,299 (approx.)
• Released in June 2026

The PSB iQ2 active wireless stereo speaker system is on sale now. In the United States it sells for $1,399 — unless you like the walnut veneer finish, in which case it'll set you back $1,499. The equivalent in the United Kingdom is £1,199 / £1,299. The pricing is yet to be confirmed for Australia, but you’re probably looking at AU$2299 / AU$2499 or thereabouts.

There is neither the time nor the space to reel off all the very many excellent products that PSB is going up against at this price.

PSB iQ2 review: Features

• 19mm aluminum dome tweeter, 100mm mid/bass driver
• 24bit/192kHz DAC
• Wireless and wired inputs

It’s compact, yes, but PSB's iQ2 has found enough space to ensure it's equipped to justify the asking price. No aspect of its specification is underpowered.

Getting your audio information on board in the first place can be done in a number of different ways. All physical inputs are on the rear panel of the ‘primary’ speaker. It has sockets for HDMI eARC, digital optical, USB-C, USB-A and a moving magnet phono stage on RCAs for use with a turntable (this input is switchable to line level in the control app). There’s also a pre-out for connecting to a subwoofer.

The wireless stuff is covered off by Bluetooth with aptX Adaptive codec compatibility. The iQ2 is compatible with the BluOS eco-system, which means wireless access to every worthwhile music streaming service, internet radio and any content you may have stored on a device connected to the local network.

Once it’s on board, the digital stuff is handled by a 24bit/192kHz digital-to-analog converter before it’s handed over for amplification — the analog stuff, of course, is passed straight through. There are 270 watts of TI Burr Brown-derived Class D amplification to power the driver array — 45 watts for each 19mm aluminum dome tweeter, and 90 watts for each 100mm mid/bass drivers. The latter, mildly unusually, are positioned above the former. This is an arrangement that, suggests PSB, is good for a frequency response of 64Hz - 20kHz.

• Features score: 5 / 5

PSB iQ2 review: Sound quality

• Lively and informative sound
• Well-organized soundstage but not the largest
• Sounds dull via its phono stage

There are caveats here, and they concern the out-and-out scale of sound the PSB is capable of generating (or not), and the efficacy of its phono stage. But it’s probably best to start with the things the iQ2 gets — there are more than one or two.

With a Tidal-derived stream of Geese’s Getting Killed playing as a 24bit/44.1kHz FLAC file, the iQ2 is an energetic, engaging listen with a stack of pertinent observation to make where tone, timbre and basic detail retrieval are concerned. It maintains a nicely even-handed tonality, neither adding to nor subtracting from the organic heat of the recording. At every turn, it is attentive to even the finer details of texture and harmonic variation.

It sounds very much like it extends further down the frequency range than PSB is claiming, and when it’s down there it punches with well-controlled determination (as well as no little variation) and has no problems expressing rhythms believably as a result.

Frequency response is equally well judged, so when the system modulates from low end to midrange there’s no apparent step change. Then, once it's there, the iQ2 invests voices with plenty of character and emotional attitude, as well as revealing the finer details of technique. Move up again into the highest frequencies and, though the PSB is not the most substantial where treble sounds are concerned, it manages to describe shine and bite without becoming hard or glassy. The DSP-assisted crossover occurs at around the 3Khz mark, but it’s basically imperceptible.

There’s a fair amount of dynamic headroom available, so as well as having the grunt to play good and loud, the iQ2 breathes deeply enough to put worthwhile distance between the quieter moments of a recording and the points of greatest intensity and attack. And it can manage these transitions without audible stress or compression, which is not something you can automatically say about some of its nominal rivals.

The soundstage it creates is well defined and properly organized, so even complex recordings are laid out coherently. It’s not the most expansive soundstage you ever encountered, though. These are small-ish cabinets featuring small-ish drivers, and quite obviously there’s a limit to the scale of sound you’re entitled to expect. Got a great big room you want to fill with sound? You’ll be needing bigger speakers than these.

And it’s definitely worth noting that the above applies to most, but not all, of the iQ2’s inputs. It can, inevitably, sound a little squashed when streaming via Bluetooth — this is hardly unheard of, even in systems costing plenty more than this. Yet the integrated phono stage is an authentic disappointment. It gives away the bulk of the vibrant, energetic attitude the system displays through all of its other inputs and replaces it with an altogether more pedestrian, vanilla alternative. No turntable = no problem, of course, but if you have a record player you’d like to use, try and hear the PSB’s phono stage before you commit to spending any money…

• Sound quality score: 4 / 5

PSB iQ2 review: Design

• 246 x 145 x 192mm (HxWxD)
• Choice of seven finishes
• Rear-firing bass reflex port

If a significant part of the appeal of systems like this is their relatively discreet nature, then PSB is onto a winner with the iQ2. Even by prevailing standards it’s notably compact at 246 x 145 x 192mm, and as long as you give each cabinet’s rear-facing bass port a little breathing space then it’s very adaptable and flexible when it comes to positioning.

As is generally the case with PSB, the standard of build and finish that’s on display here is more than acceptable. The cabinet edges are crisp and clean, and the combination of MDF and aluminum used in the construction allows the speaker to be fairly light (7.4kg per pair) but notably robust. The main sleeve is of MDF, the rear panel is of aluminum, and the front baffle (which is separated from the main body by a slim slice of brightwork) is MDF on aluminum.

There are seven available finishes, which means there really ought to be something to suit your interior design choices, but I can’t help thinking I got the short straw with my review sample's ‘sandstone’ beige. It’s a rather insipid and non-committal color. I haven't seen them but I’d suggest that any of the black, white, ‘boreal’ green, ‘granite’ gray, ‘ember’ red or (cost option) walnut veneer alternatives are likely to be preferable.

For me, anyway, the fact the iQ2 is supplied with four little magnetically attached grilles that cover only the drivers rather than the entirety of the front baffle is probably a good thing. Unless you’re actually trying to disguise the colour of the speakers in the first place…

• Design score: 5

PSB iQ2 review: Usability & setup

• BluOS control app
• A few physical controls
• Easy to create a multi-channel or multi-room system

The primary speaker, the one with all the physical and wireless connectivity, also features a few capacitive (and illuminated) touch controls on its top panel. They’re useful if you happen to be passing, but of much more wide-ranging use is the BluOS control app.

BluOS is an increasingly popular control and management interface, one that’s been adopted by quite a number of manufacturers, and it’s easy to see why. It’s a clean, clear and stable interface, logical in navigation and extensive in its functionality.

Everything you need, from initial set-up — telling the primary speaker if it’s the left or right channel, for instance — and EQ control to establishing a multi-channel or multi-room system using any BluOS-compatible product, can be taken care of from here. Integrating your favorite music streaming service(s), accessing internet radio, checking for updates, so on and so forth — they're all here.

A great operating system is not, in and of itself, a reason to buy a wireless speaker system but it certainly makes it easier when you’re making your mind up.

• Usability & setup score: 5 / 5

PSB iQ2 review: Value

• Great specification
• Very acceptable build and finish
• Energetic sound

Just because you don’t get a whole lot in physical terms, doesn’t mean the PSB iQ2 doesn’t represent very decent value for money.

The specification is good, the operating system is better still, the standard of build and finish is very acceptable indeed — and best of all, the sound is energetic and engaging through all but one of the input options.

If you want nicely poised and enjoyable sound from a system that won’t dominate your room, there’s authentic value to be had here.

• Value score: 4.5 / 5

Should I buy PSB iQ2?

Buy them if…

Don’t buy them if…

PSB iQ2 review: Also consider

How I tested the PSB iQ2

I put the iQ2 on some Soundstyle speaker stands for the majority of this test — from there they were attached to a turntable and a CD player (via the phono input and the digital optical input respectively), as well as streaming via Bluetooth and from Tidal using the BluOS app.

