• Audiolab unveils new 6000CDT MK II
• It's a CD transport, dedicated to processing a disc (not the full player)
• Requires a DAC and other separates to let you play the music

I'm writing constantly about the physical media revival, and cover new CD players every week, but new disc buyers might not be aware of how frail these things can really be. One scratch can wipe whole songs off an album, and a cheap CD player might be putting undue risk on your collection.

For that — and several other reasons — CD transports exist, and Audiolab has just unveiled a new model in the form of its 6000CDT MK II. No, I'm not talking about those wallets which you used to use to carry hundreds of discs around with you.

These are, to a certain extent, CD players: they have disc drives and let you control your tunes. But they don't have Digital-to-Analog converters, or DACs, which are vital for converting the sound from your physical media into something your amplifier and speakers (also not included here) can understand.

So why buy a CD device which can't play music from the box? Well firstly, housing the CD reading tech away from other electricals can ensure a clean and stable read, and it also lets audiophiles pick their favorite sound by choosing their own DAC, amp stage and speakers.

Transport you to the (Audio)lab

It also lets the CD transport focus on what it does best: reading discs. Everything in the Audiolab 6000CDT MKII is designed around the process; this lets you get the best from the medium, and ensures your little slivers of music are protected while they're in the machine.

Audiolab has rebuilt the device from the original to make sure all the components like the laser, spindle and disc loader are stable, make no noise and are consistent. The laser correction, which counters any unpredictability in the spin of the disc, has been designed to avoid any unnecessary actions, again making sure no noise gets in the way of your playback.

Looking at the technical specs, the 6000CDT MKII supports standard CDs as well as CD-R and CD-RWs (rewritable discs, basically, for which support can often be unreliable).

The device is set to go on sale at the end of November, for a price of £399 (about $540, AU$800, and we're waiting on exact global pricing).

Of course, if you buy it, you'll also need to pick up the other necessary accoutrements, but Audiolab would love to nudge you towards its very own similarly-styled 6000A MKII amplifier, which has a DAC built in — and judging by press pictures, the company is really hoping you'll pick up both. Fair warning though: it may sound very, very good . And his runs the risk of starting a bona-fide hi-fi collection, which can be quite a slippery slope.

Obviously, you'll also need some pretty nice speakers to appreciate them with. Fortunately, I have listed a few below…

• Bluetooth LE gets support for High Data Throughput (HDT)
• It boosts the standard's maximum supported bit-rate by almost four times
• That means support for hi-res audio, spatial audio and multi-channel audio

Good news for the best headphones of 2027 and beyond: the latest Bluetooth technology includes High Data Throughput technology, HDT for short, which gives Bluetooth LE a huge performance boost. It can transmit almost four times as much data as the current version, enabling it to send hi-res audio, spatial audio and multi-channel audio to other devices.

The fact that HDT is part of Bluetooth is important, because that means you aren't reliant on a proprietary technology for your hi-res music: if manufacturers choose to use HDT, which we'd expect them to do, then you'll have compatibility across a huge range of headphones, Bluetooth speakers and other home entertainment hardware.

There are other benefits too, as many current hi-res audio streams are sent via Wi-Fi rather than Bluetooth. Sending them over Bluetooth LE removes that traffic from your home network, potentially cutting down on congestion, and it is likely to boost your headphones' battery life, too.

Faster data transfer means less work for your Bluetooth radio, whether you're listening to hi-res audio or lower-res streams.

What's new in the blue

HDT is an optional feature in the newly published Bluetooth Core 7.0 standard, and it ups the bitrate of Bluetooth LE connections from 2.5Mbps to 7.5Mbps. Those are headline speeds, and as ever you'll get a bit less in the real world. But it's still a huge boost.

The benefits aren't just limited to headphones and other audio equipment. Anything that currently transmits or receives data via Bluetooth could benefit from the improved throughput of HDT, whether that's a smartwatch, smart glasses or a smart home device. If HDT can make updating my Apple Watch software take less time than forever, I'm sold on it already.

The downside is that you can't buy an HDT device yet. That's because there's always a lag between a new version of Bluetooth being published and products with the latest version appearing on shelves.

Bluetooth 6.0 was released in September 2024 and the first Bluetooth 6.0 headphones arrived in June 2026, with major headphone brands such as Sennheiser updating their flagships mid-year. You can expect a similar time frame with Bluetooth 7.0, so that's a summer to look forward to.

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Wharfedale Denton 1S: Two-minute review

Wharfedale has been having a lovely old time with its range of ‘Heritage’ loudspeakers lately — revisiting, remixing and reworking some of its Greatest Hits. The new Denton 1S, though, is slightly different. It’s an update of a 1974 design that went all-out to present as modern and forward-thinking. And so this reinterpretation has a ‘modern retro’ vibe rather than the ‘antique’ feel of other Wharfedale ‘Heritage’ models.

The curvy cabinet with its recessed front baffle, the mildly dramatic coaxial driver arrangement (which sees the tweeter positioned in throat of the mid/bass driver) and the handily compact dimensions are all attractive — and the option of a fairly deep blue as a finish doesn’t do any harm in this respect either. The numbers, both in terms of frequency response and of sensitivity, are encouraging too.

And when they’re doing their thing, it’s immediately apparent that the Wharfedale Denton 1S are no mere pastiche — they are a profoundly competitive pair of loudspeakers on their own terms and yes, it's a good enough performance to make them some of the best stereo speakers on the market, right now.

The sound is, ultimately, slightly small-scale — but it’s organised, confident, entertaining, loaded with detail and has real unity and singularity to the way it’s presented. Yes, $999 / £649 spent elsewhere on a small pair of passive standmount speakers will buy you something different in sonic terms, certainly, but it’s very debatable indeed as to whether it can buy you anything better.

Wharfedale Denton 1S Review: Price and release date

• Launched May 31, 2026
• List price of $999 / £649 / AU$1,699

The Wharfedale Denton 1S speakers are available now, and in the United Kingdom a pair will set you back £649. In the United States this solution costs $999, while in Australia the going rate is AU$1,699 or thereabouts.

At this money, the just about cheaper Dali Sonik 1 might be their chief competition, at $900 / £449.99 / AU$849. And just to throw it out there, while many pricier options obviously exist, Cambridge Audio's Award-winning active L/R S can be yours for a little less, at $549 / £399 / AU$949. Something to consider, anyway.

Wharfedale Denton 1S review: Features

• Coaxial tweeter / mid/bass driver
• ‘Brilliance’ switch
• Rear-facing bass reflex port

Passive loudspeakers have purity of purpose and are, unless someone’s being bloodyminded, relatively simple devices. Their list of features is seldom exhaustive. It’s a sign of just how straightforward passive loudspeakers tend to be that the Denton 1S stands apart simply because of a small rocker switch on the rear of each cabinet.

Unlike 1974’s original Denton 1, the Denton 1S features a truly coaxial driver arrangement. Here a 25mm soft-dome tweeter sits in the acoustic centre of a 165mm mid/bass driver made from polypropylene. Here, as with any coaxial driver, the idea is to offer superior time-alignment and driver integration.

With the forward-firing drivers bolstered by a rear-facing bass reflex port, Wharfedale is quoting a frequency response of 50Hz — 20kHz and sensitivity of 88dB — that second figure strongly suggests this speaker will be in no way tricky to drive. Of course, the orientation of the reflex port means that low frequency presence is likely to increase the closer to a rear surface the speaker is positioned — and that’s where the little rocker switches come in.

It’s described as a ‘brilliance’ control, and its two positions are labelled ‘norm’ and ‘max’. The idea is that setting the switch to ‘max’ will give a 1.5dB boost to the 2 - 4kHz area, which should allow the upper frequencies to hold their own against the emboldened low end in the event that the reflex port is delivering a little too much of a good thing. Of course, it will take the listener roughly no time at all to establish whether or not they think the ‘max’ setting is a good idea or not.

• Features score: 5 / 5

Wharfedale Denton 1S review: Sound quality

• Detailed, energetic and rhythmically coherent sound
• Great imaging and stereo focus
• Ultimately sound fractionally small-scale

Owners of loft apartments, aircraft hangars and the like, look away now. There’s a huge amount to enjoy about the way the Wharfedale Denton 1S perform, but when it comes to outright scale, the ability to fill an authentically large space with sound, there are better options around that cost a similar amount of money.

Everyone else, though, should read on.

No matter the source of music, no matter if it’s as straightforward as Looped by Kiasmos or as relatively complex as Re-make/Re-model by Roxy Music, the Denton 1S get an immediate handle on it. They’re a generously entertaining listen, vigorous in a nicely controlled manner, and carry enough detail along with them to make sure you’re as informed as you are stimulated.

That coaxial driver arrangement works a treat inasmuch as the imaging and stereo focus the speakers are capable of is completely convincing. There’s a unity and a togetherness about the way the Wharfedale present recordings that’s never less than enjoyable and periodically absorbing. In combination with their spirited and enthusiastic attitude, it makes for a genuine sense of performance — even if you’re listening to a recording that was never a performance in the first place. And while the soundstage isn’t the largest, it’s properly defined and rigorously organised.

The tonal balance is, fractionally, on the warmer side of neutral — but as long as the system that’s powering the speakers isn’t overtly toasty then it really shouldn’t be an issue. Frequency response, too, is just slightly titled. There’s a tiny suggestion of emphasis on the lowest frequencies, but again this is only likely to be a concern if the speakers are powered by a bass-centric set-up. Anyway, low-end control is confident and the Wharfedale express rhythms with real coherence as a result.

Midrange resolution is impressive too, and there’s real eloquence to the way the Denton 1S handle voices. Detail retrieval, which is impressive across the board, really comes to the fore here — the character and attitude imbued in a vocal performance, as well as information regarding timbre and technique, are made apparent. And at the top of the frequency range, the Wharfedale attack with determination — but there’s plenty of substance, as well as brilliance, to treble sounds, and never any suggestion of edginess or hardness.

The attention to detail extends as far as the dynamic of harmonic variation, and there’s a fair amount of capacity where the broader dynamics of volume or intensity are concerned. When the charge into the last chorus or the massed orchestral crescendo kicks in, the Denton 1S track it faithfully — and they do so without altering their sonic characteristics in the slightest.

And you don’t need a brute of an amplifier to enjoy all of these admirable attributes. The Wharfedale are in no way tricky to drive; even a modestly priced amplifier with unremarkable power numbers should have no problem getting the best from these speakers. And ‘the best’ is, on a pound-for-pound basis, at least on a par with the very best around.

• Sound quality score: 4.5 / 5

Wharfedale Denton 1S review: Design

• 330 x 236 x 229mm (HxWxD)
• Magnetically attached grilles
• Choice of three finishes

The coaxial driver means the Denton 1S should be just as happy (and effective) positioned on its side as it is standing upright. And the fact that Wharfedale has provided an integrated fitting for a wall bracket suggests the company thinks the speaker will perform successfully if it’s wall-mounted too. Cabinet depth of 229mm (which obviously increases with the pair of speaker cable binding posts at the rear) doesn’t automatically shout ‘wall-mount!’ to me, though, I have to admit.