I also tried them on a shelf for a while, and listened purely wirelessly, but because my shelves are positioned in the traditional way, it was quite difficult to get the rear bass reflex ports far enough away from a rear surface…

• Read TechRadar's Reviews Guarantee
• First reviewed: July 2026

• Skullcandy website teases 'the greatest headphone ever'
• New bassy over-ears that feature a collab
• Timer counts down to a July 15 launch

While Skullcandy has had a rather quiet 2026, that all looks set to change in a few days. On the Utah brand's website, it's begun teasing a brand-new audio product.

But what? Well, I've turned into that Charlie Day It's-Always-Sunny corkboard meme, and I think I've figured it out. No, Skullcandy hasn't secretly tipped me off; I've just written about it long enough to know a few things.

Let's review the evidence. A timer at the top of the page counts down to 'Mission Launch'; this is set to run down at 7:45pm ET on July 15th (that's 4:45pm PT, or a quarter to 1am on July 16th in the UK). So we know when the new launch will take place.

A video on the page shows a group of people crowded around a TV, while a presenter tasks them to "make the greatest headphone ever", emphasizing "give the people something they can feel". The video looks a little AI-y, but maybe that's just a style now.

Elsewhere on the website, a link pointing to the aforementioned page refers to "A collaboration. A breakthrough. Something that has never existed before".

Getting Crusher vibes

From the evidence, we can glean that these are headphones, as opposed to earbuds, ruling out a Method 540 successor. This is because the website literally says so. I know, give me my Sherlock hat already.

The reference to giving people "something they can feel", to me, all but guarantees these are part of the Crusher line, as those headphones have bass sliders to boost bass to wild levels. The Crusher 540 Active nearly shook my head off.

It's also been a while since we saw new Crusher headphones. The Crusher Evo came out in 2020 and the Crusher 2 in 2023, but other than the aforementioned Active pair in 2025, we haven't seen a proper release since then. Other pairs of cans from the brand, like the Aviator 900, have seen updates more recently. So it's Crushin' time.

That all means it's the Skullcandy Crusher 3 coming, right? Uh — the brand might actually have skipped one, two or 1,077 numbers. As a Redditor noticed a couple months ago, a Crusher 1080 was recently certified by the FCC (as well as a Crusher 720).

The Skullcandy Crusher 1080 ANC passed FCC certification from r/Skullcandy

Skullcandy's same teaser mentions 'Sound powered by Bose' which could well be the collaboration in question, as a few recent Skullcandy devices have been tuned by the noise-nixing giant.

However, that might not be the only collab, because Skullcandy often sees brands design unique skins for its headphones. For example, camo company Realtree has created some funky, nature-inspired models of Method and Crusher devices, and we could see this continue with the 1080.

In terms of actual features, audio specs or the design of the Crusher 1080 we don't have much at all, as not much more has been leaked. Sorry. At least you won't have to wait long to find out, as the 15th is getting ever closer.

Moving home is such a pain, and that's doubly true when half of your possessions are tech gadgets. I just spent weeks moving my belongings between two flats on opposite sides of London, and it would've taken half the time if I didn't have to shift countless large boxes that were 10% gadget and 90% packaging to keep said gadget from breaking.

Eventually I finished moving to The Ladder, as the area is called (not funny, since most tenants still aren't on it), and as soon as I had my foot on the rung, as it were, my turntable and hi-fi kit was the first thing I set up. The deposit had barely gone through before my Sony PS-LX310BT was on the cabinet and some Edifier M90s were either side.

That's right, the very first thing. Before I unpacked my clothes. I still haven't unpacked my books or computer. Getting some tunes going was the most important task.

This wasn't just because I wanted to enjoy some music while I unpacked, though, or because I wanted to claim the good speaker spots in the living room before my flatmate moved his own turntable in (OK actually, that was part of it). No: it's because getting your hi-fi set up in a new flat can save you loads of faff later on down the line.

Pride of place

Speakers aren't something you can just dump anywhere in your living room and get a good experience. A lot of thought needs to go into where they're placed.

Stereo speakers like mine need to be placed so they're spread evenly across a room, to put the listener in the sweet spot betwixt the two, not hidden together in a corner. You want to make sure they're placed on a surface that won't offer unwanted resonance, aren't too close to a wall and are, ideally, at ear level.

If you set up a living room and then bring your hi-fi kit into it, the ideal placement for all of this may already be taken up by other things. Books or DVDs or fancy liqueurs can hog the shelf space on which a speaker would ideally do best.

In my old apartment, the only convenient space for a turntable was on a shelf in the corner of the room. Reaching it to swap a record was a chore, and so I didn't bother using the player as much as I otherwise would.

That's why I thought it important to give my hi-fi set-up priority space in the room. Now, everything else can be place around it.

I'll admit, it wasn't perfect. As you can see in the pictures, I put my speakers on the same cabinet as the turntable. Great for taking pictures, not so great for music, because vibration interference might affect record playback. Unfortunately, it's the only place in the room where I could equally space the speakers, so it's something I'll have to make do with.

A mess of cables

"There's nothing as fun and sexy as cable management" is what I would say if I wanted to say something totally wrong. I hate the whole process of cleaning up wires and cables, and so often ignore it, leaving trails and black snakes and wire rat kings running like veins around my house.

(I know some people find great satisfaction in cable management and maintenance, with some cables ties and so on, and that's fair enough. It's just not my cup of tea. You can try and help me with mine, if you want though).

Unfortunately, this can quickly become a problem with a hi-fi set-up, when players and speakers need cables for power, cables for music, cables for the sake of it sometimes. I've created some pretty hideous messes in the past.

Sometimes, that makes moving house quite a pain, because you're left tangling or untangling countless wires. It's why I thought it important to set up everything quickly when I moved: I could refresh my cable situation, making sure I had all my audio cables in position before any annoying extras needed to be added.

I'm glad I did, because in the week I've moved here, the behind-the-cabinet area has turned into a nest of vipers. If I had to add my turntable now, it'd give me a migraine trying to work out what goes where.

That's especially true of power plugs, which are few and far between in any rental flat. Where I've plugged in the turntable and speakers, I also have to find space for a refrigerator, internet router, separate internet box (yeah, my ISP really likes taking up power points apparently), and various other things.

Since I've yet to buy a splitter, I'm constantly playing musical chairs with the plugs, removing and replacing them to find space for my laptop charger or projector. Thankfully, since the turntable and speakers were there first, they're too embedded to remove.

Where do the records go?

When I first set up my turntable and speaker, I thought those pieces of kit getting central spots would be the end of my space issue. I was wrong. And I'm not just talking about the fact that my flatmate and I have far more UK pint glasses than our kitchen storage can cope with.

Records. I'm talking about records. They're pretty big, aren't they? A lot bigger than my Spotify collection, that's for sure, because that takes up zero space.

Partly, I'm talking about how tall and wide records are. They just don't stack on all shelves, so you need to be smart about where you place them.

But the biggest problem for my flatmate and I soon became just how many records we have between us. We must have far north of 50 collectively, which makes them hard to fit on any kind of shelf.

Unfortunately, I didn't think of this ahead of time, and we only realized the issue when we'd already settled in the living room. Where were our records going to go? We'd already filled the crevices in the cabinet with bowls and plates, and reaching the shelves required a stretch, so that was no cigar.

It took some reorganization to carve out a space for them in one of the cabinet's areas, and that's only a half measure, because I had to sacrifice about three-fifths of my collection to the black void that is my unpacked room. But our favorite records are within reach, at least.

If I'd have thought this far in advance, I'd have saved some more cabinet space for records. But it just goes to prove the point: a hi-fi system takes thought, and if you don't bring it into your home before anything else (yes, including bowls and cutlery and little ramekins of the sort I have far too many of), you end up having to totally reorganize when it's too late.

• Sony announces new Sony IER-M500
• The most premium wired buds it currently offers
• Designed for aspiring musicians more than average listeners

Sony: big name in the wireless audio space, with the WH-1000XM6 headphones getting rave reviews from us, but not so much of a player in the wired headphone game.

Sony gets nary a mention in our best wired headphones list and to be honest, the company's most recent wireless earbuds (see the Sony WF-1000XM6) and open-fit offerings haven't gone straight to the top of the pile either.

Given that the company is basically single-handedly keeping the headphone jack alive in smartphones, though, it makes sense that this could change. Enter the Sony IER-M500, new wired buds from the company.

These are the most premium wired earbuds Sony sells right now, going for £99 / AU$149(about $130), which is at least twice the cost of the few other cable-toting buds it sells. That'll be small fry to audiophiles, where IEMs can cost thousands, but still, it's big money for Sony in this particular space. Their chief competition might be something like the Shure SE215.

And there's a solid reason for the price hike: these aren't your everyday IEMs (or in-ear monitors). Sony says this particular model is meant to "elevate stage performance experiences" and is aimed at "a wide range of performers, from aspiring musicians to professionals". So basically, they're not for everyone.

For most people then, Sony's cheaper wired buds like the funky pink IER-EX15C or big-driver MDR-EX650AP might be better to buy, but certain people might find the IER-M500 is just what they're after.

Monitor this

As with most other IEMs, the IER-M500 consist of a small in-ear bud which connects to a 1.6m cable, and this ends in a 3.5mm jack.

The earpiece is clearly designed for fit (while your guitar gently weeps, and so on). Each bud has a "fitting supporter" to keep it lodged in the ear, and they have a "thin polyurethane wall" to block out some background sound. In Sony's announcement press release, said fit enhancements were described before any sonic specs.

They come in clear, black or red-blue, choices which Sony says are designed to "complement your onstage outfit", which is one of the reasons (along with their still-affordable price) I'd say these are targeted at new musicians, rather than seasoned professionals.

Sony also makes a point of describing how they'll survive extended use, without the constant plugging and unplugging of the buds wearing them down.

In terms of audio itself, the buds have a 5mm driver, with an acoustic chamber designed to create controlled bass. The frequency response is 10Hz-40kHz and there's a 16-ohm impedance.

Sony has made far more premium IEMs before, such as the IER-M9, costing over 10 times as much. But with wired earbuds making a comeback, it seems that the company has decided now is the perfect time to offer some affordable ones.

Right on cue, Amazon Prime Day in Australia has delivered a much better price on the Apple AirPods Pro 3, dropping Apple’s latest noise-cancelling earbuds to just AU$299.

That’s a mighty AU$130 saving on their AU$429 RRP, and more importantly, it’s the lowest price we’ve seen for the AirPods Pro 3 on Amazon.

Considering they launched at a higher price than their predecessor, this Prime Day deal makes them a far more tempting option for iPhone users who have been waiting for a deeper discount.

I’ve been using the Pro 3 since they launched in September and, while I was initially unsure how much better they could really be than the Pro 2, I’ve had to concede that Apple’s updated earbuds are something special.

The noise cancellation, fit and overall sound quality all make them easy to recommend, and this AU$299 price makes that recommendation even easier.

If you’re a devoted iPhone user, there’s a good chance the AirPods Pro 3 are already on your radar.

If you want a deeper breakdown before buying, our Apple AirPods Pro 3 review covers their features, sound quality and noise-cancelling performance in detail.

My audio-loving colleague Becky Scarrott described them as the earbuds for “iPhone owners who value great, shut-out-the-world noise cancellation”, and that lines up with my own experience.

As soon as you put the Pro 3s in your ears and turn on ANC, they do a remarkable job of cutting out the world around you.

I’ve worn them while walking along busy roads and even while vacuuming at home, and in both cases, the AirPods Pro 3 have made it far easier to focus on whatever I’m listening to.

They’re not the cheapest earbuds around, even with this Prime Day discount, but at AU$299 they become a much more compelling pick among the best wireless earbuds, especially if you’re already deep in Apple’s ecosystem.

I don’t expect this price to stick around once Amazon Prime Day wraps up, so if you’ve been waiting for a proper AirPods Pro 3 discount, this is the deal to jump on.

Quick links to the best Apple deals on Amazon

• Amazon Prime Day: shop the main Prime Day sale
• Apple at Amazon: browse everything Apple in one place
• AirPods deals: check the best AirPods prices
• iPad deals: shop iPad offers at Amazon
• Apple Watch deals: see the best Apple Watch prices
• iPhone deals: check current iPhone deals
• Apple accessories: browse AirTags, chargers, cables and more
• MacBook price checks: find MacBook restocks and price drops

Even more AirPod deals

On a recent visit to head-fi brand Audeze's headquarters in California, I had the chance to talk to the brand about the recent ReSkin feature it launched for its Maxwell 2 gaming headset.

This new feature for its excellent planar magnetic driver-powered gaming headset allows owners to customize their set by swapping in funky earcup designs to inject some colour, flair, and personality into their gaming accessory.

The earcups have been so popular that a bunch of the first designs have sold out, with marketing director, Peter James, telling me that "the one that's sold the most is the all-seeing eye. That one actually sold out of its first run."

Indeed, of the six designs or sets that Audeze launched in May, only one of them is available to buy as of right now on the brand's website, and two — the all-seeing eye and the very limited edition Dia De Los Muertos set — are not even listed at all.

However, there could be big things on the horizon with the PlayStation-owned Audeze having "some potential game studio collaborations" on the way in the future, according to James.

This could be an opportunity for a collaboration with a huge PlayStation series or two in the future, given Audeze is under Sony Interactive Entertainment's (SIE) roof now.

Could we see a spectacular God of War Laufey ReSkin featuring Faye? Could we, Maxwell 2 owners, be wearing some Intergalactic: The Heretic Prophet artwork in the future? How about a profile shot of Wolverine adorning each earcup?

There are some truly exciting potential collaborations to consider given the relationship between Audeze and PlayStation.

And Audeze doesn't intend for the ReSkin designs to stop there: "We're really just getting started at this point.", James tells me.

"We're not intending this reskin program to be limited to Maxwell 2; that's just where it's starting."

I asked whether there might be a possibility of fans submitting their own designs in the future. "I don't think we're going to do 'design your own,' but we'll almost certainly be doing some things where people can submit designs and maybe run an online poll or competition to see what people vote on to select."

He went on to add that, as well as the exciting prospect of gaming collaborations, there are "more in-house designs that we'll be releasing on a monthly cadence."

Audeze has previous form with working with external collaborators from studio artists and musicians in relation to some headphones — when it comes to those super slick wooden rings that you can see on the likes of the LCD-2 and LCD-3 sets, for example — and it seems that the ReSkin program has the potential to unlock some big-hitting collaborations further down the line to continue that trend.

• People continue to build alternative Sonos apps with features Sonos hasn't offered
• Recent creations include customizable room correction that works with front surrounds
• Most aren't widely available, and are being shown in invite-only betas

In the last few months, Sonos has finally moved on from fixing its app's tech issues to improving it with new navigation and adding some useful new techy features, such as a key new network troubleshooting option.

But many Sonos users are just tired of waiting for long-requested features — such as the ability to add front surround speakers — so they're building their own alternatives instead.