Mind you, no matter where you position the Wharfedale they look good. The cabinet features the same curves and the same recessed front baffle as the original Denton 1 — in white, especially, there’s more than a hint of that late-60s / early-70s futurism that started years previously with the likes of Dieter Rams and Stanley Kubrick. Unlike the original model, though, which was made from moulded polyurethane that looked and felt super-modern but was a bit of a disaster in acoustic terms, the Denton 1S is made from bonded and braced fibreboard. Less modern, more effective.

That recessed front baffle allows the magnetically attached grilles to almost sit within the cabinet, and they’re flush with the top, bottom and side panels when they’re in position. Both the grille and the front baffle features a quite assertive stylised ‘W’ logo that lets you know you’re in the presence of a ‘Heritage’ Wharfedale design.

The compulsory options of black and white are joined by a third finish — the deep-ish blue of my review sample. Each of the available finishes looks good, no two ways about it, but the dimensions and the shape of the Denton 1S could quite easily lend themselves to quite a few other colours. It works for Dali and Cambridge, and I see no reason why Wharfedale shouldn’t produce the Denton 1S in some livelier finishes than are currently on offer.

• Design score: 4.5 / 5

Wharfedale Denton 1S review: Usability and setup

• Attach some speaker cable running from an amplifier
• Position the speakers to your satisfaction
• Experiment with grille and ‘brilliance’ switch

Just as with ‘features’, there’s really not too much to get your head around here. You’ll decide to position your speakers on dedicated stands, or on wall-brackets, or on a shelf… no matter where you want them, though, they’ll need to be connected to an amplifier via a couple of lengths of speaker cable.

After they’re positioned and running, you have just a couple of chances to have some input into the way they sound. The sonic difference between ‘grille on’ and ‘grille off’ is, quite honestly, less significant than the visual difference — but you will most definitely have a preference as to whether you prefer your ‘brilliance’ switch at ‘norm’ or ‘max’.

• Usability and setup score: 5 / 5

Wharfedale Denton 1S review: Value

It’s very hard indeed to argue against the notion that there’s great value for money on offer here. The Wharfedale Denton 1S are properly made, expertly finished, visually interesting (everything’s relative, after all), intriguing on a technological level and, most importantly of all, sound engaging and alert. Unless you crave absolutely as much sonic scale as this sort of money can buy, there’s an awful lot to enjoy and even admire here.

• Value score: 4.5 / 5

Should I buy the Wharfedale Denton 1S?

Buy it if...

Don't buy it if...

Wharfedale Denton 1S : Also consider

How I tested the Wharfedale Denton 1S

With the Wharfedale Denton 1S on a pair of Blok Axis stands, I connect them to my reference system: Cambridge Edge W power amplifier, Eversolo DAC-Z10 pre-amplifier, Technics SL1300G turntable (with Goldring 1022 cartridge and preamplified by a Chord Huei), Arcam ST25 network streamer and Rega Apollo CD player — so I was able to listen to music from many storage formats and at a wide variety of resolutions. And then in an effort to up the ‘retro’ credentials just a little, I replaced the pre- and power amplifier with an A&R Cambridge A60 integrated amplifier from 1976.

• First reviewed: October 2026
• Read TechRadar's review guarantee

When I moved to Utah as a student a decade ago, I was alarmed to be handed a survival pack upon reaching my dorm. These were supplies to help me, should 'The Big One' strike. This cataclysmic confluence of earthquakes and tsunamis across the San Andreas fault was, I was told, long overdue, and could plunge half of the country into a Fallout-like situationship for a little while.

Well, now I'm back living in the UK, and apparently the apocalypse is coming for us here too: the government in Blighty has told us to stock up on tinned beans and survival supplies, and has even put out an emergency checklist of kit we should have prepared.

Among the obvious items on the list (tinned food to last three days; three liters of bottled water per person for each day we're stuck; blankets), the government advises you to own an FM radio, ideally a battery-powered or wind-up (see also: hand-crank) one. And retailers are reporting that many such models are selling out.

For people confused about this: an FM radio is an old gadget from before Spotify and podcasts existed, which lets you tune into broadcasts put out by various companies (you could choose between dry BBC talk shows or countless playlists of awful music, punctuated by the most annoying ads).

I guess the government thinks people will start listening to the radio again if a 28 Days Later situation does arise; maybe they'll give you important broadcasts on the news, a droll hour-long report on a book from 50 years ago, or the same three pop songs on repeat.

Either way, you're going to need a wind-up radio so you're not dependent on mains power, so here are three options worth going for.

Philips TAR1609/00

The web is full of cheap Amazon wind-up radios that look like they'd break after three uses, so I've tried to keep it to known companies on this list. Case in point: Philips has its own model, and at £29.99 it's pretty cheap too. You can find it on Argos' website here.

The catchily-named Philips TAR1609/00 has 32 hours of listening, and charges via a USB-C port, a solar panel or, of course, a hand crank. It functions as a power bank, with a USB-A plug to connect devices (a capacity isn't stated though), and also has a giant built-in torch and SOS alarm system.

To me, it looks like a giant camcorder. But if the future presents challenging times, a retro aesthetic might be of some comfort…

Mesqool DAB+/DAB/FM Wind Up Radio with 12000mAh Rechargeable Battery

Immediately after saying I'm not going to recommend some cheap option from a random brand, I'm doing just that... sort of. The Mesqool radio (which you can find on Amazon here) may not be from a known brand, but it's not cheap either (the MSRP is $59 / £56, but it's about 10% off at the time of writing).

I'm picking this one because it's a contrast to the other options in that it's big. This isn't as much a hand-held option as the others, but something a bit chunkier.

This is useful: it means its hand crank is bigger, its solar panel is bigger and its battery capacity is larger (12,000mAh, as much as a mid-sized power bank). It even has space for a little screen.

It has Bluetooth, as well as both a torch and a smaller reading light. As well as solar or kinetic energy, it can be plugged in to power or uses AAA batteries. It's more of an industrial-sized option for if you've got a larger family sheltering from the storm together.

Midland ER100 (or slightly pricier ER310)

For my third suggestion, I did some research via online prepper communities and stores: the Midland ER100 was recommended quite frequently. It's looking a little bit hard to buy, likely because of the current rush on demand, but its UK Amazon listing is here for when stock returns. It seems to sell generally for £50, so ignore the current third-party stores on Amazon pushing it for £100.

In the US? The Midland ER40 is available, for $59.

Like the other options mentioned on this list, the Midland has a hand-crank as well as a small solar strip, and you can charge up your own device with it too. Of course it plays radio, with some simple buttons making it easier to manage than the other options.

The appeal of the Midland ER100 seems to be the brand: it's a known name in the survival equipment field, so you can rely on the Midland better than any old gadget made by a cheapie manufacturer.

I'll also add a link to the slightly larger and more feature-packed ER310 — again, slightly bigger and powerful, but also a little pricier. Now, stay safe out there!

I did not expect to love the AirPods Max 2 so much, upon testing them. Nobody is more surprised than me that I chose Apple's new over-ears for Headphones of the Year at the TechRadar Product of the Year Awards 2026.

Bowers & Wilkins has won this award the last few years, and I even hovered over the excellent five-star HEDD HEDDPhones D1 for a moment. But despite being trailblazing cans from a pioneering new audio outfit (and for some, that will fit the bill perfectly) the D1 are open-back, wired, passive beasts. And the thing is, AirPods Max 2 just do so much more for the money.

Even though you, the readers, also voted the AirPods Max 2 for this award in our TechRadar Readers' Choice Awards 2026, I'm certain there will still be some cries of discontentment about this. 'Wait, so Apple's AirPods Max 2, the set that look almost identical to the 2020 originals, and have lower battery life than any of the competition, and have no wireless hi-res codecs (and the wired lossless support also came to first-gen model anyway), and that still come with the weird headphone bra case, those won?'

Yes. Yes really. And if you give me a few minutes, I'm going to explain why. That said, if you still want to comment below, I'm all ears.

Yes, AirPods Max 2 look similar to their 7-year-old siblings — they're just that good

OK, so the lossless stuff with a wired connection isn't new, and neither is the look of the things. But what has changed with these March 2026 issue cans is the inclusion of a new H2 chip and all of its computational wizardry. And this makes them punchier sonically, ups the ANC efficacy significantly (and it wasn't at all bad beforehand, remember), and adds new perks such as Live Translation, Adaptive Audio, Conversation Awareness, Head Gesture control and the Camera Remote feature.

The one caveat is that some features require an iPhone 15 Pro or newer. Android owner? This isn't your day I'm afraid, and I'm sorry about that — your closest pick would be last September's Bose QuietComfort Ultra Headphones (Gen 2).

But the box-fresh Apple Intelligence features genuinely make for an excellent, full-throttle music and call-handling experience that does everything you need and does it with minimal fuss, app consultations, screen taps or button pushing.

For me, the right way to go about Apple's incredible implementation of ANC here is to deploy both noise cancellation and the Conversation Awareness toggle, which you'll find with a tap of the AirPods Max bubble near the top of the settings tab on your iPhone, or by swiping down from the top-right of your screen, to get the Control Center.

What it means is that by default, you will not be interrupted, but when you speak up, music is automatically lowered and external noises are piped in as you need them. And I'm mentioning this specifically because so many rival headphones aim to offer this (ie. a cocoon of silence as a backdrop for your music, but with a decent bit of software that kicks in when you speak to take it all away and pipe ambient sound in) and don't get anywhere near achieving what Apple has done.

OK so it's not groundbreaking. But it is so, so good in your everyday work life — I implore you to try it, if you get the chance.

That said, if you take just one thing away from this particular feature let it be that the claim in the marketing release is true: the noise-cancellation in AirPods Max 2 really is 1.5 times better than before. It's outstanding.

These headphones are almost deviously, head-shakingly good at isolating and melting away the noise from my surroundings, but without the wind-tunnel effect or pressure sensation I have occasionally found disconcerting or nauseating in other cans — the handful that offer ANC anywhere near this effective, at any rate.

I maintain that for emotive music or movies using Apple's special (and decidedly specific) brand of head-tracked Spatial Audio with a backdrop of near-silence wherever I tested them, Apple's AirPods Max 2 went straight to the top of a big pile.

Did I mention how comfortable they are? So many headphones start to dig in across the top of my head. That never happens with Apple's slightly odd-looking but delightfully nonrestrictive mesh headband.

Simply put, they're the headphones I started reaching for on the daily since I acquired them in March of this year, and they're still the set I reach for now. I didn't think this would happen, but it would be wrong of me to deny it, all the same.