We covered some user-created apps to improve the Sonos ecosystem not too long ago, and the list of available options continues to grow.

More Sonos apps than you can shake a soundbar at

First up there's "the app Sonos should have made" according to its creator: Somos InControl. It's an iOS remote for Sonos home theater products with custom EQ, saveable sound presets, surround height levels and music features too.

The big draws here are that it supports adding front left and right surround speakers, and the ability to save EQ options for different use cases — the example screen shot has slightly tweaked sound for 5.1 surround versus Dolby Atmos versus music listening that you instantly switch between. It's an Apple TestFlight work in progress so availability is limited, but it looks very impressive.

The app Sonos should have made. Try it for free. from r/sonos

Moosic is a self-hosted music server app that offers an alternative to Trueplay's room tuning, with the always-welcome ability to display charts of the room correction, plus more customization options for the tuning.

It also enables you to switch your Sonos configuration — such as switching a pair of Era 300s from working as rear speakers to working as stereo music speakers — but to keep separate room-tuning profiles for each configuration, which again is something Trueplay doesn't offer.

If you're wondering why not just use TruePlay, creator AffectionateFox5907 explains: "Sonos does not provide a way to switch between home theatre and music setup seamlessly. My app does, but as part of that I lose Trueplay. When you unbond and rebond a speaker, each time it will lose its Trueplay configuration. My app basically builds a better Sonos app that adds features I've been wanting for a while without having to have a bunch of different apps. This now works with multiple subs and should work with fronts added as well."

One of the big downsides of using third-party apps that add front surrounds is that it disables Trueplay, so this is a win for people coloring outside the usual Sonos surround lines.

It also looks ideal for anyone who's found using their home theater for music to be a bit of a pain, and there are plenty of people who do: there's a whole Reddit thread asking for a simple switch between movie mode and music mode without having to reconfigure your system every time you do it.

I built my own version of "Trueplay" from r/sonos

Last but not least, MajorAtmosphere has created Kyuu (pronounced "queue"), an iOS Sonos controller that enables you to use UPnP for local files, which the Sonos app doesn't support.

As they explain: "Kyuu runs a lightweight local server that handles speaker discovery via SSDP, polls playback state, and sends commands directly to your speakers. The iOS app talks to that server over your LAN — no cloud, no Sonos account, no external dependencies."

I built a local-first Sonos controller iOS app using the UPnP API — no account required [Beta] from r/sonos

• Spotify has quietly updated its Mixed Playlists tools
• You can now fine-tune transitions smoother by amending effect curves
• It's starting to crop up for more users, and it's a smash hit so far

There’s one thing that Spotify does really well, and that’s offering a roster of different playlist-making tools for you to really get creative with. Though some are AI-powered, Spotify’s Mixed Playlists encourages you to use your originality when compiling songs, all while putting you in the DJ booth.

Just as you’d get with music-mixing software, Spotify’s Mixed Playlists allow you to create smooth transitions between songs to ensure your playlist flows like a classic DJ set. Its mixing interface presents you with preset effects, and even tells you the key and BPM of each track — and now users have noticed a new upgrade that gives you even more freedom on the customization front.

A recent post on the r/truespotify Reddit page shows the latest update, revealing that you can now amend the Volume, EQ, and Filter settings even more by simply dragging each effect curve to control how the transition runs. According to a small number of users, this feature has been live for a few months, but the majority of listeners in the replies are only now running into it — myself included.

Spotify first launched Mixed Playlists in August 2025, hot on the heels of Apple’s own AutoMix function. But instead of relying on AI to mix songs, Spotify’s version puts the control right into your hands, and it quickly became one of my favorite new tools.

Prior to the update, you could create song transitions by selecting a preset which would automatically amend the Volume, EQ, and Filter settings, or you could go into each of the three and select your own preset to curate a custom transition. While these are still available, you can fine-tune your song-mixing even more, and after testing things out for myself I can see why listeners have taken to it so well.

For starters, it allows you to clean up the small but noticeable imperfections in your transitions that you can’t achieve by presetting the three audio categories individually. For example, if you go into the Filter category and select the ‘High-pass filter out option’, it’s stuck in one place on the audio track. When you tap the ‘Customize’ button, three points appear on the effect curve which you can move around the audio track display so that your chosen effect comes in at a specific time.

Comment from r/truespotify

However, there are a few small blips (not so much setbacks) with the feature that users have picked up on. When you start off with customizing your transitions, it can feel a little fiddly when trying to find the exact placement for each of the effect curve points but this you’ll get used to.

Additionally, other users have also pointed out that the effect curve points sometimes move back to their original spots after you’ve shifted them. I’ve only run into this a few times, so it’s not a major issue that’s going to put you off for good.

For once, it’s refreshing to see Spotify give one of its existing tools some TLC instead of pumping out new features without a lot of thought behind them. If this is the approach Spotify is taking from here on, just think of what it could do to improve features like this in the future.

• Soundpeats Nebula Aura were teased in January 2026
• Since then, the brand has continued to run a blog about their development
• Fans look willing to sell a kidney to try them

Thanks to its roster of solid affordable earbuds, Soundpeats is a brand I always keep an eye on. Between the Soundpeats H3 three-driver in-ears, Soundpeats Clip1 open earbuds and Soundpeats Cove Pro over-ears, I'm always interested in what they've got up their sleeves.

After being given a glimpse up said sleeves in January 2026, when the brand teased some five-driver earbuds, we've been learning more and more over time. Through 2026, Soundpeats has been running a blog dedicated to the development of the buds.

We already knew a fair bit, for example about the five drivers: the 10mm dynamic driver is joined by a 6mm planar driver, two balanced armatures and a planar magnetic driver. The support for aptX Adaptive, LDAC and Snapdragon Sound was all also in the knowledge bank.

But the blog shines a light on some other elements of the bud, for example in the design department. One post discusses the charging case, and how it was designed to allow you to remove the buds in the same gesture as opening it. It's the stuff you don't think about when you're buying some buds online, and shows that the brand is putting care into its Nebula.

In another post, the brand details a transmitter that the Nebula will work alongside, allowing for 24-bit 96kHz audio playback from iPhones. That's right, the barren LDAC-less wasteland will finally be able to enjoy high-res music (Androiders can just use LDAC for this quality with the Nebula).

Fans can't wait

One other side-effect of publishing this blog, is that Soundpeats has managed to build plenty of organic excitement for the Aura Nebula. And I'm not just talking about how interested I personally am to try them.

A representative for Soundcore has been actively sharing the blog posts on Reddit, and they've seemingly amassed a dedicated audience of fans who want to test out the buds. There's also a Discord dedicated to the buds.

For example, in the r/Earbuds subreddit, a recent posted inspired a Q&A between one of the product's developers and excited fans dying to test the buds. And when I say "dying", I mean it: one interested party asking for updates said "this is painful". So, yes… fans are pretty keen.

Comment from r/Earbuds

In the Q&A, fans' main questions were about when the buds would be arriving — unfortunately they weren't given an answer, though TechRadar has today (Wednesday 8 July) reached out to the company and will update this article if we hear back.

But Soundpeats was very honest about other topics. For example, when asked about battery life, the representative confirmed that they didn't have a concrete battery estimate yet: "the exact battery life still needs to be tested and confirmed [... it's] one of the things I'm personally watching closely too".

Elsewhere, the developer shared more details about the buds: "55db hybrid ANC, transparency mode support, 3 microphones per earbud, AI call noise reduction, and Qualcomm cVc 8.0".

Comment from r/Earbuds

When one fan asked if the Aura Nebula would be top-end buds to compete with Sony, Bowers & Wilkin or Technics, the response admitted "in terms of overall product capabilities and brand influence, we aren't quite ready to be compared to those industry giants just yet". So they're staying humble, while also hinting at these buds wont be prohibitively expensive.