Despite several other new releases resting on my desk at any given moment, it's the AirPods Max 2 I always go for when the working day is done. And I was taught a long time ago that this can only mean they're the best product you've currently got — we cannot argue with our own subliminal preference. I mean, that is as long as they haven't run out of battery…

Though 2026 has been a tumultuous time for technology when it comes to price hikes and shortages, the tech that's reached us has been excellent — in fact, it's been a banner year in most areas, just with some downsides for your wallet.

We've already crowned the best tech of the year as chosen by you in our TechRadar Readers' Choice Awards 2026 — but this is where we let our experts have their say.

Our writers and editors chose their favorite products in nearly 100 categories, ranging across all the kinds of products we review. In some cases, we agree with the readers; in lots of cases, we don't. So read on to see which gadgets we rate as being the most impressive of the last 12 months.

Phones & tablets

Phone of the Year

Phone Brand of the Year

Phones Innovation of the Year

Best Value Phone

Best Mid-Range Phone

Best Folding Phone

Best Flip Phone

Best Camera Phone

Best Gaming Phone

Best AI Phone

Best Phone Accessory

Best Tablet

Best eReader

Cameras & drones

Camera of the Year

Brand of the Year

Camera Innovation of the Year

Best Beginner Camera

Best Mid-range camera

Best Professional Camera

Best Compact and Instant Camera

Best Action and Vlogging Camera

Best Camera Lens

Best Camera Accessory

Best Drone

Computing

Laptop of the Year

Computing Brand of the Year

Best Computing Innovation

Best Value Laptop

Best AI Laptop

Best Gaming Laptop

Best PC Gaming Handheld

Best Gaming Keyboard

Best Gaming Mouse

Best Gaming Monitor

Gaming

Gaming Device of the Year

Gaming Brand of the Year

Gaming Innovation of the Year

Best Console Accessory

Best Gaming Service

Best Gaming Controller

Best Gaming Headset

Best Gaming Chair

TV & home theater

TV of the Year

Home Entertainment Brand of the Year

Home Entertainment Innovation of the Year

Best Gaming TV

Best TV for Sound

Best OLED TV

Best Mini-LED TV

Best Value TV

Best Projector

Best Soundbar

Best Wireless Home Theater Speakers

Streaming

Streaming Service of the Year

Best for Movies

Best for Documentaries

Best for TV Shows

Best Free Streaming Service

Audio

Headphones of the Year

Audio Brand of the Year

Audio Innovation of the Year

Best Wireless Headphones

Best Wireless Earbuds

Best Open Earbuds

Best Value Headphones

Best Value Earbuds

Best Value Open Earbuds

Best Wired Headphones

Best Wired Earbuds

Best Bluetooth Speaker

Best Wireless Speaker

Best Portable Audio Player

Best Turntable

Best DAC

Best Stereo Speakers

Health & Fitness tech

Health & Fitness Device of the year

Health & Fitness Brand of the Year

Health & Fitness Innovation of the Year

Best Smartwatch

Best Running Watch

Best Fitness Tracker

Best Smart Ring

Best Electric Toothbrush

Best Connected Fitness Tech

Home tech

Home Device of the Year

Home Tech Brand of the Year

Home Tech Innovation of the Year

Best Home Light Tech

Best Home Security Device

Best Robot Vacuum

Best Vacuum

Best Air Fryer

Best Coffee Machine

Best Value Coffee Machine

Best Fan

It's been an excellent year for tech releases, with the arrival of everything from new TV panel developments, to groundbreaking drones, to awesome spatial audio speakers, to a new breed of AI-connected screenless fitness wearable.

It's also been a really difficult year in tech, though, due to the component crisis and rising prices across nearly all products. In the middle of that tension, it only makes sense for us to find out which companies navigated the challenges best by asking the community of tech lovers out there — and so here are the first TechRadar Readers' Choice Awards.

The results are in, so below we've listed the TechRadar Readers' Choice Awards 2026 winners winners in every category, all 100% voted by you!

Phones & tablets

Phone of the Year

Phone Brand of the Year

Phones Innovation of the Year

Best Value Phone

Best Mid-Range Phone

Best Folding Phone

Best Flip Phone

Best Camera Phone

Best Gaming Phone

Best AI Phone

Best Phone Accessory

Best Tablet

Best eReader

Cameras & drones

Camera of the Year

Camera Brand of the Year

Camera Innovation of the Year

Best Beginner Camera

Best Mid-range camera

Best Professional Camera

Best Compact and Instant Camera

Best Action and Vlogging Camera

Best Camera Lens

Best camera accessory

Best drone

Computing

Computing Brand of the Year

Best Computing Innovation

Best Value Laptop

Best AI Laptop

Best Gaming Laptop

Best PC Gaming Handheld

Best Gaming Keyboard

Best Gaming Monitor

Best Gaming Mouse

Gaming

Gaming Device of the Year

Gaming Brand of the Year

Gaming Innovation of the Year

Best Console Accessory

Best Gaming Service

Best Gaming Controller

Best Gaming Headset

Best Gaming Chair

TV & home theater

TV of the year

Home Entertainment Brand of the Year

Home Entertainment Innovation of the Year

Best Gaming TV

Best TV for Sound

Best OLED TV

Best mini-LED TV

Best Value TV

Best Projector

Best Soundbar

Best Wireless Home Theater Speakers

Streaming

Streaming Service of the Year

Best Streaming Service for Movies

Best Streaming Service for Documentaries

Best Streaming Service for TV Series

Best Free Streaming Service of the Year

Audio

Headphones of the Year

Audio Brand of the Year

Audio Innovation of the Year

Best Wireless Headphones

Best Wireless Earbuds

Best Open Earbuds

Best Value Headphones

Best Value Earbuds

Best Value Open Earbuds

Best Wired Headphones

Best Wired Earbuds

Best Bluetooth Speaker

Best Wireless Speaker

Best Portable Audio Player

Best Turntable

Best DAC

Best Stereo Speakers

Health & Fitness tech

Health and Fitness Device of the Year

Health & Fitness Brand of the Year

Health and Fitness Innovation of the Year

Best Smartwatch

Best Running Watch

Best Fitness Tracker

Best Smart Ring

Best Electric Toothbrush

Best Connected Fitness Tech

Home tech

Home Device of the Year

Home Tech Brand of the Year

Home Tech Innovation of the Year

Best Home Light Tech

Best Home Security Device

Best Robot Vacuum

Best Vacuum

Best Air Fryer

Best Coffee Machine

Best Value Coffee Machine

Best Fan

I've long been a fan of Sonos and its approach to home audio. My apartment is already filled with the company's speakers, including two home theater systems for movies and TV, and a couple of stereo pairs for music. And while the ability to group speakers and play whatever I want, wherever I want, is already a major part of the appeal, I've always felt there was room to take things a step further.

So when Sonos announced the Beam Ultra soundbar earlier this year, alongside a new feature that would allow its portable Play speakers to double as rear surrounds, my interest was well and truly piqued.

I've already made my feelings about the Play perfectly clear, having previously claimed it could be the only speaker you really need. Its ability to perform just as well around the home as it does on the move makes it an incredibly appealing proposition.

And now, thanks to the new Sonos27 operating system, that versatility extends to home theater. Rather than committing a pair of speakers to permanent surround duties, you can simply pick one up, take it into another room and use it independently, before returning it to its original position and having it automatically rejoin the system.

It's a simple idea, but one that has the potential to fundamentally change how people use their Sonos speakers. And having now put the Beam Ultra and a pair of Plays through their paces, I think it's one of the company's most compelling developments in years.

Play it for me, Sonos

A pair of Sonos Play speakers can be used as rear surrounds with several of the company's soundbars, including the Arc, Arc Ultra, Beam (Gen 2) and Beam Ultra. Given the larger size and greater output capabilities of the Arc models, I'd argue the relatively compact Plays might be a slight mismatch, but it's good to know you're not tied to one particular soundbar.

Pairing them with the smaller Beam makes more sense to me, and in my bedroom, the combination is discreet enough not to draw attention, yet powerful enough to deliver a genuinely expansive sound that's a huge improvement over my TV's built-in speakers.

Of course, the real appeal of this setup is that the Plays aren't permanently tied to surround duties. Pick one up, carry it into another room and it should automatically disconnect from the home theater system, becoming an independent speaker ready for music playback. Return it to its original position, and it should seamlessly slot back into place.

Making this possible is some clever technology working behind the scenes. An accelerometer inside each Play detects when it's been picked up and moved, while Sonos Positioning Technology uses near-ultrasonic signals, picked up by the soundbar's microphones, to determine whether the speakers are in the same room and where they're positioned. It can even work out which speaker should act as the left or right rear surround, without you having to assign them manually.

At least, that's the theory.

When I first put this to the test, things didn't quite go according to plan. I carried one of the Plays from my bedroom into the living room, only to find it was still reproducing audio from the home theater system. The connection also became intermittent, with the sound cutting in and out rather than the speaker switching to standalone mode.

I eventually resorted to tapping 'Stop Using Surrounds' in the Sonos app, which allowed me to use the Play independently. But when I returned it to the bedroom, it didn't automatically reconnect either, requiring another trip into the app to select 'Start Using Surrounds'.

Not wanting to be deterred, I tried again a short while later. This time, after moving the same Play into the living room and waiting a few seconds, I heard an audible tone confirming it had disconnected from the home theater setup. Both Plays, including the one still in the bedroom, then appeared as standalone speakers in my AirPlay settings.

Returning the speaker to its original position was just as straightforward. A breathing white light indicated it was determining its position relative to the soundbar, followed by the same audible tone confirming a successful connection. Just like that, it was back to performing rear-left surround duties, without me having to touch the app.

And that's when the appeal of Sonos' new approach really clicked. Instead of a pair of speakers permanently committed to home theater duties, I could now move them around my apartment as needed, without manually reconfiguring the system every time.

Small system, big sound

To give the system a proper workout and find out just how much the Play surrounds contributed, I had to turn to the Penguin car chase scene in The Batman.

I started with the Beam Ultra by itself and was, quite frankly, blown away by its performance. Considering the soundbar's compact dimensions, the sheer scale of the sound it produced was remarkable. The rumble of the Batmobile's engine had impressive weight, while the soundfield extended well beyond the physical confines of the bar. In fact, it effectively disappeared, with sound filling the room rather than appearing to come from a single speaker beneath the TV.

Perhaps more impressive was that I wasn't using a separate subwoofer. In my bedroom, at least, I didn't feel an immediate need for one, such was the weight and authority of the bass. Admittedly, a larger living room could tell a different story, and anyone craving particularly deep, room-shaking bass would likely benefit from adding a Sub Mini.

With the two Plays connected as surrounds, and both the surround and height audio settings left at their default level of 0, the performance became even more immersive. As Batman and Penguin sped along the highway, the sounds of passing lorries and cars extended behind my listening position, creating a more convincing sense of being in the middle of the action.

Curious to see how much further the system could go, I increased both the surround and height audio settings to +5. The presentation became even more enveloping, with rear-channel effects such as blaring car horns becoming easier to distinguish. And when Penguin's car went into a roll, the system did a convincing job of following the chaos unfolding on screen, making me feel as though I was right there in the passenger seat.

Arc you pleased to see me?

The Beam Ultra and Play combination had replaced an Arc and two Sonos Ones in my bedroom, so I was keen to see how the newer system compared with its predecessor. I reinstalled the older setup, starting with the Arc on its own.

There was an immediately noticeable increase in sheer grunt, which wasn't entirely surprising given the Arc's larger dimensions and greater number of drivers. But the difference wasn't quite as dramatic as I'd expected, particularly considering how much smaller the Beam Ultra is.

It was also a reminder of how much easier Sonos has made the process of adding portable surrounds. With the Plays, I could simply select 'Use Surrounds' and, within seconds, they would connect and automatically establish their left and right positions. The Ones required a more involved setup process, including manually assigning each speaker to its respective channel.

Returning to the same scene from The Batman, this time with the Ones connected, revealed a more substantial difference between the two systems.

The Arc-based setup produced a bigger, more authoritative sound, particularly with the surround TV level increased to +5. Car engines had greater low-frequency weight, while the movement of vehicles along the highway was easier to follow as sounds travelled around the room.

Where the Beam Ultra fought back was in its reproduction of higher frequencies and dialogue. Voices sounded clearer and more distinct than they did through the Arc, while effects such as screeching tyres had greater bite and definition.

And while I maintain that the Beam Ultra doesn't necessarily need a subwoofer in a smaller room, the comparison demonstrated that the Arc has an advantage when it comes to outright bass weight.

Ultimately, both systems delivered thoroughly enjoyable and convincing surround sound experiences. The Arc-based setup had the edge in scale and low-frequency authority, but the Beam Ultra and Plays proved that a relatively compact system can still deliver a seriously cinematic performance.

A home theater system with a difference

At $1,297 / £1,297/ AU$2,097 for the Beam Ultra and two Plays, this certainly isn't the cheapest way to bring surround sound into your home. In fact, Sonos' own Beam Ultra and Era 100 surround package costs considerably less ($1,082 / £1,042 / AU$1,652), and as my comparison with the Arc and Ones demonstrated, a conventional setup can deliver a more substantial sound.

But I'd argue that focusing purely on the price of admission, or even outright surround performance, misses the point of what Sonos has achieved here.

Because when I'm not watching a movie or catching up on my favorite TV shows, I don't necessarily need two speakers sitting behind me doing nothing. With this setup, I can pick them up and take them wherever I please, whether that's into another room for some background music or outside for a gathering with friends.

And because the Plays offer both Wi-Fi and Bluetooth connectivity, they're just as comfortable being part of a multiroom Sonos system as they are accompanying me away from home.

In effect, I'm getting two systems in one: an immersive home theater setup when I want it, and a pair of genuinely portable wireless speakers when I don't.

For me, that's where the real value lies. Sonos hasn't just made its home theater systems more flexible; it's made the speakers themselves more useful. And having experienced how seamlessly the two roles can work together, it's a feature I'd find difficult to give up.

Topping DX1 II: two-minute review

The world is not short of little DAC/headphone amps that want to bring a taste of authentic audio quality to your desktop experience — and here’s another one. The Topping DX1 II is a thorough update of a previous (and very competitive) in the Chinese brand's stable, and it makes a strong case for itself even before it’s started doing its thing.

The aluminum casework looks and feels good and the on-paper specification is difficult to lay a glove on. It includes — deep breath — a very hi-res ESS DAC, carefully considered digital and analog architecture, USB-C for both power and data, sufficient grunt to drive most headphones without difficulty, a fistful of input and output options (including balanced analog connectivity), and the facility for plenty of end-user input where sound is concerned. The standard of construction and finish is more than adequate. And a little remote control handset takes some of the pressure off an overworked physical control interface.

The difference the DX1 II can make to your audio experience when it sits between, say, your laptop and the headphones that are plugged into it is fairly profound. The Topping is by no means perfect — it doesn’t attack the top of the frequency range quite as willingly as it might, and it doesn’t have the heft to make big dynamic variations as apparent as they might be — but it’s a far more convincing and well-realized listen than your laptop alone has a hope of being. Soundstaging, rhythmic expression, detail levels and all-around musicality all enjoy a big uptick, and the way the DX1 II handles a tonal balance is one of the most uncomplicatedly enjoyable things about it.

The Topping DX1 II hasn’t closed the door on other desktop-friendly headphone amp/DAC units at similar money, but it’s certainly made sure it’s on the inside of the conversation for the best on the market.

Topping DX1 II review: Price & release date

• Announced on May 18, 2026 (with availability from late June/July 2026)
• Priced $119 / £119 (around AU$169)

The Topping DX1 II is on sale now, and in the United States it costs $119. It’s £119 in the United Kingdom, while in Australia it goes for around AU$169.

So, it's a little pricier than the oh-so-portable iFi Go Link Max and the bigger, hip-flask-esque iFi Uno, say, but an awful lot cheaper than the also-new iFi iDSD GR2.

What exactly are you getting for your money if you go for the Topping? Read on.

Topping DX1 II review: Features

• ESS ES9039Q2M DAC
• Balanced and unbalanced outputs
• UAC 1.0 and UAC 2.0

There’s something quite admirable about the way Topping has specified the DX1 II — I’ve used bigger and more expensive DAC/headphone amps that don’t come close to the level of this little device.

It’s built around a very capable ESS ES90392QM DAC chipset and features dual-DAC architecture with a dedicated digital-to-analog converter for each channel, plus fully independent processing. Digital files of up to 32bit/384kHz and DSD256 are supported.

A 16-core XMOS XU-316 assists with signal processing — just as with the dual-DAC arrangement and the fully balanced analog stage, the idea is to keep noise and distortion to an absolute minimum.

Digital audio information can be delivered using either the digital optical input or the USB-C slot on the rear of the Topping. The USB-C input also provides power to the device. Outputs consist of an unbalanced 3.5mm headphone socket, a couple of balanced 4.4mm alternatives (one for headphones, the other for connecting the DX1 II to a system, a powered speaker or what-have-you) and a line-level analog output on stereo RCAs.

There’s an optical output in case the digital signal needs to be preserved, and a switch to toggle between UAC 1.0 and UAC 2.0 — the first setting allows the Topping to be compatible with, say, the Nintendo Switch and the Sony PlayStation 5.

Topping has made provision for an awful lot of end-user input into the way the DX1 II performs. Connect it to a computer and you can access both the ‘Home Web’ platform (from where stuff like gain can be adjusted and no fewer than eight distinct digital filters are available) and ‘Topping Tune’. This uses a simple drag-n-drop interface to allow the user to easily create and adjust PEQ settings — frequency, gain and bandwidth control across 10 bands (with independent left and right channel adjustment) can be tweaked and settings saved. It’s available across each of the DX1 II’s outputs.

• Features score: 5 / 5

Topping DX1 II review: Sound quality

• Impressively detailed, easy-going sound
• Pleasant tonal balance
• Could easily sound more dynamic

It’s possible to make quite significant changes to the ultimate sound of the DX1 II, of course — those digital filters have a slight effect, but go crazy with the PEQ and you can achieve some pretty obvious alternations. What you can’t do, though, is defeat the things the Topping does well or fully correct its shortcomings.

With a 24bit/48kHz FLAC file of The Record by Boygenius playing in the Tidal desktop app and incoming via USB-C, it doesn’t take long at all to appreciate the facility the DX1 II has with detail retrieval. It’s alert to even the most minor, most subtle occurrences in the recording, keeps an eye on the low-level dynamics of harmonic over- and undertones, and deals with transients confidently too. It gives these details good weighting, so the emphasis is always on the music and not solely on how deeply into it the Topping can peer.

The tonal balance it strikes is naturalistic and pleasant, and its over-all character is, in the most positive way, easy-going and quite laid-back. It can do ‘urgency’ if it absolutely has to, of course, but its fundamental attitude is one that’s not in any way fatiguing. At no point is the Topping likely to grab you by the lapels — it’s altogether too grown-up and, again in a positive way, polite for that sort of behavior.

Some of this comes about because of its relative lack of dynamic impetus. The headline dynamics of ‘quiet’ and ‘LOUD!’ in a 16bit/44.1kHz file of Life Metal by Sunn O))) are somewhat flattened by the slight shortage of headroom the DX1 II exhibits. The distance between these two positions is not as pronounced as it is when described by a DAC/headphone amp that breathes a little more deeply. Some of it is due to the Topping’s slight-but-definite tendency to roll off the highest frequencies. There’s acceptable extension into the top end, but not quite the attack or even assertiveness that makes treble sounds properly bite and shine.

Elsewhere, though, the DX1 II is on firmer ground. It has a good understanding of rhythm and tempo, and controls its low-frequency activity to the point that there’s a proper sensation of fluency to the way rhythms are expressed. It can open up a soundstage to the point that even quite complex recordings get a little elbow-room, and the stage is also controlled well. And it’s worth noting that, unlike a couple of nominal rivals, the DX1 II doesn’t alter its behavior depending on the volume you’re listening at — even when playing very quietly or really quite loud, its sonic stance remains consistent.

• Sound quality score: 4 / 5

Topping DX1 II review: Design

• 275g
• Aluminum chassis
• 32 x 100 x 100mm (HxWxD)

The DX1 II is usefully compact (just 32 x 100 x 100mm, HxWxD), so won’t hog space on your desktop or equipment rack. Built mostly from machined aluminum, it’s very well-made and finished — its edges are nicely rounded and it’s not remotely sharp at any of its corners.

At 275g, it’s unlikely to be towed around your desktop by heavy-cabled headphones, either. Only the fact that some of the socketry is quite close together on the rear panel (which is inevitable, really) precludes the use of chunkier, more premium cables and constitutes any kind of issue.

• Design score: 4.5 / 5

Topping DX1 II review: Usability & setup

• LED display
• Remote control handset
• Overworked fascia control dial

The majority of the fascia is occupied by a relatively large and gratifyingly legible LED display — volume level, selected input and what-have-you is all revealed. There’s also a relatively large turn/press dial that covers a lot of the device's functions. In all honesty, the dial is not especially intuitive when you want to do anything beyond change input or adjust volume — so it’s just as well Topping provides a little remote control handset that makes getting at your EQs, and all the rest of it, quite a lot more straightforward.

Set-up is the work of a moment, of course. You’ll need to connect the USB-C slot to a source of power — maybe this is also your source of music, if it isn’t then your source will need to be connected to the optical input. Then you need to connect the DX1 II to its output device — headphones, probably, or maybe the stereo RCA outputs to an amplifier or powered speaker. And then you’re in business.

• Usability & setup score: 4 / 5

Topping DX1 II review: Value

• Small but feels premium
• Good standard of build
• Out-and-out sound quality not up there (but you won't feel short-changed)

It may only be tiny, but Topping has managed to make the DX1 II feel and, to a lesser extent, look like it deserves to cost three figures. The standard of build is well up to snuff, too — and when you take the thoroughgoing nature of its specification into account, too, the sensation of value for money is hard to argue with.