It's fascinating to see a brand like Soundpeats not just tease a product well before their launch, but be so open about their R&D process. It's creating interest in a way that press-release-in-inbox announcements don't, and making the brand seem more trustworthy than many peers. It's quite surprising that more brands don't do this kind of thing.

We were meant to see the Soundpeats release in Spring 2026, but obviously that didn't happen. The brand posted about pre-production prototypes in April, so hopefully we won't need to wait too long before the Aura Nebula gets released. I would worry for that Reddit poster if they're delayed much longer.

• Dire Straits' keyboardist/producer Guy Fletcher post about mixing their albums in Dolby Atmos
• He says immersive mixing of the original recording sessions is "quite addictive" and often very emotional
• 3D audio can reveal details that were previously buried when engineering for stereo

One of the things I love most about audio technology is how it can reveal things you've never heard before either because they were buried in the mix or because your setup, speakers or headphones weren't delivering all the detail.

And according to Dire Straits' keyboardist and producer Guy Fletcher, Dolby Atmos is delivering revelation after revelation not just to music fans, but to the musicians and producers who made the records in the first place.

The majority of records are made with stereo in mind, and according to Fletcher "stereo remains an extraordinary format". But as he explains on LinkedIn, redoing a stereo record for Atmos enables you to rediscover "the little things that get sacrificed along the way when you're making a stereo record. The tiny details. The decisions nobody notices because they're buried beneath more important decisions."

Fletcher makes an intriguing claim. Taking a stereo record and making it three-dimensional isn't about making it sound the same; "it's more to do with matching the emotional impact" as he says. It's not what you hear. It's what you feel.

What immersive audio delivers – and doesn't quite deliver

I think Fletcher is correct, and I'm going to compare audio to another art form: video games. I've been replaying some very old favorites recently and I'm amused by how terrible the graphics are; in my memories, those games were photorealistic as well as utterly compelling. When those games are remastered to higher visual quality they're effectively enabling me to play what I remember, not what I actually saw.

As Fletcher describes it, taking recordings into spatial audio does much the same. "The moment you begin placing objects or building beds around the listener, the music seems to breathe and expand. Mix or bus compression suddenly seems rather pointless. Sounds are no longer confined to a flat line between two speakers. Instead, they occupy a living, sculptural environment with depth, height and dimension."

It's not perfect by any means, because people listen to Atmos and other spatial audio on all kinds of different hardware that may be suboptimal: headphones, soundbars, and a range of speaker systems that don't deliver the full experience.

"Creating extraordinary Atmos mixes is no longer the obstacle," Fletcher says. "The real challenge is ensuring that the sense of space, scale and emotional impact that makes immersive mixing so exhilarating, can be faithfully experienced by the vast majority of listeners who do not own a dedicated Atmos speaker system.

Fletcher describes spatializing Dire Straits' biggest hit album, Brothers in Arms, whose original multi-tracks took him straight back to the recording studio in 1984. Although the album had previously been remastered for 5.1 audio, the Atmos edition still required extensive detective work as well as painstaking restoration.

"The real challenge lay in respecting an album that has become woven into the lives of millions of listeners," Fletcher recalls. "While 5.1 and Atmos share some similarities, Atmos offers a very different creative canvas. The challenge was never technical — the challenge was emotional."

For Fletcher, "Atmos has a curious ability to reveal not just the details within a recording, but also the memories embedded within it. In that respect, at its best, the spatial audio experience is as much about rediscovery as it is about technology."

Of course Atmos doesn't guarantee a mix is good: the record industry is very good at remastering records as a quick cash grab, and there are plenty of famous records by big artists whose remasters caused howls of outrage. But when an album is approached with care, patience and above all else, a love of the original material, the move to 3D can make songs sing even more beautifully.

• Marshall unveils Acton IV and Stanmore IV speakers
• Redesigned bass port, repositioned cables and tweaked speaker array
• Sadly, there's no Woburn IV in sight yet

It's been four years since Marshall revamped its home speaker line-up, and so fourth-generation models of the Marshall Stanmore, Marshall Acton and Marshall Woburn are certainly due.

In the words of Meat Loaf, two out of three ain't bad, because the former amp company (which now seems to focus solely on consumer tech) has just unveiled the brand-new Acton IV and Stanmore IV speakers.

These two new speakers are on sale now, and because we're keen we've already got a Marshall Acton IV review hot off the press for you — ie. the slightly smaller and cheaper of the two. It costs $299.99 / £259.99 (AU$430), while the Stanmore IV is a little more expensive at $399.99 / £349.99 (about AU$700).

And what about the top-end member of the family, the Woburn? There doesn't seem to be a new-generation version of this model. Perhaps it was stuck in traffic on the M1?

(To explain that joke for those outside the UK, Stanmore and Acton are both boroughs in London, while Woburn is a town outside of it. The M1 is the freeway passing it, and congestion jokes are a stalwart part of British humor. Feel free to trot this one out down at the local bar/ watering hole; I don't need any credit).

Fourth-gen upgrades abound

The Acton and Stanmore IV both bring a few improvements over the third-gen models.

These include support for Auracast, upgraded tweeters for a sparkling high-end, a redesigned bass port for increased airflow, and cables which plug into the bottom of the speaker instead of the side.

This latter was an interesting move, and it was done to allow the speakers to be backed right up against the wall. In theory, then, they'll fit into a cabinet or cupboard much better.

Beyond that, you're largely getting a package that'll be familiar to Marshall fans, especially with the amp-esque design and style. They're both still compatible with the brand's control app, as well as the M-button for controls, and retain the various connection options including Bluetooth, RCA and aux.

In previous reviews of Marshall's home speakers, we praised the bass performance and audio detail (thanks to a previous bass port redesign), but wished they could stream music over Wi-Fi, or offered voice assistance. Sadly, these particular perks have not been added for the new models — but we can still hope that they might arrive with the Woburn, right?

Marshall Acton IV review

Marshall has refreshed its mid-sized home speaker, which promises enhanced bass, dynamic loudness tech and improved tweeters, among other things. Yes, the Marshall Acton IV looks to be quite the improvement over its predecessor, and after testing it for myself, I have to say, it certainly makes good on its promises.

Let’s start by taking a look at the tech specs. The Acton IV features a single 60W woofer alongside two 25W tweeters, helping it to produce powerful and energetic audio. It also has a frequency response of 37Hz-38kHz, meaning it can extend down seriously deep for such a compact speaker — and you can really feel the bass… more on that later.

One standout difference between the Acton IV and its predecessor is its inclusion of RCA connectivity. This makes it a great option for hooking it up to turntables, for instance, and it’s easy to switch between Bluetooth and RCA mode with the built-in source controls. 3.5mm connectivity is back too, if you want to access lossless audio — something I always look out for when testing the best Bluetooth speakers.

Although these connectivity options are all very welcome, it would have been great to see Wi-Fi playback, given that this is a speaker most people will likely keep at home. Streaming using your home's Wi-Fi network is ideal for such speakers because it provides an even more stable, higher-resoltuion quality than Bluetooth can offer, and means that notification sounds on your source device don’t play through your speaker. Still, there is LDAC this time out — something that Marshall has been keen to integrate into its consumer audio products recently, as we saw with the Marshall Milton ANC. This opens up higher-res wireless playback over Bluetooth (provided you've got a source device that supports it), and it works great if you’re streaming on platforms such as Tidal, for instance.