The value proposition isn’t quite so cut-and-dried when it comes to out-and-out sound quality - but even here the DX1 II does more than enough right to prevent you feeling short-changed.

• Value score: 4.5 / 5

Should I buy the Topping DX1 II?

Buy it if…

Don't buy it if…

Topping DX1 II review: Also consider

It’s more affordable than the DX1 II — and it looks and feels it, too — but the iFi Uno is a high-achieving little device that offers a direct, confident and information-rich sound no matter the source of music it’s connected to.

How I tested the Topping DX1 II

I used the Topping DX1 II with an Apple MacBook Pro — connecting to the USB-C slot allowed for data transfer and power supply at the same time, and gave access to numerous music streaming services.

I connected a pair of Sennheiser IE900 wired in-ear headphones to the unbalanced 3.5mm output, and also to the balanced 4.4mm output (the Sennheiser have a selection of cables with different terminations).

I also connected a Sony PlayStation 5 via the optical input and sent the DX1 II output signal to the preamp in my reference system via its RCA outputs.

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

Fyne Audio Cubitt 5: Two-minute review

It’s taken Fyne Audio less than a decade to establish itself as a deeply credible manufacturer of passive loudspeakers at a wide range of prices. The Cubitt 5, though, represents its first pair of active speakers — and they've got some serious competition to overcome.

At first glance, though, the system seems to have every chance. Its compact, well-made cabinets are available in a wide range of finishes, and are home to an intriguing driver array that draws liberally from the company’s very successful (and much more expensive) line-up of passive loudspeakers. Power is more than adequate at 240 watts, and the range of inputs (Bluetooth with aptX HD capability, line- and MM phono-level analog, optical and HDMI ARC) is very competitive, too. The lack of on-system controls is an odd decision, as is the lack confirmation of selected input or volume, and the remote handset that’s your only control option is unlovely.

Get the system up and running and you’ll have to ignore the unwelcome low-volume hiss that comes from each speaker before any music is cued up — fortunately it’s not an issue once your tracks are playing. Instead you’re free to admire the Cubitt 5’s abilities with detail retrieval, soundstaging, low-frequency authority and articulate midrange communication. It’s absolutely as confident as is acceptable when it comes to handling the top of the frequency range, but even here it’s not overtly ill-balanced or unruly.

Add in significant dynamic headroom, an expansive overall presentation and a disinclination to alter its stance in any significant way no matter which of its input options is in use, and it’s apparent that where the fundamentals are concerned, the Cubitt 5 has plenty going for it. Maybe not quite for the best stereo speakers on the market, though.

Fyne Audio Cubitt 5 review: Price & release date

• Launched on June 30, 2026
• Priced $749 / £549 / AU$1,499

The Fyne Audio Cubitt 5 wireless stereo speaker system is on sale now, and in the United States it costs $749. In the United Kingdom it sells for £549, while in Australia you’ll have to part with AU$1,499.

Fyne Audio Cubitt 5 review: Features

• 127mm ‘IsoFlare’ mid/bass driver with 19mm concentric titanium dome tweeter
• 240 watts of Class D power
• Wired and wireless inputs

The idea of positioning a tweeter in the acoustic center of a mid or mid/bass driver is not a new one, but it’s a rarity nevertheless, and Fyne Audio has been busily democratizing its ‘IsoFlare’ variation on this particular theme for a while now. The Cubitt 5 is just the latest example.

In this instance there’s a 19mm titanium dome tweeter positioned in the center of a 127mm multi-fiber mid/bass driver — the idea, as ever, is to create a single point-source of sound at the same time as optimizing driver integration and sound dispersion. The mid/bass driver’s surround is the company’s ‘FyneFlute’ design, the unusual pattern of which helps minimize unwanted energy from the pistonic movement of the driver. Each of the four drivers gets 60 watts of Class D amplification to power it — an all-in total of 240 watts really should be adequate in a system such as this — and the output is bolstered by a front-firing bass reflex slot. It’s an arrangement Fyne Audio suggests will deliver a frequency response of 43Hz - 34kHz.

The primary speaker takes care of all wired and wireless connectivity. The wireless stuff consists of Bluetooth 5.0, with codec compatibility up to and including aptX HD. Physical connections, all on the rear panel, run to a moving magnet (or high-output moving coil) phono stage accessed via stereo RCA inputs, a line-level analog equivalent also using RCAs, a digital optical input and an HDMI ARC socket. All incoming digital information is dealt with by a DAC of 24bit/96kHz resolution.

• Features score: 5 / 5

Fyne Audio Cubitt 5 review: Sound quality

• Expansive and controlled presentation
• Solid punch and decent dynamics
• Audible hiss when not playing

There’s a unique aspect to the way the Fyne Audio Cubitt 5 performs — or, at least, it’s unique in my extensive experience of products of this type. Connect the speakers together using the supplied umbilical, plug the primary speaker into the mains, turn the power on, and there’s an obvious and consistent hiss from both speakers. Is it loud? No, but it can be heard down the length of my listening room. Is it audible when playing music? No, not at all. So is it an issue? I guess not, unless you intend to use the speakers on your desktop, but I can’t pretend it fills me with confidence.

Which is a great pity, because when it’s actually playing music the Cubitt 5 is one of the best sub-$750 wireless stereo speaker systems I’ve heard so far. In virtually every respect, it’s an enjoyable, balanced and well-sorted listen.

With a vinyl copy of Julian Cope’s Peggy Suicide incoming via the moving magnet phono stage, the Fyne Audio doesn’t take its eye off the ball for a moment. It’s good where detail retrieval is concerned, and manages to stay on top of the finest details without sacrificing any sense of unity or performance. It creates a fairly large soundstage — it’s certainly larger than the cabinets that are producing it — and it’s coherent, organized and easy to understand.

The tonal balance is persuasive, too, the Cubitt 5 hits the plosives at the top of the frequency range absolutely as hard as it dares, but somehow they never quite get too edgy or overly hard. The midrange is sweetly communicative, so there’s confidence and eloquence to the way the system handles a vocalist. And while the claims for extension down to 43Hz are, I think it’s fair to say, a false alarm, the Cubitt 5 nevertheless bigs deep, hits hard and controls its low-frequency activity well. Rhythmic expression is very decent as a result, and the way the system handles tempos is similarly unforced and naturalistic.

There’s a fair amount of dynamic headroom available, so the Fyne Audio handles big shifts in volume or intensity calmly, and its overall attention to detail means that the more subtle dynamics of harmonic variation are given their due weighting, too. Frequency response is nice and even, too. The tendency to attack the highest frequencies can make it sound like the top end is being overstated on occasion, but otherwise the Cubitt 5 gives every area of the frequency range fair representation.

It’s winningly unconcerned about volume, too. Some systems can change their character when asked to play at bigger levels, but the Fyne Audio just gets louder. There’s no change in tonal balance or frequency response, and the stage maintains its shape, too. And the same is true when you change inputs — switch to a wireless stream of John Glacier’s Money Shows and the fundamental attitude and character of the system don’t alter in the slightest. It’s still balanced, insightful, punchy and just slightly treble-happy.

• Sound quality score: 4 / 5

Fyne Audio Cubitt 5 review: Design

• 260 x 165 x 215mm (HxWxD)
• Available in five different finishes
• Supplied without grilles

It’s by no means an easy trick to pull off, but the Cubitt 5 manages to look discreet and interesting at the same time.

The ‘discreet’ part is mostly thanks to the 260 x 165 x 215mm (HxWxD) dimensions, assisted by some nicely curved cabinet corners and a selection of no fewer than five very agreeable finishes. My sample is in ‘olive green’, but ‘arctic white’, ‘midnight black’, ‘pearl titanium’ and ‘pebble gray’ are also available. No matter which finish you decide suits you best, you’ll find it’s the final flourish in a process that includes a very high standard of construction. There are no visible seams, and the soft-touch paint is flawlessly applied.

‘Interesting’ is mostly derived from the driver array that’s already been discussed in the ‘features’ section of this review, as well as the forward-facing bass reflex slot that somehow makes each speaker’s appearance easy to anthropomorphize. The not-quite-circular brightwork surrounding the driver array doesn’t do any harm when it comes to making this most functional of products look interesting, either. It comes as no surprise to me that Fyne Audio doesn’t see the need to supply the Cubitt 5 with grilles.

• Design score: 5 / 5

Fyne Audio Cubitt 5 review: Usability & setup

• Speakers must be wired together
• No app, no on-speaker controls, no input selection of volume indicator
• Nasty remote control handset

In terms of getting up and running, there’s really not a lot to get your head around here. Despite the fact this is an active system, only the primary speaker requires mains power — it transmits power, as well as data, along a supplied four-core umbilical cable that screws down onto the rear of each speaker. Once the speakers are connected together and the primary is powered up, it’s really only a question of positioning them to your satisfaction and then you’re in business.

Getting what you want from the system isn’t all that tricky, either, but neither is it all that satisfying an experience. This is not a Wi-Fi-enabled system, of course, so there’s no control app, which is hardly unheard-of in this part of the market. There are no controls on either speaker, either, which is rather less common. The primary speaker has an LED tell-tale that’s red when the system’s in standby and blue when it’s powered up. The blue light flashes when it’s following instructions from the remote handset that’s your only method of operation.

Given that the remote is all you’ve got, though, it’s a shame Fyne Audio specified what I imagine is the least expensive handset it could source. The look and feel is down-market, and the fact you’ve no indication of the source that’s been selected or the volume level that’s been specified only adds to the impression of cost- and corner-cutting.

• Usability & setup score: 3 / 5

Fyne Audio Cubitt 5 review: Value

Judged purely on the sound it makes, there’s no denying the Cubitt 5 offers very decent value for money indeed — once it’s making a sound, that is. The standard of build and finish only adds to the impression of money well spent.

But there’s more to it than this, of course — and as far as the experiential goes, the feel of operating the system, the sensation is undeniably low-rent. Which unfortunately undermines the impression of value the Fyne Audio system otherwise offers.

• Value score: 4 / 5

Should I buy the Fyne Audio Cubitt 5?

Buy them if…

Don’t buy them if…

Fyne Audio Cubitt 5 review: Also consider

The Cambridge L/R S system handily undercuts the Fyne Audio on price, and has an awful lot to recommend it both aesthetically and in audio terms. Not quite the room-filling ability of the Cubitt 5, mind you.

And the same is true of the Ruark Audio MR1 mk3, but if you want a well-specified and great-sounding system that’s genuinely small enough for desktop use and isn’t as pricey as the Fyne Audio, you need look no further.

How I tested the Fyne Audio Cubitt 5

Almost all my testing is done with the Cubitt 5 positioned on a pair of Soundstyle S2 speaker stands, joined together by their supplied connecting cable and with the primary speaker plugged into the mains.

Sources include a FiiO M15S digital audio player with aptX HD Bluetooth capability, a Technics SL-1300G with Goldring 1022 cartridge for vinyl via the phono stage, a Rega Apollo CD player connected to the optical input, and a Philips OLED806 via the HDMI socket.

Which means a lot of different content, stored in a variety of file types, and of many resolutions, is available — and then I listen for almost an entire working week.

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

• Esoteric knows more of us are embracing CDs — and we'll love SACDs too
• Meet the elite K1XE SACD player and optional PS1XE external power supply 
• How much is it? If you need to ask, I fear it's going to be too much… 

Well well well. We knew CD players were having a moment because we can't seem to stop writing about them — whether ultra-luxe, super-fresh and with aptX Bluetooth, be they hefty and toting both analog and digital inputs, fully transparent like some sort of award, inspired by Death Stranding 2: On the Beach in neon orange or even an affordable little ripper, from FiiO.

So there's a CD player for everyone in 2026. TechRadar even published a roundup of 9 of the coolest new CD player releases not six weeks ago, in an effort to stay abreast of them all.

And now, there's an option for people in possession of an awful lot of money. And why not? It's your money and if you have a collection of SACDs you want to make use of, along with a sizeable chunk of cash to invest into the experience, you should be able to do so.

What am I talking about when I say 'SACD'? These delicate little beauties are shiny and circular just like your regular CDs, but the moniker stands for 'Super Audio Compact Disc'. It's a high-resolution optical audio disc format first introduced in 1999 and developed jointly by Sony and Philips Electronics. Unlike CDs, the format uses a 1-bit resolution with a sampling rate of 2.8224 MHz, also known as DSD64, to provide a data rate of 5.6 Mbps — and that walks all over your typical CD's 16-bit/44.1kHz resolution, or a data rate of 1.411 Mbps, in the hi-res audio stakes.

So, it makes sense to get a serious player for your seriously detailed recorded music, right? That's clearly what Esoteric was thinking too. Behold: the ultra-luxe K1XE SACD player. You may see it as an outrageously high-end player, for a format many people thought was largely done and gone. I call it a huge win for offline hi-res listening.

How many of us still dig SACDs? I'd say the number is growing…

Anyway, what you're looking at in the main image (and the one above) is the Esoteric Grandioso K1XE, the ultra-luxury Japanese audio specialist's new flagship Super Audio CD player.

It features the VRDSATLAS (try saying that out loud, or writing it out several times in a news piece), Esoteric’s proprietary SACD transport mechanism, featuring an "exceptionally rigid, heavyweight platform engineered for outstanding mechanical precision". Also inbuilt is the proprietary Master Sound Discrete DAC G2, a next-generation, discrete digital-analog converter developed entirely in-house by Esoteric.

The K1XE is a fully dual-mono DAC configuration. Esoteric explains that this "large scale" architecture incorporates five independent linear power supply systems to achieve what the company calls "full-bodied sound reminiscent of vinyl playback".

OK but what's the thing on the right, in the main image above? That's the Grandioso PS1XE, an also-new optional external power supply — because you want to power this player properly, don't you? Doing so will reduce electrical interference, lower the noise floor for cleaner SACD sound, move high-voltage AC and heat a sensible way away from those sensitive audio circuits, including that beautifully rigid, hefty transport.

Both products will be available for international shipment from the beginning of November 2026. And it's worth considering shipping costs too (although if you're bothered by those, it's probably a little rich for the blood) because the K1XE alone weighs 34.3kg / 75lbs, which is roughly the weight of a large adult dog — think German Shepherd or Golden Retriever.

Will this glorious beast still play your regular CDs? Almost certainly. Esoteric hasn't confirmed this in its marketing, but practically all SACD players are fully backwards-compatible and are able to read the standard Red Book CD layer of an audio CD (sometimes called a CD-DA) without issue.

And that's important, because CD sales revenue was up 58% in the opening six months of 2026 (and 45% in volume) in the US, according to the Recording Industry Association of America (RIAA). Also, the burgeoning popularity of newer portable CD players (along with the growing trend for wired earbuds that do away with streaming and generally being online) proves that music lovers are buying new, pristine CDs alongside inheriting caches of old (possibly scratched) collections. And isn't listening to a full concept album in superior quality one of life's great pleasures?

Let's tackle pricing: both The Grandioso K1XE and PS1XE will be available worldwide starting November 2026. And I'm just going to write it quickly: the Esoteric Grandioso K1XE SACD player has an MSRP of US $45,000 / £37,999 (or around AU$72, 399). The PS-1XE external power supply is priced at $19,000 / £16,500 (approximately AU$36,199).

Just imagine how good those SACDs are going to sound though…

• Bluesound is adding fully integrated Apple Music support, on top of existing AirPlay support
• This is rare in streaming systems — Sonos has basically had a monopoly
• Available now via free software update

If you want to play Apple Music natively, in high resolution, on multi-room audio equipment the choice has largely been Sonos, Sonos or Sonos. That's now changed, and direct integration with the Apple Music service is coming to the Bluesound platform and BluOS software as a free upgrade.

That's a big deal because in addition to Bluesound's own products, the BluOS operating system also powers devices from big audio brands including NAD Electronics, PSB Speakers, DALI, Cyrus, and Monitor Audio.

It's a significant upgrade, because like Spotify and TIDAL, Apple Music is now fully integrated into the BluOS platform rather than supported indirectly via AirPlay 2. That means the audio is streaming directly to your player rather than via your phone, tablet or computer, so there's no compression, as there is over AirPlay or Bluetooth.

When is the Apple Music upgrade coming to BluOS?

The update is available from today, 20 October 2026, and you can get it by updating the BluOS software on your device. You'll then be able to use the BluOS Controller app to select your streaming, whether that's to a single device or a multi-room setup.

In the case of multi-room setups you'll be able to share Apple Music to specific rooms and audio zones, or have the same music playing everywhere.

Although the update itself is free, Apple Music is of course a subscription-based service, though you don't have to pay extra for higher quality or ad-free streaming.

It's a major win for Bluesound as the key Sonos alternative. There's obviously a lot of crossover between the the slickness the Sonos system has been known for and what people expect from Apple products.

When Sonos had its major software issues in 2024, Bluesound and WiiM emerged as the two multi-room systems hoping to benefit most from it, but WiiM has a strange relationship with Apple. None of its products support Apple Music natively, and many of its products don't even support AirPlay.

So this is a big win for Bluesound with Apple fans, especially since it's always been considered the more audiophile-led alternative to Sonos — now Apple Music can be a source for that.

• Successful Kickstarter Trettitre Retro Ambient Audio System is now shipping
• Combines several retro physical media sources in a fun configuration
• Sits on your wall (components can be moved), with multiple extra novelties

You can rely on Kickstarter to surface some of the stranger audio products out there, and it's true to form today. A successful campaign from a company called Trettitre has brought us one such device, and it's shipping now.

This is called the Retro Ambient Audio System, a title that's both uncatchy but accurate. It made over $2 million on a goal of $3,000, in just 15 days of funding (this was back in March and April), but you can still make late pledges of $399 (or a conversion for the equivalent in your country; it's about £300 or AU$600) to receive the full bundle.

According to Trettitre, the full MSRP of the device is $899. Since you can order the bundle for $500 less post-campaign, though, it's not clear if it'll ever actually sell for this price.

So what is the RAAS? Well, as you can see in the images, it's an all-in-one physical media machine. It's a combined record player, CD player and cassette player, which is designed to let you listen to any kind of physical media at home.

You can buy the components separately if you like, but the fun is in the setup with the magnetic wall-rack. Trettitre's marketing videos show users removing the record player from the wall, carrying it via a handle, plugging in some IEMs and listening to vinyl on their kitchen table, because this turntable has an onboard battery that charges when you put it back on its wall-mount.

There's one thing missing though: a speaker. You can buy this separately, with Trettitre selling loads of extras including multiple speakers, but know it's not included in the box.

Lights, colors, buttons

Perhaps the first novelty of the Trettitre RAAS is that it's all wall-mounted. Following in the footsteps of Ultrasonic Audio's gorgeous wall-mounted speakers and Fuse Audio's vertical turntable, the company is embracing vertical audio, which is popular among fashionistas (and people with smaller apartments) but decried by audiophiles.

The gadgets all have built-in batteries too, so you can remove them from the wall and use them on the go. The battery capacity is unclear (although six hours for the turntable is listed, or three if you're using it solely as a light source), but you should get a few hours of listening before you need to clip them back onto the wall.

Another notch in the toolbelt? The record player, called the TTT-LP3, has a built-in lighting panel which you can change the color of, like a giant RGB record player. The purpose, I glean, is to make the whole system feel like a part of your home decor. It's not the first time we've seen light-up decks, of course — FiiO's done it, Audio-Technica's gone all glowy with a vinyl spinner and Brian Eno's neon version was so popular, it's had a second iteration.

The LP3 has an Audio-Technica AT-3600LA cartridge, and plays at 33.3 or 45rpm. The next device is the TTT-DP3, the CD player which supports CD, CD-R or CD-RW, and seems to have a neat sliding release system which lets you glide the cover off. Finally, there's the TTT-CP3, a cassette player with some nice chunky light-up buttons and a clean, modernist look.

The RAAS is funky to look at, and offers lots of flexibility for physical media users, but might not be best suited for die-hard audiophiles. While each gadget has a 3.5mm jack. it's clear that they're designed to be used by Bluetooth speakers (unless you're going to have a long 3.5mm wire trailing up to that wall rack).

It's also suspiciously cheap for such a complex system; the best turntables alone cost more than the cost, without other gadgets and a wall mount system. Admittedly you'll need to buy a speaker separately, and Trettitre is pushing its add-ons, but it still raises eyebrows. So it might be worth waiting until the units have shipped, to see what users say, before you get too excited.

Sony ULT Tower 7 review

The Sony ULT Tower 7 is another strong entry in Sony’s refreshed ULT line, coming in with newly developed, rounded woofers for enhanced deep bass, a swathe of connectivity options for personal or professional use, and customizable lighting for highly immersive listening.

This model is the mid-sized option in Sony’s new ULT Tower lineup, sitting above the Tower 5 and below the ULT Max. It has a seven driver setup, with a single 280mm woofer, two mid-ranges, and four tweeters — including two rear-facing tweeters for Sony’s 360-degree Party Sound. It also has an impressive 420W of power meaning that it can get unbelievably loud — honestly I had to test this one outdoors for the most part, as it shook the foundations of our music testing space to its very core.

How good is the Sony ULT Tower 7? I’ve tested it for hours on end, listening to countless tunes, playing around with the light settings, and assessing its various features and functions available through Sony’s Sound Connect app. Here’s why I think it can compete with some of the very best Bluetooth speakers.

Let’s start with the most important thing of all: sound quality. The ULT Tower 7 is an excellent-sounding model, providing clarity and insight right across the frequency range, but the clear standout is the bass. It can extend all the way down to 20Hz with confidence, plating up regimented, meaty bass and even rippling sub-bass.