Despite the omission of Wi-Fi, the Acton IV does include Auracast, enabling you to create a multi-room setup with other products from the brand, such as the Marshall Heston 120 soundbar and Marshall Stanmore IV. Some older models, like the Marshall Acton III can also join the Auracast multi-room setup with the Marshall Heddon streaming hub.

I was also interested to find that the Acton IV connects to the newer ‘Marshall’ app, which has so far been restricted to the brand’s TV audio gear. It feels more intuitive and detailed than the standard app, and features a five-band equalizer, which enables you to set three presets of your liking. You can also customize the speaker’s M button to cycle between these. The app also enables you to cycle between different sources, optimize audio with a placement compensation tool, set a standby timer, and adjust the brightness of the speaker’s LED indicators. Good stuff.

One thing that may dissuade some from picking up the Acton IV is that it lacks baked-in voice assistant support. This means that it can’t act like a smart home speaker in the way that a Sonos model would, say.

But, by now, you must be wondering: just how good does the Marshall Acton IV sound? Well it’s good news, because it sounds pretty great. Something that instantly struck me, is that the speaker has a very exciting sound signature, with attention-grabbing and relatively prominent bass, as well as energetic, forward-sounding treble.

This was great for livelier genres like dance tracks. For instance, in Get It On by Jansons, higher-pitched drums came through with serious bite, hitting with speed and precision. Meanwhile, pumping bass came through with great impact without ever overshadowing vocal chops and synths in the mid-range. Even with some deeper house tracks, I was truly wowed by the Acton IV’s bass extension. It can reach down into deep dark depths with great confidence, and even the sub-bass was full-sounding and seismic.

Luckily, the Acton IV continued to perform well with more laid-back tracks. In Ned Doheny’s Sing To Me, soulful vocals were nicely weighted, and came through with solid clarity. They weren’t separated to the point that they occupied a unique pocket in the mix, although when I bumped things up in the mid-range, they had a little more space to express themselves. Bass definitely remained fairly weighty, and although this gave the tune a pleasantly funky edge, some may prefer to mess around with different EQ settings.

It’s also worth noting that the Acton IV has a stereo sound configuration, rather than the basic mono that a lot of Bluetooth speakers use. While it doesn’t produce the most amazing stereo imaging I’ve ever experienced, this is understandable for a smaller-sized speaker. In All Along the Watchtower by Jimi Hendrix, vocals were well-defined in the left channel, and percussion expanded well beyond the Acton IV’s limited confines. With LDAC on, I also appreciated the speakers attention to detail, with small vocal quirks and subtle percussive elements illuminated to impressive effect.

My main critique of the Acton IV’s audio output relates to its control at higher volumes. Despite including the dynamic loudness tech seen on the Marshall Kilburn III, for instance, I found that the speaker could sound a tad harsh at high volumes. At 90% and above, compression was more noticeable, with highs turning slightly shrill and bass lacking the control I’d experienced at mid-volumes. It's pretty standard for speakers to compress towards maximum loudness, though, and if you’re looking for meatier sound, the mightier Stanmore IV is available.

Moving on to an area where Marshall speakers always excel now: design. The Acton IV looks very similar to its predecessor, but that’s no bad thing. It has enticing faux leather casing, a neat speaker grille, and a gorgeous golden control panel. Its amp-inspired aesthetic makes it feel like just as much of a statement piece as it is a great-sounding speaker.

The buttons and control knobs are also highly responsive and satisfying to use, and there are even onboard EQ controls for the bass and treble if you want to make some changes on the fly.

But it’s time to address the most crucial question of all: is the Marshall Acton IV worth the money? Let’s start by looking at its price. The Acton IV comes in at $299.99 / £259.99 / AU$499. That’s by no means cheap, and puts the speaker in competition with the Wi-Fi equipped Sonos Play and home speakers like the JBL Authentics 200.

I’d argue that the Acton IV certainly sounds up to scratch for this money. It offers mighty yet refined bass, clean and detailed mids, and vivid highs. It's also decently powerful, and would make a great fit for a small or medium-sized space. However, the lack of Wi-Fi playback may prove to be a deal-breaker for some — it’s the connectivity method many will favor for home speaker use, and again offers better quality and seamlessness than Bluetooth.

Still, its brilliant design, solid set of features and, of course, impressive audio capabilities, means this is still a great home speaker. All in all, I’d recommend the Acton IV if you want a powerful and stylish speaker, even if you’re a little limited on space. If you want something more portable, the Marshall Kilburn III is a great alternative, though, coming with a handle, 50-hour battery life, and waterproofing at a very similar cost.

Marshall Acton IV review: price & release date

• $299.99 / £259.99 / AU$499
• First released July 2026

The Marshall Acton IV was released in July 2026, just short of four years after its predecessor came to market. It launched alongside the Marshall Stanmore IV, which is essentially just a larger variant of the Acton. It comes in at $299.99 / £259.99 / AU$499, representing a slight price bump in the US, but continuity in the UK, if we’re comparing it against the Acton III.

Marshall Acton IV review: specs

Should I buy the Marshall Acton IV?

Buy it if…

Don’t buy it if…

Marshall Acton IV review: also consider

How I tested the Marshall Acton IV

• Tested across multiple days
• Used at our dedicated music testing space at Future Labs
• Mainly streamed music over Tidal

I spent days testing the Marshall Acton IV, listening to hours worth of music, testing its various features, and exhausting every option available in its companion app.

For the most part, I tested the Acton IV in our dedicated music testing room at Future Labs, where I mainly streamed tunes via Tidal on my Xiaomi 17. I started by playing tracks in our TechRadar reference playlist — which features songs from a wide variety of genres — but I also bumped a bunch of tunes from my personal library.

More generally, I’ve spent years testing audio gear here at TechRadar. I’ve reviewed all sorts of tech, from premium wireless headphones like the Sony 1000X The Collexion through to Dolby Atmos soundbars such as the JBL Bar 1300MK2. I’ve also tested more than 50 Bluetooth speakers, including lots of Marshall models, such as the Marshall Middleton II and Kilburn III.

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

• Nothing wants you to 'Go all in with Ear (3a)', its new $99 / £99 earbuds
• Their top feature? 32MB of built-in flash storage, for 'Audio Snapshot' capture
• You can clip up what you're hearing, (voice note / lecture / call) by pinching both buds

New budget Nothing earbuds are in! And they're called… wait, what are they called?

Let's sort out the naming strategy early doors: Nothing calls its (a)-suffixed series its mid-range "playful" and "joyful" offering, for its "young, creative, engaged" followers. The company adds that the Ear (3a) are "designed for a generation that sees technology as an extension of their personality."

Furthermore, while these are to be seen as a solid update on the excellent, five-star 2024 Nothing Ear (a) — take note, there is no Nothing (2a), so don't look for them — they're also to be seen as a product that slides in nicely next to the still-current, but more expensive and definitely more flagship Nothing Ear (3). Okay? Good. This is important, because the Ear (a) are some of the best budget earbuds I've ever had the pleasure of testing.

You'll likely have noticed there's a new striking pink finish alongside the traditional black, white, and an (updated, so I'm told) yellow, but the big selling point with this iteration is the introduction of 32MB of built-in flash storage, "allowing users to capture audio moments directly through their earbuds".

Essentially, the Ear (3a) let the wearer instantly clip up media they’re listening to, just by pinching both earbuds before the content you want starts, and after the audio finishes, thereby creating an audio 'snapshot' of the moment.

So, a Dear Diary idea, or perfect for lyric capture when inspiration grabs you? Yes, but there's more: the Ear (3a) also allow users to start in-call recording on the earbuds with a simple gesture, and you'll apparently be able to get approximately two hours of 'tape' on your buds without reaching for your phone.

Is this… a wholly good idea in the era of active consent? Because to me it sounds potentially problematic regarding consent to being recorded during private phone conversations — although Nothing tells me a privacy notification alerts participants whenever recording is active.

Nothing also tells me said recordings are automatically synced to the Nothing X app, where they can be replayed, edited, shared and/or transcribed (using your Nothing device). Users can also transform key transcript moments into shareable quote cards.

Honestly? You could've given me 10 guesses as to which direction the company would head with its "playful" Nothing earbuds, and this wouldn't be on that list. Nothing might call it an 'Audio Snapshot', but when used for calls (and because I am a woman of a certain age in the UK) my mind goes to another phrase: phone hacking.

Nothing Ear (3a): other specs and features you need to know

I was lucky enough to attend an early briefing on the Nothing Ear (3a) and so I know that under the hood is a new 12mm driver, 1mm bigger than the one in Nothing's current flagship buds.

As with the splendid Ear (a), LDAC is back for budget hi-res audio, too. There's also a new three-LED status light that Nothing says is "joyful", and it can perform a total of six status indications (for battery status, pairing status, charging levels and so on) in a li’l matrix array. I'll hand it to Nothing there — it’s really quite fun.

Elsewhere, the corner radius of the case has been softened by 50%, making it rounder and easier on the palm. While I'm on the subject of comfort, there's an improved ear-tip design (the tips are a little thicker and more flared across the outer wall) and you get an extra XS size too, plus an 8-band EQ tab in Nothing's a-series for the first time.

Other firsts include an ‘aerospace-grade’ diaphragm on that larger driver, plus the first ever wide-band 45dB ANC algorithm in Nothing's a-series. Nothing tells me said noise nixing is actually improved by 17.1% compared to the Ear (a), thanks to a software upgrade and improved architecture concerning where the mic sits.

Nothing has also thrown in its own Static Spatial Audio for first time in the a-series (think head-tracked spatial audio), plus presets in the Nothing X app.

Finally, Nothing is claiming improved voice clarity thanks to the 3-mic AI voice algorithm — which should be handy for recording those 'Audio Snapshots' onto the 16MB flash drive storage in each bud.

Battery life? Of course: the claim is 10 hours on the earbuds alone with ANC disabled. With ANC enabled, users should be able to enjoy up to 25 hours of total listening time (which is huge), and up to 42 hours with case. Also, you'll get an IP54 rating for both buds and case — so essentially they're dust- and splash-proof.

The Ear (3a) are available now, priced at $99 / £99 (or around AU$190, where sold). And while I can't vouch for the sound yet, I'm working on it…

Noble Osprey: Two-minute review

Ah, the Noble Osprey; see how the majestic raptor hovers over its prey, watching with beady eyes as the young trout — wait, what do you mean this isn’t the first few words of a David Attenborough narration? Oh. I’m glad you told me that now.

The Noble Osprey are, in fact, a new pair of true wireless earbuds from the premium audio brand Noble. They’re not cheap, relatively speaking (and this is a crowded market), but they do undercut some of the best earbuds on the market to have graced our testing process. They're also more wallet-friendly than other buds from the brand such as the Noble FoKus Amadeus and FoKus Rex5, making them a little more competitive than what’s come before.

Despite this cheaper price, the Osprey also share a few traits with their siblings. They have another distinct marbled look, this time in blue, and again a focus on high-quality audio, with a refined V-shaped sound profile and support for LDAC.

I really wanted to like the Osprey; I tested the FoKus Apollo over-ears which sounded fantastic, and love an earbud that’s focusing on refined, higher-resolution sound instead of an omnipresent thumping bass. But over the several weeks of testing, I repeatedly found myself opting for other buds over the Osprey, which isn’t a good sign.

Unlike the namesake birds, gliding unbothered in the sky, the Osprey are certainly susceptible to the force of gravity… that is to say, they just wouldn’t stay in my ears. I tested the various sizes and shapes of ear tips offered in the box, and even rotated and twisted the buds around uncomfortable angles to see if I could lodge them into my ear, but no cigar.

I don’t mean they wobbled when I went for a run; I could be sitting stock still and they’d slide (I hesitate to use the word 'yeeted', but there it is) straight out of my ears of their own accord. Even cooking or eating was a challenge with them in; they’d fall out so frequently I’d always just remove them — or replace them with a pair I wasn’t testing.

The problem was incessant and it sowed in me a reticence to use the buds. This sentiment colored my entire time with them. I don’t think I’ve ever used a set of earbuds that fit as poorly (well, a tip-toting pair at least; they draw with the Samsung Galaxy Buds 4) as the Noble Osprey.

I'm only laboring the point because it is a real shame. There’s a lot to like in these buds. They look distinctive, offering some of the flair of wired, Shure-adjacent IEMs but without the wire. The case is lovely and small, and holds a fair amount of charge too.

And the audio quality from these Noble earpieces is also good (when you can keep them in), offering a V-shaped presentation but with delicate, sparkling trebles and a refined low-end that’s rich in detail. The use of dual drivers as well as LDAC and Bluetooth 6.0 compatibility ensures you’re getting that extra sonic oomph you’re paying for. I just wish the buds would stay in my ears so I could appreciate the sound quality more…

Noble Osprey review: Price and release date

• Announced on June 2, 2026, shipped later that month
• Selling for $199 / £199 / AU$292
• Undercuts Noble's other buds, AirPods Pro and Galaxy Buds Pro

Announced on the 2nd June, 2026, the Noble Osprey were shipped to early buyers by the end of the month.

They cost $199 / £199 / AU$292, so they’re priced just a hair below the AirPods Pro 3 or Samsung Galaxy Buds 4 Pro, but in the same rough ‘premium wireless earbuds’ area that indicates these are top-tier buds.

Not highest-tier, I suppose, when you consider Noble’s other buds. The Rex5 cost $449 / £419 / AU$699, literally twice as much as the Osprey, so this bird-named pair of buds is still a very affordable model as far as Noble is concerned.

Noble Osprey review: Specs

Noble Osprey review: Features

• Minimum 5 hours listening, 7 hours without ANC
• Passable ANC, but struggles in wind
• App offers EQ, but not much more

The Noble Osprey are earbuds designed for audiophiles, and battery life is often a department that sees culls in favor of driving those various drivers (and powering the necessary antiphase tech for noise nixing). Case in point, the Osprey only last for five hours of listening when you've got ANC enabled.

That timespan extends to seven hours if you turn off ANC, which is a reasonable figure. The 35-hour battery life of the case is also reasonable too, and I've tested plenty of earbuds that don't offer that amount of extra juice.

Talking of the ANC, it's passable, but nothing to write home about — the Osprey won't be joining our best noise-cancelling earbuds guide any time soon. It stripped away the rumble of a bus and dampened the whirr of a nearby washing machine, but didn't offer the near-silence that many rivals do. They often struggled with wind too.

The Noble Osprey app offers a few useful features, including the ability to customize what the buds' touch controls do, turning off (or on) ANC, and toggling the Bluetooth tone switch.

The main tool, though, is the equalizer, offering a 10-band EQ or the choice between six presets. It's a rather effective EQ, letting you pull the music in various directions, and you can save various custom modes in addition to the presets.

If you don't think you'll use the equalizer, though, the app's not really worth downloading; it doesn't offer that much else, and there's a dearth of extra features that often crop up in consumer-grade earbuds.

• Features score: 3.5/5

Noble Osprey review: Design

• Svelte carry case
• Attractive blue marbled design
• Not designed to stick in the ear

You’ve read the introduction, you know that the Noble Osprey buds simply wouldn’t stay in my ears, no matter what I tried. And before the “why didn’t you…” of the comments section: trust me, I test buds for a living, this is not my first rodeo. It took very little motion to dislodge them from my ears: going on walks, sitting on a bumpy bus, moving about while cooking.