When tuning into First Summer by H.K., the deep, pounding bass was replicated fantastically, sounding just as dynamic, full-bodied and agile as I’d hoped. But still, vocals were textured and clear in the build up, keys and vocals were brilliantly balanced in the mid-range, and higher-pitched drums had a highly energetic, rhythmic quality.

A lot of these positive qualities were mirrored when listening to Rocking Chair by Mr. Scruff. Rich, deep bass was mesmerizing and phenomenally full-sounding, with tonally accurate keys in the mid-range and expressive drums up top adding plenty of color. In addition, guitars had a great sense of width to them, sounding as if they were playing from the corners of our testing room during my indoor assessment.

When blasting tunes from the ULT Tower 7 outdoors, I was astonished by its raw, uncompromised power. It has a maximum power output of 420W, and sound can fill large open spaces confidently, without losing low-end impact or clarity in the mids and treble. One of my colleagues could hear the speaker clearly from the other side of the parking lot in which I was testing the speaker, and let me tell you, this thing is borderline deafening (in a good way) at top volumes.

My only criticism, sonically speaking, is that the 360-degree sound on this speaker is a bit underwhelming. When listening at less favorable angles, like the side and rear of the speaker, the experience was noticeably worse. The overall sound of my tracks just wasn’t as cohesive and balanced as I’d hoped for, and while the larger ULT Tower Max may remedy this issue, the Tower 7 is certainly outclassed for 360-degree sound by rivals like the Marshall Bromley 450.

Still, this is a fantastic sounding speaker that handles dynamics beautifully, and plates up emphatic deep bass, clear mids and highs, and a whole lot of power. The ULT Tower 7’s Sound Field Optimization — which analyzes speaker placement and background noise and accordingly adjusts sound balance across the frequency range — also means that you’re getting consistent quality in any environment.

Something else I love about the ULT Tower 7 is how easy it is to customize its audio output, thanks to its top-tier EQ options. ULT 1 is best for huge outdoor spaces, and places additional emphasis on deep bass, while ULT 2 provides a more rounded sound that focuses on delivering the most energetic, powerful sound. There’s also a Live mode if you want to replicate live recordings more faithfully, a Flat signature for a more balanced sound, and a custom 10-band equalizer which gives you more granular control over the speaker’s output.

What’s more, this speaker supports the higher-res Bluetooth codec LDAC, enabling you to get a surprisingly detailed, insightful listen from the speaker. If you’re after true lossless audio, you’re in luck too — there’s USB-C, 3.5mm, and RCA connectivity on board. This flexibility is great for professionals who want to hook up a DJ controller via RCA or casual listeners who just want to run with Bluetooth or USB-C. In addition, there’s a pair of mic ports so you can dabble in a bit of karaoke from time to time.

If you’re using the ULT Tower 7 for karaoke, there are some effects available to you in Sony’s Sound Connect app, including a voice changer, echo, and so on. There’s also a party pad for effects like a flanger and sampler, as well as playing drum sounds and robotic noises when DJing. These are easy to access, and more generally, I found the SoundConnect app to be highly user-friendly and reliable — it wasn’t filled with bugs like some rivals’ apps are.

While we’re talking about features, it only seems right to talk about battery life. The ULT Tower 7 can offer up to 30 hours of playback with the LEDs turned off, and for a party speaker in this size-category, that’s very strong indeed. That’s almost double of a rival like the JBL PartyBox 330, and means you can keep the party going well into the early hours. There’s also a Stamina mode for extended playtime, or you can use the speaker while hooked up to the mains.

Let’s move onto design now, an area where the ULT Tower 7 largely excels. It looks fantastic, with eye-catching yet tasteful lighting, an attractive rounded aesthetic, and well-sized, illuminated buttons. Even the ULT logo impressed me because it enables you to adjust volume and cycle through EQ modes swiftly — adding a functional layer here is a very nice touch. While it’s not made of the most premium materials, it’s still built to a great standard, and has a rugged yet refined appearance.

My issue with the overall build, however, is that this speaker is not as practical as it could be. At 50.3lbs / 22.8kg, it’s very heavy, and will take a fair bit of effort to move around. Yes, there are a couple of handles built-in alongside some wheels, but a model this hefty really could’ve done with a pull-out handle for easier transportation. When using the main handle on the reverse side of the speaker, I found the ULT Tower 7 to be awkward to maneuver, something that you won’t find with a lot of the JBL PartyBoxes, for instance.

I also would’ve liked to have seen slightly better waterproofing on the ULT Tower 7. IPX4 means it's safe against splashes of water, and this is essentially the standard for party speakers of this size. But some models, like the Marshall Bromley 450, provide superior IP55 protection, which also shields against dust ingress.

But anyway, let’s get down to the crucial question: is the Sony ULT Tower 7 worth the money? Well, for $649.99 / £499 / AU$799, I think you’re actually getting great quality overall. With imposing, gigantic sound, a flashy look, long battery life, and broad connectivity options, the ULT Tower 7 is more accomplished than a lot of the competition in this price-range.

It’s still a big investment, sure, but pound-for-pound, you’re getting an awful lot of functionality and great audio. If you’re looking to save a bit of cash, then I’d personally go for the Sony ULT Tower 5, but for some added oomph, you really can’t go wrong with the ULT Tower 7.

Sony ULT Tower 7 review: price & release date

• Priced at $649.99 / £499 / AU$799
• Released in September 2026

The Sony ULT Tower 7 released in September 2026, and is the mid-sized option in the new Tower lineup, sitting right between the smaller Sony ULT Tower 5 and the giant Sony ULT Tower Max. It comes in at $649.99 / £499 / AU$799, which is a reasonable price for a model with such powerful sound and fleshed-out features.

While the ULT Tower 7 is a fair bit pricier than the ULT Tower 5, it does come with the benefits of rear-facing tweeters for 360-degree sound, added power, and better battery life. It’s also priced pretty well against rivals in this size category, such as the JBL PartyBox 330 and the Marshall Bromley 450 — which you can read more about in the ‘also consider’ section.

Sony ULT Tower 7 review: specs

Should I buy the Sony ULT Tower 7?

Buy it if…

Don’t buy it if…

Sony ULT Tower 7 review: also consider

How I tested the Sony ULT Tower 7

• Tested outdoors and at the Future Labs music testing space
• Mainly streamed tunes over Tidal
• Tried Party Chain functionality alongside ULT Tower 5

I spent many an hour testing the Sony ULT Tower 7, using it both in our music testing space at Future Labs and outdoors. As well as testing the ULT Tower 7 on its own, I also tried using it alongside the Sony ULT Tower 5 with the Party Chain function.

For the most part, I made use of Bluetooth connectivity to stream tunes over Tidal on my Xiaomi 17 phone, which supports the higher-res LDAC codec. I started by sifting through the TechRadar reference playlist, which features tracks from a wide variety of genres, but I also made sure to bump countless tunes from my personal library as well.

More generally, I’ve spent years testing audio gear here at TechRadar, where I serve as a Senior Reviews Writer. I’ve reviewed everything from wireless headphones like the Sonos Ace Ultra to Dolby Atmos soundbar systems like the JBL Bar 1300MK2. On top of that, I’ve tested a large number of party speakers, including ULT Tower 7 competitors like the Marshall Bromley 450.

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

Something I've wanted to do for a long, long time: ask an audiologist for their expert advice on protecting our hearing when it comes to today's ever-advancing audio tech. I test headphones, speakers, DACs, turntables and the like all day every day, so my auditory system is one I'd like to safeguard — and sometimes I worry that noise cancellation and volume control aren't always the rock-solid defense shields we think they are.

I also happen to have a friend who recently spent over £4,800 (around $6,390 or AU$9,189) on top-of-the-range Amplifon hearing aids, a notable expense for a freelance professional guitarist even if their hearing loss is classed as 'severe' in the left ear and 'moderate-to-severe' in the right (that'll be the amp under their left ear, won't it?). If we can all stave off that extra cost, it'd be lovely to know how, no?

On the day of this interview, I'm also heading out to see Brandon Flowers in Bournemouth's O2 Academy (a rather loud gig venue, I think we can all agree). I wonder what we lifelong live music lovers can do to help protect our ears when we're not covering or invading our canals with small speakers, all piping sound into them — but paying to be surrounded by massive, loud line arrays instead?

Meet the expert: Dr. Rachel Artsma

So, I have questions. And Dr. Rachel Artsma, Lead Audiologist at Hear.com (a US company billed as the world's leading online provider of medical hearing aids) has agreed to provide the answers.

I ask her what we need to know about the damage we may inadvertently be doing to our hearing, and it becomes immediately clear that Dr. Artsma has more experience in explaining these complex systems to worried patients than I've had hot dinners. "Essentially, when we're talking about damage to the inner ear, or damage to the ear, we're talking about little hair cells that stand up", she explains, putting both hands straight up, to offer a visual representation. "And when sound comes in, either at high volumes or for a long duration, or both, the hair cells lay flat.

"Unfortunately, if somebody does that damage to those hair cells, they don't stand back up. They remain damaged.

"So sometimes if somebody goes to a concert or they're exposed to noise, they might feel like their hearing's muffled after, or they might get ringing in their ears — but it does reverse. That was almost like a warning sign, 'Hey, we were listening to a lot of noise there.' But sometimes it can be permanent.

"Just being aware of the warning signs can be really beneficial: ringing in the ears, feeling like your hearing's muffled, dizziness, that buzzing sound. These are all signs that you should definitely go and get your hearing checked."

I wonder whether Dr. Artsma is against the use of consumer earbuds that offer listening tests and profiles to atone for your hearing loss. Several flagship options such as AirPods Pro 2 and 3, Samsung's Galaxy Buds3 Pro and Galaxy Buds4 Pro as well as Nothing's Ear (3) and CMF Buds 2 Plus offer such tests now, with Apple leading the charge thanks to its 'Hearing Health' suite of features.

Actually, Dr. Artsma welcomes these innovations, with one caveat. "It is something that people are talking more and more about, now that it's becoming more available for consumers," she begins. "Of those features, especially when it comes to a feature that's being marketed as almost like hearing amplification, it's very similar to what we see with over-the-counter hearing aids.

"In general, it can be a good thing, because it's increasing awareness and getting people more into the hearing space. But while it definitely can be a tool, it's not a replacement for care, and not a replacement for getting professional hearing care.

"The way I look at it is, it helps get people in the door, almost like a gateway. But definitely we don't recommend that [consumer earbuds] as the long-term solution for hearing care, and we of course recommend getting a full diagnostic evaluation so we know where your hearing stands."

I'm ready to move on, but there's another point Dr. Artsma wants us to know. "Something that also is really important is when it comes to treating hearing loss is that we are wearing the hearing aids all waking hours," she adds emphatically. "It's really important for the brain. So in terms of treatment, that's also where hearing aids are beneficial, because we want to be wearing them all waking hours, not just for restaurants or things like that."