This was more than a minor annoyance; I basically couldn’t use them if I wasn’t sitting still at a desk, and even then the fit was unreliable. When they started to slip, they fell fast, tanking the audio quality and, if I tried to push them back into my ears, causing me to accidentally press the on-bud buttons.

Now and then I managed to lodge them in my ears in a way that, temporarily at least, kept them locked in position, and once or twice I managed to go on a walk with the buds. But this wasn’t reliable, caused my ears to ache, and still required me to adjust the fit almost constantly.

What’s the problem? They’re not the lightest buds I’ve ever tested, weighing 6.5g, but that shouldn’t be enough to hurt the fit. At a guess, it’s the top-heavy weighting of the buds themselves, though the lack of any friction in the tips (or perhaps a fin to help them lodge into ears) doesn’t help either.

Not only is it infuriating to constantly adjust the earbuds in your ear, it runs the risk of knocking the touch controls on each. It’s only a risk, though, and not a guarantee, because I found the controls quite unreliable to trigger.

The Osprey come in a lovely-looking azure charging case — azure until it gets scuffed up, which happened very quickly for me, making it look a little less lovely.

Said case is pretty small, with the buds nestled into it nicely, and it's light in weight, tipping the scales to 61g. I couldn’t find any information suggesting they’re IP rated, but the case certainly feels solid enough to protect the buds from a drop.

• Design score: 2.5/5

Noble Osprey: Sound quality

• 10mm + BA driver
• Refined V-shaped sound
• LDAC support

Putting aside fit issues (which are hard to put aside when they affect sound quality so frequently — but play nice!), the Noble Osprey sound really good.

Each bud has been kitted out with a 10mm dynamic driver, plus a balanced armature driver, and they combine to create a refined V-shaped sound.

Bass is cohesive and scooping, holding a distinct space in the mix without overriding higher-end frequencies. Treble is sharp and bright, giving vocals sparkle and adding energy to string or brass stings. And while the mids aren’t as prominent in the mix as, say, bass, they hold enough space that music doesn’t feel like there’s some void in the middle.

Songs like Don McCloskey’s First in Flight let the various higher-frequency instruments, and the dancing bassline, all sit separately without descending into one chaotic mush. Acoustic guitars and vocals don’t clash like they do in cheaper buds, like in Charlie Mars’ She Ain’t Coming Back, which retains detail and timbre.

Helping this detail is the Osprey’s support for LDAC, for an upgrade over SBC or AAC.

The dual drivers bring another benefit: audio spacing. There’s distinct placement and a broad soundstage present in music here. How to get it? Try Yi Nantiro’s Oasis, which sees the harp dance around your periphery, or the London Symphony Orchestra’s recent recording of Holst’s The Planets, in which you can basically point to where each section of the orchestra was seated during the live recording.

The Osprey get pretty loud too if you push them, only distorting when you’re at the highest few volume increments. I didn’t go anywhere near that loud for most of my listening, but I appreciate that you can listen at higher volumes without losing quality.

• Sound quality: 4.5/5

Noble Osprey review: Value

• Rather affordable compared to audiophile buds
• Expensive compared to consumer-grade ones
• Don't offer the complete package like same-priced rivals do

The Noble Osprey sit with a foot (or claw? Talon?) in two camps. On one side, they're affordable audiophile earbuds, designed for listeners who care about music quality above all else. On the other, they're premium models for the average consumer, who wants a more balanced overall package.

Unfortunately, while the Noble Osprey sound really good, I'm not sure they sound $200 good. The distinction between them and same-price Apple, Bose or Sony rivals isn't pronounced enough, when you consider that those buds tend to offer a more balanced design and wider feature set.

Sure, audiophiles who only consider audio quality might not want those other features, but it's still a high price. For the same cost as the Osprey, you can get other buds that work even better.

• Value: 3/5

Should I buy the Noble Osprey?

Buy them if…

Don’t buy them if…

Noble Osprey review: Also consider

Want to see what other earbuds your money can get you? Here are some alternatives for roughly the same price.

How I tested the Noble Osprey

• Tested for one month
• Paired with two different Android phones
• Used for various activities and tasks

I used the Noble Osprey for roughly a month before writing this review, and the writing process added at least a week more of testing time. I began by using the pre-attached ear tips, and cycled through various in-box options, before settling on the two-tiered tips you see in the pictures.

During that span, they were paired to two different Android smartphones: a Motorola Edge 70 Fusion, and a Realme 13 Pro Plus, both times with the app installed on the phone. Mostly, music listening was done with Spotify and Tidal, while Prime Video and Now were used for movies — and various games got a look-in, too. I also used them for some calls and voice notes.

Initially, I used the earbuds for a wide range of tasks, including going for walks around my area, commuting or travelling on various forms of public transport, and while doing activities around my house. Towards the end of the testing process, when the fit issue made other uses frustrating, I only used them while seated at a desk. I completely omitted several tasks that are part of my usual testing process, including gym trips and runs.

I've been reviewing tech for TechRadar since 2019, which has seen me use countless earbuds and audio products.

• First reviewed in July 2026

• Read TechRadar's reviews guarantee

Amazon Prime Day has come to an end in Australia, and what a week it was. I saw some insanely low prices on some of the best headphones and best wireless earbuds, including an all-time low on the AirPods Pro 3.

As expected, however, many of the best discounts have now finished, but you can still find a good bargain on a new pair if you missed out. As you'll see below, select pairs of Bose and Sennheiser headphones maintain good prices, and I've also found a AU$60 saving on the aforementioned AirPods Pro 3.

If you're happy to wait though, I reckon there will be some excellent prices once again in November's Black Friday sales.

The best Prime Day Australia headphone deals 2026 still live

Over-ear headphones

In-ear headphones

Open earbuds

Wired earbuds

Prime Day 2026 in Australia: all you need to know

• A new leak shows off the Nothing Ear 3(a)
• We see the earbuds in four colors, with the case
• The official unveiling is scheduled for tomorrow

If you can't wait until tomorrow for the official unveiling of the Nothing Ear 3(a), the budget wireless earbuds have now appeared in an extensive leak that reveals the design, colors, and features — so this is pretty much a full spoiler.

The early reveal comes courtesy of WinFuture, and is based on information from retailers who couldn't wait to get their listings live. We can see the earbuds in all four of the already announced colors: black, white, yellow, and pink.

There are a few interesting tidbits here, but when it comes to the aesthetics, there are no dramatic surprises: the look of these earbuds is very reminiscent of previous Nothing Ear models, with the semi-transparent stems and the transparent lid on the charging case.

What we do learn is that the Nothing Ear 3(a) are set to come with a 12-millimeter driver, as well as support for LDAC and Hi-Res Audio Wireless — so while the price is affordable, it seems the audio quality won't be compromised too much.

Touch to record

The leak gives us a glimpse of what seems to be a special feature we haven't seen from Nothing products before: the ability to press the stem of the earbuds to record voice notes, which is something to look out for.

WinFuture also refers back to previous leaks that mentioned a retail price of €99, so it would appear that the upcoming wireless earbuds are going to stick to the $99 / £99 / AU$169 starting price of the excellent Nothing Ear (a).

In our Nothing Ear 3 review, we praised those earbuds for offering "zealous, customizable sound" — though we weren't quite sure about how much value for money they offered, which is something this new pair might move the dial on.

One of the quirks of the Nothing Ear 3 is the 'Super Mic' that's included in the charging case, which you can use for calls and voice notes instead of the microphones on the earbuds — but as yet it's not clear if the Nothing Ear 3(a) will offer the same feature.