I hadn't thought of the issue of stamina, and it's a key point — very few consumer earbuds will last a full 12 hours without needing to be charged, and when battery-draining features such as personal hearing profiles are deployed, you're looking at a number much less than that.

What of ANC to protect our ears — help, or hindrance?

I ask about the active noise cancellation technology most of us use in our headphones now. Is this helping our hearing? "Typically when we're talking about active noise cancellation and the cancellation of that sound wave, we're usually talking about 20dB — that's what it's going to actually reduce, in terms of noise," Dr. Artsma begins. "So for some people, yes, they might not hear noise at all if it's within that range to start with, but if said noise is still really loud, the person will still hear it. So it does depend on the noise level surrounding them."

Interesting. Because ANC works by creating an anti-phase sound wave to effectively counteract the audible one we perceive as noise, I ask whether it would it be fair to say that active noise cancellation technology in headphones doesn't actually protect your hearing, and that controlling the volume of your headphones is much more beneficial to hearing health? "Correct, exactly, and I feel that this can be a misconception with active noise cancellation", Dr. Artsma says. "Sometimes people see that, or they read it and they think, 'Oh, I'm protecting my hearing with these.' But volume is important; we want to make sure that the consumer is also reducing the volume because of the benefit of ANC.

"Usually ANC is more effective for lower frequencies, so the lower-pitched tones. And in general, this can be a beneficial feature — it definitely does not protect our hearing, but indirectly it can, because this feature allows for the listener to not have to compete with outside noise.

"So if commuting on a train or on a plane, say, often wearers have to increase the volume of what they're listening to, to compensate for the noise. Active noise cancellation can be a nice feature because it allows the consumer to still hear what they're listening to, just at a lower volume."

Dr. Artsma sighs. "Of course, that only works if they do actually lower the volume though!"

Again, I wonder whether that's this topic covered, but no — we've not even got to the key issue yet. "But what's really important is the duration of how long people are exposing themselves to noise," Dr. Artsma continues. "Exposure is cumulative. So volume is only half the equation; duration is the other half.

"I like to use the 60/60 rule, which essentially means you don't listen with the volume higher than 60 percent, and no longer than 60 minutes in duration, and then you take a break. The two go hand in hand and both are very important when it comes to hearing protection."

It's a key point and one I've thought about often in the two days since we spoke. I can't help but think that when I review the best headphones for battery-life and sound, I stick to 50% volume (since that's how brands themselves measure that metric) but I have no idea what volume buyers will listen to, once they've made their purchase.

Is the pressure sensation I experience with ANC anything to worry about?

We're nearing the end of our allotted time, but I'm keen to ask Dr. Artsma about the pressure sensation some readers tell me they experience when listening to music with the ANC deployed in their headphones. Does it mean anything is wrong?

I mention that readers have emailed to tell me they experience a wind tunnel effect, or a vacuum noise when using ANC. What's happening there? Dr. Artsma smiles and I know that this time, she's about to reassure, rather than warn. "Absolutely, but lots of times that pressure sensation is a perception, not real pressure," she says. "What happens is because the active noise cancellation is reducing the low frequencies, the brain perceives that in a similar way to when we go on an airplane and we have that altitude change.

"Now in general, of course, if somebody ever feels like they're getting any ringing, or they feel like their hearing is muffled after listening, and they feel like they're getting ringing after using headphones, then of course you want to get your hearing checked. But all in all, it's typically just harmless and it's the perception of pressure, but not actual pressure."

Seeing as we're on a reassuring curve, I ask what I might do tonight at my Brandon Flowers gig to keep my shell-likes — that really do love his new album but don't want to suffer — from damage? "Oh, there are things that you can do as a concert-goer, and a key one is to position yourself appropriately," Dr. Artsma says. "Don't stand right next to the speaker, right! Distance yourself from the speaker.

"Of course, if you also are going to be exposed to this level of noise, wearing high-fidelity hearing protection and protecting our ears is also a recommendation."

I quickly circle back to the 60/60 rule and ask how long a break we should be taking from our cans, after listening for an hour at 60% volume? Dr. Artsma is more serious here. "Definitely not just like a two-minute break and then going back," she says. "Probably closer to an hour break, because we want to allow time — our ears are very sensitive."

I understand and have to confess, that recommended break from exposure is longer than I'd have thought. I consider the concert I'm attending tonight and realize that I will not be leaving the arena after an hour, to take an hour's break for my hearing health. And perhaps, then, I really do need to be thinking about at least a set of inexpensive noise-reducing concert ear plugs. I'll add a link to a set that my colleague swears by (called the Loop Experience 2), below this missive.

If we love music (and I do), we want to keep our ears healthy enough to enjoy it for a long old time, right?

Marshall Bromley 150 review

The Marshall Bromley 150 is the newest, and smallest model in its line, packing party-ready sound into a compact cube-shaped cabinet. Despite its diminutive stature, this Bluetooth speaker is pretty mighty, boasting a 200W power output with a single woofer and dual full-range drivers. But is it any good?

Well, I’ve spent many an hour putting the Marshall Bromley 150 through its paces, listening to countless tunes, messing around with its various features, and testing out its stage-inspired lighting. So here’s how I’d rate it after extensive use.

I’ve been really impressed with Marshall’s Bromley models to date, which easily compete with some of the best Bluetooth speakers around. They’ve provided ultra-deep, punchy bass that never subdues other sounds along the frequency range, look absolutely spectacular, and have great battery life to boot. And the Bromley 150 is no different.

Let’s start with sound quality. As you might expect from a party speaker (although it's not always a given), the Bromley 150’s low-end output is the main event. It provides the sort of bass that you feel in your soul — it's deliciously rich, palpable, and almost earth-shaking. And for a speaker of this size, that's impressive.

For instance, when tuning into Cowboy Killer by Kyle Walker and Nate Katz, deep bass hit with tremendous impact while remaining regimented, resulting in a powerful yet controlled listening experience. Even then, the raw power of the Bromley 150’s dynamic bass didn’t come at the expense of sounds elsewhere in the frequency range — higher-pitched drums were precise and expressive and keys in the mid-range were well-defined and clear in the mix.

Even tracks with rippling sub bass translated beautifully onto the Marshall Bromley 150. It can extend down to 42Hz, and handles the lowest frequencies with immense confidence, producing full-sounding low-end audio.

With more vocal-heavy tracks, the Bromley 150 continues to perform well. In Black Eye by Allie X, vocals were clear in the mix and drums in the treble sounded pleasantly forward, with a satisfyingly rapid decay for an energized, refined sound. I’d argue that vocals in the mid-range lacked the texture and detail that I’ve heard from some speakers at this price-point, though.

When I listened to some funk tracks, I similarly felt that electric guitars didn’t always sound as well-separated and defined as I’ve experienced elsewhere. But mids are still weighted nicely, and certainly sound clean and clear. There’s also no LDAC on board for higher-res Bluetooth listening — something that featured on the Marshall Acton IV and Marshall Stanmore IV. But then again, this is a party speaker, so the focus is understandably more on impact than insight.

One more note on sound. Marshall has continued to wow me with its True Stereophonic 360-degree sound, and this works well even on the small Bromley 150, with its impressive bass output and clean highs being retained, even from the rear or the side. This works even better here than on some larger rivals I’ve tested, like Sony’s ULT Tower 7, for instance.

Anyway, let’s move onto the next big attraction: the Bromley 150’s design. The Bromley 150 is a true beauty. It has an amp-inspired aesthetic, with quality faux-leather, stunning golden details, and premium-feeling control knobs. It also feels really robust and hardy, and comes with an IP55 rating, protecting it against high-pressure jets of water and dust ingress — that’s above average for a party speaker of this ilk.

The stage-light-style LEDs are to die for as well. They look so much classier than the RGB LEDs you’ll see on most party speakers, and mirror the deluxe aura of the Bromley 150 to perfection. Marshall has told me in the past that it considered leaving lights out of its party speakers entirely, as it wasn’t sure if it would suit the luxurious vibe it wanted to show off. But I’m glad they found a solution. There are various modes you can choose between too, and if you want to conserve battery life, you can switch them off entirely.

On top of that, the Bromley 150 is far smaller and lighter than its sibling models, and has a luxurious built-in handle that makes it very easy to take from A to B. While it could easily be a statement piece you could leave in your apartment or living room, being able to easily take it outdoors or on the go is a big bonus.

When it comes to features, the Bromley 150 hits most of the right notes too. First of all, it has an impeccable battery life of 40 hours, which will get you through multiple parties with ease. The battery is also fully replaceable and easy to remove — in fact multiple parts are replaceable, which only adds to the longevity of this speaker.

Other features such as Auracast connectivity for multi-speaker pairing and mic inputs for instrument or karaoke sessions are also most welcome, and make the speaker into a versatile party machine. There are a few other inputs, including USB-C and 3.5mm if you want to experience lossless audio. It would’ve been great to see RCA on the Bromley 150 for DJ controllers and turntables, though, especially as this was on the larger Bromley models.

My biggest gripe with this speaker, though, is its underwhelming companion app. This model is still using the old Marshall Bluetooth companion software, and it’s simply too basic. Here, you can tune into an Auracast broadcast, customize the M-button (to display stroboscope lighting, activate low volume mode, or do nothing), and set a power off timer… but that’s all.

You can’t make any alterations remotely to EQ, despite there being physical bass and treble dials and no way to alter effects for karaoke or instruments, meaning you always have to be by the speaker to make changes. The lack of depth is a bit disappointing, and I’m hoping this will be addressed in the future, potentially by migrating this model onto the more advanced Marshall app, used by the Marshall Heston 120 and Marshall Heston 60 soundbars, as well as the Homeline speakers.

The major question is, however, is the Marshall Bromley 150 worth the money? Well, I have to be honest and tell you that this is an expensive Bluetooth speaker. It comes in at $499.99 / £399.99 / AU$699 — more than you’d pay for significantly more powerful models like the Sony ULT Tower 5, for instance. However, I think it still earns its price-tag overall.

This is a premium product, not just in its sound, but in its design. Yes, you’re paying for a party speaker, but this is a statement piece in equal parts. It performs fantastically well across the board, and with replicable parts, this speaker is an investment that should serve you well for many years to come. If you want great sound at a more affordable price-point, you really can’t go wrong with the Sony ULT Tower 5, but for a compact party speaker that’s oozing with style, then the Marshall Bromley 150 is the ideal pick.

Marshall Bromley 150 review: price & release date

• Priced at $499.99 / £399.99 / AU$699
• Released in October 2026

The Marshall Bromley 150 was released in October 2026, just over one year after Marshall launched its first ever party speaker, the Bromley 750. It has a list price of $499.99 / £399.99 / AU$699, meaning it firmly sits in the premium category for a speaker of this size. By comparison the much larger and more powerful Sony ULT Tower 5 is $50 / £50 / AU$150 cheaper than this model, so you’re paying a bit of a premium for the Bromley 150’s deluxe build.

Marshall Bromley 150 review: specs